Pekinška Patka
| Company type | Punk rock group |
|---|---|
| Industry | Music |
| Founded | 1978 in Novi Sad, Serbia, Yugoslavia |
| Headquarters | Novi Sad , Serbia, Yugoslavia |
| Products | Punk rock music, albums, singles |
Pekinška Patka (in Serbian Cyrillic: Пекиншка Патка; translated as Peking Duck) is a punk rock group originating from Serbia and the former Yugoslavia, established in Novi Sad in 1978. Recognized as trailblazers of the punk rock movement within Yugoslavia, they hold a prominent position as one of the most impactful contributors to the Yugoslav punk rock scene and the associated new wave movement.
The original lineup featured vocalist Nebojša Čonkić, known as "Čonta," guitarist Sreten "Sreta" Kovačević, drummer Laslo "Cila" Pihler, and bassist Miloš Žurić, who was soon succeeded by Srbislav Dobanovački and then Boris Oslovčan. In 1979, Boško Prosenica joined as a second guitarist. Their dynamic and often provocative stage presence garnered notable media coverage and public attention despite facing criticism from conservative factions. Early singles helped establish their fan base, while their 1980 debut album Plitka poezija is widely regarded as Serbia’s inaugural punk rock record. Following personnel changes—Kovačević and Prosenica replaced by Zoran Bulatović "Bale," and Oslovčan replaced by Marinko Vukmanović—the band produced their sophomore album, Strah od monotonije (1981), which marked a stylistic shift toward post-punk and darkwave influences. The album met with modest public reception, leading to the group's dissolution that same year.
In 2008, Pekinška Patka briefly reunited with members Čonkić, Kovačević, Pihler, and Oslovčan for a special performance at Novi Sad’s EXIT Festival, sharing the stage with Sex Pistols. Two years later, the ensemble from their second album period—Čonkić, Pihler, Bulatović, and Vukmanović—came together for additional concerts; however, due to health issues, drummer Pihler was later replaced by Robert Radić. This reunion was contested by Kovačević and resulted in a legal dispute over the rights to the band’s name, which Kovačević ultimately won. In 2021, Kovačević and Pihler revived Pekinška Patka with a focus exclusively on their punk rock catalog. Separately, in 2024 Čonkić launched a new project titled Profesor Čonta i Patka (Professor Čonta and the Duck).
Early beginnings (1976–1978)
The origins of Pekinška Patka can be traced back to the Novi Sad band Trafo, formed in 1976 by guitarist Sreten "Sreta" Kovačević and vocalist Nebojša Čonkić "Čonta." They primarily performed covers of classic rock bands such as the Rolling Stones and Santana at local dance events. In 1977, Kovačević founded Café Express, a pop rock group featuring himself on guitar along with Boba Mama, Aleksandar Čerevicki, Aleksandar "Caki" Kravić on bass, Laslo "Cila" Pihler on drums, and vocalist Aleksandar Krstić; Čonkić contributed as a guest singer performing international rock tracks. This group disbanded in early 1978.
Formation of Pekinška Patka and initial phase (1978)
Pekinška Patka came into existence in mid-1978 with Nebojša Čonkić taking on vocal duties—an electrical engineering graduate who also taught at Novi Sad's Electrical Engineering School Centre—alongside guitarist Sreten Kovačević, drummer Laslo Pihler, and bassist Miloš Žurić. Prior collaborations among Čonkić, Kovačević, and Pihler had occurred within Café Express. Known by his nickname Dupli Skalp ("Two-Scalp") due to occasionally wearing a wig, Pihler had previous experience playing with Laboratorija Zvuka.
According to Čonkić’s account, he initiated Pekinška Patka in May 1978 after discovering punk rock through Radio Luxembourg broadcasts. He approached Kovačević at Novi Sad's Bulevar café presenting two punk-inspired ideas: one riff that evolved into "Bela šljiva" and a faster punk rendition of Procol Harum's "Homburg." Both men were university graduates in their mid-20s with a longstanding friendship dating back to high school and university attendance. Lacking a drummer initially, Kovačević enlisted Pihler; subsequently they added bassist Miloš "Žure" Žurić. The quartet rehearsed extensively throughout June 1978 at Mašinac club while scheduling around live broadcasts of the 1978 FIFA World Cup. Though embracing punk influences, their style incorporated elements from Western cultural movements of the 1960s and 70s such as hippie counterculture and progressive rock.
