U PONUDI NOV NEKORIŠĆEN KOMPLET ` `EYES OPEN 1` ENGLESKI JEZIK ZA 5. RAZRED OSNOVNE ŠKOLE`. KOMPLET SE SASTOJI OD UDŽBENIKA I RADNE SVESKE ZA PETU GODINU UČENJA. AUTORI SU BEN GOLDSTEIN, CERI JONES, DAVID McKEEGAN, VICKI ANDERSON I EOIN HIGGINS.

Veliki format, presavijen Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

Veliki format, presavijen Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

Veliki format, presavijen Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

Veliki format, presavijen Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

Veliki format, presavijen Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

Veliki format, presavijen Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

Veliki format, presavijen, kompletan Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

Veliki format, presavijen Melody Maker was a British weekly music magazine, one of the world`s earliest music weeklies, and—according to its publisher IPC Media—the earliest.[2] It was founded in 1926, largely as a magazine for dance band musicians,[3] by Leicester-born composer, publisher Lawrence Wright; the first editor was Edgar Jackson.[4][5] In 2000 it was merged into `long-standing rival`[2] (and IPC Media sister publication) New Musical Express. By the early 1970s, Melody Maker was considered `the musos` journal` and associated with progressive rock. However, Melody Maker also reported on teenybopper pop sensations like the Osmonds, the Jackson 5, and David Cassidy. The music weekly also gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker`s New York correspondent. In January 1972, Michael `Mick` Watts, a prominent writer for the paper,[13] wrote a profile of David Bowie that almost singlehandedly ignited the singer`s dormant career.[14] During the interview Bowie claimed, `I`m gay, and always have been, even when I was David Jones.`[15] `OH YOU PRETTY THING` ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, `Yeah, it was Melody Maker that made me. It was that piece by Mick Watts.`[16] During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken seriously. Between 1974 and 1976, she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul, and Twiggy. She then went on to make it her mission to promote punk rock.[17] In 1978, Richard Williams returned – after a stint working at Island Records – to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME. He recruited Jon Savage (formerly of Sounds), Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman, previously at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more `conservative rock` music it had continued to support during the punk era. Coleman had been insistent that the paper should `look like The Daily Telegraph` (renowned for its old-fashioned design), but Williams wanted the paper to look more contemporary. He commissioned an updated design, but this was rejected by Coleman.

David Graeber - Bullshit Jobs: The Rise of Pointless Work, and What We Can Do About It Penguin, 2019 368 str. meki povez stanje: vrlo dobro `Spectacular and terrifyingly true` Owen Jones `Explosive` John McDonnell, New Statesman, Books of the Year `Thought-provoking and funny` The Times FT BUSINESS BOOK OF THE YEAR 2018, THE TIMES BOOK OF THE YEAR 2018, NEW STATESMAN BOOK OF THE YEAR 2018 and CITY AM BOOK OF THE YEAR 2018 Be honest: if your job didn`t exist, would anybody miss it? Have you ever wondered why not? Up to 40% of us secretly believe our jobs probably aren`t necessary. In other words: they are bullshit jobs. This book shows why, and what we can do about it. In the early twentieth century, people prophesied that technology would see us all working fifteen-hour weeks and driving flying cars. Instead, something curious happened. Not only have the flying cars not materialised, but average working hours have increased rather than decreased. And now, across the developed world, three-quarters of all jobs are in services, finance or admin: jobs that don`t seem to contribute anything to society. In Bullshit Jobs, David Graeber explores how this phenomenon - one more associated with the Soviet Union, but which capitalism was supposed to eliminate - has happened. In doing so, he looks at how, rather than producing anything, work has become an end in itself; the way such work maintains the current broken system of finance capital; and, finally, how we can get out of it. This book is for anyone whose heart has sunk at the sight of a whiteboard, who believes `workshops` should only be for making things, or who just suspects that there might be a better way to run our world. Contents: Preface: On the phenomenon of bullshit jobs What is a bullshit job? What sorts of bullshit jobs are there? Why do those in bullshit jobs regularly report themselves unhappy? What is it like to have a bullshit job? Why are bullshit jobs proliferating? Why do we as a society not object to the growth of pointless employment? What are the political effects of bullshit jobs, and is there anything that can be done about this situation? `Does your job make a meaningful contribution to the world?` David Graeber asked this question in a playful, provocative online essay titled On the Phenomenon of Bullshit Jobs. He defined a bullshit job as `a form of paid employment that is so completely pointless, unnecessary, or pernicious that even the employee cannot justify its existence, even though as part of the conditions of employment, the employee feels obliged to pretend that this is not the case.` After a million views in seventeen different languages, people all over the world are still debating the answer. ... Graeber, in his singularly searing and illuminating style, identifies the five types of bullshit jobs and argues that when 1 percent of the population controls most of a society`s wealth, they control what jobs are `useful` and `important.` ... Graeber illustrates how nurses, bus drivers, musicians, and landscape gardeners provide true value, and what it says about us as a society when we look down upon them. Using arguments from some of the most revered political thinkers, philosophers, and scientists of our time, Graeber articulates the societal and political consequences of these bullshit jobs. Depression, anxiety, and a warped sense of our values are all dire concerns. He provides a blueprint to undergo a shift in values, placing creative and caring work at the center of our culture, providing the meaning and satisfaction we all crave.`--Jacket Nonfiction, Sociology, 0141983477

Published in London, 2018. Povez: mek Broj strana: 288 Bogato ilustrovano. Format: 23,5 x 32 cm Druga polovina knjiga pri gornjim ćoškovima dokačena vodom, te su listovi na tim delovima nešto krući. Na nekoloko stranica ima i minimalnog habanja nastalog prilikom razdvajanja listova. Ako se ovo zanemari knjiga je veoma dobro očuvana. Despite its name, Beauty Papers is no arena for step-by-step lessons on contouring or how to triple-line your eyes. Rather, the title examining beauty collaborates with makeup artists, fashion photographers and hairstylists to create hefty volumes that encourage readers to unlearn, forget, and discover. At a time when it seems that small minds are in charge — often at the expense of creativity, inclusivity and, indeed, humanity — this new issue celebrates ‘big’ in all its myriad forms: talent, fame, expression, age, honour, gender and conscience. In this issue: ♦ The big art of conversation is explored with makeup artist Topolino, milliner Stephen Jones, hair supremo Eugene Souleiman and celebrated artist Gillian Wearing ♦ Yet another side of the multi-faceted Kate Moss, shot through the lens of Lisa Butler ♦ David Sims collaborates with makeup artist Lucia Pieroni, resulting in a fantastical beauty bacchanal ♦ The idiosyncratic visions of Julie Verhoeven, as photographed by Annie Collinge ♦ Arresting portraits by street photographer Bruce Gilden on the sidewalks of New York ♦ Hollywood: Star Wars’ Gwendoline Christie shot by film director and fashion photographer Sean Ellis ♦ BAFTA award-winning film makeup artist Morag Ross reveals the true beauty of age (K-115)

U dobrom stanju Published 2003 by The Folio Society Item Weight ‏ : ‎ 1.58 pounds Format 268 pages, Hardcover Language English Ever since Chaucer`s day, when the host of the Tabard Inn in Southwark rose to welcome the Canterbury Pilgrims with a joke, the After Dinner Speech, designed, if possible, to reduce the assembled company to helpless merriment, has presented the ultimate challenge. The best speakers are natural story-tellers—Gerard Hoffnung, reading a selection of letters from continental hoteliers: `There is a French widow in every bedroom affording delightful prospects`; John Mortimer telling the woeful tale of a man`s numerous unsuccessful attempts to murder his wife: `At no time did Mrs Scott feel that the magic had gone out of their marriage`—and in this collection of post-prandial treasures you will find the very best of them, from Groucho Marx on how to resist a femme fatale, to Ralph Steadman surreally addressing the Lewis Carroll Centenary Dinner. `Goodness`, said a friend on greeting Mae West, `where did you get those beautiful pearls?` `Goodness`, replied Mae, `had nothing to do with it.` Shaggy dog stories, practical jokes, sporting anecdotes, rousing toasts, travellers` tales and risqué reminiscences rub shoulders in this essential collection with real-life revelations and moments of history. Among the guests are Peter Ustinov, Jilly Cooper, Brian Johnstone, Charles Dickens, Dorothy Parker, Robertson Davies, Henry Grady and A.P. Herbert. There is food and drink in abundance. There is gentle reflection and endearing charm as well as defiant frivolity. Above all there are stories for every occasion—witty, absurd, momentous, philosophical, fascinating, poignant, and forever entertaining. Introduction Geoffrey Chaucer Our host William Shakespeare Henry V’s St Crispin’s Day speech i9 William Makepeace Thackeray Waterloo 20 Samuel Johnson In brief Libby Purves Address to the Samuel Johnson Society 25 Horace Walpole Charles Townshend’s champagne speech 31 P. G. Wodehouse A few auspicious words 34 Jose Manser Hugh Casson and Laurie Lee 39 Jose Manser A Thatcher put-down John Wells and Richard Ingrams Dear Bill 43 The King’s Tradesmen On His Majesty^ birthday 47 G. K. Chesterton Speechlessness Sir Pelham Warner Just not cricket -6 Revd R. H. Barham From The Lay of St Cuthber 58 Charles Dickens PS America 60 Charles Dickens Dingley Dell v. All Muggletonians 62 Richard Ingrams Ballades and Beachcomber 67 Henry W. Grady The New South -j1 Mark Twain Littery men 77 Michael Holroyd A prominent feature 82 A. P. Herbert Winston Churchill 86 Winston Churchill To the Corinthians 87 Stanley Baldwin On England 93 Stanley Baldwin Advice on speech-making 94 John Fothergill Falls of Lodore 95 A. P. Herbert - The English laugh 97 Mae West - In brief 110 Dorothy Parker In brief 112 Groucho Marx In brief 113 Groucho Marx How to be a spy 114 Osbert Sitwell Sir Herbert and Lady Tree 117 A. P. Herbert The English laugh - again ` Maurice Baring Such a treat 118 A P. Herbert The English laugh - chorus 122 A. P. Herbert After dinner 123 Joyce Grenfell Useful and acceptable gifts 125 Evelyn Waugh Dreading it 130 Gerard Hoffnung From a bricklayer in Golders Green Patrick Garland Lord David Cecil’s dismay Clive James The Pembroke smoker , Sg Prince Philip, Duke of Edinburgh lb the. French Chamber of Commerce , ^ John Gordon Lord Beaverbrook’s last speech `SfiUt Lord Beaverbrook Apprentice Matthew Parris On Gyles Brandreth Gyles Brandreth Gobbledegook or small print The Think Tank Top secret 159 Miles Kington Ten ways NOT to start a funny story J 160 John Mortimer Stranger than fiction 61 Joanna Trollope Trollope and sex 69 Robertson Davies Refuge of insulted saints HM the Queen Golden wedding , 190 Margaret Scott Royal, real and republic ^dujBSn)5 Tim Heald An evening with Brian,Johnston Thomas Braun A birthday tribute to Jasper Griffin 210 Alan White Lewis Carroll and Ralph Steadman 217 Ralph Steadman But we3U need some jam 218 Helen Fielding Bridget Jones at a wedding 228 Maureen Lipman BeRo and borrowed hats 231 David Burnett To the Society of Dorset Men 235 William Ind, Bishop of Truro Not enough cricket 241 Jilly Cooper Meeting David Niven 246 Patrick Garland The incomparable Rex Harrison 249 Peter Ustinov A run-in with Dame Edith Evans 257 Tim Heald Business unusual or THE END 260 Acknowledgements 265

Sebastian Faulks, Jörg Hensgen (editors) - The Vintage Book Of War Stories Vintage Books, 1999 396 str. meki povez stanje: vrlo dobro In this unique and compelling anthology, Sebastian Faulks has collected the best fiction about war in the 20th century. Ranging from the First World War to the Gulf War, these stories depict a soldier`s experience from call-ups battle and comradship to leave, hospital and trauma in later life. Truely international in scope, this anthology includes stories by Erich Maria Remarque and Pat Barker, Issac Babel and Ernest Hemingway , Heinrich Boll and Norman Mailer, JG Ballard and Tim O`Brian Julian Barnes and Louis de Barnieres. Together they form a powerful and moving evocation of the horors of war. Volunteers / Bruce Chatwin Could I be the last coward on earth? / Louis-Ferdinand Celine Invisible enemies / David Malouf How long it takes for a man to die! / Erich Maria Remarque Wasteland / A.D. Gristwood Beauty of the Battlefield / Stratis Myrivilis Going back/ Ernest Hemingway Narrow escapes / William Boyd My own little show / Siegfried Sassoon Finished with the war / Pat Barker Woman on loan / Sebastien Japrisot Treason / Isaac Babel Thank God for the war / Laurie Lee Crash / Andre Malraux Postcard / Heinrich Boll Defeat / Kay Boyle Forest of the night / Jean-Louis Curtis Everybody in London was in love / Elizabeth Bowen Fire on the water / Alistair MacLean Enigma / Robert Harris Send in the clowns / Louis de Bernieres Freedom / John Fowles We you coming-to-get, Yank / Norman Miller No choice / James Jones We are about to kill a man / Shusaku Endo Hiroshima Joe / Martin Booth Wartime lies / Louis Begley Why are the men fighting? / Italo Calvino They were trying to kill me / Joseph Heller Last medieval war / Michael Ondaatje My heart finally broke in Naples / John Horne Burns Servant of death / Wolfgang Koeppen Nazi city mourned at some profit / Kurt Vonnegut Hunters / James Salter How to tell a true war story / Tim O`Brien Be like the forest / Philip Caputo Paco`s story / Larry Heinemann Welcome to Saigon / Christopher J. Koch Jungle of screaming souls / Bao Ninh My favourite war / Christopher John Farley Fiction, Short Stories, 0099268620

A thrilling collection of twenty-one original stories by an all-star list of contributors—including a new A Game of Thrones story by George R. R. Martin! If you’re a fan of fiction that is more than just black and white, this latest story collection from #1 New York Times bestselling author George R.R. Martin and award-winning editor Gardner Dozois is filled with subtle shades of gray. Twenty-one all-original stories, by an all-star list of contributors, will delight and astonish you in equal measure with their cunning twists and dazzling reversals. And George R.R. Martin himself offers a brand-new A Game of Thrones tale chronicling one of the biggest rogues in the entire history of Ice and Fire. Follow along with the likes of Gillian Flynn, Joe Abercrombie, Neil Gaiman, Patrick Rothfuss, Scott Lynch, Cherie Priest, Garth Nix, and Connie Willis, as well as other masters of literary sleight-of-hand, in this rogues gallery of stories that will plunder your heart — and yet leave you all the richer for it. Contents: - Tough Times All Over by Joe Abercrombie (a Red Country story) - What Do You Do? (aka The Grownup) by Gillian Flynn - The Inn of the Seven Blessings by Matthew Hughes - Bent Twig by Joe R. Lansdale (a Hap and Leonard story) - Tawny Petticoats by Michael Swanwick - Provenance by David Ball - The Roaring Twenties by Carrie Vaughn - A Year and a Day in Old Theradane by Scott Lynch - Bad Brass by Bradley Denton - Heavy Metal by Cherie Priest - The Meaning of Love by Daniel Abraham - A Better Way to Die by Paul Cornell (a Jonathan Hamilton story) - Ill Seen in Tyre by Steven Saylor - A Cargo of Ivories by Garth Nix (a Sir Hereward and Mister Fitz story) - Diamonds From Tequila by Walter Jon Williams (a Dagmar story) - The Caravan to Nowhere by Phyllis Eisenstein (a Tales of Alaric the Minstrel story) - The Curious Affair of the Dead Wives by Lisa Tuttle - How the Marquis Got His Coat Back by Neil Gaiman (a Neverwhere story) - Now Showing by Connie Willis - The Lightning Tree by Patrick Rothfuss (a Kingkiller Chronicle story) - The Rogue Prince, or, A King’s Brother by George R.R. Martin (a Song of Ice and Fire story)

LORA MALVI VIZUELNA I DRUGA ZADOVOLJSTVA Pogovor - Nevena Daković Pogovor - Dijana Metlić Pogovor - Vesna Dinić Miljković Prevod - Aleksandra Kostić Izdavač - Filmski centar Srbije, Beograd Godina - 2017 234 strana 24 cm Edicija - Biblioteka Umetnost ekrana ISBN - 978-86-7227-096-9 Povez - Broširan Stanje - Kao na slici, tekst bez podvlačenja SADRŽAJ: Uvod u prvo izdanje UVOD U DRUGO IZDANJE I Vizuelno zadovoljstvo i narativni film: poreklo i konteksti Filmofilija i frankofilija Tada, feminizam i psihoanalitička teorija Kasnije - avangarda II Druga zadovoljstva: naznake, zagonetke, enigme III Godina 2008. DEO I - IKONOKLAZAM 1 Spektakl je ranjiv: Mis sveta 1970. godine 2 Strahovi, fantazije i muško nesvesno ili „Vi ne shvatate šta se događa, zar ne, gospodine?` Jezik straha od kastracije Kolekcija znakova jednog fetišiste 3 Vizuelno zadovoljstvo i narativni film I Uvod a) Politička upotreba psihoanalize b) Razaranje zadovoljstva kao radikalno oružje II Zadovoljstvo u gledanju - fasciniranost ljudskim obličjem III Žena kao slika, muškarac kao nosilac pogleda IV Sažetak Deo II - Melodrama 4 Naknadne misli o „Vizuelnom zadovoljstvu i narativnom filmu`, inspirisane filmom Dvoboj na suncu (1946) Kinga Vidora Frojd i žensko Narativna gramatika i identifikacija sa drugim polom Vestern i edipalne personifikacije Žena kao označilac seksualnosti 5 Beleške o Sirku i melodrami 6 Fasbinder i Sirk 7 Slike žena, slike seksualnosti: neki filmovi Ž.L. Godara 8 Melodrama u domu i van njega Ekonomija Mitologije Estetika DEO III - NA MARGINAMA 9 Frida Kalo i Tina Modoti Meksička renesansa Žene, umetnost i politika Revolucija i renesansa Unutrašnjost i spoljašnjost Koreni i pokreti I: Frida Kalo Koreni i pokreti II: Tina Modoti Diskurs tela DEO IV - AVANGARDA 10 Film, feminizam i avangarda Istraživanje prošlosti Napad na seksizam Prvi feministički filmovi Sažetak Potraga za teorijom Potraga za praksom 11 Dijalog sa gledaocima Barbara Kruger i Viktor Burgin 12 „Veličanstvena opsesija`: Uvod u rad pet fotografa 13 Preteće vreme: Corpus Meri Keli DEO V - GRANICE 14 Promene: Misli o mitu, narativu i istorijskom iskustvu Završeci Od parabola do narativa Polarizacije I: binarni obrasci i dekonstrukcija Polarizacije II: konceptualna topologija Polarizacije III: negativna estetika Negacija i polna razlika: žena je „ne-čovek/muškarac“ Društveno ugnjetavanje i mit „drugosti` Transgresija i zakon Narativ i promena I: poredak i nered Narativ i promena II: graničnost Narativ i promena III: festivali ugnjetenih Kolektivna fantazija: politika nesvesnog 15 A. Mit o Edipu: S one strane Sfinginih zagonetki Edip: osnovna priča 1. Proairetički kod 2. Hermeneutički kod B. Ispod površine: vreme i prostor C. S one strane priče u jezgru 1. Završetak: očevo zaveštanje 2. Početak: sinovljevo nasleđe D. Lajevo zaveštanje DEO VI - RAZMIŠLJANJA, I NAKNADNA RAZMIŠLJANJA 16 Razmišljanja o mladoj modernoj ženi dvadesetih godina i feminističkoj filmskoj teoriji Indeks imena NEVENA DAKOVIĆ - Lora Malvi ili neka naknadna razmišljanja o uživanju i tumačenju Feministička teorija filma - između psihoanalize i identiteta Melodrama, spektakl i suze ostvarene želje Kontra pogled smrti Literatura DIJANA METLIĆ - Feminističke teorije i prakse Lore Malvibes VESNA DINIĆ MILJKOVIĆ - Žena/slika ili Površinski ponori Žan-Lik Godara `Jednu od velikih knjiga teorije filma dobijamo sada u prevodu Aleksandre Kostić prvi put na srpskom jeziku. Ova knjiga je još od kada se pojavila 1989. godine postala nezaobilazna, i s pravom nosi epitet jedne od najboljih teorijskih knjiga iz pera jedne autorke. Eruditska, multidisciplinarna, lucidna, knjiga Lore Malvi je istovremeno, dragoceni udžbenik za studente filmskih škola, jedinstvena u jeziku i stilu, „Vizuelna i druga zadovoljstva“ su knjiga koja je u isto vreme polemična, borbena, beskomporimisna.. Bilo da piše o slikarstvu Fride Kalo, filozofskoj teoriji Luja Altisera, fotografiji Tine Modoti, stvaralšatvu Godara i Daglasa Sirka, Lora Malvi čini to znalački, funkcionalno i iznenađujuće jasno. U pokušaju da ova jedinstvena knjiga ima svoj konceptni adekvat u sadržaju, dragocen je doprinos njenih recenzentkinja, prof. dr Nevene Daković, prof doc Dijane Metlić i prof doc Vesne Dinić Miljković koje srpskom čitaocu na dragocen način približavaju teorijsku misao Lore Malvi.` Ako Vas nešto zanima, slobodno pošaljite poruku. Laura Mulvey Visual And Other Pleasures Šantal Akerman Chantal Luj Altiser Louis Althusser Rolan Bart Roland Barthes Valter Benjamin Walter Viktor Burgin Victor Klara Bou Clara Bow Bertolt Breht Brecht Andre Breton Piter Bruks Peter Brooks Tereza De Laurentis Teresa Maja Deren Maya Alen Džons Allen Jones Kler Džonston Claire Johnston Sergej Mihailovič Ejzenštajn Tomas Elseser Thomas Elsaesser Rajner Verner Fasbinder Rainer Werner Fassbinder Šošana Felman Shoshana Sigmun Frojd Freud Žan Lik Godar Džon Halidej Jon Halliday Mirijam Hansen Miriam Hansen Alfred Hičkok Hitchock Bob Houp Hope Frida Kalo Kahlo Meri Keli Mary Kelly Karen Knor Knorr Džoan Kraford Joan Crawford Julija Kristeva Julia Barbara Kruger Pem Kuk Cook Žak Lakan Jacques Lacan Klod Levi Stros Claude Strauss Mark Luis Lewis Džef Majls Jeff Miles Karl Marks Marx Džulijet Mičel Juliet Mitchell An Mari Mijevij Anne Marie Mieville Tina Modoti Modotti Kolin Mur Colin Moore Vladimir Prop Ivon Rejner Yvonne Riner Oliver Rišon Olivier Richon Dijego Rivera Diego David Alfaro Sikeiros Daglas Sirk Douglas Sofokle Sophocles Džozef Fon Šternberg Josef Von Sternberg Mitra Tabricijan Tabrizian Terens Tarner Terence Turner Lav Davidovič Trocki Viktor Tarner Victor Turner Edvard Veston Edward Weston King Vidor Piter Volen Peter Wollen

