Hey! - Oh hey!
What's up? - It's going fine. And you?
It's good. - High five!
What's up with this one? Drunk again?
What can you do? - You now how it goes.
Hey!
O hello!
Let's move! - I'm late.
Čendak, do you have some eggs?
I have them, but put some in the fridge.
Oh hey!
How was Bosnia?
Hey.
Hey, what's up?
YOUNG HOPEFULS
Chapter no.1 The City of Opportunity
You have to know that this was 50 years ago.
The development started after 1965
in our former 'socialist' country.
Later on, when we moved to market socialism
it got a little bit easier, especially after 1970.
There was a new constitution in the former Yugoslavia
and the economy started to develop more.
In 1966 there were many attempts in Slovenia
to get the young ones out of the pubs
as we still say today,
that the young are bored and don't have a place to hang out.
So there were attempts in all municipalities
to find different places
and in this way
try to activate young people to socialize and organize different activities.
The cause for it was
a newspaper article in a local magazine Snežnik
where they wrote that the young people in Bistrica just drink in the bars,
listen to jukeboxes,
drink and do nothing good.
I know I was with my deceased friend, Silvano Belušič.
We talked about this
and wrote a response on this article.
We wrote: "We don't have a place to hang out!
There should be a place for the young people in Ilirska Bistrica."
So this idea came really quickly after my election, I think it was in February
and until the opening of the club in May, it was really quickly.
The problem was finding a place.
And then somebody mentioned
the basement of
The Hawk home, that was at that time called the House of social organisations
It was the seat of Socialist Youth Federation, trade unions, Fighter's union ...
We found out about this big unknown basement storage
and it was really dirty so we started to clean it by our own initiative,
we rolled our sleeves and cleaned the place day by day.
In those years the working brigades were really strong.
So we had... - Voluntary work and actions.
And we really enjoyed it. Being together, working.
And then the opening day came.
It was ... I will remember this day for sure.
At the same time we opened Nada Žagar park with her monument
I had an opening speech, I regret I don't have it anymore,
we were still writing by hands back then.
And the club Nada Žagar was close by this park.
I remember the central celebration of transmarines
when they decorated the whole city and cleaned the facades.
In this big euphoria they opened this park and the monument of Nada Žagar
as former transmarine and Partisan.
We also had dances every Saturday in the bottom part
and gramophone records.
The Municipality bought us gramophone, the amplifier
and the speakers. There were 2 or 3 speakers, not more.
It's interesting that
we had all the latest hits then
in 1966, 1965, 1964.
There were hits like
the Beatles,
then they were,
the singer was known, I think it was Chubby Cheker,
The Platters,
Ray Charles.
So many times we supplied the sound system
when there were basketball matches.
I remember a match between BC Lesonit and Olimpija.
Because Lesonit was at that time really high in the first league.
And we put some music during the break of the match.
And the team from Ljubljana was really shocked that we have this music,
but we were getting those records from Trieste (IT).
We also had a small bar in the club then.
I don't remember how come they've let us have it.
I think we were buying the drinks ourselves and then
sold it for small money, there was no profit.
So if nothing else, it was open in the evenings and you could come on a drink,
we also had some newspapers,
people were bringing their records, so we were listening to them,
we were chatting,
occasionally there were lectures
and the dances, especially outside in the garden.
In my time we already had
various lectures, dramatic society,
we organized trips
and Record weeks, so we could hang out.
We had dances on Saturdays.
There were lectures about contraception, because we were young and ignorant
so we could learn more about contraception.
Dr. Ljubo Bavcon came to lecture us about criminal.
It was really interesting, a lot of people came to listen.
He informed us about criminal and drugs ...
We had an office
for steering comitee meetings and different activities and societies:
from photo society ...
And on the right side of the club
there was a small bar with high chairs.
I was the main waitress ...
In the bar, right? - I was dealing with the bar.
And with the drinks.
Yes, I had the drinks over.
I couldn't dance a lot, there was not enough time.
Yes, we didn't dance much then, we were collecting the entrance fee.
We organized everything by ourselves. - With the entrance fee money
we payed the bands.
We were cleaning everything by oursleves. - Everything, everything.
The day after the dance on Sunday we had to come again and clean everything.
At least us, we had to go to work first
then help around the house but really quickly so we could go to the club.
We stayed at home but our generation went studying
and they couldn't participate that much.
Those who were studying came back only for the weekends
but we were at home,
we also had jobs here.
