text:
The Real World: New York

The Real World (retrospectively referred to as The Real World: New York, to distinguish it from subsequent installments of the series) is the first season of MTV's reality television series The Real World, which focuses on a group of diverse strangers living together for several months as cameras follow their lives and interpersonal relationships. It was created by producers Mary-Ellis Bunim and Jonathan Murray.

The cast consisted of seven people, ranging in age from 19 to 26, most of whom were already living in New York City when the series taped. The cast was filmed living in a SoHo loft from February 16 to May 18, 1992, and the series premiered May 21 that year. The series consisted of 13 episodes. This is the first of three seasons to be filmed in New York City. In 2001, the show returned to the city in its tenth season, and again in 2008 for its 21st season, set in the borough of Brooklyn. In 2021, the original cast reunited for The Real World Homecoming: New York.

As the first season of one of the first series in what is now considered the reality television genre, The Real World: New York is sometimes credited with pioneering some of the conventions of the genre, including bringing together a group of participants who had not previously met, and the use of "confessional" interviews with participants to double as the show's narration (though in the first season, the confessional interviews were sparse and were not taped in a separate, private room, as would become common later). Some, however, have credited an earlier series, the 1991 Dutch TV show Nummer 28, for these innovations.

Production history
The Real World was originally inspired by the popularity of youth-oriented shows of the 1990s like Beverly Hills, 90210. Bunim and Murray initially considered developing a scripted series in a similar vein, but quickly decided that the cost of paying writers, actors, costume designers, and make-up artists was too high. Bunim and Murray decided against this idea, and at the last minute, pulled the concept (and the cast) before it became the first season of the show. Tracy Grandstaff, one of the original seven picked for what has come to be known as "Season 0", went on to minor fame as the voice of the animated Beavis and Butt-Head character Daria Morgendorffer, who eventually got her own spinoff, Daria. Dutch TV producer Erik Latour claims that the ideas for The Real World were directly derived from his television show Nummer 28, which aired in 1991 on Dutch television. Bunim/Murray decided upon the cheaper idea of casting a bunch of "regular people" to live in an apartment and taping their day-to-day lives, believing seven diverse people would have enough of a basis upon which to interact without scripts. The production cast seven cast members from 500 applicants, paying them $2,600 for their time on the show.

The production discovered a nine-story, ten-unit residential co-op building at 565 Broadway, at the corner of Prince Street, in Manhattan's SoHo district, after much searching, and converted the massive, 4000-square-foot duplex to be the residence and filming location. Walls separating two adjacent apartments on the second and third floors were removed in order to form a single 4000 sqft, four bedroom residence, and were renovated for the filming of the series. Production personnel, which included up to 13 people at one time, utilized a work space with a separate entrance. The cast lived in the loft from February 16 to May 18, 1992. The series premiered three days later, on May 21, 1992.

Critical reception
At the time of its initial airing, reviews of the show were mostly negative. Matt Roush, writing in USA Today, characterized the show as "painfully bogus", and a cynical and exploitative new low in television, commenting, "Watching The Real World, which fails as documentary (too phony) and as entertainment (too dull), it's hard to tell who's using who more." The Washington Post 's Tom Shales commented, "Ah to be young, cute, and stupid, and to have too much free time...Such is the lot facing the wayward wastrels of The Real World, something new in excruciating torture from the busy minds at MTV." Shales also remarked upon the cast members’ creative career choices, saying, "You might want to think about getting a real job."

Nonetheless, the series was a hit with viewers, and the initial seasons have come to be reassessed. Writing in 2011, Meredith Blake of The A.V. Club found the cast to be "ambitious, articulate, and thoughtful". Though she conceded that nearly all of the cast were pursuing careers as performers, and thus had ulterior motives for appearing on the show, she found their motivations "relatively noble" compared to that of later participants in reality TV shows, many of whom wanted simply to become famous by appearing on TV. She wrote that later seasons of The Real World had become "too much to bear" after "cast members figured out that the best way to get screen time was to act out - not to sit around having freshman dorm-room-style conversations about race relations." She wrote that, by contrast to more recent examples of reality TV, "The Real World: New York now seems incredibly, achingly earnest, bracingly raw, and sweetly idealistic."

