ABSTRACT
This chapter discusses the foundation of New Primitives the movement can be thought of as the logical extension of the principal tenets of New Wave and the ultimate application of the latter's central 'philosophical postulates'. The cultural resistance of New Primitives centered on challenging the boundaries of Yugoslavia's cultural project by rebelling against the cultural vision that branded a significant segment of society as culturally marginal and socially insignificant. In many respects, Emir Kusturica's 1981 film Sjecas li se, Dolly Bell was the first, and important, indication of the awakening of Sarajevo's new socio-cultural conscience, encapsulated by New Primitives' poetics of the local. The sampling of Elvis J. Kurtovich & His Meteors' career-spanning hits offered on Mitovi i legende o kralju Elvisu reveals that Elvis's rock'n'roll poetics is grounded in borrowing from the major popular-music trends and in a not-all-too-subtle 'reclaiming' of the staples of Western rock'n'roll tradition, which are given a uniquely local redressing.