And then we were coming back on Fridays with afternoon train.
So we came
to Ilirska Bistrica around 6pm.
Then at 7pm all those who were in Ljubljana studying
and didn't see each other during the week, got together at
the Turist caffee.
The Turist caffee was at that time
the social center of the city.
And beside Turist caffee the center was also MKNŽ.
In this caffee there was a lot of highschool kids
there was not many students back then.
Beside that there was a lot of foreigners.
There were two big army barracks back then.
Many different people came to Bistrica from all over Yugoslavia.
And you could also
see that in the social life,
you could see new people.
And if I think back this basically showed
some kind of openess.
A lot of people from Kastav (CRO) came to our club.
- Yes, exactly, the Croats.
Croats. - And they drank a lot.
Rupa, Lipa, Škalnica, Moščenice (Croatian towns).
They came often to our dances, and we would ran out of drink.
If there was no dance in the club we went to Opatia, Jušiči (CRO),
this is how we made the
connections with the Croatian bands,
the connection with Yugoslavia was still really strong, Rijeka (CRO) - Bistrica.
The work was always distributed among all.
As a president it didn't mean you won't do anything.
You also had to work in a bar or at the entrance. So in a way
there was work at every dance.
The money from the drinks was mostly spend for paying the bands.
For the music bands and for the recurrent costs.
The water, electricity and so on.
The bands were mostly from Rijeka (CRO).
The most common was the band Kumulus
and maybe band Toccata e Re.
These were the bands that were the most known
and that's why we invited them often.
We had 'The record of the week' on Fridays.
For playing them I got a gramophone from France.
On the turntable you would put
the cone and there was ten records on.
For that time this was really special.
And also the border was really open all the time.
We went to Trieste few times per month.
And Trieste was the source
for musical instruments that we bought
in the Rosoni store, and the amplifiers.
Even though there were factories in Yugoslavia there was no stores to buy this.
You could buy the radio and a gramophone
but you couldn't buy the sound systems.
And the culture of building radio appliances was really strong,
we made them ourselves and brought them to the club.
We put the music as loud as possible.
We were buying the records in Edit, in Rijeka (CRO) on the promenade.
We got some of them from abroad, from France, Germany.
But mainly if we wanted to be "in the flow" we listened to radio Luxemburg at night.
In that time it was The Beatles, The Rolling stones,
Uriah Heep, The Shadows.
The bands that are popular even today.
We could always hear some music from the club, that really
got us interested, so we wanted to see it
there were the older members already in the club.
So we were wondering how to get in, because as kids we were afraid of it.
We wanted to know what's in this club.
When we were in the club, there were already more generations,
2, 3 generations and 5 or 6 years of age difference.
We were hanging out and we were connected.
So the shift from one generation to another was really easy.
Chapter no. 2 "I haven't eaten Today"
"Train from Pivka to Ilirska Bistirica is coming to the rail no. 4."
Before the 1980 this was
a youth club similar to other clubs around Slovenia.
The young generations gathered here
from Bistrica and around, at that time it was really
important if you were either from the city or from the village,
today this doesn't matter as much.
And
the local guys organised themselves, they organised concerts,
the drinks and then they
split the money as they thought it's right.
That's why there were gaps, because one generation
had some quarrels or the finances didn't work out.
Then the club was closed for some time and it reopened.
Earlier one guy from Rijeka took over the club
where he was playing mainly disco music or sometimes rock songs,
bands like The Queen. That annoyed us, I like them now but
back then I couldn't stand them.
"And we'll put one for you!" And they played The Queen
or something similar. We said: "Stop with this commercial music"
in this joke, "and put some Sex Pistols for us!"
And then really, sometimes
he played Sex Pistols and we danced a little bit.
I really remember good this disco Black night because
it really overthrew this club.
Here it was never disco, it was always rock'n'roll club.
It was a period when there was less people coming here.
In the beginning of the 80',
when I came back from the army I joined a music band.
And we were searching a place to practice because
nothing was happening here, this place was closed.
We had to clean everything,
the generation before us got carried away by "the decadence".
It stopped working for some time,
so we had to clean it first, there was a big pile of vinyl records,
everything was damaged and so on.
When you make a rock band you need 2 things.
A place for practicing and a place for performing.
If you don't have this in your environment you'll have to make it.