Spoljašnjost kao na fotografijama, unutrašnjost u dobrom i urednom stanju! Coskovi i ivice korica malo iskrzane, nista strasno, sve ostalo uredno! Ilustracije: Dusan Petricic Ljubivoje Ršumović (Ljubiš, 3. jul 1939) srpski je književnik i pesnik, istaknuti dečji pisac, autor kultnih dečjih emisija „Fazoni i fore“, „Dvogled”, „Hiljadu zašto“ i drugih. Napisao je preko 90 knjiga, uglavnom za decu, a jedan je od osnivača i prvi predsednik Odbora za zaštitu prava deteta Srbije, pri organizaciji Prijatelji dece Srbije.[1] Njegov legat nalazi se u Udruženju za kulturu, umetnost i međunarodnu saradnju „Adligat” u Beogradu.[2] Sa porodicom i prijateljima je osnovao neprofitnu organizaciju Fondacija Ršum. Ljubivoje Ršumović rođen je u selu Ljubišu, na Zlatiboru, 3. jula 1939. godine, od oca Mihaila i majke Milese Ršumović. Dalji preci su mu Okiljevići od Gacka.[3] Školovao se u Ljubišu, Čajetini, Užicu i Beogradu. Diplomirao je 1965. godine na Filološkom fakultetu u Beogradu, na Odseku komparativne književnosti. Počeo je pisati rano, još kao osnovac u Ljubišu. Prve pesme objavio je kao gimnazijalac, 1957. godine, najpre u Užičkim Vestima, a zatim u Književnim novinama. U Beogradu je upoznao Duška Radovića, pod čijim uticajem je počeo da piše pesme za decu. Na njegovo stvaralaštvo takođe je uticao i Jovan Jovanović Zmaj, ali i pedagoška doktrina Džona Loka.[1] Od 1965. godine radio je u redakciji programa za decu na Radio Beogradu, kao autor emisija „Utorak veče - ma šta mi reče`, „Subotom u dva` i „Veseli utorak`. Tri godine nakon toga prešao je u Televiziju Beograd, gde je bio autor emisija za decu „Hiljadu zašto“, „Hajde da rastemo“, „Dvogled” i „Fazoni i fore“, koja je imala preko sto četrdeset epizoda.[1] Kao televizijski poslenik napisao je, vodio i režirao preko šest stotina emisija, a osim programa za decu, bio je autor i nekoliko dokumentarnih programa, poput serije „Dijagonale - priče o ljudima i naravima`. Objavio je 86 knjiga, uglavnom za decu, a njegova dela prevedena su na više stranih jezika. Takođe, Ršumović je autor tri udžbenika za osnovne škole: „Deca su narod poseban`, za izborni predmet Građansko vaspitanje (drugi razred), kao i „Azbukvar` i „Pismenar` za prvi razred. Od 1986. do 2002. godine bio je direktor Pozorišta „Boško Buha“, a trenutno je predsednik Kulturno-prosvetne zajednice Srbije[4] i predsednik saveta Međunarodnog festivala pozorišta za decu koji se održava u Subotici.[5] Jedan je od osnivača i član Upravnog odbora Zadužbine Dositeja Obradovića, kao i Udruženja za kulturu, umetnost i međunarodnu saradnju „Adligat” u Beogradu, a takođe je i jedan od osnivača i prvi predsednik Odbora za zaštitu prava deteta Srbije, pri organizaciji Prijatelji dece Srbije, u kojoj je aktuelni predsednik Skupštine. Upravni odbor Udruženja književnika Srbije ga je 30. marta 2012. predložio za dopisnog člana Srpske akademije nauka i umetnosti.[6] Uporedo sa književnim radom i radom na televiziji, Ršumović se bavio i fotografijom i sportom. Osnivač je, takmičar, i prvi predsednik Karate kluba „Crvena Zvezda`.[1] Danas živi i radi u Beogradu. Recepcija dela Pisac Filip David je o njegovom delu napisao: Dečja poezija Ljubivoja Ršumovića po mnogo čemu je osobena. Moderna po duhu i izrazu, ona je istovremeno duboko uronjena u dobru tradiciju srpske književnosti za decu. Duhovito i prijateljski Ršumović mladim sagovornicima prikazuje jedan živi, aktivan kosmos nastanjen ljudima, životinjama i stvarima pojednako obdarenim i sposobnim da govore o sebi i drugima, o ljubavi, drugarstvu, razumevanju i nerazumevanju, raznim ovozemaljskim čudesima koja se skrivaju u svakodnevici, u naizgled običnim trenucima našeg života.[7] Dečji pesnik Duško Radović o Ršumovićevom delu smatra: Jedan ciklus poezije za decu završen je, i to slavno. Od Zmaja do Ršumovića. Novi ciklus počeće od Ršumovića a završiće se sa pesnicima koji još nisu rođeni.[8] Milovan Danojlić je o njegovom delu zapisao: Pogleda li se pažljivije rečnik Ršumovićeve poezije, lako će se uočiti smelost sa kojom pesnik koristi nepesničke reči, reči iz najšire, svakodnevne potrošnje, ili čak i one iz međunarodnog opticaja. Zapostavljene, prezrene i osumnjičene, on je te reči udostojio pažnje i one su, zahvalne, zasjale u njegovim pesmama svim žarom što ga u sebi nose. Samo je jedanput, jednom pesniku, i to dečjem pesniku, bilo dano da zaigra na tu kartu, da pokaže širokogrudost prema jakim sazvučjima i proskribovanim rečima. Zahtev da se strane reči izbegavaju u poeziji i dalje ostaje na snazi, i to sa valjanim razlozima. Samo je jedanput taj zahtev, u igri, mogao biti izigran: Ršumović je iskoristio taj trenutak.[9] Estetičar i kritičar Sveta Lukić tvrdi: Ljubivoje Ršumović se ovim delom, pre svega ciklusima `Kuća` i `Braća` pridružuje uspešnim nastojanjima jednog dela svoje generacije (ili tek neku godinu starijih) pesnika: Ljubomira Simovića, Milovana Danojlića, Matije Bećkovića). U nekoj budućoj tipologiji savremenog srpskog pesništva, kojae nikako da se izgradi, sigurno će ta struja dobiti veoma istaknuto mesto. Dušan Petričić (Beograd, 10. maj 1946) srpski je karikaturista, grafičar, ilustrator i profesor. U klasi profesora Bogdana Kršića, diplomirao je na Grafičkom odseku Akademije za primenjene umetnosti u Beogradu, 1969. godine. Kao karikaturista radio je od 1969. do 1993. u beogradskim „Večernjim novostima”. Stalni saradnik, politički karikaturista karikature koja se objavljuje na naslovnoj strani „Politike” je od 2009. Od 1993. do 2013. živeo je u Torontu, Kanada. Priznanja Dobitnik godišnje Kanadske nagrade u oblasti dečje literature 2014. godine kao ilustrator, zajedno sa književnicom Kejti Stinson za knjigu „Čovek sa violinom”.[2] Zvanje Vitez od duha i humora (Gašin sabor, 2018), dodeljuju Centar za umetnost stripa Beograd pri Udruženju stripskih umetnika Srbije i Dečji kulturni centar Beograd[3] Dela In the Tree House, written by Andrew Larsen, 2013 Mr. Zinger`s Hat, Cary Fagan, 2012 My Toronto, Petričić, 2011 When Apples Grew Noses And White Horses Flew, Jan Andrews, 2011 Better Together, Simon Shapiro, 2011 Jacob Two-Two on the High Seas, Cary Fagan, 2009 Jacob Two-Two Meets the Hooded Fang, Mordecai Richler, 2009 Jacob Two-Two`s First Spy Case, Mordecai Richler, 2009 Jacob Two-Two and the Dinosaur, Mordecai Richler, 2009 Mattland, Hazel Hutchins and Gail Herbert, 2008 The Queen`s Feet, Sarah Ellis, 2008 On Tumbledown Hill, Tim Wynne-Jones, 2008 The Longitude Prize, Joan Dash, 2008 My New Shirt, Cary Fagan, 2007 Lickety-Split, Robert Heidbreder, 2007 Alphabad: Mischievous ABCs, Shannon Stewart, 2007 Bashful Bob and Doleful Dorinda, Margaret Atvud, 2006 Bagels from Benny, Aubrey Davis, 2005 Rude Ramsay and the Roaring Radishes, Margaret Atwood, 2004 Ned Mouse breaks away, Tim Wynne-Jones, 2003 Wings and Rockets: The Story of Women in Air and Space, Jeannine Atkins, 2003 Grandmother Doll, Alice Bartels, 2001 Earthlings Inside and Out: A Space Alien Studies the Human Body, Valerie Wyatt, 1999 The Enormous Potato, Aubrey Davis, 1997 La Grosse Patate, Aubrey Davis and Michel Bourque, 1997 Bone Button Borscht, Aubrey Davis, 1996 Let`s Play: Traditional Games of Childhood, Camilla Gryski, 1996[4] Scary Science: The Truth Behind Vampires, Witches, UFO`s Ghosts and More, Sylvia Funston, 1996 The Color of Things, Vivienne Shalom, 1995 Guliver med pritlikavci (Gulliver in Lilliput), from the 1726 classic by Jonathan Swift, 1987

Kao na slikama Deluje nekorišćeno Cekade Ervin Piskator Zagreb, 1985. 14 x 22 cm, tvrd povez sa omotom, 198 strana Erwin Friedrich Maximilian Piscator (17 December 1893 – 30 March 1966) was a German theatre director and producer. Along with Bertolt Brecht, he was the foremost exponent of epic theatre, a form that emphasizes the socio-political content of drama, rather than its emotional manipulation of the audience or the production`s formal beauty.[2] Biography[edit] Youth and wartime experience[edit] The Volksbühne Berlin, scene of Piscator`s early successes as a stage director in 1924 Erwin Friedrich Max Piscator was born on 17 December 1893 in the small Prussian village of Greifenstein-Ulm, the son of Carl Piscator, a merchant, and his wife Antonia Laparose.[3] His family was descended from Johannes Piscator, a Protestant theologian who produced an important translation of the Bible in 1600.[4] The family moved to the university town Marburg in 1899 where Piscator attended the Gymnasium Philippinum. In the autumn of 1913, he attended a private Munich drama school and enrolled at University of Munich to study German, philosophy and art history. Piscator also took Arthur Kutscher`s famous seminar in theatre history, which Bertolt Brecht later also attended.[5] Piscator began his acting career in the autumn of 1914, in small unpaid roles at the Munich Court Theatre, under the directorship of Ernst von Possart. In 1896, Karl Lautenschläger had installed one of the world`s first revolving stages in that theatre.[6] During the First World War, Piscator was drafted into the German army, serving in a frontline infantry unit as a Landsturm soldier from the spring of 1915 (and later as a signaller). The experience inspired a hatred of militarism and war that lasted for the rest of his life. He wrote a few bitter poems that were published in 1915 and 1916 in the left-wing Expressionist literary magazine Die Aktion. In summer 1917, having participated in the battles at Ypres Salient and been in hospital once, he was assigned to a newly established army theatre unit. In November 1918, when the armistice was declared, Piscator participated in the November Revolution, giving a speech in Hasselt at the first meeting of a revolutionary Soldiers` Council (Soviet).[6] Early success in the Weimar Republic[edit] Piscator returned to Berlin and joined the newly formed Communist Party of Germany (KPD). He left briefly for Königsberg, where he joined the Tribunal Theatre. He participated in several expressionist plays and played the student, Arkenholz, in the Ghost Sonata by August Strindberg. He joined Hermann Schüller in establishing the Proletarian Theatre, Stage of the Revolutionary Workers of Greater Berlin.[7] The Piscator-Bühne in Berlin (1927–29), formerly known as Neues Schauspielhaus In collaboration with writer Hans José Rehfisch, Piscator formed a theatre company in Berlin at the Comedy-Theater on Alte Jacobsstrasse, following the Volksbühne (`people`s stage`) concept. In 1922–1923 they staged works by Maxim Gorky, Romain Rolland, and Leo Tolstoy.[8] As stage director at the Volksbühne (1924–1927), and later as managing director at his own theatre (the Piscator-Bühne on Nollendorfplatz), Piscator produced social and political plays especially suited to his theories. His dramatic aims were utilitarian — to influence voters or clarify left-wing policies. He used mechanized sets, lectures, movies, and mechanical devices that appealed to his audiences. In 1926, his updated production of Friedrich Schiller`s The Robbers at the distinguished Preußisches Staatstheater in Berlin provoked widespread controversy. Piscator made extensive cuts to the text and reinterpreted the play as a vehicle for his political beliefs. He presented the protagonist Karl Moor as a substantially self-absorbed insurgent. As Moor`s foil, Piscator made the character of Spiegelberg, often presented as a sinister figure, the voice of the working-class revolution. Spiegelberg appeared as a Trotskyist intellectual, slightly reminiscent of Charlie Chaplin with his cane and bowler hat. As he died, the audience heard The Internationale sung. Piscator founded the influential (though short-lived) Piscator-Bühne in Berlin in 1927. In 1928 he produced a notable adaptation of the unfinished, episodic Czech comic novel The Good Soldier Schweik. The dramaturgical collective that produced this adaptation included Bertolt Brecht.[9] Brecht later described it as a `montage from the novel`.[10] Leo Lania`s play Konjunktur (Oil Boom) premiered in Berlin in 1928, directed by Erwin Piscator, with incidental music by Kurt Weill. Three oil companies fight over the rights to oil production in a primitive Balkan country, and in the process exploit the people and destroy the environment. Weill`s songs from this play, such as Die Muschel von Margate, are still part of the modern repertoire of art music.[11] In 1929 Piscator published his The Political Theatre, discussions of the theory of theatre .[12] In the preface to its 1963 edition, Piscator wrote that the book was `assembled in hectic sessions during rehearsals for The Merchant of Berlin` by Walter Mehring, which had opened on 6 September 1929 at the second Piscator-Bühne.[13] It was intended to provide `a definitive explanation and elucidation of the basic facts of epic, i.e. political theatre`, which at that time `was still meeting with widespread rejection and misapprehension.`[13] Three decades later, Piscator said that: The justification for epic techniques is no longer disputed by anyone, but there is considerable confusion about what should be expressed by these means. The functional character of these epic techniques, in other words their inseparability from a specific content (the specific content, the specific message determines the means and not vice versa!) has by now become largely obscured. So we are still standing at the starting blocks. The race is not yet on ...[14] International work, emigration, and late productions in West Germany[edit] Piscator was theater manager of The Freie Volksbühne Berlin from 1962 until his death. In 1931, after the collapse of the third Piscator-Bühne, Piscator went to Moscow in order to make the motion picture Revolt of the Fishermen with actor Aleksei Dikiy, for Mezhrabpom, the Soviet film company associated with the International Workers` Relief Organisation.[15] As John Willett wrote, throughout the pre-Hitler years Piscator`s `commitment to the Russian Revolution was a decisive factor in all his work.`[16] With Hitler`s rise to power in 1933, Piscator`s stay in the Soviet Union became exile.[17] In July 1936, Piscator left the Soviet Union for France. In 1937, he married dancer Maria Ley in Paris. Bertolt Brecht was one of the groomsmen. During his years in Berlin, Piscator had collaborated with Lena Goldschmidt on a stage adaptation of Theodore Dreiser`s bestselling novel An American Tragedy; under the title The Case of Clyde Griffiths. With American Lee Strasberg as director, it had run for 19 performances on Broadway in 1936. When Piscator and Ley subsequently immigrated to the United States in 1939, Piscator was invited by Alvin Johnson, the founding president of The New School, to establish a theatre workshop. Among Piscator`s students at this Dramatic Workshop in New York were Bea Arthur, Harry Belafonte, Marlon Brando, Tony Curtis, Ben Gazzara, Judith Malina, Walter Matthau, Rod Steiger, Elaine Stritch, Eli Wallach, Jack Creley, and Tennessee Williams.[18] Established in New York, Erwin and Maria Ley-Piscator lived at 17 East 76th Street, an Upper East Side townhome, sometimes remembered as the Piscator House.[19] After World War II and the break-up of Germany, Piscator returned to West Germany in 1951 due to McCarthy era political pressure in the United States against former communists in the arts.[20] In 1962 Piscator was appointed manager and director of the Freie Volksbühne in West Berlin. To much international critical acclaim, in February 1963 Piscator premièred Rolf Hochhuth`s The Deputy, a play `about Pope Pius XII and the allegedly neglected rescue of Italian Jews from Nazi gas chambers.`[21] Until his death in 1966, Piscator was a major exponent of contemporary and documentary theatre. Piscator`s wife, Maria Ley, died in New York City in 1999. Effects on theatre[edit] This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: `Erwin Piscator` – news · newspapers · books · scholar · JSTOR (December 2017) (Learn how and when to remove this template message) Piscator, a sculpture in the London Borough of Camden by Eduardo Paolozzi In lieu of private themes we had generalisation, in lieu of what was special the typical, in lieu of accident causality. Decorativeness gave way to constructedness, Reason was put on a par with Emotion, while sensuality was replaced by didacticism and fantasy by documentary reality. Erwin Piscator, 1929.[22] Piscator`s contribution to theatre has been described by theatre historian Günther Rühle as `the boldest advance made by the German stage` during the 20th century.[23] Piscator`s theatre techniques of the 1920s — such as the extensive use of still and cinematic projections from 1925 on, as well as complex scaffold stages — had an extensive influence on European and American production methods. His dramaturgy of contrasts led to sharp political satirical effects and anticipated the commentary techniques of epic theatre.[citation needed] In the Federal Republic of Germany, Piscator`s interventionist theatre model enjoyed a late second zenith. From 1962 on, Piscator produced several works that dealt with trying to come to terms with the Germans` Nazi past and other timely issues; he inspired mnemonic and documentary theatre in those years until his death. Piscator`s stage adaptation of Leo Tolstoy`s novel War and Peace[24] has been produced in some 16 countries since 1955, including three productions in New York City.[citation needed] Legacy and honors[edit] Opening of an exhibition on the occasion of the 50th anniversary of Erwin Piscator`s death, Berlin, 2016 In 1980, a monumental sculpture by Scottish artist Eduardo Paolozzi was dedicated to Piscator in central London.[25] In the fall of 1985, an annual Erwin Piscator Award was inaugurated in New York City, the adopted home of Piscator`s widow Maria Ley. Additionally, a Piscator Prize of Honors has been annually awarded to generous patrons of art and culture in commemoration of Maria Ley since 1996. The host of the Erwin Piscator Award is the international non-profit organisation `Elysium − between two continents` that aims to foster artistic and academic dialogue and exchange between the United States and Europe. In 2016, a Piscator monument was erected in his birthplace of Greifenstein-Ulm.[26] Piscator`s artistic papers are held by the archive of the Academy of Arts, Berlin (since 1966) and the Southern Illinois University Carbondale (Morris Library, since 1971).[27] Broadway productions[edit] Gotthold Ephraim Lessing, Nathan the Wise (Belasco Theatre, April 1942) Irving Kaye Davis, The Last Stop (Ethel Barrymore Theatre, September 1944) Films[edit] Revolt of the Fishermen (Восстание рыбаков). Director: Erwin Piscator, Screenplay: Georgi Grebner, Willy Döll, Producer: Mikhail Doller, USSR 1932–1934. Works[edit] Piscator, Erwin. 1929. The Political Theatre. A History 1914–1929. Translated by Hugh Rorrison. New York: Avon, 1978. ISBN 978-0-380401-88-8 (= London: Methuen, 1980. ISBN 978-0-413335-00-5). The ReGroup Theatre Company (ed.): The `Lost` Group Theatre Plays. Volume 3. The House of Connelly, Johnny Johnson, & Case of Clyde Griffiths. By Paul Green and Erwin Piscator. Prefaces by Judith Malina & William Ivey Long. New York, NY: CreateSpace, 2013. ISBN 978-1-484150-13-9. Tolstoy, Leo. War and Peace. Adapted for the Stage by Alfred Neumann, Erwin Piscator, and Guntram Prüfer. English adaptation by Robert David MacDonald. Preface by Bamber Gascoigne. London: Macgibbon & Kee, 1963. Literature[edit] Connelly, Stacey Jones. Forgotten Debts: Erwin Piscator and the Epic Theatre. Bloomington: Indiana University 1991. Innes, Christopher D. Erwin Piscator`s Political Theatre: The Development of Modern German Drama. Cambridge: Cambridge University Press 1972. Ley-Piscator, Maria. The Piscator Experiment. The Political Theatre. New York: James H. Heineman 1967. ISBN 0-8093-0458-9. Malina, Judith. The Piscator Notebook. London: Routledge Chapman & Hall 2012. ISBN 0-415-60073-1. McAlpine, Sheila. Visual Aids in the Productions of the First Piscator-Bühne, 1927–28. Frankfurt, Bern, New York etc.: Lang 1990. Probst, Gerhard F. Erwin Piscator and the American Theatre. New York, San Francisco, Bern etc. 1991. Rorrison, Hugh. Erwin Piscator: Politics on the Stage in the Weimar Republic. Cambridge, Alexandria VA 1987. Wannemacher, Klaus. Moving Theatre Back to the Spotlight: Erwin Piscator’s Later Stage Work. In: The Great European Stage Directors. Vol. 2. Meyerhold, Piscator, Brecht. Ed. by David Barnett. London etc.: Bloomsbury (Methuen Drama) 2018, pp. 91–129. ISBN 1-474-25411-X. Willett, John. The Theatre of Erwin Piscator: Half a Century of Politics in the Theatre. London: Methuen 1978. ISBN 0-413-37810-1. External links[edit] Biography portal Erwin Piscator at IMDb Website on Erwin Piscator, including `Annotated Erwin Piscator Bibliography` with more than 1300 title entries (German) Erwin Piscator Papers, 1930–1971 at Southern Illinois University Carbondale, Special Collections Research Center Information on the annual Erwin Piscator Award Photo of Piscator at Find a Grave Tags: Politika i knjizevnost bertolt Breht angažovana knjizevnost sartr avangarda

