- Bucharest, Romania
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The photo shows the first line-up of the band Azra in Gospić in October 1978. The concert was part of the first tour of Azra organized by Polet. The first line-up consisted of Branimir Johnny Štulić, Jura Stublić, Marino Pelajić, Branko Hromatko and Mladen Max Juričić. In 1979, Jura Stublić, Marino Pelajić and Mladen Max Juričić left Azra and founded the group Film. With Azra soon reformed by Johnny Štulić, the group Film became one of the leaders of the new wave scene not only in Zagreb but also throughout Yugoslavia.
After the strike in Gdansk in August and September 1980 and the establishment of the Solidarity trade union, which meant the beginning of the fall of communism in Poland, Štulić wrote the song "Poland in my heart." It expresses explicit support to events in Poland, and mentions Wojtyla, i.e. Pope John Paul II. Among the young people in Yugoslavia, this song was perceived as a call to freedom from communism and cultural disagreement with the older generation who were in the Party.
After one concert and eight studio albums, Azra broke up in 1990. After several changes in the original line-up, group Film continued to perform and still plays today under the name Jura Stublić & Film.
Brigitte Reimann was unable to complete what is regarded as perhaps her most important work, the novel "Franziska Linkerhand“ which details the failure of a jaded, young female architect to embrace socialism. She worked on the novel from 1963 until her death 10 years later in 1973. In 1974 the fragments were published by the Berlin-based New Life publishing house and translated quickly into multiple Eastern European languages. Additionally, the work was licensed for publication in West Germany and adapted for the stage and television. The final page of the original manuscript remained unreleased until the unabridged new edition was published in 1998.
[Transcription of the scanned masterpiece]
He was only as fair as a man could be
(…) Consideration (…) his judgement. They bound the two drafts on the table – Kowalski and his humpbacked little pal had submitted a collective work -, and Schafheutlin insisted (…) his estimation, that they, although somewhat hampered, since the voice of the boss remained unwavering, revealed no inkling as to whether he approved or rejected the work.
Fr. had lost the duel, before she even entered the competition.
Group and community photographs feature heavily amongst the corpus of confiscated images in the secret police archives. Such images were often taken at pilgrimages, religious festivals and special gatherings and were a means for the community to materialise communal memory and present their values and beliefs in distinctive visual form. For the secret police they were an invaluable source of information and a convenient means of tracing networks and personal relationships in the religious underground. The photographs in the archives, therefore, represent an important resource for understanding how religious groups chose to represent themselves and how the totalitarian system used images of religious groups in order to identify, trace and incriminate their members. Photographs such as ones confiscated from pastor József Németh in 1972 form an important part of the Hidden Galleries Digital Archive, not only because of what this rich corpus of images can tell us about religious practices and spaces in the underground during communism but also because in many cases these photographs remain hidden from the communities that produced them. One of the principal aims of the Hidden Galleries Archive is to re-connect communities with lost aspects of their cultural and sacred patrimony. The photographs featured in this entry were later shown to the community from whom we came to know that the hidden house church was no longer used following the house raid in 1972 and due to ongoing surveillance the community was forced to dissolve. József Németh only succeeded in planting a new community ten years later in 1982. The new community began to gather again in the same house church. We also learned that the young girl featured in the picture of a baptism is the daughter of the pastor, who was 12 years old at that time, and that the baptism took place in the garden of the hidden church in a specially constructed font.http://hiddengalleries.eu/digitalarchive/s/en/item/15
- Budapest Eötvös utca 7, Hungary 1067
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