And this socialization that we're talking about
goes through this aesthetic aspect,
it's not conneted only to
the fact you're socializing for the weekend or after school
but it's connected with a certain aesthetic in it's broader sense,
aesthetic connected to our sensory perception of the reality.
In this sense, it's happening repeatedly that
some randome impulse comes from ouside or from local community
in which 1, 2 or 3 bands are created and then
the children come.
Young people get together.
At the beginning we were playing on this side
where there are toilets now, so on this side.
There was a small stage, 10cm of hight.
And around it there were booths
that were made by the generation of Romeo Volk, he was the
main designer.
We made the first stage from pallets,
we build it and then we started, for instance:
Marko Brecelj had his
trio Javna vaja or duet Javna dvaja,
he performed over there
where there was a bigger booth in the middle.
I realized something was wrong in Bistrica
when I was in the first years of Elementary school.
It was somewhere from the first to the fourth class
when for the first time we got graffiti in Bistrica.
We had a band
Grč from Rijeka and their singer Zof signed himself
on few boards and
he wrote "I haven't eaten today"
and this was a big scandal
because in socialism nobody should be hungry
and we had a moral lecture the first day of school
about what happened in Bistrica.
It became clear something is wrong.
And at the same time in 1984 or 1985
the Youth started to organize concerts
maybe not so much in the club
but surely in the hall above the club.
In Bistrica in that time there were concerts of
Laibach, maybe Miladojka, Videosex,
Deseti brat,
then they were
Pankrti, my first concert in the eight grade of Elementary school.
And when the bands and DJ's started to come
technical help was needed, so I was in charge of that.
We began by borrowing some of the sound sytem equipment for
Marjan Dovgan that was really into it,
he was a DJ here and he was working in the bar,
he was holding this place together for a long time.
He was educating the young one's with his music and he also played theirs.
And if he opened at nine,
we came at nine because then we could bring with us
some cassettes with music
that was "ours" and they played it for us.
In that early period it was maybe too sharp for some
even though people here were always more
open for different music,
but this hardcore, punk music was too sharp
for the beginning.
So everybody yelled: "Matinée!" at 9pm,
so we enjoyed and danced until the first
"older ones" came, as we called them, and screamed: "The matinée is over!"
Then our cassettes went out
and some other came
which was the music we otherwise
listened anyway, at least some of us but
it was still separated.
The main thing was,
was being against everybody else.
Because in the 80'
and even before there were fights betweeen
disco types and us that were against this, the punks.
There is no other more important thing than music
when we talk about the way we create our social relationships.
In all generations and environments, music as such
is co-designing the most elemental social relations.
It's something that Raymond Williams called the structure of feeling.
It means that through music you get some kind of
feeling for social disposition, feeling for others
and the feeling for what you can think,
imagine and see in the future.
At that time everybody was coming home for the weekend.
There was nothing to do in Ljubljana for the weekend.
We bought some technical stuff unavailable at that time,
today it sounds funny.
We bought VCR,
we bought color TV from Gorenje
and we bought, we went to Belgrade (SR)
where they were selling a lense that
you could put in front of the TV screen and then it projected the picture on the wall
from the VCR.
The same as video projectors today but really worse quality.
But you could show something on the wall.
We later had film screenings with this
and we projected a lot of music concerts.
Music in the club was always really good.
On the one side you had
local collectors of records and on the other side there were
a lot of people working on the Radio Student in Ljubljana.
They were recording broadcasts we could later listened to in the club.
This was quite a long period,
from 1982 and until the 1990 when I was "in charge",
except for short periods when
I was in London once for half a year and Andjelković took over,
if I remember right, from Harije village.
When we were looking for a new place for the scouts
there were brigadiers for the Youth working actions in Ilirska Bistrica
They were housed in Elementary school.
The Youth Socialists organisation wanted to take care of the brigadier's social life
and decided to make club more "decent" for the brigadier's entertainment.
So the village Youth Organisation from Harije village took over.
They painted the club in fresh pink color,
drew silver treble clefs and installed
light on the floor, disco ball in the ceiling and played
music that you couldn't hear before in the club.
We were completely schocked and angry about this.
We came one day and
and the cathode ray tube on the TV was broken.
It was a classical sabotage.
The police investigated this later and they
found out that not everybody is satisfied with us being there and that
there certainly is some kind of urban culture
which is fighting against the village disco.
One part of this young guys,
I was too young back then,
destroyed the club and because of that
they ended up in court.
But in the same time with this we got the right to run the club.