Spoljašnjost kao na fotografijama, unutrašnjost u dobrom i urednom stanju! Istorija jednog Nemca - Sebastijan Hafner Secanja 1914 - 1933 Tekst Istorija jednog Nemca napisan tridesetih godina ovoga veka, doživeo je četrnaest izdanja u Nemačkoj. Hafner pokazuje šta je jedan inteligentan i pre svega pošten Nemac znao o neizrecivoj prirodi nacizma, u vreme kada je nadmoćna većina njegovih zemljaka tvrdila da o tome ne zna ništa i da protiv zla nisu mogli da deluju. Povez: tvrd Format: 14×21 Str: 224 Raimund Pretzel (27. prosinca 1907. - 2. siječnja 1999.),[1] poznatiji pod pseudonimom Sebastian Haffner, bio je njemački novinar i povjesničar. Kao emigrant u Britaniji tijekom Drugog svjetskog rata, Haffner je tvrdio da je smještaj nemoguć ne samo s Adolfom Hitlerom nego i s njemačkim Reichom s kojim se Hitler kockao. Mir se mogao osigurati samo vraćanjem unatrag `sedamdeset pet godina njemačke povijesti` i vraćanjem Njemačke u mrežu manjih država.[2] Kao novinar u Zapadnoj Njemačkoj, Haffnerov svjesni napor `da dramatizira, da razlike gurne na vrh,`[3] ubrzao je prekide s urednicima i liberalnim i konzervativnim. Njegovo uplitanje u aferu Spiegel 1962. i njegov doprinos `antifašističkoj` retorici studentske Nove ljevice naglo su podigli njegov profil. Nakon razlaza s časopisom Stern 1975., Haffner je proizveo vrlo čitane studije usredotočene na ono što je vidio kao sudbonosni kontinuitet u povijesti njemačkog Reicha (1871.–1945.). Njegovi posthumno objavljeni prijeratni memoari Geschichte eines Deutschen: Die Erinnerungen 1914–1933 (Defying Hitler: a Memoir) (2003)[4] pridobili su mu nove čitatelje u Njemačkoj i inozemstvu. Haffner je rođen 1907. kao Raimund Pretzel u Berlinu. Tijekom ratnih godina 1914–18. pohađao je osnovnu školu (Volkschule) kojoj je ravnatelj bio njegov otac Carl Pretzel. Ovih se godina ne sjeća oskudica, nego vojnih biltena čitanih s uzbuđenjem nogometnog navijača koji prati rezultate utakmica. Haffner je vjerovao da je upravo iz ovog iskustva rata od strane generacije školaraca kao `igre između nacija`, zanosnije i emocionalno zadovoljavajuće od bilo čega što mir može ponuditi, nacizam izvući veliki dio svoje `privlačnosti`: `svoju jednostavnost, njegova privlačnost mašti i poletno djelovanje, ali i njegova netolerancija i okrutnost prema unutarnjim protivnicima.`[5] Nakon rata Haffner je prvo pohađao gimnaziju u centru grada, Königstädtisches Gymnasium Berlin na Alexanderplatzu. Ovdje se sprijateljio s djecom vodećih gradskih židovskih obitelji u poslovanju i slobodnim profesijama. Bili su ranorani, kultivirani i lijevo nastrojeni.[6] Međutim, njegova se adolescentska politika okrenula udesno nakon što se 1924. preselio u Schillergymnasium u Lichterfeldeu, na koji su bile pretplaćene obitelji u vojsci. Haffner je kasnije primijetio: `Cijeli moj život određen je mojim iskustvima u ove dvije škole`.[7] Hitler i egzil Nakon siječnja 1933., Haffner je kao student prava svjedočio raspoređivanju SA kao `pomoćne policijske snage` i, nakon ožujskog požara u Reichstagu, njihovom progonu židovskih i demokratskih pravnika sa sudova. Ono što ga je najviše šokiralo u ovim događajima bilo je potpuno odsustvo `bilo kakvog čina hrabrosti ili duha`. Suočeni s Hitlerovim usponom, činilo se kao da je `milijun pojedinaca istovremeno doživjelo živčani kolaps`. Bilo je nevjerice, ali otpora nije bilo.[8] Doktorsko istraživanje omogućilo je Haffneru da se skloni u Pariz, ali ne mogavši ​​se učvrstiti u gradu, vratio se u Berlin 1934. Nakon što je već objavio neku kraću prozu kao serijski romanopisac za Vossische Zeitung, mogao je zarađivati ​​za život pišući feljtone za stilske časopise u kojima su nacisti `tolerirali određenu kulturnu estetsku isključivost`.[9] No, pooštravanje političke kontrole i, što je hitnije, trudnoća njegove djevojke novinarke, koja je prema Nürnberškim zakonima klasificirana kao Židovka, potaknuli su emigraciju. Godine 1938. Erika Schmidt-Landry (rođena Hirsch) (1899-1969) uspjela se pridružiti bratu u Engleskoj, a Haffner ju je, po nalogu Ullstein Pressa, mogao pratiti. Vjenčali su se tjednima prije rođenja sina Olivera Pretzela.[10] Britanska objava rata Njemačkoj 3. rujna 1939. spasila je Haffnera od deportacije. Kao neprijateljski vanzemaljci Haffner i njegova supruga bili su internirani, ali su u kolovozu 1940. među prvima pušteni iz logora na otoku Man. U lipnju je izdavač Georgea Orwella Fredric Warburg objavio Njemačka, Jekyll and Hyde, Haffnerovo prvo djelo na engleskom i prvo za koje je, kako bi zaštitio svoju obitelj u Njemačkoj, upotrijebio imena koja je trebao zadržati: Sebastian (od Johanna Sebastiana Bacha) i Haffner (iz Mozartove Haffnerove simfonije). U Donjem domu postavljena su pitanja zašto je priveden autor tako važne knjige.[11] Lord Vansittart opisao je Haffnerovu analizu `Hitlerizma i njemačkog problema` kao `najvažniji [...] koji se još pojavio`.[12] Politički emigrant Njemačka: Jekyll i Hyde U polemici koja je uvježbavala teme njegovog kasnijeg povijesnog rada, Haffner je ustvrdio da je Britanija bila naivna kada je proglasila svoju `svađu` samo s Hitlerom, a ne s njemačkim narodom. Hitler je `stekao više pristaša u Njemačkoj i približio se apsolutnoj moći nego bilo tko prije njega`, a to je učinio `manje-više normalnim sredstvima uvjeravanja i privlačnosti`. To nije značilo da je `Hitler Njemačka`, ali je bilo ishitreno pretpostaviti da ispod hvaljenog jedinstva Njemačke ne postoji ništa osim `nezadovoljstva, tajne opozicije i potisnute pristojnosti`.[13] Nijemci su u rat ušli podijeljeni. Manje od jednog od pet bili su pravi bhakte, `pravi nacisti`. Nikakvo razmatranje, čak ni `boljševička prijetnja`, nije moglo pomiriti ovaj `moralno nedostupan` dio Nove Njemačke sa stabilnom Europom. Antisemitizam koji je njihova `značka` nadmašio je svoj izvorni motiv: ispuštanje Hitlerovih privatnih ogorčenosti, žrtveno janje manjine kao sigurnosni ventil za antikapitalističko raspoloženje. Funkcionira prije kao `sredstvo selekcije i suđenja`, identificirajući one koji su spremni, bez izgovora, progoniti, loviti i ubijati i tako biti vezani za Vođu `željeznim lancima zajedničkog zločina`. Hitler, pak, (`potencijalni samoubojica par excellence`) priznaje samo odanost vlastitoj osobi.[14] Veći broj Nijemaca – možda četiri od deset – želi samo vidjeti leđa Hitleru i nacistima. Ali `neorganizirani, obeshrabreni i često u očaju`, vrlo se malo njih poistovjećuje s potopljenom političkom oporbom, koja je i sama podijeljena i zbunjena. Rame uz rame žive s otprilike jednakim Nijemcima koji , strahujući od daljnjeg Versaillesa, podnose `predaju osobnosti, vjere i privatnog života` pod Hitlerom kao `domoljubnu žrtvu`. Preko svojih generala, ovi lojalisti Reichu mogli bi na kraju tražiti sporazume sa saveznicima, ali Haffner je pozvao na oprez. Sve što je manje od odlučnog prekida sa status quo ante samo bi se vratilo u `latentno i pasivno stanje` Reichov oživljavajući duh uvećanja i `vulgarnog obožavanja sile`.[15] Da bi u Europi postojala sigurnost, Haffner je inzistirao (u izvornom kurzivu) da `[Njemački Reich] mora nestati, a posljednjih sedamdeset pet godina njemačke povijesti mora biti izbrisano. Nijemci se moraju vratiti svojim koracima do točke u kojoj su krenuo krivim putem - do godine 1866` (godina kada je na bojnom polju kod Königgrätza Pruska uklonila austrijsku zaštitu od manjih njemačkih država). Artikulirajući tezu koju je trebao opširno braniti svoje posljednje (diktirano) djelo, Von Bismarck zu Hitler (1987.), Haffner je ustvrdio da „Ne može se zamisliti mir s pruskim Reichom koji je rođen u to vrijeme i čiji je posljednji logički izraz ne osim nacističke Njemačke`.[16] Njemačku treba vratiti na povijesni obrazac regionalnih država vezanih konfederalnim aranžmanima koji su europski, a ne isključivo nacionalni.[17] Istodobno, Haffner je priznao da bi dio privlačnosti Nijemaca bio to što bi, prenamijenjeni u Bavarce, Rajne i Sase, mogli izbjeći odmazdu saveznika. “Ne možemo se”, smatrao je, “i osloboditi njemačkog Reicha i, identificirajući njegove `države sukcesije`, kazniti ih za njegove grijehe”. Ako su saveznici željeli da mentalitet Reicha umre - `za što je postojala svaka mogućnost nakon katastrofe nacizma` - onda je novim državama trebalo dati `pravednu šansu`.[18] Churchill Postojala je priča da je Churchill naredio svakom članu svog ratnog kabineta da pročita Haffnerovu knjigu. Da je istina, odnos bi bio obostran. Od svih njegovih kasnijih radova, Haffner je rekao da mu je njegova kratka biografija Winston Churchill (1967.) bila najdraža.[19] Kada je 1965. Churchill umro, Sebastian Haffner je napisao `činilo se kao da nije pokopan običan smrtnik, već sama engleska povijest`. Ipak, Haffner je bio razočaran što Churchill nije prihvatio njegove ideje za Njemačku legiju slobode, njemačku akademiju u egzilu i njemački odbor. Premijer je bio spreman koristiti antinacističke Nijemce kao savjetnike, tehničke stručnjake i agente u specijalnim snagama, ali nije smjelo postojati londonski ekvivalent moskovskom `Nacionalnom odboru za slobodnu Njemačku`. Neal Ascherson ipak vjeruje da je moguće da su neke od Churchillovih ideja o poslijeratnoj Njemačkoj imale `korijene u dijelovima Haffnerove knjige`.[20] Poslijeratno novinarstvo Njemačka divizija Godine 1941. David Astor pozvao je Haffnera da se pridruži The Observeru kao politički dopisnik, dok ga je Edward Hulton angažirao kao suradnika popularnog Picture Posta. Inozemni urednik Observera i utjecajan u Engleskoj, Haffner je 1948. postao naturalizirani britanski državljanin. Kroz takozvani Shanghai Club (nazvan po restoranu u Sohou) družio se s lijevo orijentiranim i emigrantskim novinarima, među kojima su E. H. Carr, George Orwell, Isaac Deutscher, Barbara Ward i Jon Kimche[21]. David Astor je po povratku s ratne službe aktivnije sudjelovao u uređivačkim poslovima i došlo je do sukoba mišljenja. Nakon putovanja u Sjedinjene Države iz McCarthyjeve ere, Haffner se zapalio u Sjevernoatlantski savez,[22] i (zajedno s Paulom Setheom iz Frankfurter Allgemeine Zeitunga)[23] nije htio odbaciti kao blef Staljinovu notu iz ožujka 1952. ponuda sovjetskog povlačenja u zamjenu za njemačku neutralnost. Godine 1954. prihvatio je financijski velikodušnu ponudu da se prebaci u Berlin kao njemački dopisnik The Observera.[24] U Njemačkoj je Haffner također pisao za konzervativni nacionalni Die Welt, koji je tada uređivao veteran Kapp Putcha, Hans Zehrer. Izdavač Axel Springer dopustio je raspravu o neutralnosti (`austrijskom rješenju`) kao temelju za konačnu njemačku nagodbu,[25] što se nije definitivno odbacilo sve do izgradnje Berlinskog zida u rujnu 1961. godine. Haffner se pridružio Springeru u ogorčenju protiv neučinkovitosti odgovora zapadnih saveznika na zatvaranje Sovjetskog bloka u Njemačkoj, stav koji je potaknuo njegov konačni raskid s Astorom i The Observerom.[24] U skladu sa svojom vizijom nakon Reicha iz 1940., Haffner se u načelu nije protivio postojanju druge njemačke države. Godine 1960. spekulirao je o budućnosti DDR-a kao `Pruske slobodne države` poigravajući se, možda, nacionalboljševističkim idejama Ernsta Niekischa.[26] Nakon konsolidacije zida, i u raskidu s Axelom Springerom, [27] Haffner nije trebao vidjeti drugu alternativu osim formalno priznati Istočnu Njemačku sovjetskog bloka. Od 1969. podržavao je Ostpolitik novog socijaldemokratskog kancelara Willa Brandta.[28][29] Afera Spiegel Dana 26. listopada 1962. u hamburškim uredima Der Spiegela izvršena je racija d zatvorila policija. Uhićeni su izdavač Rudolf Augstein, zajedno s dva glavna urednika tjednika i novinarom. Ministar obrane Franz Josef Strauss iznio je optužbe za izdaju (Landesverrat) u vezi s člankom u kojem se detaljno opisuje NATO projekcija `zamislivog kaosa` u slučaju sovjetskog nuklearnog napada i kritizira nespremnost Vlade. U izjavi koju je kasnije bio dužan poreći, Strauss je zanijekao da je pokrenuo policijsku akciju.[30] Springer mu je ponudio tiskare, teletipove i uredski prostor kako bi Der Spiegel mogao nastaviti objavljivati.[31] No, po cijenu svakog daljnjeg pristupa Die Weltu Haffner je u Süddeutsche Zeitungu (8. studenog 1962.) izjavio o kršenju slobode tiska i ustavnih normi. Pozivajući se na bauk republikanskog kolapsa 1933., Haffner je tvrdio da je njemačka demokracija u ravnoteži. Poistovjećujući se s onim što se moglo smatrati ključnom prekretnicom u kulturi Savezne Republike daleko od poštovanja koje je zahtijevala stara Obrigkeitsstaat (autoritarna država)[32] Haffner je pronašao novo i liberalnije čitateljstvo u Frankfurter Allgemeine Zeitungu, i s tjednicima Die Zeit i Stern magazinom.[24] Studentski prosvjed i kampanja protiv Springera Zajedno s mladim piscima i aktivistima nove poslijeratne generacije, Haffner je vjerovao da Savezna Republika plaća cijenu za Adenauerovo pragmatično odbijanje da vrši pritisak na obračun zločina iz nacističke ere. Uz implicitno pozivanje na njih, u Stern Haffner je kao `sustavni, hladnokrvni, planirani pogrom` osudio policijske nerede u zapadnom Berlinu u kojima je ubijen studentski prosvjednik Benno Ohnesorg.[33] Dana 2. lipnja 1967., okupljeni razotkrivanjem Ulrike Meinhof u časopisu New Left konkret njemačkog suučesništva u pahlavijevoj diktaturi, studenti su demonstrirali protiv posjeta iranskog šaha. Kada su iranski protudemonstranti, uključujući agente šahove obavještajne službe, napali studente, policija se pridružila sukobu premlaćivajući studente u sporednu ulicu gdje je policajac ispalio svoju bočnu ruku.[34] Doprinoseći konkretu (kasnije se pokazalo da su ga subvencionirali Istočni Nijemci)[35] Haffner je napisao da je `Studentskim pogromom 2. lipnja 1967. fašizam u Zapadnom Berlinu skinuo masku`.[36][37] Sve više usredotočeni na rat u Vijetnamu (`Auschwitz naše generacije`),[38] mnogi, uključujući Haffnerovu kćer Sarah,[39] usmjerili su svoj bijes na njegovog bivšeg poslodavca, Axela Springera. Nakon pokušaja atentata na socijalističkog studentskog vođu Rudija Dutschkea 11. travnja 1968., Springerovi naslovi (Bild : “Studenti prijete: Uzvraćamo udarac”,[40] “Zaustavite teror mladih crvenih-odmah!”)[41] ponovno optužen za poticanje.[37] Morgenpost je odgovorio na prosvjednu blokadu svojih tiska predlažući paralele s Kristalnom noći: `tada su Židovima oteli njihova imovina; danas je Springer koncern taj koji je ugrožen`.[42] Ulrike Meinhof Brandtovi socijaldemokrati niti Stern nisu cijenili Haffnerov doprinos ovom guranju `različitosti na vrh` (`Zuspitzung`)[3], a posebno ne nakon što je Meinhof poduzela ono što je smatrala sljedećim logičnim korakom u borba s `fašizmom`. `Prosvjed`, napisala je, `je kada kažem da mi se ovo ne sviđa. Otpor je kada stanem na kraj onome što mi se ne sviđa.`[43] Dana 19. svibnja 1972., frakcija Crvene armije (` Baader Meinhof Gang`) bombardirao je Springerovo sjedište u Hamburgu, ozlijedivši 17 ljudi. Tjedan dana prije nego što su preuzeli svoju prvu žrtvu, američkog časnika ubijenog cijevnom bombom u američkom vojnom stožeru u Frankfurtu na Majni.[44] Poput romanopisaca Heinricha Bölla i Gunthera Grassa, Haffner nije odolio iskušenju, stavljajući Meinhofova djela u perspektivu, daljnjeg napada na Bild;[45] `nitko`, tvrdio je, nije učinio više da zasadi `sjeme svijeta`. nasilja` nego Springer novinarstvo.[46][45] Ipak, Haffner je izrazio užasnutost brojem ljudi na lijevoj strani za koje je vjerovao da bi, ako bi ga zamolili, ponuditi odbjeglu Ulrike krevet za noćenje i doručak. Ništa, upozorio je, ne može poslužiti za diskreditaciju ljevice i predanosti reformama više od romantiziranja terorizma.[47] Slavimo novi liberalizam Haffner se nije složio s strogošću nekih sigurnosnih mjera koje je odobrila Brandtova vlada. Prigovorio je Radikalenerlass-u (Anti-radikalnom dekretu) iz 1972. godine koji je uspostavio Berufsverbot koji zabranjuje određena zanimanja u javnom sektoru osobama s `ekstremnim` političkim stavovima. Marksisti, tvrdio je, moraju moći biti učitelji i sveučilišni profesori `ne zato što su liberali, već zato što smo mi liberali` (Stern, 12. ožujka 1972.). Međutim, Haffner više nije spominjao policijske `pogrome` ili režimski neofašizam. Šezdesetih godina prošlog stoljeća policija je možda tukla demonstrante na ulicama, ali nitko, usprotivio se, nikada nije `čuo da su ih mučili`.[48] Zapadna Njemačka se promijenila. Možda nije učinio dovoljno da se pomiri s poviješću Reicha, ali je, u Haffneru `s pogled, `udaljio se od toga s lakoćom kakvu nitko nije očekivao`. Stari autoritarizam, osjećaj da ste `subjekt` države, bio je `passé`. Atmosfera je postala `liberalnija, tolerantnija`. Iz nacionalističkog, militarističkog Volka proizašla je relativno skromna, kozmopolitska (`weltbürgerlich`) javnost.[48] Ipak, za neke od Haffnerovih čitatelja trebalo je postojati još jedno, i `apsurdno`, volte lice.[49] `Dalje ruke` od Francove Španjolske U listopadu 1975. uredništvo časopisa Stern odbilo je Haffnerov podnesak uz obrazloženje da je prekršila opredijeljenost časopisa prema `demokratskom ustavnom poretku i progresivno-liberalnim principima`.[50] U onome što je trebalo dokazati svoju posljednju primjenu smrtne kazne, 27. rujna 1975. (samo dva mjeseca prije Francove smrti) Španjolska je pogubila dva člana naoružane baskijske separatističke skupine ETA i tri člana Revolucionarne antifašističke patriotske fronte (FRAP) zbog ubojstva policajaca i civilne garde. Ne samo da se Haffner odbio pridružiti općoj međunarodnoj osudi, nego se činilo da je pozitivno branio španjolsku diktaturu. U djelu provokativno nazvanom `Ruke od Španjolske`, ustvrdio je da Španjolska nije prošla loše u svojih trideset i šest godina pod Francom. Možda nije bilo političke slobode, ali je bilo ekonomske modernizacije i napretka.[51] Mnogima se činilo da je Haffner pretjerao sa svojom reputacijom provokatora, enfant terrible. Čitateljstvo mu je navodno opadalo: već je pao s liste vodećih zapadnonjemačkih novinara Allensbach instituta.[49] Haffner je dopustio da se možda kretao desno dok se Stern kretao lijevo. U svom posljednjem tekstu u Sternu u listopadu 1975., Haffner je tvrdio da nije požalio što je podržao Brandtovu Ostpolitik ili promjenu režima iz demokršćanskog u socijaldemokratski. To je bilo `neophodno`. Ali priznao je neko razočaranje. Relaksacija hladnoratovskih tenzija nije donijela mnogo toga (DDR je, ako ništa drugo, očvrsnuo `otkad smo bili ljubazni prema njima`), a interno, BRD, Savezna Republika, doživjela je bolja vremena.[52] Od Bismarcka do Hitlera U dobi od 68 godina Haffner se odlučio posvetiti svojim popularnim komentarima o njemačkoj povijesti. Već su neke od njegovih serijalizacija u Sternu pretvorene u bestselere. Die verratene Revolution (1968.), Haffnerova optužnica protiv socijaldemokrata u slomu 1918. kao lojalista Reichu, doživjela je trinaest izdanja. Kao i sav njegov rad, ostao je bez fusnota, napisan za popularnu publiku (Haffner je tvrdio da mrzi knjige koje ne možeš ponijeti u krevet).[53] Anmerkungen zu Hitler (1978.) (objavljen na engleskom kao The Meaning of Hitler) prodan je u milijun primjeraka. (Golo Mann ju je nazvao `duhovitim, originalnim i pojašnjavajućim knjigom... izvrsno prikladnom za raspravu u višim razredima škola`) [54] Proširujući svoj ratni `psihogram Führera` u Njemačkoj: Jekyll i Hyde, knjiga stavio Hitlera u sjenu revolucije koju su Ebert i Noske izdali.[55] Hitler, priznao je Haffner, nije bio Prus. Pruska je bila `država utemeljena na zakonu`, a njezina politika nacionalnosti uvijek je `pokazivala plemenitu toleranciju i ravnodušnost`.[56] No, sažeto u Haffnerovoj posljednjoj knjizi, Von Bismarck zu Hitler (1987), ostala je šira teza. Kroz `revolucije` 1918. i 1933. Reich koji je stvorio Pruski izdržao je s istim poticajnim uvjerenjem. Djelomično iz svoje geopolitičke izloženosti, Reich je bio ili velika sila ili će propasti.[57] S obzirom na njihovo iskustvo s ovim Reichom, Haffner je bio uvjeren da njemački susjedi nikada neće dopustiti nasljednika:[58] `zvona za uzbunu bi se oglasila ako bi se novi blok snaga od 80 milijuna snaga ponovno podigao na njihovim granicama.`[59] ] Smrt i obitelj Godine 1989./90., dok je Gorbačov pomrsio svoje proračune i Zid je pao, Haffner se navodno bojao da su Nijemci bili manje ublaženi traumama iz 1945. – poukama koje je pokušao izvući – nego posljedicama podjele njihove zemlje. Nije bio siguran hoće li Nijemce možda ponovno zahvatiti nacionalna megalomanija.[60] Prema riječima njegove kćeri Sarah, miran tijek ujedinjenja mu je bio ugodan, ali ga je, možda, osjećao oštrije da je nadživio svoje vrijeme.[19] Haffner je preminuo 2. siječnja 1999. u 91. godini. Christa Rotzoll, novinarka s kojom se Haffner oženio nakon što je ostao udovac 1969., preminula ga je 1995. godine. Haffnera je preživjelo njegovo dvoje djece s Erikom Schmidt-Landry. Sarah Haffner (1940.–2018.) bila je slikarica i feministička redateljica dokumentarnih filmova.[61] Vjerovala je da je njezina vlastita politička uključenost možda igrala određenu ulogu u angažmanu njezina oca u studentskom pokretu 1960-ih.[19] Njegov sin, Oliver Pretzel (1938-), bio je profesor matematike na Imperial College Londonu. Nakon očeve smrti sabrao je memoare započete početkom 1939., ali napuštene zbog hitnije propagandne vrijednosti Njemačke: Jekyll & Hyde, i dogovorio njegovo objavljivanje kao Geschichte eines Deutschen/Pkoseći Hitleru. U sjećanju Marcela Reich-Ranickog Haffnerov bliski prijatelj, preživjeli holokaust i književni kritičar Marcel Reich-Ranicki (1920-2013), primijetio je da Haffnerove knjige nisu bile samo poučne kao i njegov razgovor, nego su bile i zabavne. Njemački novinari ili povjesničari koji su živjeli u egzilu u Engleskoj ili Sjedinjenim Državama radili su za tamošnji tisak, sugerirao je Reich-Ranicki, pisali drugačije nego prije. Čak i nakon povratka pisali su `jasnijim, živahnijim` stilom koji bi mogao biti i činjeničniji i duhovitiji. To je, doznali su, kombinacija `moguća i na njemačkom`.

