The ideology behind the protest in Sweden in 1968 was a wish to return to simple rural life and a social lifestyle (large families, cooperatives, veganism). Sounds peacefull enough and actually from a modern perspective this isn't even that shocking. But in 1968 it was. Politically the movement in Sweden chose the apartheid in Africa as their focuspoint to kick against (next to local problems like class-selection for Universities). A simple tennismatch could therefor turn into a political statement. The protest and occupation of the Lund University was accompanied by folk-music, performance theatre and swedish protest songs. Combined together this would become the Swedish progg-movement. An ideologic movement that wanted to preserve, revive, develop and modernize the Swedish folk music and language. In their quest they were convinced that all rock music  was reactionary and imperialistic because it was made in or influenced by the United States. During the seventies, when Stig Anderson and ABBA gained more and more recognition, they aimed their guns at them and any artist singing in English. Their good ideas turned into inflexibilty and dogmatism setting the development of Swedish-laguaged pop on a standstil for yearsl. It took a anti-apartheid show in 1985 to glue this unique schisma in Europopmusic history together again. Go to the article.

The European Commission has explained its roadmap for a new EU legal framework for administration of copyrights.
The news was delivered by Kerstin Jorna, deputy head of Cabinet of European Commissioner Michel Barnier at Midem 2012. Jorna affirmed the EC's intention to present its suggestion for a EU legal framework for the collective administration of copyrights in April 2012. It will then start working in September 2012 on revising the guidelines for enforcement. The essence of the new copyright administration is that the handling of mainly copyrights will now be regulated on a pan-european level. Currently, online exhibitors of copyright content (such as Spotify for music) have to negotiate “country by country” with national collective management societies. “It is important to change the framework so that copyright collection societies cooperate among themselves and make joint proposals to internet operators,” said Kerstin Jorna, deputy chief of cabinet of the Commissioner for Internal Market and Services, Michel Barnier.

We moped about this problem for years, if you go to Amazon you have to visit each separate country's version of the shop to get what you want of local music. And pay a bizarre amount of porto. Same for Itunes. And Spotify hardly has any Central European music due to this problem. No wonder consumers turn to a borderless illegal network. So far this new administration seems a blessing for local European popular music and small independents companies against illegal downloading. But can it not easily turn against them if the major companies try to push their Anglo-American catalogue even further in the European conciseness? To regulate the administration of copyrights is one thing but maybe it would help even more if the EU also started thinking in preserving European pop culture by talking about a quatum of local European material to be played on radio and TV.

Turbo-folk, that pumped up dance genre from the Balkan, with as many fans as people who hate it (somehow there's no inbetween). American internet blog Vice send a reporter to Serbia to check out what the genre actually is and where it came from. This quickly turns into a story about how the maffia allegedly used popular music for their own dodgy advantage. Reporter Thomas Morton seeks out Goga Sekulic amongst others for an interview (he tried Ceca but she was indisposed) and gets stuck into the 'chesty' stereotypes that the stage-act of these artists deliver. Although we do see the somewhat tacky characteristics of Turbo-folk Thomas gets into it on maybe a bit subjective manor rom the start. And it's not like that the music scene in Las Vegas or countrymusic has such a clean record, Thomas. The Serbian comments below the video are worth checking to read what they make of it. But if you read between the lines this web-broadcast gives a nice although bit biased crash course on Turbo-folk. You can watch the broadcast here. (thanks to "music of the balkans" for tipping us on this show).

On Friday 13 January the Radio and Television Slovakia (RTVS) started second season of tribute programs dedicated to Slovak musical legends of pop. The program features a selection of artists performing songs from the guest. The series starts with Marika Gombitová. Performing artists were Nela Pocisková(Vyznanie), Misha (Adresa ja, adresa ty), Marcel Palonder (Koloseum), Zdenka Predná (Študentská láska), Dominika Mirgová (Slnečný kalendár), Natália Hatalová(Správne dievčatá), Mária Čírová (Prosba) and Katka Koščová (Šaty). The series will continue on January 20 with Vaša Patejdl, Olympic on January 27 and Lucie Bila a week later. The previous series of ´Legendy Popu´ featured shows dedicated to Modus, Tublantanka, Peter Nagy, Richard Mùller, Miro Žbirka, Elanand Beate Dubasova. A videoarchive of these shows can be found on the STV website.

Forget the ESC 2012 for a few weeks and prepare for the Earthmother of all music contests; the festival of Italian song better known as San Remo. Between February 14 and 18 2012 you can tune in in Rai Uno for four evenings filled with chaotic stagechanges, incomprehensible comedyacts, blond bombshells without a real purpose just being there, and so on. But of course these are all just a sideshow to what it is all about namely Europe's oldest music festival. 14 famous and unknown Italian singers will contest with new original material. It has been a way for up-and-coming wannabes to flex their vocal chords alongside established stars since 1951. Of the 14 only 8 will battle for the main prize at the final evening. The biggest news in Italy this week was that Italian legend Adriano Celentano will compete this year. In the slipstream of his latest album he is convident enough to give it another try. New this year is the social media element called SanRemoSocial. Followers on Facebook can vote for the favourite young artists to continue in the competition ending in 4 contestants in the pre-finale. The rules are a bit dodgy but who cares. On the 16th it's international night when non-Italian join in. Strong rumours say that Madonna herself will fly in to perform. As in 2011 the entire event again will be presented by good old Gianni Morandi. In february Italy will forget the Euro-crisis for a week and celebrate music. For more info see the RAI website

Marie Key:
I Byen Igen
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Spinvis:
Tot ziens, Justine Keller
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Czesław Śpiewa:
Milosza
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