Because we took it over by force, it was a kind of
violent revolution.
Of course we removed that pink color immediately
and improved the general aesthetic impression
and started to do things our way.
Chapter no. 3 Self–Dependent
Somewhere around 1988 and later on
this content became more organised.
For instance, somebody was learning there and
designed posters for concerts,
somebody started to put cables and speakers,
the third group started to take photos,
the fourth group started to engage in video.
MKNŽ was therefore a sort of range
for all those different creativities.
People from Bistrica were used to go on concerts
to Rožna dolina (Ljubljana), to the student campus,
when ŠKUC, Buba, FV and others where organising concerts.
The sound was always a complete disaster
because these places didn't have continuity, it was a hall where
during the day it was a student's canteen
and in the evening they brought the sound system.
This bad sound system was a big trauma and motivation for us.
That's why we really took good care about the sound in Bistrica
and we were quite self-important about it.
Because in reality this was a fight,
and a tough one!
You had to push over through the crowd,
listen to the speakers to see what's happening
and then run back, I mean, push over through the crowd.
Because the mix table was by the stage, there was no
multicore cables
like now, when you are here like a gentelmen,
you're here mixing
and you don't care about the crowd.
I used to be there
picking up the microphones from the floor,
throwing people off the stage, because they were milling
with the musicians.
Cleaning the drinks and the bottles,
removing the bottles under people's feet and under mine.
You know how it is, the decadence!
Later on many different
Slovenian bands started to come.
The highlight was
if you ask me, when the first foreign bands started to arrive.
I think everything was like an evolution,
it was going easily
so you couldn't recall when something changed.
And then in the 1990s there were changes in the country and in the society,
and the plebiscite and all this
and in the 1991 the country got independence.
When we talk about the garage rock scene
in the end of the 80's, in the beginning of the 90's,
about bands like Messerschmidt, Majke, Pokvarjena mašta (CRO),
we have to know that one of the main epicenters
was MKNŽ where all these bands were coming and passing through.
And I think MKNŽ was also this
range where all these bands could somehow
endure all this stress that was brought down by the war.
For us Ilirska Bistrica was huge
but then when we realised it's a small town,
like our Pazin (CRO) for instance,
but it has such a strong music scene, strong tradition,
so much concerts, there was always something going on.
There were periods when we had here
in the 90's
more than 40 concerts
per year.
In the 90's during the war we
were quite isolated
there was no internet then,
we depended on other people who brought fanzines and similar.
And we were listening about this place, how much concerts are happening here.
Maybe this was the reason that we stayed normal
true to ourselves, that we didn't end up
like the most of the other people
who turned the wrong direction in that crazy period.
The 90's were interesting because Ljubljana didn't' have such places.
In Ljubljana came
a new management for student campuses
and the scene in Rožna dolina campus finished,
until then they had hard core concerts there.
So the organisers were left without a place.
Metelkova didn't function yet as a scene
where you could count on something serious.
In this period a lot of similar clubs and organizations fell apart.
For a period we were organised as a group of citizens
and then we decided to make a society.
We were no longer
without status or the Socialist Youth organization
but we became The Nada Žagar Youth Club.
When we speak about revolt we don't speak only about
aesthetic, musical, theatrical,
literature or some other activity,
this revolt is also distinctively political.
In the case of MKNŽ
this revolt is hidden in the name
It was a sort of opportunism
to name the club after a war heroin in the 60's
but today this is really an attitude of revolt.
We never even thought about
changing the name, for us it was
the youth club was logical
and Nada Žagar was Nada Žagar,
a young Partisan that died for a good cause.
For us this change would be questionable.
People from all over Slovenia and Yugoslavia came to concerts then
there were a lot of foreigners coming here, like Italians.
So ...
Bistrica was one of the strategic points
in this scene in that time.
Members of this club,
through all the 90's,
brought music that was really ...
mostly it was American, Amphetamine Reptile and similar records.
This were bands that you could only look and be amazed,
you had something to see.
If it wasn't for this club, me personally
and also my band for example,
we would never be
such rockers, we would probably be more "sugary".
We were "hardcore" and this kind of bands
were the most common and easiest to get.
Why so much of them were from USA?
Because a lot of them asked to come themselves,
they wanted to come for the money we could afford.
MKNŽ is a really good example of the duality of these places.
On one hand they are really local,
people that are socialising and working there
are locals who work for themselves and for
creating friendships with others
and also because they have something in common,
musical affinities, they also resist local authorities.