Odlično Nil Jang Biografija Neil Percival Young OC OM[1][2] (born November 12, 1945) is a Canadian and American[3] singer and songwriter. After embarking on a music career in Winnipeg in the 1960s, Young moved to Los Angeles, joining the folk-rock group Buffalo Springfield. Since the beginning of his solo career, often with backing by the band Crazy Horse, he has released critically acclaimed albums such as Everybody Knows This Is Nowhere (1969), After the Gold Rush (1970), Harvest (1972), On the Beach (1974), and Rust Never Sleeps (1979). He was also a part-time member of Crosby, Stills, Nash & Young, with whom he recorded the chart-topping 1970 album Déjà Vu. His guitar work, deeply personal lyrics[4][5][6] and signature high tenor singing voice[7][8] define his long career. Young also plays piano and harmonica on many albums, which frequently combine folk, rock, country and other musical genres. His often distorted electric guitar playing, especially with Crazy Horse, earned him the nickname `Godfather of Grunge`[9] and led to his 1995 album Mirror Ball with Pearl Jam. More recently he has been backed by Promise of the Real.[10] Young directed (or co-directed) films using the pseudonym `Bernard Shakey`, including Journey Through the Past (1973), Rust Never Sleeps (1979), Human Highway (1982), Greendale (2003), CSNY/Déjà Vu (2008), and Harvest Time (2022). He also contributed to the soundtracks of the films Philadelphia (1993) and Dead Man (1995). Young has received several Grammy and Juno Awards. The Rock and Roll Hall of Fame inducted him twice: in 1995 as a solo artist and in 1997 as a member of Buffalo Springfield.[11] In 2023, Rolling Stone named Young No. 30 on their list of 250 greatest guitarists of all time.[12] Young is also on Rolling Stone`s list of the 100 greatest musical artists. 21 of his albums and singles have been certified Gold and Platinum in U.S. by RIAA certification.[13] Young was awarded the Order of Manitoba in 2006[2] and was made an Officer of the Order of Canada in 2009.[1] Early life (1945–1963)[edit] Neil Young[14] was born on November 12, 1945, in Toronto, Canada.[15][16] His father, Scott Alexander Young (1918–2005), was a journalist and sportswriter who also wrote fiction.[17] His mother, Edna Blow Ragland `Rassy` Young (1918–1990) was a member of the Daughters of the American Revolution.[18] Although Canadian, his mother had American and French ancestry.[19] Young`s parents married in 1940 in Winnipeg, Manitoba, and moved to Toronto shortly thereafter where their first son, Robert `Bob` Young, was born in 1942. Shortly after Young`s birth in 1945, the family moved to rural Omemee, Ontario, which Young later described fondly as a `sleepy little place`.[20] Young contracted polio in the late summer of 1951 during the last major outbreak of the disease in Ontario, and as a result, became partially paralyzed on his left side.[21] After the conclusion of his hospitalization, the Young family wintered in Florida, whose milder weather they believed would help Neil`s convalescence.[22] During that period, Young briefly attended Faulkner Elementary School in New Smyrna Beach, Florida. In 1952, upon returning to Canada, Young moved from Omemee to Pickering (1956), and lived for a year in Winnipeg (where he would later return), before relocating to Toronto (1957–1960). While in Toronto, Young briefly attended Lawrence Park Collegiate Institute as a first year student in 1959.[23] It is rumoured that he was expelled for riding a motorcycle down the hall of the school.[24] Young became interested in popular music he heard on the radio.[25] When Young was twelve, his father, who had had several extramarital affairs, left his mother. She asked for a divorce, which was granted in 1960.[26] She moved back to Winnipeg and Young went to live with her there, while his brother Bob stayed with their father in Toronto.[27] During the mid-1950s, Young listened to rock `n roll, rockabilly, doo-wop, R&B, country, and western pop. He idolized Elvis Presley and later referred to him in a number of his songs.[28] Other early musical influences included Link Wray,[29] Lonnie Mack,[30] Jimmy Gilmer and the Fireballs, The Ventures, Cliff Richard and the Shadows,[31] Chuck Berry, Hank Marvin, Little Richard, Fats Domino, The Chantels, The Monotones, Ronnie Self, the Fleetwoods, Jerry Lee Lewis, Johnny Cash, Roy Orbison and Gogi Grant.[32] Young began to play music himself on a plastic ukulele, before, as he would later relate, going on to `a better ukulele to a banjo ukulele to a baritone ukulele – everything but a guitar.`[33] Career[edit] Early career (1963–1966)[edit] Young and his mother settled into the working-class area of Fort Rouge, Winnipeg, where he enrolled at Earl Grey Junior High School. It was there that he formed his first band, the Jades, and met Ken Koblun. While attending Kelvin High School in Winnipeg, he played in several instrumental rock bands, eventually dropping out of school in favour of a musical career.[34] Young`s first stable band was the Squires, with Ken Koblun, Jeff Wuckert and Bill Edmondson on drums, who had a local hit called `The Sultan`. Over a three-year period the band played hundreds of shows at community centres, dance halls, clubs and schools in Winnipeg and other parts of Manitoba. The band also played in Fort William (now part of the city of Thunder Bay, Ontario), where they recorded a series of demos produced by a local producer, Ray Dee, whom Young called `the original Briggs,` referring to his later producer David Briggs.[35] While playing at The Flamingo, Young met Stephen Stills, whose band The Company was playing the same venue, and they became friends.[36] The Squires primarily performed in Winnipeg and rural Manitoba in towns such as Selkirk, Neepawa, Brandon and Giroux (near Steinbach), with a few shows in northern Ontario.[37] After leaving the Squires, Young worked folk clubs in Winnipeg, where he first met Joni Mitchell.[38] Mitchell recalls Young as having been highly influenced by Bob Dylan at the time.[39] Young said Phil Ochs was `a big influence on me,` telling a radio station in 1969 that Ochs was `on the same level with Dylan in my eyes.`[40] Here he wrote some of his earliest and most enduring folk songs such as `Sugar Mountain`, about lost youth. Mitchell wrote `The Circle Game` in response.[41] The Winnipeg band The Guess Who (with Randy Bachman as lead guitarist) had a Canadian Top 40 hit with Young`s `Flying on the Ground is Wrong`, which was Young`s first major success as a songwriter.[42] In 1965, Young toured Canada as a solo artist. In 1966, while in Toronto, he joined the Rick James-fronted Mynah Birds. The band managed to secure a record deal with the Motown label, but as their first album was being recorded, James was arrested for being AWOL from the Navy Reserve.[43] After the Mynah Birds disbanded, Young and the bass player Bruce Palmer decided to pawn the group`s musical equipment and buy a Pontiac hearse, which they used to relocate to Los Angeles.[44] Young admitted in a 2009 interview that he was in the United States illegally until he received a `green card` (permanent residency permit) in 1970.[45] Buffalo Springfield (1966–1968)[edit] Main article: Buffalo Springfield Once they reached Los Angeles, Young and Palmer met up with Stephen Stills and Richie Furay after a chance encounter in traffic on Sunset Boulevard.[44] Along with Dewey Martin, they formed Buffalo Springfield. A mixture of folk, country, psychedelia, and rock, lent a hard edge by the twin lead guitars of Stills and Young, made Buffalo Springfield a critical success, and their first record Buffalo Springfield (1966) sold well after Stills` topical song `For What It`s Worth` became a hit, aided by Young`s melodic harmonics played on electric guitar. According to Rolling Stone, the Rock and Roll Hall of Fame and other sources, Buffalo Springfield helped create the genres of folk rock and country rock.[46][47] Distrust of their management, as well as the arrest and deportation of Palmer, worsened the already strained relations among the group members and led to Buffalo Springfield`s demise. A second album, Buffalo Springfield Again, was released in late 1967, but two of Young`s three contributions were solo tracks recorded apart from the rest of the group. From that album, `Mr. Soul` was the only Young song of the three that all five members of the group performed together.[citation needed] In May 1968, the band split up for good, but to fulfill a contractual obligation, a final studio album, Last Time Around, was released. Young contributed the songs `On the Way Home` and `I Am a Child`, singing lead on the latter.[citation needed] In 1997, the band was inducted into the Rock and Roll Hall of Fame; Young did not appear at the ceremony, writing in a letter to the Hall that their presentation, which was aired on VH1, `has nothing to do with the spirit of Rock and Roll. It has everything to do with making money.`[48] Young played as a studio session guitarist for some 1968 recordings by The Monkees which appeared on the Head and Instant Replay albums.[49] Going solo, Crazy Horse (1968–1969)[edit] Main article: Crazy Horse (band) After the breakup of Buffalo Springfield, Young signed a solo deal with Reprise Records, home of his colleague and friend Joni Mitchell, with whom he shared a manager, Elliot Roberts. Roberts managed Young until Roberts` death in 2019. Young and Roberts immediately began work on Young`s first solo record, Neil Young (January 22, 1969),[50] which received mixed reviews. In a 1970 interview,[51] Young deprecated the album as being `overdubbed rather than played.` For his next album, Young recruited three musicians from a band called the Rockets: Danny Whitten on guitar, Billy Talbot on bass guitar, and Ralph Molina on drums. These three took the name Crazy Horse (after the historical figure of the same name), and Everybody Knows This Is Nowhere (May 1969) is credited to `Neil Young with Crazy Horse`. Recorded in just two weeks, the album includes `Cinnamon Girl`, `Cowgirl in the Sand`, and `Down by the River`. Young reportedly wrote all three songs in bed on the same day while nursing a high fever of 39 °C (102 °F).[52] Crosby, Stills, Nash, and Young (1969–1970)[edit] Main article: Crosby, Stills, Nash & Young Shortly after the release of Everybody Knows This Is Nowhere, Young reunited with Stephen Stills by joining Crosby, Stills & Nash, who had already released one album Crosby, Stills & Nash as a trio in May 1969. Young was originally offered a position as a sideman, but agreed to join only if he received full membership, and the group – winners of the 1969 Best New Artist Grammy Award – was renamed Crosby, Stills, Nash & Young.[53] The quartet debuted in Chicago on August 16, 1969, and later performed at the famous Woodstock Festival, during which Young skipped the majority of the acoustic set and refused to be filmed during the electric set, even telling the cameramen: `One of you fuckin` guys comes near me and I`m gonna fuckin` hit you with my guitar`.[54] During the making of their first album, Déjà Vu (March 11, 1970), the musicians frequently argued, particularly Young and Stills, who both fought for control. Stills continued throughout their lifelong relationship to criticize Young, saying that he `wanted to play folk music in a rock band.`[55] Despite the tension, Young`s tenure with CSNY coincided with the band`s most creative and successful period, and greatly contributed to his subsequent success as a solo artist.[citation needed] Young wrote `Ohio` following the Kent State massacre on May 4, 1970. The song was quickly recorded by CSNY and immediately released as a single, even though CSNY`s `Teach Your Children` was still climbing the singles charts.[citation needed] After the Gold Rush, acoustic tour and Harvest (1970–1972)[edit] Later in the year, Young released his third solo album, After the Gold Rush (August 31, 1970), which featured, among others, Nils Lofgren, Stephen Stills, and CSNY bassist Greg Reeves. Young also recorded some tracks with Crazy Horse, but dismissed them early in the sessions. The eventual recording was less amplified than Everybody Knows This is Nowhere, with a wider range of sounds. Young`s newfound fame with CSNY made the album his commercial breakthrough as a solo artist, and it contains some of his best known work, including `Tell Me Why` and `Don`t Let It Bring You Down`; the singles `Only Love Can Break Your Heart` and `When You Dance I Can Really Love`; and the title track, `After the Gold Rush`, played on piano, with dreamlike lyrics that ran a gamut of subjects from drugs and interpersonal relationships to environmental concerns. Young`s bitter condemnation of racism in the heavy blues-rock song `Southern Man` (along with a later song entitled `Alabama`) was also controversial with southerners in an era of desegregation, prompting Lynyrd Skynyrd to decry Young by name in the lyrics to their hit `Sweet Home Alabama`. However, Young said he was a fan of Skynyrd`s music, and the band`s front man Ronnie Van Zant was later photographed wearing a Tonight`s the Night T-shirt on the cover of an album.[1] Young in the 1970s In the autumn of 1970, Young began a solo acoustic tour of North America, during which he played a variety of his Buffalo Springfield and CSNY songs on guitar and piano, along with material from his solo albums and a number of new songs. Some songs premiered by Young on the tour, like `Journey through the Past`, would never find a home on a studio album, while other songs, like `See the Sky About to Rain`, would only be released in coming years. Many gigs were sold out, including concerts at Carnegie Hall and a pair of acclaimed hometown shows at Toronto`s Massey Hall, which were taped for a planned live album. The shows became legendary among Young fans, and the recordings were officially released nearly 40 years later as an official bootleg in Young`s Archive series.[citation needed] Near the end of his tour, Young performed one of the new acoustic songs on the Johnny Cash TV show. `The Needle and the Damage Done`, a somber lament on the pain caused by heroin addiction, had been inspired in part by Crazy Horse member Danny Whitten, who eventually died while battling his drug problems.[56][57] While in Nashville for the Cash taping, Young accepted the invitation of Quadrafonic Sound Studios owner Elliot Mazer to record tracks there with a group of country-music session musicians who were pulled together at the last minute. Making a connection with them, he christened them The Stray Gators, and began playing with them. Befitting the immediacy of the project, Linda Ronstadt and James Taylor were brought in from the Cash taping to do background vocals. Against the advice of his producer David Briggs, he scrapped plans for the imminent release[58] of the live acoustic recording in favor of a studio album consisting of the Nashville sessions, electric-guitar oriented sessions recorded later in his barn, and two recordings made with the London Symphony Orchestra at Barking (credited as Barking Town Hall and now the Broadway Theatre) during March 1971.[59] The result was Young`s fourth album, Harvest (February 14, 1972), which was also the best selling album of 1972 in the US.[60] After his success with CSNY, Young purchased a ranch in the rural hills above Woodside and Redwood City in Northern California (`Broken Arrow Ranch`, where he lived until his divorce in 2014).[61] He wrote the song `Old Man` in honor of the land`s longtime caretaker, Louis Avila. The song `A Man Needs a Maid` was inspired by his relationship with actress Carrie Snodgress. `Heart of Gold` was released as the first single from Harvest, the only No. 1 hit in his career.[62] `Old Man` was also popular, reaching No. 31 on the Billboard Hot 100 chart, marking Young`s third and final appearance in the chart`s Top 40 as a solo artist.[62] The album`s recording had been almost accidental. Its mainstream success caught Young off guard, and his first instinct was to back away from stardom. In the Decade (1977) compilation, Young chose to include his greatest hits from the period, but his handwritten liner notes famously described `Heart of Gold` as the song that `put me in the middle of the road. Traveling there soon became a bore, so I headed for the ditch. A rougher ride but I saw more interesting people there.`[63] The `Ditch` Trilogy and personal struggles (1972–1974)[edit] Although a new tour with The Stray Gators (now augmented by Danny Whitten) had been planned to follow up on the success of Harvest, it became apparent during rehearsals that Whitten could not function due to drug abuse. On November 18, 1972, shortly after he was fired from the tour preparations, Whitten was found dead of an apparent alcohol/diazepam overdose. Young described the incident to Rolling Stone`s Cameron Crowe in 1975: `[We] were rehearsing with him and he just couldn`t cut it. He couldn`t remember anything. He was too out of it. Too far gone. I had to tell him to go back to L.A. `It`s not happening, man. You`re not together enough.` He just said, `I`ve got nowhere else to go, man. How am I gonna tell my friends?` And he split. That night the coroner called me from L.A. and told me he`d OD`d. That blew my mind. I loved Danny. I felt responsible. And from there, I had to go right out on this huge tour of huge arenas. I was very nervous and ... insecure.`[45] On the tour, Young struggled with his voice and the performance of drummer Kenny Buttrey, a noted Nashville session musician who was unaccustomed to performing in the hard rock milieu; Buttrey was eventually replaced by former CSNY drummer Johnny Barbata, while David Crosby and Graham Nash contributed rhythm guitar and backing vocals to the final dates of the tour. The album assembled in the aftermath of this incident, Time Fades Away (October 15, 1973), has often been described by Young as `[his] least favorite record`, and was not officially released on CD until 2017 (as part of Young`s Official Release Series). Nevertheless, Young and his band tried several new musical approaches in this period. Time Fades Away, for instance, was recorded live, although it was an album of new material, an approach Young would repeat with more success later on. Time was the first of three consecutive commercial failures which would later become known collectively to fans as the `Ditch Trilogy`, as contrasted with the more middle-of-the-road pop of Harvest.[64] - Young in Austin, Texas, on November 9, 1976 In the second half of 1973, Young formed The Santa Monica Flyers, with Crazy Horse`s rhythm section augmented by Nils Lofgren on guitar and piano and Harvest/Time Fades Away veteran Ben Keith on pedal steel guitar. Deeply affected by the drug-induced deaths of Whitten and roadie Bruce Berry, Young recorded an album specifically inspired by the incidents, Tonight`s the Night (June 20, 1975). The album`s dark tone and rawness led Reprise to delay its release and Young had to pressure them for two years before they would do so.[65] While his record company was stalling, Young recorded another album, On the Beach (July 16, 1974), which presented a more melodic, acoustic sound at times, including a recording of the older song `See the Sky About to Rain`, but dealt with similarly dark themes such as the collapse of 1960s folk ideals, the downside of success and the underbelly of the Californian lifestyle. Like Time Fades Away, it sold poorly but eventually became a critical favorite, presenting some of Young`s most original work. A review of the 2003 re-release on CD of On the Beach described the music as `mesmerizing, harrowing, lucid, and bleary`.[66] After completing On the Beach, Young reunited with Harvest producer Elliot Mazer to record another acoustic album, Homegrown. Most of the songs were written after Young`s breakup with Carrie Snodgress, and thus the tone of the album was somewhat dark. Though Homegrown was reportedly entirely complete, Young decided, not for the first or last time in his career, to drop it and release something else instead, in this case, Tonight`s the Night, at the suggestion of Band bassist Rick Danko.[67] Young further explained his move by saying: `It was a little too personal ... it scared me`.[67] Most of the songs from Homegrown were later incorporated into other Young albums while the original album was not released until 2020. Tonight`s the Night, when finally released in 1975, sold poorly, as had the previous albums of the `ditch` trilogy, and received mixed reviews at the time, but is now regarded as a landmark album. In Young`s own opinion, it was the closest he ever came to art.[68] Reunions, retrospectives and Rust Never Sleeps (1974–1979)[edit] Young reunited with Crosby, Stills, and Nash after a four-year hiatus in the summer of 1974 for a concert tour which was partially recorded; highlights were ultimately released in 2014 as CSNY 1974. It was one of the first ever stadium tours, and the largest tour in which Young has participated to date.[69] In 1975, Young reformed Crazy Horse with Frank Sampedro on guitar as his backup band for his eighth album, Zuma (November 10, 1975). Many of the songs dealt with the theme of failed relationships; `Cortez the Killer`, a retelling of the Spanish conquest of Mexico from the viewpoint of the Aztecs, may also be heard as an allegory of love lost. Zuma`s closing track, `Through My Sails`, was the only released fragment from aborted sessions with Crosby, Stills and Nash for another group album.[citation needed] In 1976, Young reunited with Stephen Stills for the album Long May You Run (September 20, 1976), credited to The Stills-Young Band; the follow-up tour was ended midway through by Young, who sent Stills a telegram that read: `Funny how some things that start spontaneously end that way. Eat a peach, Neil.`[70] The Last Waltz, Young (center on left microphone) performing with Bob Dylan and The Band, among others in 1976 In 1976, Young performed with Bob Dylan, Joni Mitchell, and numerous other rock musicians in the high-profile all-star concert The Last Waltz, the final performance by The Band. The release of Martin Scorsese`s movie of the concert was delayed while Scorsese unwillingly re-edited it to obscure the lump of cocaine that was clearly visible hanging from Young`s nose during his performance of `Helpless`.[71] American Stars `n Bars (June 13, 1977) contained two songs originally recorded for the Homegrown album, `Homegrown` and `Star of Bethlehem`, as well as newer material, including the future concert staple `Like a Hurricane`. Performers on the record included Linda Ronstadt, Emmylou Harris and Young protégé Nicolette Larson along with Crazy Horse. In 1977, Young also released the compilation Decade, a personally selected set of songs spanning every aspect of his work, including a handful of previously unreleased songs. The record included less commercial album tracks alongside radio hits.[citation needed] In June 1977 Young joined with Jeff Blackburn, Bob Mosley and John Craviotto (who later founded Craviotto drums) to form a band called The Ducks. Over a 7-week period the band performed 22 shows in Santa Cruz CA but were not allowed to appear beyond city limits due to Young`s Crazy Horse contract. In April 2023 Young officially released a double album of songs culled from the band`s performances at multiple venues as well as from sessions at a local recording studio. The double album was part of the Neil Young Archives project positioned within the Official Bootleg Series, titled High Flyin`. Comes a Time (October 2, 1978), Young`s first entirely new solo recording since the mid-1970s, marked a return to the commercially accessible, Nashville-inspired sound of Harvest while also featuring contributions from Larson and Crazy Horse. The album also marked a return to his folk roots, as exemplified by a cover of Ian Tyson`s `Four Strong Winds`, a song Young associated with his childhood in Canada. Another of the album`s songs, `Lotta Love`, was also recorded by Larson, with her version reaching No. 8 on the Billboard Hot 100 in February 1979. In 1978, much of the filming was done for Young`s film Human Highway, which took its name from a song featured on Comes a Time. Over four years, Young would spend US$3,000,000 of his own money on production (US$14,014,286 in 2023 dollars[72]). This also marked the beginning of his brief collaboration with the art punk band Devo, whose members appeared in the film.[73] Young set out in 1978 on the lengthy Rust Never Sleeps tour, in which he played a wealth of new material. Each concert was divided into a solo acoustic set and an electric set with Crazy Horse. The electric sets, featuring an abrasive style of playing, were influenced by the punk rock zeitgeist of the late 1970s and provided a stark contrast from Comes a Time.[74] Two new songs, the acoustic `My My, Hey Hey (Out of the Blue)` and electric `Hey Hey, My My (Into the Black)` were the centerpiece of the new material. During the filming of Human Highway, Young had collaborated with Devo on a cacophonous version of `Hey Hey, My My` at the Different Fur studio in San Francisco and would later introduce the song to Crazy Horse.[75] The lyric `It`s better to burn out than to fade away` was widely quoted by his peers and by critics.[75] The album has also widely been considered a precursor of grunge music with the bands Nirvana and Pearl Jam having cited Young`s heavily distorted and abrasive guitar style on the B side to this album as an inspiration.[76] Young also compared the rise of Johnny Rotten with that of the recently deceased `King` Elvis Presley, who himself had once been disparaged as a dangerous influence only to later become an icon. Rotten returned the favor by playing one of Young`s songs, `Revolution Blues` from On the Beach, on a London radio show, an early sign of Young`s eventual embrace by a number of punk-influenced alternative musicians.[77] Young`s two accompanying albums Rust Never Sleeps (July 2, 1979; new material culled from live recordings, but featuring studio overdubs) and Live Rust (November 19, 1979; a genuine concert recording featuring old and new material) captured the two sides of the concerts, with solo acoustic songs on side A, and fierce, uptempo, electric songs on side B. A movie version of the concerts, also called Rust Never Sleeps (1979), was directed by Young under the pseudonym `Bernard Shakey`. Young worked with rock artist Jim Evans to create the poster art for the film, using the Star Wars Jawas as a theme. Young`s work since Harvest had alternated between being rejected by mass audiences and being seen as backward-looking by critics, sometimes both at once, and now he was suddenly viewed as relevant by a new generation, who began to discover his earlier work. Readers and critics of Rolling Stone voted him Artist of the Year for 1979 (along with The Who), selected Rust Never Sleeps as Album of the Year, and voted him Male Vocalist of the Year as well.[78] The Village Voice named Rust Never Sleeps as the year`s second best album in the Pazz & Jop Poll,[79] a survey of nationwide critics, and honored Young as the Artist of the Decade.[80] Experimental years (1980–1988)[edit] At the start of the 1980s, distracted by medical concerns relating to the cerebral palsy of his son, Ben, Young had little time to spend on writing and recording.[81] After providing the incidental music to the 1980 film Where the Buffalo Roam, Young released Hawks & Doves (November 3, 1980), a short record pieced together from sessions going back to 1974.[81] Re·ac·tor (1981), an electric album recorded with Crazy Horse, also included material from the 1970s.[82] Young did not tour in support of either album; in total, he played only one show, a set at the 1980 Bread and Roses Festival in Berkeley,[83] between the end of his 1978 tour with Crazy Horse and the start of his tour with the Trans Band in mid-1982.[citation needed] The 80s were really good. The 80s were like, artistically, very strong for me, because I knew no boundaries and was experimenting with everything that I could come across, sometimes with great success, sometimes with terrible results, but nonetheless I was able to do this, and I was able to realize that I wasn`t in a box, and I wanted to establish that. — Neil Young[84] The 1982 album Trans, which incorporated vocoders, synthesizers, and electronic beats, was Young`s first for the new label Geffen Records (distributed at the time by Warner Bros. Records, whose parent Warner Music Group owns most of Young`s solo and band catalog) and represented a distinct stylistic departure. Young later revealed that an inspiration for the album was the theme of technology and communication with Ben, who could not speak.[85] An extensive tour preceded the release of the album, and was documented by the video Neil Young in Berlin, which saw release in 1986. MTV played the video for `Sample and Hold` in light rotation.[citation needed] Young playing in Barcelona, Spain, 1984 Young`s next album, 1983`s Everybody`s Rockin`, included several rockabilly covers and clocked in at less than 25 minutes in length. Young was backed by the Shocking Pinks for the supporting US tour. Trans (1982) had already drawn the ire of label head David Geffen for its lack of commercial appeal, and with Everybody`s Rockin` following seven months later, Geffen Records sued Young for making music `unrepresentative` of himself.[86] The album was also notable as the first for which Young made commercial music videos – Tim Pope directed the videos for `Wonderin`` and `Cry, Cry, Cry`. Also premiered in 1983, though little seen, was the long-gestating Human Highway. Co-directed and co-written by Young, the eclectic comedy starred Young, Dean Stockwell, Russ Tamblyn, Dennis Hopper, David Blue, Sally Kirkland, Charlotte Stewart and members of Devo.[87] Young did not release an album in 1984, his first unproductive year since beginning his career with Buffalo Springfield in 1966. Young`s lack of productivity was largely due to the ongoing legal battle with Geffen, although he was also frustrated that the label had rejected his 1982 country album Old Ways.[88] It was also the year when Young`s third child was born, a girl named Amber Jean, who was later diagnosed with inherited epilepsy.[89] Young spent most of 1984 and all of 1985 touring for Old Ways (August 12, 1985) with his country band, the International Harvesters. The album was finally released in an altered form midway through 1985. Young also appeared at that year`s Live Aid concert in Philadelphia, collaborating with Crosby, Stills and Nash for the quartet`s first performance for a paying audience in over ten years.[citation needed] Young`s last two albums for Geffen were more conventional in the genre, although they incorporated production techniques like synthesizers and echoing drums that were previously uncommon in Young`s music. Young recorded 1986`s Landing on Water without Crazy Horse but reunited with the band for the subsequent year-long tour and final Geffen album, Life, which emerged in 1987. Young`s album sales dwindled steadily throughout the eighties; today Life remains his all-time-least successful studio album, with an estimated four hundred thousand sales worldwide.[90] Switching back to his old label Reprise Records, Young continued to tour relentlessly, assembling a new blues band called The Bluenotes in mid-1987 (a legal dispute with musician Harold Melvin forced the eventual rechristening of the band as Ten Men Working midway through the tour). The addition of a brass section provided a new jazzier sound, and the title track of 1988`s This Note`s For You became Young`s first hit single of the decade. Accompanied by a video that parodied corporate rock, the pretensions of advertising, and Michael Jackson, the song was initially unofficially banned by MTV for mentioning the brand names of some of their sponsors. Young wrote an open letter, `What does the M in MTV stand for: music or money?` Despite this, the video was eventually named best video of the year by the network in 1989.[91] Young reunited with Crosby, Stills, and Nash to record the 1988 album American Dream and play two benefit concerts late in the year, but the group did not embark upon a full tour.