Cameo appearances
Isiah Thomas, Dennis Rodman and Bill Laimbeer make cameo appearances in Episode 5, when castmates Eric Nies and Kevin Powell attend a New York Knicks game at Madison Square Garden. Larry Johnson appears in Episode 7 to meet castmates Heather Gardner and Julie Gentry, who attend a Hornets game at the Brendan Byrne Arena. Matt Pinfield, a radio host for 106.3 FM, has a cameo in Episode 8 when cast member Andre Comeau's band, Reigndance, appears for an interview with that station. In Episode 9, cast members attend a rally for 1992 U.S. Presidential candidate Jerry Brown, at which both Brown and Michael Moore are shown speaking.

After filming
After filming the season, the cast reunited for the second-season premiere, and provided their predictions, advice and other thoughts regarding the Los Angeles cast. Heather Gardner predicted that someone would leave that cast. (David Edwards eventually did so. )

Warner/Chappell Music signed Rebecca Blasband to a publishing contract and financed a "surprisingly solid" extended-play CD called The Rebecca Blasband. She moved to Denver, Colorado in March 1995, and has opened for Edwyn Collins and Squeeze.

Andre Comeau eventually left Reigndance and joined another band, River Rouge. In 2011 they released their third album, Not All There Anymore.

In 2002, Norman Korpi and Clint Owen wrote, produced and directed The Wedding Video, a spoof of The Real World that starred ten alumni of various seasons of The Real World that took the form of the video for Korpi's Beverly Hills wedding. Starring in the video along with himself were Julie Gentry and Heather Gardner, whose single "One Life", is featured in the film. As of 2008 Norman Korpi is an artist splitting time between California and Michigan.

Heather Gardner released her first album, Takin' Mine, in 1996. As of 2002 she was living in Jersey City, and had just released her album Eternal Affairs through SAI Records.

Julie Gentry returned to Birmingham. As of 2002, she had been married for four years, had recently become a mother, and was attending school and teaching dance class.

Eric Nies went on to host the MTV dance series The Grind, and also hosted and participated in a number of Real World/Road Rules Challenges. He also appeared in two episodes of Days of Our Lives, as well as bit parts in the films Above the Rim and The Brady Bunch Movie. He returned to reality television as a cast member in the 2009 VH1 series in Confessions of a Teen Idol.

Kevin Powell became a writer for Vibe magazine, an author, activist and a politician. His books include Who's Gonna Take the Weight? and Keepin' It Real, a collection of post-MTV reflections. Powell also lectures around the country about pop culture, politics, and social justice, and has unsuccessfully run for Congress three times in New York. In 2017, he married Jinah Parker.

At the 2008 The Real World Awards Bash, Eric Nies was nominated for the "Hottest Male" award, while Julie and Kevin were in the running for "Best Fight".

In 2021, the original cast reunited for The Real World Homecoming: New York in which the roommates moved back into the same loft in which they lived in 1992, with the exception of Nies, who participated virtually after testing positive for COVID-19. The cast members reflected on their time filming the first season, and discussed ways in which their experiences affected their lives, and those of their families. The cast also discussed ways in which the culture had changed their views on things such as race relations from their time filming the inaugural season in 1992, and how society was reflected in the modern state of reality television, of which they expressed critical views.