But in a certain sense this places can become a sort of
I won't say global, non-places,
but they have
a wider international reputation.
Hardcore scene was DIY,
we were all going on concerts, to Ljubljana or somewhere else,
And we all wanted to make a band,
organise concerts for us and always for others as well,
making fanzines, maybe releasing cassettes.
Most of the people in this scene were doing similar things.
The discography itself
of many bands
includes live tapes from MKNŽ
because the place has specific and always good sound.
It all started with good live tapes from the concerts.
We were recording directly from the mixing table
on the tape recorder.
And some bands
started releasing the tapes.
We came to MKNŽ to make first demo tapes in 1992 or 1993,
because there was a studio in MKNŽ, a TASCAM with 8 channels
where you could record multi track music on the tape.
And we were really
fascinated that we could come and record there
because we had some experiences with studios but everything was so sterile.
But the story in MKNŽ was more "alternative".
A musical event, a concert or similar should happen,
or a record release should happen without this
commercial agents like managers that take all the profit.
If there is some profit it should stay in the scene and not go to individuals.
This is DIY ethics for me.
Yo!
Ok, we are here in the studio, we have Sebastijan with us.
He's doing something on the computer, he will explain more himself.
Hey! At the moment I'm scanning a strip cartoon
for a fanzine.
This is a club's scanner.
Otherwise we're making many things for the club on the computer,
various documentation,
posters for concerts and flyers.
This is actually the main mission of DIY in a way
beside making, recording and releasing your own record,
but mainly to bring to your own town the things you want to see and hear.
You had to write to the bands, sent them cassettes,
search for an office with a fax machine
if there was an emergency.
We didn't have telephones or fax machines then,
later on we got the first computer, this was all,
in 1996 we had the first telephone,
soon after computer
and then through through server access to internet and so on.
For example, the band contacted you 6 months earlier, you got a demo cassette.
You got one flyer to distribute, the posters to copy.
You arranged things through letters few months before.
Until the band arrived to the border or to the club
you were not sure if they'll come.
If I look back now on how we started Hiša Kulture venue (Pivka, SI)
and Trnje festival and all this stuff.
All this is a heritage for sure
of what we've learned in MKNŽ or from Marko Brecelj,
we cooperated with him a lot, especially in the 90's.
We heard a lot of new things in this club.
But mostly we got the same desire to
organise the same or similar scene in Postojna (SI).
This was the principle
that led us to organise and create something in 1993 in Postojna.
This kind of places have to stay.
Unknown bands need a place to play before coming to a bigger club
and have the opportunity to grow.
I have to say that Elvis Jackson was created
because MKNŽ invited us to play on the carnival.
We didn't have the band yet but we've made one in 2 days.
We practiced 2 nights and then we went to Bistrica.
That concert was legendary. So this was a beginning and even
a reason that today Elvis Jackson is on the music scene.
Before people were going to concerts
there were no cars, only trains, buses, hitch hiking, but people came.
It was between
1995 and 2000, 2001, when the club was always full.
Whatever you organised, at least 200 people surely came.
There was a lot of events everywhere.
A lot of similar places started organising concerts,
Ljubljana was more popular
after Metelkova and similar places,
first there was few of them, but later on more and more.
Chapter no. 4 For ever young
It's nice to see this places still exist
and young people here.
Actually the same happened with us,
the generations would move or pass through,
everybody would leave its own trace
and new generations would continue the story.
And this is the beauty of alternative scene.
So there was less concerts,
we always wanted to organise them ourselves.
So with Borut who was the president at that time,
we somehow started organising concerts ourselves.
So this happened in May 2005 when
me and Aleksander, we were the first one from our team,
that organised our first event.
We were mainly into hardcore and punk music,
so we tried to get these bands,
the music we liked the most.
The young people in MKNŽ are those who build MKNŽ and its future.
This is much more important than some other forms of
Youth centres in Slovenia and elsewhere
that are made for the young people, but they are only
users and consumers of this services there.
We have too much of this consumerism
on every possible level.
Here you have to come as a free person
without restrains.
One that somehow identifies itself in a way
that you know you can be proactive.
People mostly come here to consume,
mainly there are consumers, but that's good also,
the creative ones need consumers, they need the public.
In grass-root places we see an automatic shift
of alliances that are really strong
that are always based on an attitude connected to
music, theatre or some other kind of art.