[citation needed] Young attracted criticism from liberals in the music industry when he supported President Ronald Reagan and said he was `tired of people constantly apologising for being Americans`.[92] In a 1985 interview with Melody Maker, he said about the AIDS pandemic: `You go to a supermarket and you see a faggot behind the fuckin` cash register, you don`t want him to handle your potatoes.`[93] In the same interview, Young also complained about welfare beneficiaries, saying: `Stop being supported by the government and get out and work. You have to make the weak stand up on one leg, or half a leg, whatever they`ve got.`[94] Rolling Stone wrote in 2013 that Young `almost certainly regrets that horrific statement` and that he `quickly moved away from right-wing politics`.[93] Return to prominence (1989–1999)[edit] Young performing in 1996 in Turku, Finland Young`s 1989 single `Rockin` in the Free World`, which hit No. 2 on the US mainstream-rock charts, and accompanying the album, Freedom, returned Young to the popular consciousness after a decade of sometimes-difficult genre experiments. The album`s lyrics were often overtly political; `Rockin` in the Free World` deals with homelessness, terrorism, and environmental degradation, implicitly criticizing the government policies of President George H. W. Bush.[95] The use of heavy feedback and distortion on several Freedom tracks was reminiscent of the Rust Never Sleeps (1979) album and foreshadowed the imminent rise of grunge. The rising stars of the subgenre, including Nirvana`s Kurt Cobain and Pearl Jam`s Eddie Vedder, frequently cited Young as a major influence, contributing to his popular revival. A tribute album called The Bridge: A Tribute to Neil Young was released in 1989, featuring covers by a range of alternative and grunge acts, including Sonic Youth, Nick Cave, Soul Asylum, Dinosaur Jr, and the Pixies.[citation needed] Young`s 1990 album Ragged Glory, recorded with Crazy Horse in a barn on his Northern California ranch, continued this distortion-heavy aesthetic. Young toured for the album with Orange County, California country-punk band Social Distortion and Sonic Youth as support, much to the consternation of many of his old fans.[96] Weld, a two-disc live album documenting the tour, was released in 1991.[96] Sonic Youth`s influence was evident on Arc, a 35-minute collage of feedback and distortion spliced together at the suggestion of Thurston Moore and originally packaged with some versions of Weld.[96] 1992`s Harvest Moon marked an abrupt return (prompted by Young`s hyperacusis in the aftermath of the Weld tour) to the country and folk-rock stylings of Harvest and reunited him with some of the musicians from that album, including the core members of the Stray Gators and singers Linda Ronstadt and James Taylor. The title track was a minor hit, and the record was well received by critics, winning the Juno Award for Album of the Year in 1994. Young also contributed to lifelong friend Randy Bachman`s nostalgic 1992 tune `Prairie Town`, and garnered a 1993 Academy Award nomination for his song `Philadelphia`, from the soundtrack of the Jonathan Demme movie of the same name. An MTV Unplugged performance and album emerged in 1993. Later that year, Young collaborated with Booker T. and the M.G.s for a summer tour of Europe and North America, with Blues Traveler, Soundgarden, and Pearl Jam also on the bill. Some European shows ended with a rendition of `Rockin` in the Free World` played with Pearl Jam, foreshadowing their eventual full-scale collaboration two years later.[citation needed] Young on stage in Barcelona In 1994, Young again collaborated with Crazy Horse for Sleeps with Angels, a record whose dark, somber mood was influenced by Kurt Cobain`s death earlier that year: the title track in particular dealt with Cobain`s life and death, without mentioning him by name. Cobain had quoted Young`s lyric `It`s better to burn out than fade away` (a line from `My My, Hey Hey`) in his suicide note. Young had reportedly made repeated attempts to contact Cobain prior to his death.[97] Young and Pearl Jam performed `Act of Love` at an abortion rights benefit along with Crazy Horse, and were present at a Rock and Roll Hall of Fame dinner, sparking interest in a collaboration between the two.[98] Still enamored with the grunge scene, Young reconnected with Pearl Jam in 1995 for the live-in-the-studio album Mirror Ball and a tour of Europe with the band and producer Brendan O`Brien backing Young. 1995 also marked Young`s induction into the Rock and Roll Hall of Fame, where he was inducted by Eddie Vedder.[99] Young has consistently demonstrated the unbridled passion of an artist who understands that self-renewal is the only way to avoid burning out. For this reason, he has remained one of the most significant artists of the rock and roll era. — Rock and Roll Hall of Fame website.[99][100] In 1995, Young and his manager Elliot Roberts founded a record label, Vapor Records.[101] It has released recordings by Tegan and Sara, Spoon, Jonathan Richman, Vic Chesnutt, Everest, Pegi Young, Jets Overhead, and Young himself, among others.[101] Young`s next collaborative partner was filmmaker Jim Jarmusch, who asked Young to compose a soundtrack to his 1995 black-and-white western film Dead Man. Young`s instrumental soundtrack was improvised while he watched the film alone in a studio. The death of long-time mentor, friend, and producer David Briggs in late 1995 prompted Young to reconnect with Crazy Horse the following year for the album and tour Broken Arrow. A Jarmusch-directed concert film and live album of the tour, Year of the Horse, emerged in 1997. From 1996 to 1997, Young and Crazy Horse toured extensively throughout Europe and North America, including a stint as part of the H.O.R.D.E. Festival`s sixth annual tour.[citation needed] In 1998, Young renewed his collaboration with the rock band Phish, sharing the stage at the annual Farm Aid concert and then at Young`s Bridge School Benefit, where he joined headliners Phish for renditions of `Helpless` and `I Shall Be Released`.[102] Phish declined Young`s later invitation to be his backing band on his 1999 North American tour.[citation needed] The decade ended with the release in late 1999 of Looking Forward, another reunion with Crosby, Stills, and Nash. The subsequent tour of the United States and Canada with the reformed quartet earned US$42.1 million, making it the eighth largest grossing tour of 2000.[citation needed] Health condition and new material (2000s)[edit] Crosby, Stills, Nash & Young perform at the PNC Bank Arts Center in 2006. (From L to R: Nash, Stills, Young, and Crosby) Neil Young continued to release new material at a rapid pace through the first decade of the new millennium. The studio album Silver & Gold and live album Road Rock Vol. 1 were released in 2000 and were both accompanied by live concert films. His 2001 single `Let`s Roll` was a tribute to the victims of the September 11 attacks, and the effective action taken by the passengers and crew on Flight 93 in particular.[103] In 2003, Young released Greendale, a concept album recorded with Crazy Horse members Billy Talbot and Ralph Molina. The songs loosely revolved around the murder of a police officer in a small town in California and its effects on the town`s inhabitants.[104] Under the pseudonym `Bernard Shakey`, Young directed an accompanying film of the same name, featuring actors lip-synching to the music from the album. He toured extensively with the Greendale material throughout 2003 and 2004, first with a solo, acoustic version in Europe, then with a full-cast stage show in North America, Japan, and Australia. Young began using biodiesel on the 2004 Greendale tour, powering his trucks and tour buses with the fuel. `Our Greendale tour is now ozone friendly`, he said. `I plan to continue to use this government approved and regulated fuel exclusively from now on to prove that it is possible to deliver the goods anywhere in North America without using foreign oil, while being environmentally responsible.`[105] Stills and Young performing together on the Crosby, Stills, Nash & Young 2006 tour In March 2005, while working on the Prairie Wind album in Nashville,[106] Young was diagnosed with a brain aneurysm. He was treated successfully with a minimally invasive neuroradiological procedure, performed in a New York hospital on March 29,[107] but two days afterwards he passed out on a New York street from bleeding from the femoral artery, which radiologists had used to access the aneurysm.[108] The complication forced Young to cancel his scheduled appearance at the Juno Awards telecast in Winnipeg, but within months he was back on stage, appearing at the close of the Live 8 concert in Barrie, Ontario, on July 2. During the performance, he debuted a new song, a soft hymn called `When God Made Me`. Young`s brush with death influenced Prairie Wind`s themes of retrospection and mortality.[109] 2010s[edit] In May 2010, it was revealed Young had begun working on a new studio album produced by Daniel Lanois. This was announced by David Crosby, who said that the album `will be a very heartfelt record. I expect it will be a very special record.`[110] On May 18, 2010, Young embarked upon a North American solo tour to promote his then upcoming album, Le Noise, playing a mix of older songs and new material. Although billed as a solo acoustic tour, Young also played some songs on electric guitars, including Old Black.[111] In September 2011, Jonathan Demme`s third documentary film on the singer songwriter, Neil Young Journeys, premiered at the Toronto International Film Festival.[112] Neil Young with Crazy Horse released the album Americana on June 5, 2012. It was Young`s first collaboration with Crazy Horse since the Greendale album and tour in 2003 and 2004. The record is a tribute to unofficial national anthems that jumps from an uncensored version of `This Land Is Your Land` to `Clementine` and includes a version of `God Save the Queen`, which Young grew up singing every day in school in Canada.[113] Americana is Neil Young`s first album composed entirely of cover songs. The album debuted at number four on the Billboard 200, making it Young`s highest-charting album in the US since Harvest.[114] On June 5, 2012, American Songwriter also reported that Neil Young and Crazy Horse would be launching their first tour in eight years in support of the album.[115] On September 25, 2012, Young`s autobiography Waging Heavy Peace: A Hippie Dream was released to critical and commercial acclaim.[116] Reviewing the book for the New York Times, Janet Maslin reported that Young chose to write his memoirs in 2012 for two reasons: he needed to take a break from stage performances for health reasons but continue to generate income; and he feared the onset of dementia, considering his father`s medical history and his own present condition. Maslin praised the book, describing it as frank but quirky and without pathos.[117] In November 2013, Young performed at the annual fundraiser for the Silverlake Conservatory of Music. Following the Red Hot Chili Peppers, he played an acoustic set to a crowd who had paid a minimum of $2,000 a seat to attend the benefit in the famous Paramour Mansion overlooking downtown Los Angeles.[118] Young released the album A Letter Home on April 19, 2014, through Jack White`s record label, and his second memoir, entitled Special Deluxe, which was released on October 14.[119] He appeared with White on The Tonight Show Starring Jimmy Fallon on May 12, 2014.[120] Young released his thirty-fifth studio album, Storytone on November 4, 2014. The first song released from the album, `Who`s Gonna Stand Up?`, was released in three different versions on September 25, 2014.[121] Storytone was followed in 2015 by his concept album The Monsanto Years.[122] The Monsanto Years is an album themed both in support of sustainable farming, and to protest the biotechnology company Monsanto.[123] Young achieves this protest in a series of lyrical sentiments against genetically modified food production. He created this album in collaboration with Willie Nelson`s sons, Lukas and Micah, and is also backed by Lukas`s fellow band members from Promise of the Real.[124] Additionally, Young released a film in tandem to the album, (also entitled The Monsanto Years), that documents the album`s recording, and can be streamed online.[125] In August 2019, The Guardian reported Young, among other environmental activists, was being spied on by the firm.[126] In summer 2015, Young undertook a North America tour titled the Rebel Content Tour. The tour began on July 5, 2015, at the Summerfest in Milwaukee, Wisconsin and ended on July 24, 2015, at the Wayhome Festival in Oro-Medonte, Ontario. Lukas Nelson & Promise of the Real were special guests for the tour.[127][128] In October 2016, Young performed at Desert Trip in Indio, California,[129][130] and announced his thirty-seventh studio album, Peace Trail, recorded with drummer Jim Keltner and bass guitarist Paul Bushnell,[131] which was released that December. On September 8, 2017, Young released Hitchhiker, a studio LP recorded on August 11, 1976, at Indigo Studios in Malibu. The album features ten songs that Young recorded accompanied by acoustic guitar or piano.[132] While different versions of most of the songs have been previously released, the new album will include two never-before-released songs: `Hawaii` and `Give Me Strength`, which Young has occasionally performed live.[133] On July 4, 2017, Young released the song `Children of Destiny` which would appear on his next album. On November 3, 2017, Young released `Already Great`, a song from The Visitor, an album he recorded with Promise of the Real and released on December 1, 2017.[134] On Record Store Day, April 21, 2018, Warner Records released a two-vinyl LP special edition of Roxy: Tonight`s the Night Live, a double live album of a show that Young performed in September 1973 at the Roxy in West Hollywood, with the Santa Monica Flyers. The album is labeled as `Volume 05` in Young`s Performance Series.[135] On October 19, 2018, Young released a live version of his song `Campaigner`, an excerpt from a forthcoming archival live album titled Songs for Judy, which features solo performances recorded during a November 1976 tour with Crazy Horse. It will be the first release from his new label Shakey Pictures Records.[136][137][138] In December 2018, Young criticized the promoters of a London show for selecting Barclays Bank as a sponsor. Young objected to the bank`s association with fossil fuels. Young explained that he was trying to rectify the situation by finding a different sponsor.[139] On August 19, 2019, Neil Young and Crazy Horse announced the forthcoming release later in August 2019 of the new song `Rainbow of Colors`, the first single from the album Colorado, Young`s first new record with the band in seven years, since 2012`s Psychedelic Pill. Young, multi-instrumentalist Nils Lofgren, bassist Billy Talbot and drummer Ralph Molina recorded the new album with Young`s co-producer, John Hanlon, in spring 2019. Colorado was released on October 25, 2019[140][141] on Reprise Records. On August 30, 2019, Young unveiled `Milky Way`, the first song from Colorado, a love ballad he had performed several times at concerts – both solo acoustic and with Promise of the Real.[142] 2020s[edit] In February 2020, Young wrote an open letter to President Trump, calling him a `disgrace to my country`.[143][144] On August 4, 2020, Young filed a copyright infringement lawsuit against Trump`s reelection campaign for the use of his music at campaign rallies.[145] In April 2020, Young announced that he was working on a new archival album, Road of Plenty, comprising music made with Crazy Horse in 1986 and rehearsals for his 1989 Saturday Night Live appearance.[146] On June 19, Young released a `lost` album, Homegrown. He recorded it in the mid-1970s following his breakup with Carrie Snodgress, but opted not to release it at the time, feeling it was too personal.[147] In September, Young released a live EP, The Times. Young shared the news via his video for his new song `Lookin` for a Leader`, stating: `I invite the President to play this song at his next rally. A song about the feelings many of us have about America today.`[148] In January 2021, Young sold 50% of the rights to his back catalog to the British investment company Hipgnosis Songs Fund. The value was estimated to be at least $150 million.[149][150] Young and Crazy Horse released a new album, Barn, on December 10, 2021. The first single, `Song of the Seasons`, was released on October 15, followed by `Welcome Back` on December 3, along with a music video. A stand-alone will be released on Blu-ray and will be directed by Daryl Hannah.[151] Young also confirmed that he had completed his third book, Canary, his first work of fiction.[152] On January 24, 2022, Young posted an open letter threatening to remove his music from the audio streaming service Spotify if it did not remove The Joe Rogan Experience podcast. Young accused the podcast of spreading COVID-19 misinformation on December 31, writing that `Spotify has a responsibility to mitigate the spread of misinformation on its platform`.[153] On January 26, Young`s music was removed from Spotify. A Spotify spokesperson said that Spotify wanted `all the world`s music and audio content to be available to Spotify users` and that it had a `great responsibility in balancing both safety for listeners and freedom for creators`.[153] In solidarity, artists including Joni Mitchell and the members of Crosby, Stills, and Nash also removed their music from Spotify.[154][155][156] The Director-General of the World Health Organization, Tedros Adhanom Ghebreyesus, also praised Young.[155] In 2023, Young criticized Ticketmaster`s practice of raising ticket prices and adding fees. He said he had been sent letters from fans blaming him for US$3,000 tickets for a benefit concert he was performing, and that `artists have to worry about ripped off fans blaming them for Ticketmaster add-ons and scalpers`.[157] In March 2024, Young returned his music to Spotify, as the end of Rogan`s contract meant Rogan could add The Joe Rogan Experience to other streaming platforms, such as Apple Music and Amazon Music. Young said he could not sustain his opposition across each of the platforms.[158] Archives project[edit] Main article: Neil Young Archives Since 2006, Young has been maintaining the Neil Young Archives, a project which encompasses the release of live albums, starting in 2006 with Live at the Fillmore East, box sets of live and studio material, starting in 2009 with The Archives Vol. 1 1963–1972, as well as video releases. As of 2019, the project has evolved into a subscription website and application where all of his music is available to stream in high resolution audio. Neil Young Archives also includes his newspaper, The Times-Contrarian, The Hearse Theater, and photographs and memorabilia from throughout his career.[159] Activism, philanthropy and humanitarian efforts[edit] Young`s renewed activism manifested itself in the 2006 album Living with War, which like the much earlier song `Ohio`, was recorded and released in less than a month as a direct result of current events.[160] Most of the album`s songs rebuked the Bush administration`s policy of war by examining its human costs to soldiers, their loved ones, and civilians, but Young also included a few songs on other themes and an outright protest song entitled `Let`s Impeach the President`,[161] in which he asserted that Bush had lied to lead the country into war. While Young had never been a stranger to eco-friendly lyrics, themes of environmentalist spirituality and activism became increasingly prominent in his work throughout the 1990s and 2000s, especially on Greendale (2003)[162] and Living with War (2006).[163] The trend continued on 2007`s Chrome Dreams II, with lyrics exploring Young`s personal eco-spirituality.[164] Young remains on the board of directors of Farm Aid, an organization he co-founded with Willie Nelson and John Mellencamp in 1985. According to its website, it is the longest running concert benefit series in the US and it has raised $43 million since its first benefit concert in 1985. Each year, Young co-hosts and performs with well-known guest performers who include Dave Matthews and producers who include Evelyn Shriver and Mark Rothbaum, at the Farm Aid annual benefit concerts to raise funds and provide grants to family farms and prevent foreclosures, provide a crisis hotline, and create and promote home grown farm food in the United States.[165] Young performing in Oslo, Norway, in 2009 In 2008, Young revealed his latest project, the production of a hybrid-engine 1959 Lincoln called LincVolt.[166] A new album loosely based on the Lincvolt project, Fork in the Road, was released on April 7, 2009.[167] A Jonathan Demme concert film from a 2007 concert at the Tower Theater in Upper Darby Township, Pennsylvania, called the Neil Young Trunk Show premiered on March 21, 2009, at the South by Southwest (SXSW) Film Conference and Festival in Austin, Texas. It was featured at the Cannes Film Festival on May 17, 2009, and was released in the US on March 19, 2010,[168] to critical acclaim.[169][170][171] In 2009, Young headlined the New Orleans Jazz and Heritage Festival, and Glastonbury Festival in Pilton, England,[172] at Hard Rock Calling in London (where he was joined onstage by Paul McCartney for a rendition of `A Day in the Life`) and, after years of unsuccessful booking attempts, the Isle of Wight Festival.[173] Young has been a vocal opponent of the proposed Keystone XL oil pipeline, which would run from Alberta to Texas. When discussing the environmental impact on the oilsands of Fort McMurray, Alberta, Young asserted that the area now resembles the Japanese city of Hiroshima in the aftermath of the atomic bomb attack of World War II.[174] Young has referred to issues surrounding the proposed use of oil pipelines as `scabs on our lives`.[174] In an effort to become more involved, Young has worked directly with the Athabasca Chipewyan First Nation to draw attention to this issue, performing benefit concerts and speaking publicly on the subject. In 2014, he played four shows in Canada dedicated to the Honor the Treaties[175] movement, raising money for the Athabasca Chipewyan legal defense fund.[176] In 2015, he and Willie Nelson held a festival in Neligh, Nebraska, called Harvest the Hope, raising awareness of the impact of oilsands and oil pipelines on Native Americans and family farmers. Both received honors from leaders of the Rosebud Sioux, Oglala Lakota, Ponca and Omaha nations, and were invested with sacred buffalo robes.[177] Young participated in the Blue Dot Tour, which was organized and fronted by environmental activist David Suzuki, and toured all 10 Canadian provinces alongside other Canadian artists including the Barenaked Ladies, Feist, and Robert Bateman. The intent of Young`s participation in this tour was to raise awareness of the environmental damage caused by the exploitation of oilsands. Young has argued that the amount of CO2 released as a byproduct of oilsand oil extraction is equivalent to the amount released by the total number of cars in Canada each day.[178] Young has faced criticism by representatives from within the Canadian petroleum industry, who have argued that his statements are irresponsible.[174] Young`s opposition to the construction of oil pipelines has influenced his music as well. His song, `Who`s Going to Stand Up?` was written to protest this issue, and features the lyric `Ban fossil fuel and draw the line / Before we build one more pipeline`.[174] In addition to directly criticizing members of the oil industry, Young has also focused blame on the actions of the Canadian government for ignoring the environmental impacts of climate change. He referred to Canadian Prime Minister Stephen Harper as `an embarrassment to many Canadians ... [and] a very poor imitation of the George Bush administration in the United States`.[178] Young was also critical of Barack Obama`s government for failing to uphold the promises made regarding environmental policies during his election campaign.[178] Young recorded `A Rock Star Bucks a Coffee Shop` in response to Starbucks` possible involvement with Monsanto and use of genetically modified food.[179][180] The song was included on his 2015 concept album The Monsanto Years.[181] Personal life[edit] Homes and residency[edit] Young`s family was from Manitoba, where both his parents were born and married. Young himself was born in Toronto, Ontario, and lived there at various times in his early life (1945, 1957, 1959–1960, 1966–1967), as well as Omemee (1945–1952) and Pickering, Ontario (1956) before settling with his mother in Winnipeg, Manitoba (1958, 1960–1966), where his music career began and which he considers his `hometown`.[182] After becoming successful, he bought properties in California. Young had a home in Malibu, California, which burned to the ground in the 2018 Woolsey Fire.[183] Young had lived outside Canada from 1967, before returning in 2020. Young owned Broken Arrow Ranch, a property of about 1,000 acres[184] near La Honda, California, which he purchased in 1970 for US$350,000 (US$2.7 million in 2023 dollars);[72] the property was subsequently expanded to thousands of acres.[185][186] He moved out and gave Pegi Young the ranch after their divorce in 2014. Young`s son Ben lives there.[61] Young announced in 2019 that his application for United States citizenship had been held up because of his use of marijuana. In 2020, the issue was resolved and he became a United States citizen.[187][188][189][190] Almost immediately upon gaining US citizenship, Young returned to living in Canada for the first time in over half-a-century, as he and Daryl Hannah moved to a cottage near Omemee, the town where he had originally lived from shortly after his birth until the age of 7.[191][192] Relationships and family[edit] Young married his first wife, restaurant owner Susan Acevedo, in December 1968. They were together until October 1970, when she filed for divorce.[193] From late 1970 to 1975, Young was in a relationship with actress Carrie Snodgress. The song `A Man Needs a Maid` from Harvest is inspired by his seeing her in the film Diary of a Mad Housewife. They met soon afterward and she moved in with him on his ranch in northern California. They have a son, Zeke, who was born September 8, 1972. He has been diagnosed with cerebral palsy.[194][195] Young met future wife Pegi Young (née Morton) in 1974 when she was working as a waitress at a diner near his ranch, a story he tells in the 1992 song `Unknown Legend`. They married in August 1978[196] and had two children together, Ben and Amber. Ben has been diagnosed with cerebral palsy,[195] and Amber has been diagnosed with epilepsy.[195] The couple were musical collaborators and co-founded the Bridge School in 1986.[197][198] On July 29, 2014, Young filed for divorce after 36 years of marriage.[61] Pegi died on January 1, 2019.[199] Young has been in a relationship with actress and director Daryl Hannah since 2014.[200] Young and Hannah were reported to have wed on August 25, 2018, in Atascadero, California.[201] Young confirmed his marriage to Hannah in a video released on October 31, 2018.[202] Young has been widely reported to be the godfather of actress Amber Tamblyn;[203] in a 2009 interview with Parade, Tamblyn explained that `godfather` was `just a loose term` for Young, Dennis Hopper, and Dean Stockwell, three famous friends of her father, Russ Tamblyn, who were important influences on her life.[204] Charity work[edit] Young is an environmentalist[205] and outspoken advocate for the welfare of small farmers, having co-founded in 1985 the benefit concert Farm Aid. He worked on LincVolt, the conversion of his 1959 Lincoln Continental to hybrid electric technology, as an environmentalist statement.[206][207] In 1986, Young helped found the Bridge School,[208] an educational organization for children with severe verbal and physical disabilities, and its annual supporting Bridge School Benefit concerts, together with his then wife Pegi Young.[209] Young is a member of the Canadian charity Artists Against Racism.[210] Business ventures[edit] Young was part owner of Lionel, LLC, a company that makes toy trains and model railroad accessories.[211] In 2008 Lionel emerged from bankruptcy and his shares of the company were wiped out. He was instrumental in the design of the Lionel Legacy control system for model trains,[211] and remains on the board of directors of Lionel.[212] He has been named as co-inventor on seven US patents related to model trains.[213] Young has long held that the digital audio formats in which most people download music are deeply flawed, and do not provide the rich, warm sound of analog recordings. He claims to be acutely aware of the difference, and compares it with taking a shower in tiny ice cubes versus ordinary water.[214] Young and his company PonoMusic developed Pono, a music download service and dedicated music player focusing on `high-quality` uncompressed digital audio.[215] It was designed to compete against highly compressed MP3 type formats. Pono promised to present songs `as they first sound during studio recording`.[216][217][218] The service and the sale of the player were launched in October 2014.[219][220] Instruments[edit] Guitars[edit] Young playing a Gretsch White Falcon in Cologne, June 19, 2009 In 2003, Rolling Stone listed Young as eighty-third in its ranking of `The 100 Greatest Guitarists of All Time` (although in a more recent version of the list, he has been moved up to seventeenth place), describing him as a `restless experimenter ... who transform[s] the most obvious music into something revelatory`.[221] Young is a collector of second-hand guitars, but in recording and performing, he uses frequently just a few instruments, as is explained by his longtime guitar technician Larry Cragg in the film Neil Young: Heart of Gold. They include: a late 1950s Gretsch White Falcon purchased by Young near the end of the Buffalo Springfield era. In 1969, he bought a version of the same vintage guitar from Stephen Stills, and this instrument is featured prominently during Young`s early 1970s period, and can be heard on tracks like `Ohio`, `Southern Man`, `Alabama`, `Words (Between the Lines of Age)`, and `L.A.`. It was Young`s primary electric guitar during the Harvest (1972) era, since Young`s deteriorating back condition (eventually fixed with surgery) made playing the much heavier Les Paul (a favourite of his named Old Black) difficult.[222] Reed organ[edit] Young owns a restored Estey reed organ, serial number 167272, dating from 1885, which he frequently plays in concert.[223] Crystallophone[edit] Young owns a glass harmonica, which he played in the recording of `I Do` on his 2019 album Colorado.[224] Amplification[edit] Young uses various vintage Fender Tweed Deluxe amplifiers. His preferred amplifier for electric guitar is the Fender Deluxe, specifically a Tweed-era model from 1959. He purchased his first vintage Deluxe in 1967 for US$50 (US$460 in 2023 dollars[72]) from Sol Betnun Music on Larchmont in Hollywood and has since acquired nearly 450 different examples, all from the same era, but he maintains that it is the original model that sounds superior and is crucial to his trademark sound.[225] A notable and unique accessory to Young`s Deluxe is the Whizzer, a device created specifically for Young by Rick Davis, which physically changes the amplifier`s settings to pre-set combinations. This device is connected to footswitches operable by Young onstage in the manner of an effects pedal. Tom Wheeler`s book The Soul of Tone highlights the device on page 182/183.[226] Discography[edit] Main article: Neil Young discography and filmography See also: Crazy Horse (band) § Discography; Buffalo Springfield § Discography; and Crosby, Stills, Nash & Young discography Neil Young (1968) Everybody Knows This Is Nowhere (1969) (with Crazy Horse) After the Gold Rush (1970) Harvest (1972) Time Fades Away (1973) On the Beach (1974) Tonight`s the Night (1975) Zuma (1975) (with Crazy Horse) Long May You Run (1976) (credited to The Stills–Young Band) American Stars `n Bars (1977) Comes a Time (1978) Rust Never Sleeps (1979) Hawks & Doves (1980) Re