Kovačević asserts that Pekinška Patka originated from his concept early in 1978 during Café Express dance events. Frustrated by audiences’ indifference to his guitar solos, he sought a simpler musical approach inspired by punk. He first recruited drummer Pihler and bassist Žurić before inviting Čonkić to provide vocals. The name Pekinška Patka was suggested by Čonkić because it phonetically resembled “punk.”
Their debut live appearance consisted of a short set at Mašinac club in late June 1978 before an audience of four friends. This performance included songs like "Bela šljiva," "Homburg," alongside new compositions "Kratkovidi magarac" and "Šta je zbližilo nas." Following this show, Žurić departed and was replaced by Srbislav "Srba" Dobanovački. Čonkić and Kovačević began crafting new material in both English and Serbo-Croatian languages. Early lyrics steered clear of political commentary due to strict communist oversight within Novi Sad’s diverse cultural environment.
During July 1978, Čonkić attended an English language course in London where he immersed himself in the local music scene by attending nightly live performances featuring punk bands such as The Clash, The Specials, Rich Kids, Skids, and Magazine. A particularly influential event was The Clash’s concert at Music Machine promoting their album Give 'Em Enough Rope with The Specials opening; Čonkić later described this experience as transformative. The aesthetics, attitude, and stagecraft of English punk observed during this time heavily shaped Pekinška Patka’s direction upon his return to Yugoslavia.
Local recognition (1978–1979)
Pekinška Patka's initial significant live performance took place in December 1978 at the Sonja Marković Club in Novi Sad. Their daring punk rendition of a youth work action anthem resulted in the concert being halted after just five or six songs, dispersing an audience of approximately 200 attendees. Their style fused melodic punk rock with vigorous stage presence, capturing media interest even before any official recordings were released. Lead vocalist Čonkić utilized media platforms for self-promotion, making audacious statements such as claiming to be the "first significant event in Yugoslav rock since Ivo Robić and Marko Novosel," and sparked controversy by branding the group as the "first Orthodox punk band," directly challenging the dominant atheistic cultural climate. In the same month, they performed at the concluding BOOM Festival held in their hometown.
At the beginning of 1979, bassist Dobanovački was succeeded by Boris "Bora" Oslovčan from Gomila G, and Boško Prosenica, known as "Brča," joined as a second guitarist.
Expanding popularity, debut release, and disputes (1979)
In May 1979, Pekinška Patka took part in the Youth Festival in Subotica alongside Zagreb’s punk ensemble Prljavo Kazalište, marking the first punk acts featured at this event. Invited by festival organizer Vitomir Simurdić, they performed the track "Bela šljiva" and earned the second-place audience award. Their set was broadcast nationally on television—the pioneering televised appearance for a Yugoslav punk band—attracting attention from record labels. They recorded a seven-song demo at Radio Novi Sad studios under producer Gabor Lenđel; this demo was unofficially released two decades later as Demo 79. After failing to secure a deal with PGP-RTB, they signed with Jugoton following a July 1979 concert in Zagreb.
Their first official release was a 7-inch single featuring "Bela šljiva" and "Biti ružan, pametan i mlad," produced by radio DJ Slobodan Konjović despite his lack of production experience. The single achieved sales close to 35,000 copies, paving the way for plans to produce a full-length album.
During summer 1979, Pekinška Patka appeared on Television Belgrade’s Leto na Adi, delivering an energetic performance of "Poderimo rock," originally titled "Zajebimo rok" but renamed for broadcast standards. Their vigorous act nearly caused damage to the raft stage. They also appeared in the television film Kost od mamuta, performing "Ja sam panker u sakou starom," which premiered in February 1980.
In October 1979, the band performed at Stepanovićevo during a World War II anniversary event. Their provocative onstage behavior—including profanity and throwing condoms into the crowd—elicited criticism from authorities and conservative groups. The opening band Gomila G presented a contentious song that went largely unnoticed due to poor sound quality.