The Challenge
Eric Nies served as a host on Battle of the Seasons.

title: The Real World: New York


text:
Talk:A.M. (Wilco album)

Good article nomination on hold
This article's Good Article promotion has been put on hold. During review, some issues were discovered that can be resolved without a major re-write. This is how the article, as of July 11, 2007, compares against the six good article criteria:

 * 1. Well written?: Overall good. Many of these things are incidental, but the last one is a little more involved.
 * "It was the last album to be recorded in an alternative country style." This is doubtful.  I think it should clarify that it was the last of this band's albums that was alternative country.
 * I would rework the first paragraph under Context and recording, since, in its current state, it is chronologically backwards, which makes it a little anti-climatic. I would reword it like this: "Uncle Tupelo's last album, Anodyne, featured a new lineup for the band —- a five-piece outfit with drummer Ken Coomer (who replaced original drummer Mike Heidorn), bassist John Stirratt, and multi-instrumentalist Max Johnston. On May 1, 1994, Uncle Tupelo played a concert in support of the album at Mississippi Nights in St. Louis, Missouri. Tensions had been mounting between singers Jay Farrar and Jeff Tweedy, and the concert included the two musicians singing an equal amount of songs. The concert would prove to be Uncle Tupelo's last."

(this band is only mentioned show the rivalry, but extensive information about their lineup, etc... is unnecessary.
 * "performed mastering" sounds odd. I would say mastered the album, and you can still wikilink it.
 * "Tweedy attempted to create a" would better be "Tweedy also attempted to create a" since it's his second effort mentioned in the paragraph.
 * "selected to appear on the album. It is the only song written by Stirratt to appear on any Wilco album." — To be more concise, change to "selected to appear on the album, and was the only song Stirratt song to appear on any Wilco album."
 * "Jay Farrar had formed" should be "Jay Farrar formed"
 * Remove this sentence: "Farrar was able to persuade Mike Heidorn out of retirement to drum for the band, and also added Dave and Jim Boquist to the lineup."
 * "felt that the band was taking" — which band?
 * The paragraph that begins "The album's title is intended..." should precede the paragraph that begins "While Wilco was recording tracks.." so as not to split up the info on the album creation.
 * In the section "Commercial and critical reception" their is too much information on Trace, or, more importantly, the information take precedence over AM. For example, out of the gate the paragraph reads "On September 19, 1995, Son Volt released Trace on Warner Brothers. Trace was met with good reviews..."  While I certainly see the relevance of Trace to to A.M., this article is about A.M., and Trace info should be secondary.  I almost failed the article over this, but thought you all might be able to fix it in a week.
 * 2. Factually accurate?: Good! Short article with an abundance of IC's and referencing (including a dead tree reference!).
 * 3. Broad in coverage?: Good here as well.
 * 4. Neutral point of view?: Good here.
 * 5. Article stability? No edit wars, only productive edits by (at least one) dedicated editor. Good.
 * 6. Images?: Image:Wilco.gif has no fair use rationale, and that is actually grounds for failure, but I think you can fix it in a week.
 * Fixed Teemu08

Please address these matters soon and then leave a note here showing how they have been resolved. After 48 hours the article should be reviewed again. If these issues are not addressed within 7 days, the article may be failed without further notice. Thank you for your work so far. — Esprit15d (talk ¤ contribs) 13:16, 11 July 2007 (UTC)
 * I fixed all of the grammatical suggestions. I'm paging through my sources, trying to find more informations about the album where its not being compared to Trace, but I'm not having much luck so far. Teemu08 22:34, 11 July 2007 (UTC)
 * The problem is not in the comparison to Trace. The problem is that the section is primarily about Trace with a passing mention about A.M..  The solution is in style and editing, not in information.  If casual readers stumbled across that section without having read the article, they would think they are reading an article about Trace that happens to mention the album A.M.  It should be the other way around.-- Esprit15d (talk ¤ contribs) 13:06, 12 July 2007 (UTC)
 * I just took another look at it, and it has improved dramatically. I'll re-review the article after the 48 hrs are up.  I will be going out of town, so if don't hear anything in a couple days, feel fee to invite someone else take a look at it.-- Esprit15d (talk ¤ contribs) 13:09, 12 July 2007 (UTC)

