Its the rock and roll that pulls you in and the underground glamour... and it is irresistible, the idea that pop music can really matter, can really change the world. from 'give peace a chance' and 'anarchy in the uk' to 'do they know its christmas' and vaclav havel grooving to the velvets... rock and roll's rebellion is always looking for its word-made-flesh moment that proves that sound waves moving through the air... a hook and a bassline... can start a revolution or a paradise on earth. This book does a fair job making the case that for a certain time, in Belgrade, the rock and roll really mattered... and i must admit, i really really want to believe it did, but then i would.
But what emerges out of this book is less a celebration of dancing in the streets than a diagnostic of a society, drugged by nationalism and xenophobia, in the process of shutting down. A document of exactly what that shutting down looks like here and now, in our time, in our cities, to people who dance like us, dress like us and yes, listen to the same music we do. Strewn throughout this book are moments of clarity that we would do well to recognize as the governments and economic interests, in our respective countries, continue to take pages from the Milosevic playbook and run them. For this, this book is invaluable. For all the creepy creeping deja-vu and blunt recognition.
I started reading this book during the 2008 election period and it was uncanny the way that the Mccain/Palin campaign seemed to resemble a re-tooled Milosevic political machine and the ways he used fear and hatred in an attempt to divide and conquer his own people, minus the tanks, and even if that crisis was averted, this time, it is unsettling to realize that the economic situation is still running on a parallel track, that with a little misfortune and a nudge or two, totalitarianism 21st century style could be right back on track and in style, despite our self-proclaimed technological and political savvy.
Make no mistake, Milosevic's Serbia was an excellent laboratory for powermongering in the post-everything era and even if for this experiment, the funding was pulled and the lab was shut down, it doesn't mean that the lessons learned still aren't useful for those that would find them so. Just ask the Bush administration alumni and the architects of celebrity culture (thank you Rupert Murdoch).
But i digress, back to the rock and roll... Do I agree that B92 needed rock and roll to do what it did? I dont know...I'll let you decide that. But, if i'm speaking truth to power, i'll take Public Enemy or even Eddie Cochran over Toby Keith, our own little turbofolk balladeer, in my 'street fighting man' playlist, as i take to the streets, any day.