Initially regarded as another rock group within Yugoslavia’s flourishing scene dominated by progressive and hard rock genres, Pekinška Patka’s confrontational style soon led to censorship. Čonkić faced professional repercussions as his teaching position was jeopardized amid public disapproval of their conduct. Concert cancellations became common in Novi Sad; some media outlets refused to broadcast their music. A television program recorded specifically by Television Novi Sad was ultimately never aired.
Despite local suppression, coverage in other regions increased, and supporters expressed their backing through graffiti praising Čonkić across Novi Sad. Influential cultural figures such as poet Miroslav Antić publicly championed the band. Due to political frictions between Vojvodina and Serbia, while Novi Sad imposed restrictions on them, Belgrade welcomed their performances and media exposure. Shortly before New Year's Eve 1979, Pekinška Patka played at Belgrade’s Technical Engineering Students' Club alongside Zvuk Ulice.
Initial album launch (1980)
The group introduced their first album, Plitka poezija (translated as Shallow Poetry), in 1980, blending punk rock with sporadic ska influences. The compositions were crafted by Čonkić and Kovačević. Recording took place at Boris Kovač's studio, while production and mixing were handled by Slobodan Konjović in his personal apartment. Čonkić's lyrics deliberately steered clear of overt political commentary, instead highlighting the frustrations experienced by urban Yugoslav youth and expressing the band's criticism of established rock musicians and disco. The album featured three cover tracks: "Homburg" originally by Procol Harum, "Stop Stop" by The Hollies, and "Never My Love" from the Addrisi Brothers. Although recorded early in 1980, the album's release was postponed until summer due to the illness and subsequent passing of Yugoslav president Josip Broz Tito. Ahead of the album, the single "Bolje da nosim kratku kosu" ("I Better Wear Short Hair") was issued and became an emblematic punk anthem. While the record garnered favorable reactions from listeners—yielding radio favorites such as "Biti ružan, pametan i mlad"—critical opinions were divided. Some reviewers viewed their sound as outdated or a parody of punk, likening it to British punk from the mid-1970s.
One of the earliest live presentations of this new repertoire occurred at the Split Festival, where they performed alongside Azra, attracting an audience numbering in the thousands. However, this event revealed internal discord; bassist Oslovčan expressed dissatisfaction by deliberately undermining the show—playing with his back turned to the crowd and intentionally disrupting audio quality.
Personnel shifts, evolution to post-punk, and dissolution (1981)
Following their debut release, the band underwent several lineup modifications: guitarist Kovačević transitioned to saxophone duties, while 17-year-old Zoran "Bale" Bulatović from Pečat joined as guitarist. Both second guitarist Prosenica and bassist Oslovčan departed; bass responsibilities were temporarily managed by Aleksandar "Caki" Kravić and former bassist Srba Dobanovački until Marinko Vukmanović (also from Pečat) became a permanent member. The vacancy left by Prosenica on guitar remained unfilled. By late 1980, Kovačević exited to join the ska ensemble Kontraritam.
The restructured band embarked on a successful tour across SR Bosnia and Herzegovina, culminating in a sold-out performance at Sarajevo's Skenderija Hall. They released a single featuring a cover of Dragan Stojnić's chanson "Bila je tako lijepa," arranged in the style reminiscent of Sid Vicious’ rendition of "My Way," with "Buba-rumba" as its B-side. Their appearance on TV Belgrade’s Rokenroler III included a rendition of "Stop stop," originally a 1966 hit by The Hollies; this performance later represented Yugoslav Radio Television at the Montreux Rose d'Or festival. Čonkić had intended to record a version of Himna Svetom Savi, but internal disagreements led to abandoning this plan.
In December 1980, their act at the Grock festival held at Novi Sad Fair sparked controversy when they burned an issue of Borba, the official newspaper of the League of Communists. The band clarified that this was an unintended symbolic gesture: Vukmanović used the large-format paper as a torch while portraying the Statue of Liberty. Media responses were mixed, with some voices calling for prohibition.