GA hold follow-up
I would like to say that this article has seen significant improvement, and I am promoting it to GA status. There are two more very tiny things I noticed that will need correcting. Otherwise great job: Again - congratulations!-- Esprit15d (talk ¤ contribs) 18:32, 18 July 2007 (UTC)
 * "the only song Stirratt song to appear" - needs to be fixed
 * I would remove the heading Promotional tour, as one paragraph subheadings are generally looked down on, except in rare cases, and I would say this is not one of them. The paragraph can just as will sit their without the heading.
 * Fixed and fixed. Danke. Teemu08 20:19, 18 July 2007 (UTC)

Fair use rationale for Image:Wilco.gif
Image:Wilco.gif is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot 18:40, 24 October 2007 (UTC)

GA Sweeps
This article has been reviewed as part of WikiProject Good articles/Project quality task force. I believe the article currently meets the criteria and should remain listed as a Good article. The article history has been updated to reflect this review. Strictly speaking though, the article should have contained information also on singles to be complete (there seems to have been only one). Lampman (talk) 20:54, 15 August 2009 (UTC)
 * Actually I now see there's one short sentence. There's probably not much more to say, since it never charted. Lampman (talk) 21:05, 15 August 2009 (UTC)

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license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:A.M. (Wilco album)


text:
Talk:William Woodruff

Untitled

 * I'd love a reference for the bit that reads "Vessel of Sadness, which has been called one of the most original, convincing and powerful stories about man and war that has ever been written". 81.135.12.203 Sliggy 20:00, August 28, 2005 (UTC)

Article status
The article could use some more tweaking, including a description of when The Road to Nab End and Beyond Nab End became surprise bestsellers. Much of the article currently draws from the Daily Telegraph page, even though more references are available, including. In case the references "disappear" or are not available on the Internet Archive, I have taken the liberty of archiving the pages using WebCite: see     Regards, --Jh12 (talk) 20:31, 27 September 2008 (UTC)

THANK YOU FOR YOUR HELP The best-seller story is covered here: A feature article on William Woodruff, by Michael Ellison, was published in The Guardian of January 25, 2001. It was called: "Not bad for a weaver's son" and it can be found at

http://books.guardian.co.uk/departments/generalfiction/story/0,,427863,00.html

--Woodruff (talk) 23:03, 9 December 2008 (UTC)

Moved from main page
I have moved this material from the main page, as it is inappropriate there.

"EDIT by planap I have some problems with Woodruff's account of his life at St Peter's School and elsewhere in Blackburn. Both my brother and I attended St Peter's after he did, we knew several of the characters in his book but some of the street names are unknown to us even though we lived in the same area of the town. Also, the book title is a mystery. There is/never was a Nab End in Blackburn. There is a Nab End several miles away which is a short hill just above the town of Whalley on the road between Little Harwood, a district in the north of Blackburn, and Whalley but this cannot be construed to be in Blackburn. There used to be a Nab Lane off Montague Street near to the town centre but this does not fit the title either." --Peter I. Vardy (talk) 09:55, 26 August 2013 (UTC)

title: Talk:William Woodruff


text:
Bisto

Bisto is a popular and well-known brand of gravy and other food products in the United Kingdom and Ireland, currently owned by Premier Foods.

History
The first Bisto product, in 1908, was a meat-flavoured gravy powder which rapidly became a bestseller in the UK. It was added to gravies to thicken them and give a richer taste and aroma. Invented by Messrs Roberts & Patterson, it was named "Bisto" because it "Browns, Seasons and Thickens in One".

Bisto Granules, which dissolve in hot water to form a gravy substitute, were introduced in 1979.

Bisto Gravy Powder 227g and 454g packets and drums during the late 1980's up to 1991 and 3 non identical pictures and the bottom back. From a Jug of Gravy, Shepherd's pie to Beef and Pepper Sauce.

As of 2005, Bisto Gravy Granules had a British market share of over 70%. Nearly all British grocery outlets stock a Bisto product.

