SLAĐANA MILOŠEVIĆAlexandra Sladjana Milosevic Hagadone was born in Belgrade, Yugoslavia. Her talent for music became very apparent at the early age, so she started education in classical music at the age of five, playing piano. Few years later, her interest turned to studying violin. At the age of twelve she became a singer and a bass-guitarist in a rock and roll school band, though she had not given up violin playing. She recorded a first single at the age of fifteen, playing violin and singing Indian influenced music with a group “Ganesha”.
From then on, her interests had shifted towards various artistic expressions such as acting, playing music and dancing in the fringe theatres and experimental movies. She acted in Belgrade’s “Ex Art” Theatre, “Atelje 212” Theatre and in “Academic Kino Club Krsmanovic”. As a violinist, a member of "Belgrade Radio - Television Orchestra", her career continued doing studio work. Nevertheless, playing in a big orchestra appeared to be an obstacle for a further creative development, so she decided to proceed as a soloist. Being in constant discordance with restrictive regime and the media, despite all the efforts, she could not release a solo record in her homeland Yugoslavia for many years. Thus, she invests her funds and finally manages to produce and release the first single in 1977. Unexpectedly, it had achieved an immediate success hitting #1 on the charts. Milošević's provocative first song “Au, Au” caused controversial reactions. However, her creative potential, persistence and consistence of ideas had won over. She stimulated and influenced younger musicians and other less courageous, to follow her path. During her career, she performed title songs for several movies: Crazy Years, National Class and for few documentary movies. Frequently she had been a guest vocalist and a guitarist on other musician’s albums such as: Dado Topić, Leb i Sol, Goran Milošević (Slađana's brother, singer of Generacija 5), Nityananda, YU grupa and others. She took part in numerous humanitarian projects. She was the originator and the executive producer of the Charity Festival “United Yu-Rock Forces”, organized for the benefit of paraplegics in Belgrade in 1988. Belgrade Paraplegic Organization nominated her an “Honorable Member” for the support she had given to the cause. In 1990, she continued working on her album with American recording and production team in Los Angeles that included major American celebrities, such as Guns'n'Roses`s songwriter West Arkeen, Lary Wilkens, Jeff Buckley, Derek Davies, John Buxter with whom she did music for a Canadian CD-ROM production company.[1] In the meanwhile she worked on improving her guitar skills, studying with Hollywood’s MIT reputable instructors: Scott Henderson, Bruce Bouillet, Scott Van Zen, James Hagadone and others. During that time she appeared on American TV shows and live scene. On January 13, 2000, Serbian (Julian) New Year celebration day, Milošević delivered the award to the “Most Resisting Media Reporter”, political prisoner at the time. The celebration - protest was organized by “Otpor” (Yugoslav Youth Resistance) at the main Belgrade’s town square. During the protests against the authoritarian political regime of, at the time Yugoslav President Slobodan Milošević, Slađana Milošević took an active role
(text taken from her official website and wikipedia article.) website
Q: What the project A Birth of Mizar actually presents? Does that mean just ordinary restoring of the band – or is there something more behind that?
Q: Will the re-publishing of the albums and the common sense mean just a new encounter with the audience or it will mean some new creative music announcements and some new materials?
Q: Now, you start in Macedonia under very different circumstances; do you expect that, in this time we live in, the conscienceness for the innerself power and the authentic ethnic Mizar music-code will prevail?
Mizar is the band that in the 80's promoted the Macedonian culture in the frames not only of the former Yugoslavia, but even wider, in many countries of Europe. At the same time Mizar had the name as one of the most popular bands in the former Yugoslavia, based on its avant-garde sound image, and built not only upon the – until then – unseen mixture and interlacing of the rock'n'roll, ethnic and traditional folklore sound matrix, but also upon the texts given in Macedonian language: in that time and conditions, that was almost sacrilege.
With the multimedia project "Macedonian Streljba", Mizar united the most of the creative young forces in Macedonia to express themselves through the art and all of its forms – as the theater, film, painting, music… "Macedonian Streljba" was a project that, in some way, open the gates of the new expression form not only in the former Yugoslavia cultural scene (with the later appearance of the Neue Slovenische Kunst), but even wider in Europe. The Project ended with official censorship and blackmailing and oppression upon the participators by the Police and other Intelligence Services of the former Yugoslavia. Most of the actual participators in that project, today are the renomated and well-known cultural personalities and authors in Macedonia and abroad.