Starting in October 1980, new compositions influenced by bands like Joy Division, The Stranglers, The Cure, Magazine, and Echo & The Bunnymen emerged. These tracks were collaboratively written by Čonkić, Vukmanović, and Bulatović. Although initially written in English, pressure from their record label resulted in lyrics being translated into Serbo-Croatian. Their sophomore album, Strah od monotonije (Fear of Monotony), recorded in March 1981 with Konjović producing, was released in May but achieved modest sales around 8,000 copies.
The band's shift toward post-punk and dark wave aesthetics accompanied by an altered image did not achieve commercial success comparable to their debut; audiences frequently requested earlier material during concerts. Their final significant appearances included a festival at Zagreb Fair alongside top Yugoslav groups and a June 1981 concert at Belgrade's Rokoteka club—marking their last live show—where Čonkić openly criticized music journalists. That summer marked Čonkić’s entry into mandatory military service; although he planned to resume band activities afterward, upon his return about a year later, Bulatović, Vukmanović, and Pihler had formed Luna, a post-punk group featuring vocalist Slobodan Tišma.
Post-disbandment
Following the dissolution of Pekinška Patka, Čonkić stepped away from the music scene and relocated to Toronto, Ontario, Canada in 1994. Initially, he took on a job delivering pizzas before advancing to a role as a computer programmer at the Canadian Broadcasting Corporation (CBC) and eventually becoming an instructor at Seneca College.[1][2] During the 1990s, Bulatović moved to New York City to pursue new opportunities.[1]
In 2006, Multimedia Records issued a comprehensive re-release of Pekinška Patka’s entire discography through the compilation album Pekinška Patka.[1]
EXIT festival reunion (2008)
The 2006 reissue sparked renewed attention from the media. Although initially hesitant about regrouping, Čonkić declined reunion proposals that prioritized quick financial gain, aiming instead to preserve the band’s artistic integrity.[3] Nevertheless, in May 2008, Pekinška Patka declared they would reunite for a performance at the EXIT festival in Novi Sad, featuring their original members: Čonkić on vocals, Kovačević on guitar, Oslovčan on bass, and Pihler on drums. Their half-hour set of greatest hits served as the festival’s closing act on 13 July 2008 alongside prominent bands such as Sex Pistols and The Hives.[3] Interviews conducted after the show hinted at the possibility of a full-scale return.[4]
Second reunion and copyright/intellectual property conflict (2010–2012)
In April 2010, Pekinška Patka announced another reunion event scheduled for 21 May at Belgrade's SKC venue, this time featuring the lineup from their sophomore album: Čonkić, Bulatović, Vukmanović on bass, and Pihler on drums. Due to demand, an additional concert was arranged in Zagreb.[5] During a May press briefing, they disclosed intentions to release a new single in July 2010 along with an album covering Yugoslav pop festival songs from the 1960s.[6] Shortly before the Belgrade performance, drummer Pihler withdrew because of health concerns; Robert Radić from Veliki Prezir stepped in after rapidly mastering the setlist.[7]
Prior to this reunion, original guitarist and co-founder Sreten Kovačević publicly contested the legitimacy of this particular lineup using the Pekinška Patka name. He cited his authorship of tracks from Plitka poezija and threatened legal proceedings.[8] The band responded by disputing Kovačević’s assertions regarding song ownership and accused him of inaccurately representing copyright registrations with SOKOJ.[9]
The concerts in Belgrade and Zagreb primarily featured songs from Plitka poezija, deliberately excluding "Bolje da nosim kratku kosu," presumably due to Kovačević's objections. The setlist incorporated their newly recorded single—a rendition of "Un año de amor"—and "Neko" from Strah od monotonije. Opening performances were delivered by Čikine Bombone in Belgrade and Poruka u Prazno in Zagreb.[10] In December 2010, this single was made available as a complimentary digital download.[11] The band maintained an active touring schedule through late 2011, performing at various regional venues including Banja Luka, Zagreb, Sarajevo, and Belgrade.[12]
Subsequent to these events, Kovačević successfully secured registration of the Pekinška Patka trademark,[13] which led to an extended legal battle with Čonkić over rights to use the band’s name; ultimately, the dispute concluded in Kovačević’s favor.[14]
Borislav Oslovčan, who had served as bassist before leaving music to pursue a culinary career across Mykonos, Malta, and Moscow, passed away on 5 October 2017.[1]
Third reunion and dual band formations (2021–present)
In 2021, Pekinška Patka was reassembled by Kovačević and Pihler, featuring vocalist Stefan Stanojević, guitarist Sava Obradović, and bassist Igor Mihaljević. This lineup focused solely on performing tracks from Plitka poezija throughout the former Yugoslav territories and adjacent nations. By 2024, they appeared in Sofia, Bulgaria, sharing the stage with the pioneering Bulgarian punk group Novi Tsvetya.