Spoljašnjost kao na fotografijama, unutrašnjost u dobrom i urednom stanju! Katalin Ladik (rođena 25. oktobra 1942. u Novom Sadu) je jugoslovensko-mađarski pesnik, izvođač i filmski stvaralac. Katalin Ladik počela je pisati 1962. godine radeći kao bankarski činovnik. Bila je radijska voditeljica i pozorišna glumica u Novom Sadu, kasnije je radila za film i televiziju. 1990. postala je urednica i predavala u oblastima muzike i pozorišta. Kao umetnički medij koristi vizuelnu poeziju, umetnost pošte, radio igre, prozu, kolaž, fotografiju, film i eksperimentalnu muziku. Ladik istražuje jezik vizuelnim i vokalnim izrazima, kao i kretanjem i gestovima. Ladik se više puta pojavljivao u kontekstu predstava, događaja i pozorišnih komada koji se često dešavaju u urbanom okruženju, ali i u prirodi. Bila je član umetničkog kolektiva Bosch + Bosch. Katalin Ladik živi i radi naizmenično u Novom Sadu (Srbija), Budimpešti (Mađarska) i na ostrvu Hvar (Hrvatska). U svojoj domovini postala je legendarna i kontroverzna figura u ranim šezdesetim godinama, pre svega kroz feminističko-šamanističku zvučnu poeziju i gole predstave. Ladik je primio nekoliko nagrada i igrao na brojnim nacionalnim i međunarodnim izložbama. 1977. Godine dala je ime sebi kao učesnica 10. međunarodnog festivala zvučne poezije u Amsterdamu. U 2010. godini u Muzeju savremene umetnosti Vojvodine u Novom Sadu održana je retrospektiva, koja je privukla nacionalnu pažnju, a 2017. godine bila je pozvana da učestvuje u dokumentarnoj 14. Takođe je uključena u seriju izložbi Feministička avangarda. Katalin Ladik (born Novi Sad, October 25, 1942) is a Hungarian poet, performance artist and actress. She was born in Novi Sad, Yugoslavia (now called Serbia) and in the last 20 years she has lived and worked alternately in Novi Sad, Serbia, in Budapest, Hungary and on the island of Hvar, Croatia. Parallel to her written poems she also creates sound poems and visual poems, performance art, writes and performs experimental music and audio plays. She is also a performer and an experimental artist (happenings, mail art, experimental theatrical plays). She explores language through visual and vocal expressions, as well as movement and gestures. Her work includes collages, photography, records, performances and happenings in both urban and natural environments. Katalin Ladik studied at the Economic High School of Novi Sad between 1961 and 1963. She then joined the Dramski Studio (Drama Studio) acting school in Novi Sad, between 1964 and 1966. Between 1961 and 1963, she worked as a bank assistant. During this time, in 1962, she began to write poetry. From 1963 to 1977 she worked for Radio Novi Sad. She joined the newly established Novi Sad Theatre in 1974, becoming a member of its permanent ensemble in 1977 and working there until 1992.[1] She primarily acted in dramatic roles. Over the years, she also played major and minor roles in various TV-films and movies. She led the poetry sections of literary magazines Élet és Irodalom (1993–94) and Cigányfúró (1994–99). Between 1993 and 1998 she taught at Hangár musical and theatrical education center. She is a member of the Hungarian Writers` Union, the Hungarian Belletrists Association, the Association of Hungarian Creative Artists and the Hungarian PEN Club. Awards Katalin Ladik has earned various awards, including the Kassák Lajos Award (1991), the award of Mikes Kelemen Kör (Mikes International – Association for Hungarian Art, Literature and Science in the Netherlands) (2000), the József Attila Prize (2001), the Mediawave Parallel Culture Award (2003), the National Award for Culture of the Republic of Serbia (2009), and the Laurel Wreath Award of Hungary (2012). In 2015, she received the Klára Herczeg Award in senior category from the Studio of Young Artists’ Association (Hungary).[2] In 2016, she was awarded with the Lennon Ono Grant for Peace.[3] Her awards for acting include the Oktobarska nagrada grada Novog Sada (October Award of the City of Novi Sad), a collective award to the cast of Radio Novi Sad in 1967; first place at Smotra vojvođanskih profesionalnih pozorišta (Festival of Professional Theatres in Vojvodina) in 1978, for the role of Masha in Three Sisters, directed by György Harag, performed at the Novi Sad Theatre. The same role earned her the first place of Udruženje dramskih umetnika Srbije / Association of Dramatic Artists of Serbia, in 1979. Katalin Ladik also received the Magyar Televízió Elnöki Nívódíja / Award of the President of Hungarian Television for Acting Excellence for acting in András Rajnai’s TV film series, Televíziós mesék felnőtteknek (Television Tales for Adults) in 1980. In 1986, she was awarded first place at Smotra vojvođanskih profesionalnih pozorišta / Festival of Professional Theaters in Vojvodina for the role of Skinner in Howard Barker’s The Castle, directed by David Gothard, performed at the National Theatre in Subotica. 2017 Artisjus Literary Award for her poetry volume „A víz emlékezete” („The Memory of Water”) 2017 Janus Pannonius Filius Ursae Award for her literary oeuvre for „being defiant, provocative, and confrontational towards the actual literary canons” Poetry Katalin Ladik became known after 1962 through her surreal and erotic poems. In addition to a number of books in Hungarian, volumes of her poetry were published in Yugoslavia, France, Italy and the United States. Her poems also appeared in various magazines and anthologies worldwide, translated into Spanish, German, Polish, Bulgarian, Slovakian, Hindi, Chinese, Indonesian, Romanian, Macedonian, Rusyn and Slovenian. `She is able to embody the sense of poetry as action. I saw one of her readings in Bratislava at Ars Poetica Festival and she was the only poet able to electrize the audience without any translation. (...) She manages to pass linguistic barriers but, again, any translation of her poetry is at least difficult to be made (or should I say “performed`). Her activity covers a wide area that includes performance and sound poetry, with a force that captures any kind of audience no matter how illiterate in contemporary poetry they can be.` Poetry Depot Prose Her first novel, entitled Élhetek az arcodon? (Can I Live on Your Face?) was published in 2007 by Nyitott Könyvműhely. It is considered to be an eminent work in Hungarian Avant-garde literature. It is partly autobiographical, partly self-reflecting. The novel alternates between reality and fiction, prose and poetry, sometimes switching to a prose poem style. Its main target audience is that part of the artists’ community who are receptive to esoteric allusions. The book is about three women: the Editor, who lives in Budapest, the Artist, and the Glasswoman who lives in Novi Sad, all of whom bear the same name. The shared name determines their lives. Initially, they are unaware of one another, but throughout the book their lives get gradually intertwined. After they get to know one another, they begin to live each other`s life, which changes everything for them forever. One of the peculiarities about the book is the uniquely rich textual documentation (letters, newspaper articles, posters) and the large number of photos. Publications Volumes in original language Ballada az ezüstbicikliről (Ballad of Silver Bike) | poems | Hungarian | with gramophone recording | Forum, Novi Sad, 1969 Elindultak a kis piros bulldózerek (The Small, Red Bulldosers Have Taken Off) | poems | Hungarian | Forum, Novi Sad, 1971 Mesék a hétfejű varrógépről (Stories of the Seven-Headed Sewing Machine) | poems | Hungarian | Forum, Novi Sad, 1978 Ikarosz a metrón (Icarus on the Subway) | poems | Hungarian | Forum, Novi Sad, 1981 A parázna söprű – Bludna metla (The Promiscuous Broom) | poems | Hungarian-Serbian bilingual | Forum, Novi Sad, 1984 Kiűzetés (Exile) | poems | Hungarian | Magvető, Budapest, 1988 Jegyesség (Engagement) | poems | Hungarian | Fekete Sas - Orpheusz, Budapest, 1994 A négydimenziós ablak (The Four-Dimensional Window) | poems | Hungarian | Fekete Sas, Budapest, 1998 Fűketrec (Grass-Cage) | poems | Hungarian | Orpheusz, Budapest, 2004 Élhetek az arcodon? (Can I Live on Your Face?) | prose | Hungarian | Nyitott Könyvműhely, Budapest, 2007 Belső vízözön (Deluge Inside) | poems | Hungarian | Parnasszus, Budapest, 2011 Ladik Katalin legszebb versei (The Most Beautiful Poems of Katalin Ladik) | poems | Hungarian | AB-ART, Bratislava, 2012 A víz emlékezete (The Memory of Water) | poems | Hungarian | Kalligram, Budapest, 2016 Translated volumes Poesie Erotiche (Erotic Poems) | poems | Italian | selected and translated by: Giacomo Scotti | La Sfinge, Naples, 1983 Erogen Zoon | poems | Serbian | translated by: Katalin Ladik, Selimir Radulović, Judita Šalgo, Arpad Vicko | Književna Zajednica Novog Sada, Novi Sad, 1987 Stories of the Seven-Headed Sewing Machine | poems | English | translated by: Emöke Z. B’Racz | New Native Press, Sylva, 1992 Poèmes (Poems) | poems | French | selected by: Tibor Papp | translated by: Katalin Kluge, Tibor Tardos | CiPM / Spectres Familiers, Marseille, 1999 Ikarova senka (Icarus’ Shadow) | poems | Serbian | translated by: Katalin Ladik, Selimir Radulović, Judita Šalgo, Arpad Vicko, Draginja Ramadanski | Orpheus, Novi Sad, 2004 Stories of the Seven-Headed Sewing Machine | poems | English | translated by: Emöke Z. B’Racz | Burning Bush Press, Asheville, 2005 Engagement | poems | English | translated by: Emöke Z. B’Racz | Burning Bush Press, Asheville, 2006 Kavez od trave (Grass-Cage) | poems | Croatian | translated by: Kristina Peternai | Matica Hrvatska, Osijek, 2007 E-books Fűketrec (Grass-Cage) | poems | Hungarian | Mikes International, The Hague, 2003 | downloadable, pdf format Fűketrec (Grass-Cage) | poems | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2003 | downloadable, multiple formats A négydimenziós ablak (The Four-Dimensional Window) | poems | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, multiple formats Ikarosz biciklijén (On Icarus’ Bicycle) | poems | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, multiple formats Kiűzetés ~ Jegyesség (Exile ~ Engagement) | poems | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, multiple formats A négydimenziós ablak (The Four-Dimensional Window) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format Kiűzetés ~ Jegyesség (Exile ~ Engagement) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format Ikarosz biciklijén (On Icarus’ Bicycle) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format Engagement | poems | English | Firefly Inx, Asheville, 2012 | downloadable, pdf format[permanent dead link] Stories of the Seven-Headed Sewing Machine | poems | English | Firefly Inx, Asheville, 2012 | downloadable, pdf format[permanent dead link] Milyen ízű vagyok? (How Do I Taste?) | poems | Hungarian | A hónap könyve, Szentendre, 2012 | buyable, pdf format Discography Sound poetry Ballada az ezüstbicikliről (The Ballad of the Silver Bicycle) | SP | supplement for book with same title | Forum, Novi Sad, 1969 Phonopoetica | SP | Galerija Studentskog kulturnog centra, Belgrade, 1976 Poésie Sonore Internationale (International Sound Poetry) | audio cassette | anthology of sound poetry, Paris, 1979 La Nouvelle Revue d’Art Moderne, Special 2. (The Magazine of Modern Art) | audio cassette | Rencontres Internationales de Poésie Sonore (International Sound Poetry Festival), Paris, 1980 Adriano Spatola: Baobab Femme | audio cassette | anthology for sound poetry magazine, Publiart Bazar Reggio Emilia, 1982 Yugoslavian Sound Poetry | audio cassette | anthology of sound poetry, 1987 Hangár / Hangar | audio cassette | anthology of sound poetry, Amsterdam – Budapest, 1987 Aki darazsakról álmodik (Who is Dreaming About Wasps) | LP | recording of the radio play `Furcsa, aki darazsakról álmodik` (Strange Is the One Who Is Dreaming About Wasps) | Radio Novi Sad, 1988 Spiritus Noister: Nemzeti zajzárványok / National Noise-Inclusions | audio cassette | Bahia Music, Budapest, 1996 Vajdasági Magyar Zenei Esték / Vojvodina Hungarian Music Evenings 1988 | CD | JMMT, Novi Sad, 1998 Vízisámán / Water Shaman | CD | Budapest, 1999 Spiritus Noister – Kurt Schwitters: Ursonate | music CD | Hungaroton, Budapest, 2003 Vodeni anđeo / Water Angel | music CD | Nova Misao, Novi Sad, 2011 Music (experimental music, jazz) As vocalist, Katalin Ladik collaborated with prominent Croatian, Serbian and Hungarian composers, such as Dubravko Detoni, Branimir Sakač, and Milko Kelemen (1971–73, ensemble ACEZANTEZ); Ernő Király (1963-2002); Dušan Radić (Oratorio Profano, 1979); Boris Kovač (1986-1990); Deže Molnar ( 1989–91); Zsolt Sőrés a.k.a. Ahad, and Zsolt Kovács (1996-, Spiritus Noister). Ernő Király | LP | Udruženje Kompozitora Vojvodine, Novi Sad, 1978 Boris Kovač: Ritual Nova I | LP | Symposion Records, Overstrand, 1986 Boris Kovač: Ritual Nova II | CD | Recommended Records, London, 1989 Ernő Király - Spectrum | CD | Autobus, Paris, 1999 Deže Molnar: Weird Garden | CD | vocals on Track 1 (Water Clock) | Studentski Kulturni Centar Novi Sad, 2010 I Belong to the Band Bakers Of The Lost Future | CD | vocals on Track 3 (Poets Of The Absurd On Chalk) | Inexhaustible Editions, Budapest, 2016 Poetry readings, sound poetry performances Online Audio Fűketrec (Grass-Cage) | sound poetry | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2003 | downloadable, mp3 format A négydimenziós ablak (The Four-Dimensional Window) | sound poetry | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, mp3 format Ikarosz biciklijén (On Icarus’ Bicycle) | sound poetry | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, mp3 format Kíűzetés - Jegyesség (Exile - Engagement) | sound poetry | Hungarian | Magyar Elektronikus Könyvtár (MEK), 2004 | downloadable, mp3 format Live performances 2011 Négy fekete ló mögöttem repül (Four Black Horses Fly Behind Me); Jégmadár (Icebird); excerpts from Belső vízözön (The Deluge Inside) | poetry reading | Dzsudi Remake evening, Merlin Theatre, Budapest | Video on YouTube Performance art Most of Katalin Ladik`s performances balance on the borderline between performance art and theatre: the performance of sound poems is accompanied by theatrical body action and in many cases, the surrounding space is structured similarly to a traditional theatre. Those who examine her poetry often refer to her sound poetry performances. On the other hand, no detailed analyses have been produced about the dramaturgical characteristics of her performances, and the relations of sign systems between her poetry and performances. It is a well-reasoned choice, however, to locate her in the context of female performance artists, as Katalin Ladik uses her body and person as the medium of her art in her performances, which occupies a special position within the history of Western art. A list of performances, happenings, actions 1960s-`70s 1968 Budapest, Szentendre - Hungary | UFO | Tamás Szentjóby, Miklós Erdély, Katalin Ladik | happening 1970 Belgrade - Serbia | Pozorište Atelje 212, Podrum teatar (Theatre Atelje 212, Theatre in the Basement) | performance Zagreb - Croatia | Žanr Festival eksperimentalnog filma (Genre Experimental Film Festival - GEFF) | performance Budapest - Hungary | József Attila Művelődési Ház (Cultural Centre József Attila) | with Jenő Balaskó | literary performance Belgrade - Serbia | Dom Omladine (Youth Centre) | performance Temerin - Serbia | performance 1971 Bačka Topola - Serbia | UFO Party | performance Samobor - Croatia | Samoborski Fašnik (Carnival in Samobor) | Eros sa ovogu svijeta (Eros of This World) | UFO Party | performance Biograd - Croatia | UFO Party | performance Zagreb - Croatia | Studentski Centar (Student Centre) | performance Belgrade - Serbia | Dom Omladine (Youth Centre) | performance Zagreb - Croatia | Teatar Poezije Zagreb (Poetry Theatre Zagreb) | Četvrta dimenzija kutije (Fourth Dimension of the Box) | performance 1972 Osijek - Croatia | Annale Komorne Opere i Baleta (Annual Festival of Chamber Opera and Ballet) Zagreb - Croatia | Teatar ITD (Theatre ITD)| performance Novi Sad - Serbia | Tribina Mladih (Youth Tribune) | performance Belgrade - Serbia | Studentski Kulturni Centar (Student Cultural Centre) | Festival Expanded Media | performance Balatonboglár - Hungary | Kápolna Galéria (Kápolna Gallery) | Group Bosch+Bosch | performance 1974 Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar, Festival Expanded Media /performance/ 1975 Zagreb (Croatia), Student Centre Gallery / Galerija Studentskog Centra: `Eksperimenti u jugoslovenskoj umjetnosti` (Experiments of Yugoslav Art) (Group Bosch+Bosch) /performance/ Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar, Festival Expanded Media: `Ljubavi, Singer` (Loves, Singer) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina mladih: `Change Art` /action/ Novi Sad (Serbia): `Spuštanje Novog Sada niz reku Dunav` (Floating Novi Sad Downstream the Danube) /action/ 1976 Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar, Festival Expanded Media: `Change Art` /action/ Zagreb (Croatia), Gallery of Contemporary Art / Galerija Suvremene Umjetnosti /performance/ 1977 Zrenjanin (Serbia), Cultural Centre / Kulturni Centar: `Poezija, fonična i vizuelna poezija Katalin Ladik` (Poetry, Phonic and Visual Poetry by Katalin Ladik) Kraków (Poland): `Phonopoetica` /performance/ Zagreb (Croatia), Information Centre / Informativni Centar: `Phonopoetica` (with Vujica R. Tucić) /performance/ Amsterdam (Netherlands), Stedelijk Museum: `Tekst in Geluid` (Text in Sound) /performance/ Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar: `Phonopoetica` /performance/ 1978 Kranj (Slovenia), Prešeren Theatre / Prešernovo Gledališče /performance/ Sarajevo (Bosnia and Herzegovina), Youth Theatre / Pozorište Mladih, Festival Malih i Eksperimentalnih Scena (Festival of Small and Experimental Theatre): `Četvrta dimenzija – krik` (Fourth Dimension – Scream) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina mladih: `Pesnički maraton` (Poetry Marathon) /performance/ Novi Sad (Serbia), Sonja Marinković Student Club / Studentski Klub ‘Sonja Marinković’: `Čudak je ko čekiće sanja` (Weird Is the One Who Dreams About Hammers) /performance/ Würzburg (Germany), Hand Press Gallery / Handpresse Galerie: `Randkunst-Kunstrand` /performance/ Novi Sad (Serbia), National Library / Narodna biblioteka: `Umetnost se ne ponavlja, ne ponavlja, ne ponavlja...` (Art Does Not Repeat Itself, Not Repeat Itself, Not Repeat Itself...) /performance/ Zagreb (Croatia), Gallery of Contemporary Art / Galerija Suvremene Umjetnosti: `Nova umjetnička praksa 1966-1978` (New Art Practice 1966-1978) /performance/ 1979 Subotica (Serbia), Youth Centre / Dom Omladine: `Az éneklő varrógép – The Singing Sewing Machine` (with Zsolt Király) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina Mladih: `The Screaming Hole – A sikoltozó lyuk` /performance/ Amsterdam (Netherlands): `One World Poetry` /performance/ Utrecht (Netherlands), Gallery ‘T Hoogt / ‘T Hoogt Galerie: `One World Poetry` /performance/ Novi Sad (Serbia), Youth Tribune / Tribina Mladih: `Mesék a hétfejű varrógépről` (Stories of the Seven-headed Sewing Machine) /performance/ 1980s-`90s 1980 Paris (France), Pompidou Centre / Centre Georges Pompidou: `Rencontres Internationales de Poésie Sonore` (International Sound Poetry Festival) /performance/ Le Havre (France), Cultural Centre of Le Havre / Maison de la Culture du Havre: `Rencontres Internationales de Poésie Sonore` (International Sound Poetry Festival) /performance/ Rennes (France), Cultural Centre of Rennes / Maison de la Culture de Rennes: `Rencontres Internationales de Poésie Sonore` (International Sound Poetry Festival) /performance/ New York City (USA), Washington Square Church, The New Wilderness Foundation: `International Sound Poetry Festival` /performance/ Baltimore (USA), School 33 Art Center, The Merzaum Collective`s Desire Productions Present: International Festival of Disappearing Art(s) /performance/ Gyula (Hungary), Castle Theatre / Várszínház, Knights’ Hall / Lovagterem: `Alice` /performance/ Belgrade (Serbia), Salon Museum of Contemporary Art / Salon Muzeja Savremene Umetnosti, Exhibition of Group Bosch+Bosch: `Orman koji ubrizgava (Injecting Closet)` /performance/ 1982 Budapest (Hungary), Cultural Centre Jókai, Studio ‘K’/ Stúdió ‘K’ Jókai Művelődési Központ: `Ladik Katalin újvidéki költő és előadóművész szerzői estje` (An Evening with Novi Sad Poet and Performer, Katalin Ladik) /performance/ Novi Sad (Serbia), Cultural Centre Petőfi Sándor / Petőfi Sándor Művelődési Ház: `Telepi esték – Ladik Katalin szerzői estje` (Evenings in Telep – with Poet Katalin Ladik) (with Ottó Tolnai, Zsolt Király) /performance/ Budapest (Hungary), Young Artists’ Club / Fiatal Művészek Klubja: `Ladik Katalin szerzői estje` (An Evening with Katalin Ladik) (with Miklós Erdély, László Beke and Zsolt Király) /performance/ Budapest (Hungary), Cultural Centre Jókai, Studio ‘K’ / Stúdió ‘K’ Jókai Művelődési Központ: `Ladik Katalin szerzői és előadói estje` (An Evening with Katalin Ladik) (with Miklós Erdély, László Beke and Zsolt Király) /performance/ Belgrade (Serbia), Museum of Contemporary Art / Muzej Savremene Umetnosti: `Verbo-Voko-Vizuelno` (`Phonopoetry` with Judita Šalgo) /performance/ Osijek (Croatia), Students’ Youth Centre / Studentski Centar Mladih, Osiječko ljeto (Summer in Osijek): `Čudak je ko čekiće sanja` (Weird Is the One Who Dreams About Hammers) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine: `Ikar u metrou” (Icarus on the Subway) (with Judita Šalgo, Selimir Radulović) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine, Beogradsko leto (Summer in Belgrade): `Ufo Party` /performance/ Kanjiža (Serbia), Literary Camp / Književna Kolonija: `Konkretna i vizuelna poezija` (Concrete and Visual Poetry) (with Vujica R. Tucić and Bob Cobbing) /performance/ Novi Sad (Serbia), Address: Istarski kej 37. sp. 8. st. Rade Šević: `Sound Poetry Performance` (with Vujica R. Tucić and Bob Cobbing) /performance/ Novi Sad (Serbia), Youth Tribune Gallery / Tribina Mladih Galerija: `Phonopoemim` – Exhibition Launch for Slavica Grkavac: tapiserije `Jokastin kompleks` (`Jocasta Complex` Tapestry) /performance/ Paris (France), UNESCO: `Guerre a la guerre` (War Against War) /performance/ Milan (Italy), UNESCO: `Guerra alla guerra` (War Against War) /performance/ Paris (France), UNESCO Pompidou Centre / Centre Georges Pompidou: `Polyphonix 5` /performance/ 1983 Vienna (Austria), Wiener Festwochen (Vienna Festival): `Mandora 1.