They frequently featured local punk bands on their covers. Polet was published in Zagreb in the fall of 1976 and was a promoter and key outlet of the local punk scene. Initially in the sixties and seventies, they covered punk from abroad. (Vučetiž, 74) According to Nikola Karaklajić, first editor and chief for the magazine, Džuboks drew inspiration from British and American rock magazines like New Musical Express, Melody Maker, and Rolling Stone. Published in Belgrade, the magazine was also the first rock music magazine to be published in a communist country. The regime made the punk movement accessible in Yugoslavia, letting it out into the open by sponsoring rock avenues and enabling the generation of youth to be a part of two different worlds as a larger project to westernize society and develop consumerism.įounded in 1966, Džuboks (Serbian for “jukebox”) was the first youth magazine that promoted rock ‘n’ roll music in the Socialist Federal Republic of Yugoslavia and the first to feature the punk movement in the region. These criticisms of the socialist state through the punk movement were considered “useful and friendly critique” coupled with instances of censorship.
The anti-establishment movement that emerged was moderately supported by communist authorities and communist youth organizations that organized cultural events such as concerts and festivals. According to Radina Vučetić, in her article, “Rock and Roll In the West of the East: The Case of Magazine Džuboks ,” in the eyes of the authorities, it is easier to maintain control over the youth underground scene, clubs, and illegal dealings if there is transparency and openness. This leads people to question why the socialist regime allowed for the fostering of this movement through these publications.
Increased exposure to and familiarization with the West helped the radicalization of the youth movement as well as the growth of the hippie and punk movements. The social commentary of the punk movement, including political criticisms, was promoted in their publications. Punk publications featured both domestic and foreign artists, and at this time, publishing a magazine that featured Western artists and lyrics in English was seen as scandalous and revolutionary in Yugoslavia. Because of their success, these publications helped the punk movement gain an even larger following, which exposed Socialist Yugoslavia to the West even more than before. As the region began to shift away from communism, a developing consumer culture emerged that allowed for the success of rock and punk publications.
In the sixties and seventies, Yugoslavia saw the beginnings of Western influence make its way into the country and with this, these platforms began diversifying to include more genres and topics, which also expanded readership. The main public platform for the introduction of new ideas and trends in post-WWII Yugoslavia were literary journals.
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