The year 2022 saw the release of Čovek-patka (Duckman), a book curated by Mirjana Kovačević that gathered interviews and essays from prominent contributors such as Sreten Kovačević and Peca Popović.
Also in 2024, Čonkić, Bulatović, and Radić reunited under the name Profesor Čonta i Patka (Professor Čonta and the Duck), with bassist Marko "Ramone" Banović stepping in for Marinko Vukmanović due to health concerns. This ensemble performs selections from both Plitka poezija and Strah od monotonije.
In a 2024 interview, Čonkić commented on the existence of two active versions of the band: "My former friend and original guitarist Sreta [Kovačević] took over the name... We endured years of legal battles. I never sought to claim full ownership but aimed to stop him from holding exclusive rights." He further explained that his comeback was partly driven by a wish to demonstrate their superiority over the rival formation. Responding in 2025, Kovačević stated: "There is only one Pekinška Patka... The concept originated with me; the singer joined afterward. Frontman ego is typical in rock—attention can be both burdensome and addictive." He compared their dispute to that faced by the Sex Pistols.
Impact and legacy
Throughout their initial existence, Pekinška Patka generated controversy yet attained widespread recognition; lead singer Čonkić was regarded as one of Novi Sad’s rare rock icons. Although conservative factions and certain music critics judged them less intense than contemporaries like Pankrti and Paraf, their more accessible approach set them apart. Journalist Dušan Vesić remarked that negative critiques arose from expectations that punk bands should be aggressive and hostile, whereas Pekinška Patka were perceived as "friendly and cheerful." Filmmaker Janko Baljak acknowledged their significant influence on a generation of punk artists, emphasizing Čonkić’s distinctive contribution.
In 2013, journalist Ivan Ivačković noted that despite a brief three-year span, Pekinška Patka made an enduring mark on Yugoslav rock history. Their tracks "Biti ružan, pametan i mlad" and "Bolje da nosim kratku kosu" are celebrated as regional punk classics.
Their influence has reached beyond national borders: Milić Vukašinović referenced them appreciatively in his 1980 track "Brat mi fura pank." Serbian punk group Atheist Rap included a medley from Plitka poezija on their 1994 debut album. Croatian band Hladno Pivo recorded a cover of "Bila je tako lijepa" in 1995. Additionally, American groups Final Solutions (Memphis) and Downtown Boys (Providence) have performed Pekinška Patka covers.
The album Plitka poezija was placed 77th in the 1998 ranking of top Yugoslav albums featured in YU 100: najbolji albumi jugoslovenske rok i pop muzike, later advancing to 74th position on Rolling Stone Croatia’s 2015 Greatest Yugoslav Albums list.
Their song "Bolje da nosim kratku kosu" achieved No.39 on Rock Express’s Top 100 Yugoslav Rock Songs (2000) and No.22 on B92’s Top 100 Domestic Songs chart (2006).
Discography
- Plitka poezija (1980)
- Strah od monotonije (1981)
See also
Sources
- Branislav Smuk: Plitkom poezijom protiv monotonije, Akuzativ.com
- Dragan Pavlov and Dejan Šunjka: Punk u Jugoslaviji (Punk in Yugoslavia), IGP Dedalus, Yugoslavia, 1990
- Petar Janjatović: Drugom stranom - Almanah novog talasa u SFRJ
- Branko Kostelnik: Moj život je novi val, Fraktura, Zagreb, Croatia, 2004
External links
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