` /performance/ Zagreb (Croatia), Gallery of Contemporary Art / Galerija Suvremene Umjetnosti: `Nova umjetnost u Srbiji 1970-1980` (New Art of Serbia 1970-1980) Belgrade (Serbia), Youth Centre / Dom Omladine: `Oluja-po motivima Šekspira` (Tempest – Based on Shakespeare) – Exhibition Launch for Slavica Grkavac: tapiserije `Jokastin kompleks` (`Jocasta Complex` Tapestry) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine: `Magic Bread` (with Paul Pignon) 1984 Glasgow (UK), Third Eye Centre, Poetsound 1984: `Mandora 1.` /performance/ Milan (Italy), (Cultural Association of) Cooperativa Intrapresa: `Milanopoesia` /performance/ Szeged (Hungary), József Attila University (Today: University of Szeged) / József Attila Tudományegyetem: `Mandora 1.` /performance/ Cogolin (France), Rencontres Internationales de Poésie Contemporaine (International Festival of Contemporary Poetry): `Mandora 1.` /performance/ Belgrade (Serbia), Cultural Centre / Kulturni Centar: `Mandora 1.` /performance/ 1985 Belgrade (Serbia), Magaza Theatre / Pozorište Magaza: `Mandora 2.` /performance/ Budapest (Hungary), Cultural Cente of Lágymányos / Lágymányosi Művelődési Otthon: `Mandora 2.` /performance/ Budapest (Hungary), Metropolitan Cultural Centre / Fővárosi Művelődési Ház: `Alice` /performance/ Zemun (Serbia), Festival Monodrame i Pantomime (Festival of Monodrama and Pantomimes): `Mandora` /performance/ Novi Sad (Serbia), ‘Sonja Marinković’Cultural Centre / Kulturni Centar ‘Sonja Marinković’, Youth Tribune / Tribina Mladih: `Mandora` /performance/ Stari Bečej (Serbia) /performance/ 1988 Szeged (Hungary), JATE Club: `Polyphonix` /performance/ Pécs (Hungary): `Alice` /performance/ Budapest (Hungary), Vigadó Chamber Hall / Vigadó Kamaraterem, Hangár Est (‘Wall of Sound’ Evening): `Alice` /performance/ 1989 Spoleto (Italy): `O Fortuna` /performance/ Nové Zámky (Slovakia): `O Fortuna` /performance/ Novi Sad (Serbia): `O Fortuna` /performance/ 1990 Novi Sad (Serbia), Sport and Activity Centre of Vojvodina / SPENS Sportski i Poslovni Centar Vojvodina: `Otkrovenje` (Revelation) (with Zoltán Pletl) /performance/ Vác (Hungary), Greek Chapel / Görög Templom, Ex-panzió 2. Festival: `Angyal/Angel` /performance/ Novi Sad (Serbia): `Seraphine Tanz` /performance/ 1993 Szentendre (Hungary), Dalmát Cellar / Dalmát pince, UHF Kisújrevue /performance/ Szeged (Hungary), JATE Club: `Alice` /performance/ Vác (Hungary), Greek Chapel / Görög Templom, Expanzió 5. Festival /performance/ 1994 Szeged (Hungary): `Performancia` with Lukács Bitskey /performance/ Zebegény (Hungary): `A helyettesítő asszony (The Substitute)` /performance/ Pécs (Hungary): `A négydimenziós ablak (The Four-dimensional Window)` with Tamás Szalay /performance/ 1995 Marseille (France), International Poetry Centre / Centre International de Poèsie: `Kassák` /performance/ 1996 Marseille (France), Meyer Gallery / Galerie Meyer: `L’ agneau de Dieu et le double` (The Lamb of God and Its Double) /performance/ Ajaccio – Corsica (France): `L’ agneau de Dieu et le double` (The Lamb of God and Its Double) /performance/ 2000s 2002 Novi Sad (Serbia), Cultural Centre of Novi Sad / Kulturni Centar Novog Sada, INFANT (International Festival of Alternative and New Theatre): `Fűketrec / Grass-cage` 2003 Novi Sad (Serbia), Chamber Theatre of Music / Kamerno Pozorište Muzike, INTERZONE Festival: `Tesla – Project` /performance/ 2004 Monza (Italy) /performance/ Salerno (Italy) /performance/ Novi Sad (Serbia), Chamber Theatre of Music / Kamerno Pozorište Muzike, INTERZONE Festival: `Tesla – Project` Budapest (Hungary), A38 Ship / A38 hajó: `Lomtalanítás` (Cleaning the House) /performance/ Budapest (Hungary), Ludwig Museum – Museum of Contemporary Art / Ludwig Múzeum – Kortárs Művészeti Múzeum: `Torony-Lomtalanítás` (Cleaning the Tower-House) /performance/ 2005 Terény (Hungary), Expanzió Festival: `Angel` /performance/ 2006 Budapest (Hungary), Serbian Theatre in Hungary / Magyarországi Szerb Színház / Srpsko Pozorište u Mađarskoj: `Tesla`, /audio-visual oratorio/ Otterlo (Netherlands), Kröller-Müller Museum: `Change Art` /action/ Amsterdam (Netherlands): `Tesla` /performance/ Novi Sad (Serbia), Sport and Activity Centre of Vojvodina / SPENS Sportski i Poslovni Centar Vojvodina, Inventors Association of Vojvodina, TeslaFest: `Tesla` /performance/ 2007 Nové Zámky (Slovakia), Art Gallery / Galéria Umenia: `Gyakorlatok üres húrokon – Kassák-kód` (Exercises on Empty Strings - Kassák Code) /performance/ Budapest (Hungary), Erlin Club Gallery / Erlin Klub Galéria: `Fűketrec` (Grass-cage) /performance/ Budapest (Hungary), Mu Theatre / Mu Színház: `Az Eszmélet szövedéke` (The Weave of Consciousness) (with Péter Bajka, Bern Atom Santi, Eszter Bereczky, Zsófia Varga) /performance/ Verőce (Hungary), Ekszpanzió XX Festival: `Tesla, Audio-visual Oratorio` /performance/ Szigliget (Hungary), Artist House of the Hungarian Public Foundation for Creative Art / Magyar Alkotóművészeti Közalapítvány Alkotóháza, József Attila Kör 18. irodalmi tábora (18th Literary Camp of the József Attila Circle): `Az Eszmélet szövedéke` (The Weave of Consciousness) (with Péter Bajka, Bern Atom Santi, Eszter Bereczky, Zsófia Varga) /performance/ 2008 Budapest (Hungary), Petőfi Literary Museum / Petőfi Irodalmi Múzeum, A Szépírók Társasága V. őszi irodalmi fesztiválja – Nők a férfi birodalomban (5th Autumn Literary Festival of the Hungarian Belletrist Association – Women in a Men`s World): `Diptichon` (with Endre Szkárosi), performance Belgrade (Serbia), ARTGET Gallery – Cultural Centre Belgrade / Galerija ARTGET – Kulturni Centar Beograda (World Poetry Day): `Tesla – Homo Galacticus` /performance/ Szigliget (Hungary), József Attila Kör 20. irodalmi tábora (20th Literary Camp of the József Attila Circle): `Trip-ti-chon` (with Veronika Czapáry), performance Budapest (Hungary), Irodalmi Centrifuga (Literary Centrifuge): `Trip-ti-chon` (with Veronika Czapáry), performance Bratislava (Slovakia), Ars Poetica Medzinárodny Festival Poézie /The 6th Ars Poetica International Poetry Festival /sound poetry performance[4] 2009 Visegrád (Hungary), The Roof Terrace of King Matthias Museum / A Mátyás Király Múzeum tetőterasza, Ekszpanzió XXI Festival: “Kerub` (Cherub) /performance/ 2010s 2010 Budapest (Hungary), Gallery A22 / A22 Galéria, Tibor Papp`s Exhibition Opening: `Óraköltemény` (Poem-Clock) /performance/ Subotica (Serbia), Kosztolányi Dezső Theatre / Kosztolányi Dezső Színház: `Tesla – Homo Galacticus` /performance/ Budapest (Hungary), Millenáris Theatre / Millenáris Teátrum, Book Festival: `Szabadkőműves szex` (Freemason Sex) (with drMáriás) /performance/ Štaglinec (Croatia), `Voda` – `Water` Međunarodni Susret Umjetnika (International Art Festival): `Veliko spremanje` (Spring Cleaning) /performance/ Eger (Hungary), Small Synagogue Gallery of Contemporary Art / Kis Zsinagóga Kortárs Galéria, artAlom élőművészeti fesztivál (artAlom Performing Arts Festival): `Bukott angyalok` (Fallen Angels) /performance/ Szeged (Hungary) – Subotica (Serbia), Railway line, Kultúrcsempész Sínbusz Fesztivál (Culture-smuggler Railbus Festival): Megaphone-assisted readings by Gábor Virág, Slobodan Tišma, Gábor Lanczkor, Tamara Šuškić, Vladimir Kopicl, Katalin Ladik, Siniša Tucić, Roland Orcsik 2011 Budapest (Hungary), Kunsthalle (Palace/Hall of Art) / Műcsarnok: `Preparababrakabaré` /performance/ Marseille (France), Museum of Contemporary Art / Musée d`Art Contemporain, Poésie Marseille 2011, 8ème Festival (8th Marseille Poetry Festival, 2011): `Le Grand Ménage` (Spring Cleaning) /performance/ Târgu Mureș (Romania), National Theatre - Small Hall / Teatrul Naţional – Sala Mică, Testet öltött szavak rendezvény (Words Embodied – Event series): `Alice` /performance/ Budapest (Hungary), Mu Theatre / Mu Színház, Ismeretlen kutatása improvizációs alkotóműhely (Searching the Unknown – Improvisational Workshop): `Hangmozdulat` (Sound Movement) (with Kati Dombi) /performance/ 2012 Budapest (Hungary), Hungarian Writers` Association / Magyar Írószövetség: XXIV. Ekszpanzió Festival, `Idézet` Szimpozion és Kiállítás (`Quotation` Symposium and Exhibition): `Ásó, kapa, nagyharang` (`Till Death` lit.: Spade, Hoe and Bell) /performance/ Komárom (Hungary), Fort Monostor – Film Museum / Monostori Erőd – Filmmúzeum, Mediawave 2012 Festival: `Nagytakarítás` (`Spring Cleaning`) /performance/ Łódź (Poland), MS2 – Lodz Museum of Art / MS2 – Muzeum Sztuki w Łodzi: `Alicja w krainie kodów` (Alice in Codeland) /performance/ Budapest (Hungary), Address: 8th district, Pál street 6.: Gödör bújócska – irodalom, zene, film, tánc, színház, beszélgetés (Gödör Club Hide-and-seek – literature, music, film, dance, theatre, discussions) /sound poetry performance/ Ottawa, Ontario, Canada, City Hall Art Gallery, A B Series Workshop: `Nagytakarítás` (`Spring Cleaning`) /performance/ Ottawa, Ontario, Canada, Arts Court Theatre, A B Series: `Alice Kódországban` (`Alice in Codeland`) /performance/[5] 2013 Budapest (Hungary), Óbudai Társaskör, Kassák Museum, Kassák Year: `Alice Kódországban` (Alice in Codeland) /performance/[6] Hvar (Croatia), 17th International Festival of Radio Plays and Documentary Radio Dramas PRIX MARULIĆ, „Tesla. Homo Galacticus” /performance/ Székesfehérvár (Hungary), Vörösmarty Theatre Studio, Contemporary Art Festival: `Alice Kódországban` (Alice in Codeland) /performance/[7] Budapest (Hungary), Fuga, Autonómia Filmklub 5, „I Belong to the Band”: Katalin Ladik`s voice on „poets of the absurd on chalk”[8] 2014 Százhalombatta (Hungary), Katalin Ladik - Endre Szkárosi, Slam Poetry /performance/ Budapest (Hungary), Mika Tivadar Vigadó, JazzaJ, Katalin Ladik – Jean Michel van Schowburg, Katalin Ladik – Zsolt Sőrés, „Sounds to Go” (Hangok elvitelre) /performance/ [9] 2015 Eger (Hungary), Templom Gallery, artAlom Live Art Festival 2015: `Tranzit Zoon`, performance Gothenburg (Sweden), Gothenburg Book Fair `Tranzit Zoon`, performance Vienna (Austria), Campus AAKH Hof 7, Universität Wien, `Singende Schnittmuster – Singing Dress Pattern`, lecture-performance, multimedia slide-show 2016 Poreč (Croatia), Behind the Scenes with Katalin Ladik! Artists on Vacation: `The Sounds of a sewing machine`, Circe di Parenzo” /performance/,[10][11] Budapest (Hungary), MÜSZI, @Transart Communication, Katalin Ladik & Zsolt Sőrés „Alchemical Wedding” (Alkímiai nász) /performance/ 2016 Milano (Italy), FM Centre for Contemporary Art, Non-Aligned Modernity. Eastern-European Art from the Marinko Sudac Collection, “Tranzit Zoon” /performance/ 2017 Athens (Greece), Oval Staircase, Megaron – the Athens Concert Hall, All the In-Between Spaces, Concept and direction by: Paolo Thorsen-Nagel, “Follow me into mythology” /performance/ Budapest (Hungary), Urania National Film Theatre, Janus Pannonius Grand Prize for Poetry 2017 Festivities of Hungarian Pen Club. Katalin Ladik: Sound Performance based on Concrete Poems of Augusto de Campos Limassol (Cyprus), Theatro Ena, SARDAM Mixed-media Literary Festival 5th edition, „Live Lecture” /solo sound poetry performance/ Nicosia (Cyprus), Artos Foundation, SARDAM Mixed-media Literary Festival 5th edition „Live Lecture” /solo sound poetry performance/ Limassol (Cyprus), SARDAM Mixed-media Literary Festival 5th edition, `Spring Cleaning`, performance/ Limassol (Cyprus), SARDAM Mixed-media Literary Festival 5th edition, „Wall(ed)”, aRttitude Site-specific dance performance, Katalin Ladik (live sound and voice). Budapest (Hungary), Trafó, „Alice in Codeland” /multimedia performance/ Vienna (Austria), Lobby of Hotel Prinz Eugen, Erste Bank Publication Presentation „Sound Poems” /live performance/ Novi Sad (Serbia), Museum of Contemporary Art Voivodina (MSUV), „K.A.T (Culture – Activism – Theory) Conference”, „Creative Transitions”/live lecture, multimedia and sound poetry performance/ Novi Sad (Serbia), Bulevar Books, „TraNSporteur multilingual poetry” /poetry reading/ Lodz (Poland), House of Literature, „Puls Literary Festival, 2017, Hungarian Day”, „Sounds in Lodz” / live lecture, multimedia performance and live sound poetry performance/ 2018 Berlin (Germany), neue Gesellschaft für bildende Kunst (nBgK), `Alice in Codeland`, multimedia performance Berlin (Germany), Akademie der Künste, „Underground und Improvisation”, „Follow me into Mythology” /live lecture and soloperformance/ Berlin (Germany), Akademie der Künste, „Underground und Improvisation”, „Desire of Touch” /Duoperformance with Natalia Pschenitschnikova/ Budapest (Hungary), Mersz Klub, „Túlélni a documenta 14-et” (Surviving documenta 14) /live lecture and soloperformance/ Budapest (Hungary), Hungarian University of Fine Arts, „Túlélni a documenta 14-et” (Surviving documenta 14) /live lecture with Emese Kürti/ Budapest (Hungary), Közkincs Könyvtár, `MŰVÉSZ + NŐ` (ARTIST + WOMAN), „Feminizmus és művészet ma?” (Feminism and Art Today?), „Túlélni a documenta 14-et” (Surviving documenta 14) /live lecture/ Belgrade (Serbia), Cultural Center of Belgrade, `Spoken Word, World Poetry Day` /poetry reading/ Belgrade (Serbia), Cultural Center of Belgrade, `Spoken Word, World Poetry Day`, `Alice in Codeland` /multimedia performance/ Zagreb (Croatia), „Showroom of Contemporary Sound”, „Transitions” /live lecture/ Rome (Italy), Falconieri Palace (Hungarian Academy in Rome), „Fountains of Rome - Mouth to Lung!” /live lecture and sound performance/ Budapest (Hungary), Három Holló – Drei Raben, „Antracit szájrúd (Antracit mouthpiece) /sound poetry performance/ Berlin (Germany), Akademie der Künste, `19. poesiefestival berlin 2018, Weltklang – Night of Poetry`, sound poetry performance Berlin (Germany), German Centre for Poetry (Haus f’ür Poesie), `lyrikline - Listen to the Poet`, poetry reading and live voice recordings for the archive Concerts, musical performances (selection) Opatija (Croatia), 1969: Jugoslovenska muzička tribina (Yugoslav Music Tribune) (Ernő Király: Refleksija) Opatija (Croatia), 1970: Jugoslovenska muzička tribina (Yugoslav Music Tribune) (Ernő Király: Refleksija; Branimir Sakač: Bellatrix - Alleluja) Novi Sad (Serbia), 1970: Muzika i Laboratorija (Music and Laboratory) (with Ernő Király) Osijek (Croatia), 1970: Annale komorne opere i baleta (Annual festival of chamber opera and ballet) Zagreb (Croatia), 1971: Muzički biennale (Music Biennale – International Festival of Contemporary Music) (MBZ Radionica/Workshop II with Ernő Király, et al.; Chamber Music - Branimir Sakač: Bellatrix - Alleluja) Dubrovnik (Croatia), 1971: Dubrovačke ljetne igre (Dubrovnik Summer Festival) (ACEZANTEZ Ensemble) Radenci (Slovenia), 1971: Festival sodobne komorne glazbe (Contemporary Chamber Music Festival) Munich (Germany), 1972: (Cultural Program of the 1972 Summer Olympics) (ACEZANTEZ Ensemble) Radenci (Slovenia), 1972: Festival sodobne komorne glazbe (ACEZANTEZ Ensemble) (Contemporary Chamber Music Festival) Osijek (Croatia), 1972: Annale komorne opere i baleta (ACEZANTEZ Ensemble) (Annual festival of chamber opera and ballet) Novi Sad (Serbia), 1972, ‘Radivoj Ćirpanov’ Workers’ University / Radnički univerzitet ‘Radivoj Ćirpanov’ (ACEZANTEZ Ensemble) Belgrade (Serbia), 1972, Studentski kulturni centar (Student Cultural Centre) – Festival Expanded Media (ACEZANTEZ Ensemble) Belgrade (Serbia), 1979, Dom Sindikata – BEMUS Belgrade Music Festival: “Oratorio Profano” (composer: Dušan Radić, conductor: Oskar Danon) Opatija (Croatia), 1980: Jugoslovenska muzička tribina (Yugoslav Music Tribune) Budapest (Hungary), Spiritus Noister Group, 1996, 2002, 2004, 2007, 2008, 2009, 2010, 2011, 2012 Budapest (Hungary), Italian Cultural Institute / Olasz kultúrintézet / Istituto Italiano di Cultura, Avantgárd művészetek a világban: mi lett a sorsuk? Nemzetközi tanácskozás (Avant-garde Arts in the World: What About Them? International conference): `Futurdadama (Futurdada Today)`, Spiritus Noister, 2001 Vienna (Austria), Spiritus Noister Group, 2004 Szentendre (Hungary), Spiritus Noister Group, 2009 Szekszárd (Hungary), Spiritus Noister Group, 2012 Budapest (Hungary), Művelődési Szint (MÜSZI), „@Transart Communication 2016”, „Alchimist Wedding” /concert and live sound performance with Zsolt Sőrés/ Veszprém (Hungary), House of Arts, „Alkímiai mennyegző” („Alchimist Wedding”) /concert and live sound performance with Zsolt Sőrés/ Budapest (Hungary), Müpa, UH Fest, Spiritus Noister /concert and live sound performance with Endre Szkárosi, Zsolt Sőrés, László Lenkes/ Budapest (Hungary), Kassak Museum, „Dadarabok” /concert and live sound performance with Endre Szkárosi, Zsolt Sőrés, László Lenkes/ YouTube Budapest (Hungary), 2017: Muted and silent films with live music series, I Belong To The Band vs. Berberian Sound Studio Debrecen (Hungary), MODEM, Katalin Ladik: „Határidőnapló” („Diary Book”) /concert and live sound performance with Gyula Várnai/ Veszprém (Hungary), 2018, House of Arts, „Spring Reopening, We believe in life before death”, „Claes Oldenburg: I am for an Art” /concert and live sound performance with Gyula Várnai/ Theatre As an actress Jean-Paul Sartre: The Condemned of Altona; dir. István Lányi; Ifjúsági Tribün (Tribina Mladih / Youth Tribune); Novi Sad (Serbia); 1963 Imre Sarkadi: Elveszett Paradicsom (Paradise Lost); dir. Tibor Gellér; Petőfi Sándor Művelődési Egyesület (’Petőfi Sándor’ Cultural Association); Novi Sad (Serbia); 1963 Molière: The Imaginary Invalid (Béline); dir. Ljubica Ravasi; Srpsko Narodno Pozorište (Serbian National Theatre); Novi Sad (Serbia); 1966 (Exam Piece) Sándor Guelmino: Özvegy (Widow); dir. Tibor Vajda; Echo (az Újvidéki Rádió és az Ifjúsági Tribün színpada / the joint theatre of Radio Novi Sad and the Youth Tribune); Novi Sad (Serbia); 1969 Ferenc Tóth (text) – Ernő Király (composer): Jób (Job) (Performer – Recitative); dir. István Szabó, Jr.; Népszínház / Narodno Pozorište u Subotici (National Theatre in Subotica); Subotica (Serbia); 1972 István Örkény: Macskajáték (Cats` Play) (Ilus); dir. Tibor Vajda; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1974 Peter Weiss: How Mr. Mockinpott was cured of his Sufferings (First Angel/First Nurse); dir. Radoslav Dorić; Róbert Bambach; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1974 Ödön von Horváth: Tales from the Vienna Woods (Emma); dir. Róbert Bambach; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1975 Gergely Csiky: Mukányi (Ella); dir. Mihály Virág; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1976 Valentin Kataev: Squaring the Circle (Tanya); dir. Tibor Vajda; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1977 Molière: Dom Juan or The Feast with the Statue (Mathurine); dir. Dušan Sabo; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1978 Anton Pavlovich Chekhov: Three Sisters (Masha); dir. György Harag; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1978 Ödön von Horváth: Tales from the Vienna Woods (Emma); dir. Péter Telihay; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1978 Anton Pavlovich Chekhov: The Cherry Orchard (Charlotta Ivanovna); dir. György Harag; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1979 Ottó Tolnai: Végeladás (Clearance Sale) (Mrs Csömöre); dir. Mihály Virág; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1979 Gyula Hernádi: V.N.H.M. Szörnyek évadja (V. N. H. M. - Season of Monsters); dir. Miklós Jancsó; Summer Theatre in Gyula; Várszínház; (Hungary); 1980 