This places enable constant mixture of people
a constant happening
that is completely unpredictable but
releases creativity.
I think people from Bistrica have a really good relation to the club.
Especially after we started to make workshops for children,
cooperate with other organisations,
Center for Social Work and Red Cross, those who are close by.
People start taking you more seriously if you cooperate with more serious organisations.
This is a big advantage.
When I first started to come here on workshops
that Alenka and other girls organised,
it was for me personally,
I started to develop, to learn new stuff.
Later when I became more active through workshops
and with our fire show group and through discovering
alternative music and different aspects of culture,
I got the desire to spread this knowledge.
If we are active in Ljubljana
and we see some theather show or
any type of art.
Every time something moves me, I ask myself
why Bistrica doesn't have this?
Bistrica is somehow left without all of this.
So in this way I'm
trying to give this back to my town.
With the music agency
or with the band we talk about all the details in advance,
for the price, if it's only for the fuel cost or maybe for a small fee,
what they want to drink, if they'll sleep here,
what they want to eat, make sure there are people working at the door,
who will clean, prepare and cook,
there's a lot of work.
It's very clear what needs do be done
and the sooner you get to work
the faster it's done.
You have to do a little bit of everything
what needs to be done.
You do the work of the janitor, concert organizator
and even a cleaning lady.
We were introduced to the club by Alexander
already in Elementary school.
He gave us flyers for the concerts,
he gave us his music on the cassettes.
I also started to play in a band
in the 7th grade of Elementary school.
To play in the club was some kind of a illusion.
Somewhere in the background.
"One day we'll be good enough to play in the club", we thought.
Festival of local bands is also an event we organised
that changed a lot the situation here.
It's a kind of celebration here in Bistrica,
as we don't have any events for young people here
so this is sort of the main event of the year for the whole town.
This club is the only place in our Municipality
where we develop alternative music scene
and a lot of these bands started
because they came here on concerts.
Maybe they played the guitar or something before and then
they saw new bands, new music genres here.
When you listen different bands that come
to Youth Centre Podlaga in Sežana, to MKNŽ, Koper or Metelkova,
you hear bands that you can't hear otherwise.
You wouldn't hear them on You Tube if they didn't come to play in a club.
As a sound engineer I learn here, it's not only for the bands,
not only for this creative aspect
but also my part and his visuals.
This is all creativity, it's all art.
With the help of this clubs, where the scene is active,
we can one day become good sound engineers.
It's a starting point for us
that enables us to perform and show what we are.
As an amateur group of actors,
it's hard for us to play in bigger cultural halls,
for us these Youth Clubs that have their own scene
are the only place to express ourselves,
where we can show what we've done so far.
I've heard there is a punk concert in Bistrica,
beer and entrance fee, everything for free!
Beer? - Yes! Everything!
Beer!
Let's go!
C'mon Tibor!
There were many crucial and important things that happened
for the club in the last year and a half.
We are really happy it turned out like this.
One of it is the contract with the owners of the building
the Slovenian Sports Union.
We got the contract to manage the whole house
and we finally repaired the roof,
the most critical thing on the house since the beginning.
This clubs enable, through the long history of their activity,
that we resist as a generation to our parents or their generation,
in the same time we resist to
the entire attitude of our environment,
when we include a cultural innovation from outside,
we process this on a local, domestic way
and change the situation we're in.
Young people need a place where they feel at home,
where they can be themselves.
And if this kind of places don't exist
there's a need to create them.
This is a really nice thing in the revolt of young people,
organisation, gathering, action on a small level.
You start with the most familiar thing which is always music
but through music everything else comes.
At the same time I think this places are important
not only for educating young generations but also
that the young people have a direct encounter
with mechanisms such as concert organisation,
sound engineering,
also to work as a bouncer or at the entrance fee.
Because in this way you can learn about
how everything works in this world.
I see this place as undefined in a way
that if I look at my life
in a more passive period of my life
it's a party place where I can relax and be who I am.
In some other period I want to create something from it
and I try to give it my own content.
That's why is good to have less defined places as well.
Here I learned everything I know today.
For me MKNŽ is the best reference, I tell this to everybody.
I learned everything here.
To me
it always looks the same.
This is one of the reasons I'm still going there
because it reminds me on 30 years ago
when I was going there and the memories keep coming back.
If we didn't have this experience with MKNŽ,
we wouldn't be what we are today.
Everything...
characterises you.
MKNŽ definitely marked me and a big part of my generation.