Edward Albee: Everything in the Garden (Cynthia); dir. Tibor Vajda; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1980 Angelo Beolco (Il Ruzzante): La Betia; dir. Radoslav Dorić; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1981 Ottó Tolnai: Bayer Aspirin (The Actress); dir. Miklós Jancsó; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1981 Ferenc Deák: Nirvana (Csontos Vali); dir. István Szabó Jr.; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1981 Bertolt Brecht: Baal (Emilie); dir. Milan Belegišanin; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1983 Dezső Kosztolányi: Anna Édes ( Mrs Druma); dir. György Harag; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1983 Alexander Vvedensky: Jelka kod Ivanovih (Christmas at the Ivanov’s) (Mother Puzirjova); dir. Haris Pašović; Akademsko Pozorište “Promena” (“Change” Academic Theater); Novi Sad; (Serbia); 1983 Mihály Majtényi: Harmadik ablak (The Third Window) (Mrs Lódi); dir. György Hernyák; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1984 Alfred Jarry: Ubu Roi (Mama Ubu); dir. Tibor Csizmadia; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1984 Gyula Gobby Fehér: A Duna menti Hollywood (Hollywood by the Danube) – Multimedia Performance About the Life of Ernő Bosnyák (The Baron`s Lover); dir. Károly Vicsek; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1985 Ivo Brešan: Anera (Anera); dir. Dimitar Stankoski; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1985 Peter Shaffer: Equus (Hesther Salamon); dir. Tibor Vajda; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1985 Howard Barker: The Castle (Skinner); dir. David Gothard; Népszínház / Narodno Pozorište u Subotici (National Theatre in Subotica); (Serbia); 1986 Friedrich Dürrenmatt: The Visit (First Woman); dir. Radoslav Dorić; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1986 István Örkény: Forgatókönyv (Screenplay) (Mrs Littke); dir. Ljubisa Georgievski; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1986 István Örkény: Tóték (The Tót Family) (Mrs Tót); dir. Gábor Székely; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1987 Edward Albee: A Delicate Balance (Julia); dir. Mihály Virág; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1987 Jordan Plevnes: „R” (Katerina); dir. Ljubisa Georgievski; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1987 Johann Wolfgang von Goethe: Clavigo (Soffe); dir. Vladimir Milcin; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1988 Samuel Beckett: Happy Days (Winnie); dir. Radoslav Lazić; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1988 Henrik Ibsen: An Enemy of the People (Mrs Stockmann); dir. Želimir Orešković; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1989 Ferenc Molnár (Franz Molnar): Liliom (Mrs Muskát); dir. László Babarczy; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1990 Ede Tóth: A falu rossza, avagy a negyedik ablak (The Village Rogue; Or, the Fourth Window) (Mrs Tarisznyás); dir. Hernyák György; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1990 Ottó Tolnai: Paripacitrom (lit. Steed dung) (Krisztina); dir. Péter Tömöry; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1991 Marcel Achard: L`Idiote (A Shot in the Dark) (Chief Inspector`s Wife); dir. Tibor Vajda; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1991 Bertolt Brecht: Mother Courage and Her Children (Mother Courage); dir. Lajos Soltis; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1991 Józsi Jenő Tersánszky: Kakuk Marci (Her Ladyship); dir. Lajos Soltis; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1992 Jean Anouilh: The Orchestra (Cello); dir. Voja Soldatović; Újvidéki Színház (Novi Sad Theatre); (Serbia); 1992 Péter Nádas (text) – László Vidovszky (composer): Találkozás (Encounter) (Mária); dir. András Éry-Kovács; Shure Studio; Budapesti Kamaraszínház (Chamber Theatre in Budapest); (Hungary); 1997 Boris Vian: Vercoquin et le Plancton (Vercoquin and the Plankton) (Léon Charles Miqueut sous-ingénieur principal di CNU / Sub head-engineer at CNU); dir. Róbert Csontos; Kolibri Színház (Kolibri [’Hummingbird’] Theatre); Budapest (Hungary); 1997 Sean O´Casey: Bedtime Story (Landlady); dir. Pál Kanda; Függeten Színpad III társulata (3rd Company of Independent Theatre); Kolibri Pince (Kolibri [’Hummingbird’] Cellar Theatre); Budapest (Hungary); 1998 László Najmányi: Adieu Monsieur Bloom – Cabaret Noire (Nora Barnacle); dir. László Najmányi; Les Fleurs du Mal; `The Thinking Man`s Living Theatre`; Mu Színház (Mu Theatre); Budapest; (Hungary); 2003 László Najmányi: A száműzött Joyce / The Exiled Joyce (Nora Barnacle); dir. László Najmányi; Bloomsday Festival; Szombathely; (Hungary); 2003 Radoslav Zlatan Dorić: Ne daj Bože, da se Srbi slože / Ne adj isten, szerbek egyesülnek (God Forbid That the Serbs Should Agree) (Ruska); dir. Radoslav Zlatan Dorić; Magyarországi Szerb Színház / Srpsko Pozorište u Mađarskoj (Serbian Theatre of Hungary); Budapest; (Hungary); 2004 László Najmányi: Nova Necropola. Cabaret Noire (Nora Barnacle); dir. László Najmányi; Mu Színház (Mu Theatre); Budapest; (Hungary); 2004 László Najmányi: Az igazi Blum (The Real Blum /Bloom/) (Nora Barnacle); dir. László Najmányi; ReJoyce Festival; Szombathely; (Hungary); 2004 György Baráthy: Origami (I Woman); dir. György Baráthy; Artéria Színházi Társaság (Theatre Company “Artéria”); RS9 Studio Theatre; Budapest; (Hungary); 2005 As a director The Last Chapter by Navjot Randhawa, performed by the‘Theatre of Roots and Wings’ and Punjab Sangeet Natak Akademi in Punjabi at the Randhawa Auditorium, Chandigarh (Punjab, India); 2014.[12] Everything She Wants: Amrita and Boris by Navjot Randhawa and Jim Sarbh, Gaiety Theatre, Shimla, India; 2016,[13] The Mirage Yoga Studio, Andretta Arts, Andretta, India, 2016; M.L. Bhartia Auditorium, Alliance Francaise, New Delhi, India, 2016; Punjab Kala Bhawan, Chandigarh, India, 2016; Punjab Naatshala (Punjab Theatre), Amritsar, India, 2016 Everything She Wants: Amrita and Boris with Navjot Randhawa; Sher-Gil Cultural Centre, Indian Embassy, Budapest (Hungary), 2017 [14] Fritz Wine House, Szekszárd (Hungary), 2017; National Film Theatre, Budapest (Hungary), 2017; Laffert Kúria, Dunaharaszti (Hungary), 2017; Municipal Library, Zebegény (Hungary), 2017. Films Feature films Eduard i Kunigunda (Eduard and Kunigunda) (television adaptation of Renato de Grandis’ musical play), dir. Petar Teslić (1972, Serbian, Belgrade TV 2) (Kunigunda) Dübörgő csend (1978) on IMDb (Thundering Silence), dir. Miklós Szíjj (Hungarian) (Eta) Szetna, a varázsló (1980) on IMDb (Setna the Wizard), dir. András Rajnai (Hungarian) (Isis) Gulliver az óriások országában (1980) on IMDb (Gulliver in the Land of Giants), dir. András Rajnai (Hungarian) (Lady in attendance) Aelita, dir. András Rajnai (1980, Hungarian)[15] Atlantis, dir. András Rajnai (1980, Hungarian) (The Lady of Atlantis) Chekhov: The Cherry Orchard (televised theatrical performance), dir. György Harag (1982, Hungarian, produced in Yugoslavia, Novi Sad Television) (Charlotta Ivanovna) Chekhov: Three Sisters (televised theatrical performance), dir. György Harag (1982, Hungarian, produced in Yugoslavia, Novi Sad Television) (Masha) A világkagyló mítosza (The Myth of the World Shell), dir. András Rajnai (1982, Hungarian) Bábel tornya (The Tower of Babel), dir. András Rajnai (1982, Hungarian) (the Priestess Lagasa) Héroszok pokoljárása (The Heroes’ Journey Through the Underworld), dir. András Rajnai (1982, Hungarian) (Anna) Fajkutyák ideje (lit. The Time of Purebred Dogs), dir. Károly Vicsek (1984, Hungarian, produced in Yugoslavia) Ujed andjela (1984) on IMDb (Angel`s Bite), dir. Lordan Zafranović (Croatian) (Žena) Késdobáló (slang: Pub, lit. Knife-thrower), dir. Károly Vicsek (1984, Yugoslavian - Hungarian) Ekran sneži (1985) on IMDb, dir. Miljenko Dereta (Serbian) Napóleon (1989) on IMDb (Napoleon), dir. András Sólyom (Hungarian) (Leticia) Granica (1990) on IMDb (Border), dir. Zoran Maširević (Yugoslavian – Serbian – Hungarian) Sex-partijski neprijatelj br. 1 (1990) on IMDb (Sex, the Nr 1 Enemy of the Party), dir. Dušan Sabo (Bosnian) (Žuža) A nagy fejedelem (1997) on IMDb (The Great Prince), dir. Mária Sós (Hungarian) (The scientist’s wife) A szivárvány harcosa (2001) on IMDb (Rainbow`s Warrior), dir. Péter Havas (Hungarian) (Old Ms Sofia - voice) Kolorádó Kid,(2010) on IMDb, dir. András Vágvölgyi B. (Hungarian) Berberian Sound Studio,(2012) on IMDb, dir. Peter Strickland (English) (Resurrected Witch) Short films Castrati, dir. Domokos Moldován (1972, Hungarian, Balázs Béla Studio, Budapest) (Bald Medium) O-Pus, dir. Attila Csernik (1973) (with Katalin Ladik’s Sound Project) Csendélet hallal és más tragikus momentumokkal (2005) on IMDb (Still Life with Fish and Other Tragic Elements), dir. Natália Jánossy (Hungarian) (Agáta) Deda Kovač - Grandpa Kovač (2011) on IMDb, dir. Milica Đjenić (Serbian, Beograd-Lajpcig Express) (Rozi) Recitatives Ahol kialszik a világ (1989) on IMDb (Where the World Goes Out) (based on Kalandozás a tükörben (Adventures in the Mirror) by János Pilinszky), dir. Károly Kismányoky (1989, Hungarian, Pannonia Film Studio) A párduc (The Panther), (Short animated film set to Rilke’s poem), dir. András Fiath (1998, Hungarian) Medea (animated study), dir. Zsófia Péterffy (2007) Örökre való / For Ever, dir. Katalin Riedl (2008-2010) Documentary Tanuljunk magyarul (Let`s Learn Hungarian), dir. Károly Vicsek (1979, Serbian - Hungarian, Novi Sad Television), (language teaching series) Katalin Ladik - Bogdanka Poznanović (1980, Serbian-Hungarian, Akademija Umetnosti Novi Sad – Novi Sad Art Academy), (Documentary about Katalin Ladik) Monodráma születik (A Monodrama is Born), dir. Gyula Radó (1981, Hungarian, Szegedi TV), (Documentary about Katalin Ladik) Ez már nem én vagyok (This Isn`t Me Anymore), dir. Gyula Radó (1982, Hungarian, Szegedi TV), (Documentary about Katalin Ladik) Krleža u videomedijima 5.: TV-usporedbe Adam i Eva (Krleža in Video-Medium 5: TV Comparisons of Adam i Eva), dir. Mario Fanelli, (1984, Croatian, TV Zagreb), (performer, Eva), (documentary series) Bukott angyal (Fallen Angel), dir. Jenő Hartyándi (1992, Hungarian - Serbian, Mediawave) (performance-recording) Valahol Közép-Európában (Somewhere in Central Europe), dir. István Grencsó, Jenő Hartyándi (1993, Hungarian – Serbian) (Documentary) Amarissima: Katalin Ladik i novosadska umetnička scena sedamdesetih (Amarissima: Katalin Ladik and the Novi Sad Artistic Scene in the Seventies), dir. Milica Mrđa-Kuzmanov (1999, Serbian), (Documentary about Katalin Ladik’s art) Százféle szerelem (A Hundred Kinds of Love) (2002, Hungarian), (the poems of Éva Saáry are read by Katalin Ladik), (Documentary about Éva Saáry) A sikoly ars poétikája - Ladik Katalin portréfilm (The Ars Poetica of the Scream – Katalin Ladik`s Portrait), dir. Kornél Szilágyi, (2012, Hungarian) (Documentary about Katalin Ladik) (trailer) Sound Cage: A Portrait of Katalin Ladik, dir. Kornél Szilágyi (Igor Buharov), (2012, Hungarian with English subtitles) (Documentary about Katalin Ladik) A legismertebb magyar, dir. Gábor Tóth, HírTV (Documentary about Amrita Sher-Gil and the play Everything She Wants directed by Katalin Ladik and performed by Navjot Randhawa at the Indian Embassy, Budapest (2017) Writer’s Credit Sámán (Shaman), dir. Pál Zolnay (1977, Hungarian, written by the director using poems of Attila József, László Nagy, Sándor Weöres és Katalin Ladik) Behind the Eye, dir. Sebő Kovács (1999, Hungarian, based on Katalin Ladik’s poem: Vers a szerelmes piócáról / The Poem of the Leech in Love) Radio plays Writer and performer Furcsa, aki darazsakról álmodik (Strange Is the One Who Is Dreaming About Wasps), 1982, Magyar Rádió Budapest (Hungarian Radio). Alex Avanesian, Imre József Katona and Katalin Ladik. Furcsa, aki darazsakról álmodik (Strange Is the One Who Is Dreaming About Wasps), 1985, Radio Novi Sad (Serbia). Tibor Vajda and Katalin Ladik. Bukott angyalok (Fallen Angels), 1992, Radio Novi Sad (Serbia). Tibor Vajda. Fűketrec (Grass-Cage), 2002, Radio Novi Sad. Tibor Vajda and Katalin Ladik. Tesla Project, 2003, Radio Novi Sad (Serbia). Tibor Vajda. Élhetek az arcodon? (Can I Live on Your Face?), 2012, Hungarian Radio, script by Otília Cseicsner, directed by Kornél Szilágyi A víz emlékezete (The Memory of Water), Rádiószínház, Hungarian Radio (Kossuth Rádió), directed by Otília Cseicsner, 27 June 2017, 21:30 Radio Theatre: „Ladik Katalin: Hide-and-Seek, Variations of The Old Hungarian Lamentations of Mary” (Bujócska, Ómagyar Márai-siralom variációk), Magyar Rádió (Hungarian Radio), Kossuth Rádió, radio program editor: Otilia Cseicsner Performer Bertolt Brecht: Az árja-kaszt magánélete (The Private Life of the Master Race; alt. title for Fear and Misery of the Third Reich) (Woman), dir. Tibor Gellér, Radio Novi Sad (Serbia), 1963 Miodrag Djurdjević: A csavargó meg ők ketten (The Vagabond and the Two of Them) (the Girl), dir. István Varga, Radio Novi Sad (Serbia), 1963 Miklós Gyárfás: Kisasszonyok a magasban – Férfiaknak tilos (Young Ladies Up High – No Men Allowed) (Júlia, who is barely even a young lady), dir. Tibor Gellér, Radio Novi Sad (Serbia), 1964 Lászó Kopeczky: Harangszó előtt (Before the Bell Rings) (Flóra), dir. István Varga, Radio Novi Sad (Serbia), 1964 Leon Kruczkowski: A kormányzó halála (Death of the Governor) (Silvia), (adapted by Iván Horovitz), dir. István Varga, Radio Novi Sad (Serbia), 1964 Mikhail Tonecki: Találka a „Mese” kávéházban (A Date in Café Tale) (Waitress), dir. Tibor Gellér, Radio Novi Sad (Serbia), 1964 János Herceg: Mindenkinek van egy álma (Everyone Has a Dream) (performer), dir. Tibor Gellér, Radio Novi Sad (Serbia), 1965 Aleksandar Obrenović: A tegnapi nap (Yesterday) (performer), dir. István Varga, Radio Novi Sad (Serbia), 1966 Erskine Caldwell: Asszonyi sorsok (This Very Earth) (Vicky), (adapted by Jasmina Egrić), dir. Tibor Gellér, Radio Novi Sad (Serbia), 1966 Miroslav Mitrović: Még szemerkél az eső (The Rain Is Still Dripping) (Announcer), dir. Gellér Tibor, Radio Novi Sad (Serbia), 1966 Momo Kapor: III. Olivér teremőre (The Guard of Oliver III) (performer), dir. Tibor Gellér, Radio Novi Sad (Serbia), 1966 Dušan Raksandić: Muratról, Pepekről, Angyeláról és rólam (About Murat, Pepek, Andjela and Me) (the Professor’s Wife), dir. Tibor Gellér, Radio Novi Sad (Serbia), 1967 Günter Eich: Carmilla meg én (The Other and I; orig. Die Andere und Ich) (performer), dir. László Szilágyi, Radio Novi Sad (Serbia), 1967 Marguerite Duras: Andesmas úr délutánja (The Afternoon of Mr Andesmas) (Valérie), (adapted by Milan Topolavčki) dir. László Szilágyi, Radio Novi Sad (Serbia), 1967 Miloslav Stehlík: Bizalomvonal (Helpline) (Telephone Assistant), dir. István Varga, Radio Novi Sad (Serbia), 1967 Sead Fetahagić: Körbe, körbe, karikába (Round and Round) (Mira), dir. István Varga, Radio Novi Sad (Serbia), 1967 Alessandro De Stefani: Csónak jön a tavon (A Boat Approaches on the Lake – Una barca viene dal lago) (Anna Marabini), (adapted by Iván Horovitz) dir. László Szilágyi, Radio Novi Sad (Serbia), 1968 Michal Tonecki: Az ötödik (The Fifth) (a Lány szerepében), dir. Gusztáv Barlay, Radio Novi Sad (Serbia), 1968 József Sulhóf (text), ed. by Ernő Király: Tavaszi bokréta dalest (Spring Bouquet – An Evening of Songs) (Announcer), Radio Novi Sad (Serbia), 1968 Magda Szabó: A rab (The Prisoner) (Zsuzsanna Kazinczy), dir. Frigyes Marton, Radio Novi Sad (Serbia), 1968 Aldo Nicolai: Éljen az ifjú pár! (Long Live the Newlyweds!) (Woman), dir. Tibor Vajda, Radio Novi Sad (Serbia), 1969 Ferenc Deák: Apoteózis (Apotheosis) (Recitative) (performer), dir. Tibor Vajda, Radio Novi Sad (Serbia), 1969 Boris Palotai: Öröklakás (Condominium) (Klára), dir. László Szilágyi, Radio Novi Sad (Serbia), 1969 Endre Fejes: Vigyori (Grinner) (Girl), dir. István Varga, Radio Novi Sad (Serbia), 1970 Eugène Ionesco: A kopasz énekesnő (The Bald Soprano), dir. László Szilágyi, Radio Novi Sad (Serbia), 1970 Pál Saffer: A csend (The Silence) (Lidia), dir. Tibor Vajda, Radio Novi Sad (Serbia), 1970 Mihály Majtényi: A száműzött (The Exile) (Sibylla), dir. István Varga, Radio Novi Sad (Serbia), 1971 Gerich Endre Művészestje: Azért is maradok...! (An Evening with Endre Gerich: I Say I’m Staying...!) (performer) dir. László Szilágyi, Radio Novi Sad (Serbia), 1971 Silvia Andrescu – Theodor Manescu: Ismeretlen kedvesem (My Unknown Beloved) (Girl), dir. Tibor Vajda, Radio Novi Sad (Serbia), 1971 Aleksandr Solzhenitsyn: Gyertyaláng a szélben (Candle in the Wind) (Anni), dir. Árpád Benedek, Radio Novi Sad (Serbia), 1972 És mi lesz tavasszal (What Will Happen in the Spring?) (comedy night) (performer), dir. Frigyes Marton, Radio Novi Sad (Serbia), 1972 Mirjana Buljan: Jasna naplója (Jasna’s Diary) (Jasna), dir. László Szilágyi, Radio Novi Sad (Serbia), 1973 Svetislav Ruškuc: A hetvennyolcas fordulatszámú ajtó (The 78 RPM Door) (Girl), dir. István Varga, Radio Novi Sad (Serbia), 1973 Dušan Iljić: Beutazni a földet (To Travel the World) (Szitakötő /Dragonfly/, a Girl), dir. Miklós Cserés, Dr, Radio Novi Sad (Serbia), 1976 Társult humor éve (The Year of Associated Humour) (performer), dir. Róbert Bambach, Radio Novi Sad (Serbia), 1976 Szellemet idézünk! (Séance!) (performer), dir. György Turián, Radio Novi Sad (Serbia), 1977 Vidám est (A Merry Evening) (performer), dir. Sándor Sántha, Radio Novi Sad (Serbia), 1977 István Bosnyák: Szemben a bíróval (Facing the Judge) (docudrama in 7 episodes) (Ruth), dir. István Varga, Radio Novi Sad (Serbia), 1978 Henrik Bardijewski: Kis komédia (A Little Comedy) (Lady I), dir. István Vajda, Radio Novi Sad (Serbia), 1978 László Nemes: Szerencseszerződés (Contract of Luck) (adapted by János Borbély) (radio play series), dir. Slobodan Majak, Radio Novi Sad (Serbia), 1985 Ottó Tolnai: Bayer Aszpirin (Bayer Aspirin) (The Actress), dir. Orsolya Lehoczky, Hungarian Radio / Magyar Rádió (Hungary), 1997 (monodrama) Iris Disse: Álmodott idő – 1956 (Dreamt Time – 1956), dir. Iris Disse, Radio Kossuth / Kossuth Rádió (Hungary), 2007 (Marika, the author`s alter ego) Artworks in permanent public and private collections Barcelona (Spain): MACBA – Museum of Contemporary Art in Barcelona / Museu d’Art Contemporani de Barcelona (18 collages: visual poetry and music scores, 1971-1978) Budapest (Hungary): Petőfi Literary Museum / Petőfi Irodalmi Múzeum (9 works of visual poetry – typewritten text on paper, photograph, collages of cardboard and collages of music score, 1976–1977, Aki miatt a harang szól (For Whom the Bell Rings) – In Memoriam Lajos Kassák collage, 1987) Belgrade (Serbia): Museum of Contemporary Art in Belgrade / (MSUB) Muzej Savremene Umetnosti, Beograd (Poemim photo, 1978) New York (USA): MoMA, The Museum of Modern Art (Novi Sad Project documentation, Wow Special Zagreb Issue, 1975) Budapest (Hungary): Ludwig Museum – Museum of Contemporary Art / Ludwig Múzeum – Kortárs Művészeti Múzeum (Photographs, Poemim series) Vienna (Austria): Kontakt Collection – The Art Collection of Erste Group / Kontakt – Die Kunstsammlung der Erste Group (5 items of the “Ausgewählte Volkslieder”(Selected Folk Songs) series (1973-1975); 5 other visual poetry and music scores; 12 stamps; the 48 remaining photographs of Change Art – a performance documentation 1975; two copies of the Phonopoetica SP album 1976) Croatia – Marinko Sudac`s Private Collection (photo documentation for performances, gramophone recording, 1968–89) Miami (USA): Sackner Archive of Visual and Concrete Poetry (4 postcards – mail-art – and documentation, 1977-1981) Belgrade (Serbia): Trajković Collection (Blackshave Poem – Zagreb performance, photo document, 1978) Chicago (USA): School of the Art Institute of Chicago – Joan Flasch Artist`s Book Collection (Poetical objects of the Urbanical Environment, 1976) Exhibitions Solo exhibitions 1973 Belgrade (Serbia), Student Cultural Centre Gallery / Galerija Studentskog Kulturnog Centra 1976 Zagreb (Croatia), Photography, Film and Television Centre / Centar za fotografiju, film i televiziju: `Visual Poetry – Music Score` (visual poems, collages) Novi Sad (Serbia), Youth Centre – Art Gallery / Likovni Salon Tribine Mladih 1977 Zrenjanin (Serbia), Cultural Centre / Kulturni centar: `Visual Poetry – Music Score` (visual poems, collages) Zagreb (Croatia), Cultural and Information Centre / Centar za Kulturu i Informacije: `Visual Poetry – Music Score` (visual poems, collages) 1979 Budapest (Hungary), Young Artists’ Club / Fiatal Művészek Klubja: `Visual Poetry - Music Scores` (visual poems, collages) 2007 Budapest (Hungary), Erlin Club Gallery / Erlin Klub Galéria (visual poems, collages) 2010 Novi Sad (Serbia), Museum of Contemporary Art in Vojvodina / Muzej Savremene Umetnosti Vojvodine (MSUV): Retrospektivna Izložba 1962–2010. Moć Žene: Katalin Ladik (Retrospective Exhibition 1962–2010 The Power of a Woman: Katalin Ladik) (Curated by: Dragomir Ugren) 2011 Székesfeh