Products
As of 2024, in addition to the original gravy powder the company also produces the following products. A new product called Sausage Gravy Granules in a Pink tub has hit the shops recently.

Gravy granules range

 * Beef
 * Beef (reduced salt)
 * Beef (gluten-free)
 * Chicken
 * Chicken (reduced salt)
 * Chicken (gluten-free)
 * Turkey
 * Turkey with Cranberry Sauce only available during Christmas
 * Vegetable
 * Onion
 * Southern style
 * American hot & spicy
 * Swedish Style Meatball
 * Pigs In Blankets (bacon flavour; 2022 limited edition) only available during Christmas
 * Sausage (new in 2024)

Bisto Best range
In 1991, Bisto launched a new, more expensive granules product. Packaged in a glass jar, it offered a fuller flavour than the standard granules.

 * Beef
 * Beef (reduced salt)
 * Chicken
 * Chicken (reduced salt)
 * Turkey
 * Turkey with Cranberry sauce only available during Christmas
 * Pork
 * Lamb
 * Vegetable
 * Caramelised Onion

Gravy pots range
A range of ready to use microwavable pots.

 * Chip Shop Gravy
 * Chip Shop Curry Sauce
 * Spicy Pepper Sauce
 * Katsu Curry Sauce

Sauce mixes range

 * Cheese sauce
 * Parsley sauce
 * White sauce
 * Curry sauce

Frozen foods
Produced under licence by Kerry Foods except where stated.

 * Yorkshire puddings (manufactured by Greencore)
 * Cottage pie
 * Bangers and mash
 * Roast chicken dinner
 * Roast beef dinner
 * Shepherd's pie
 * Beef in gravy
 * Spaghetti bolognese
 * Meat free spaghetti bolognese
 * Roast lamb dinner
 * Chips in curry sauce
 * Chilli con carne
 * Lasagne

Advertising
Bisto is notable both for the age of its brand and for the advertising campaigns it has used. In 1919, the Bisto Kids (created by illustrator Will Owen (1869–1957) ) appeared in newspapers and soon became popular. The Bisto Kids were a boy and girl in ragged clothes, who would be illustrated catching the aroma of Bisto on the breeze and exhale longingly, "Ah, Bisto!"

The Bisto Kids were also part of more elaborate advertising campaigns in later years. The Bisto Kids have not been included in Bisto advertising since 1996.

Many Bisto adverts shown on television through the years on British and Irish television are available on websites such as YouTube, Dailymotion, Classic TV Adverts, Retro TV Adverts, History of Advertising Trust, Vimeo and TV Ark.

1930s
In Birmingham in the 1930s a competition was held to choose a name for the two Bisto twin characters, a boy and a girl smelling Bisto's gravy. The competition was won by Mr and Mrs Simmonds, who named the twins after themselves, calling them Bill and Maree.

1950s
During the 1950s "Bisto For All Meat Dishes" was one of their first television advertisements.

1960s
During the 1960s adverts included "Pass The Gravy Pass The Bisto" and "Does Cooking Proud". At the end of the decade television adverts changed from monochrome to colour. Bobby Moore featured in the first colour advert for Bisto gravy in 1969.

1970s
During the 1970s popular advert phrases included "Where there's meat there's Bisto" and "Browns, seasons and thickens all in one" in a series of family adverts shown on television with celebrities such as Gordon Banks, Anita Harris, Henry Cooper, John Pertwee, Billy Bremner, Dick Emery, Terry Wogan and Alan Ball.

1980s
During the 1980s, the company released a series of ads in the UK which featured a song that included the recurring phrases like, "You Can't Kid A Bisto Kid" adverts that featured 1) Sandcastles 1980, 2) Bisto kids jumping out the window, also Bisto kids jumping off a slide in 1981 and 3) Family in 1982, "Much More Ahh" series with Lysette Anthony and Tarzan in 1984, Monkeys and Ghosts in a Halloween edition in 1985, "Never in a month of Sundays" series of 3 adverts 1) Car in the 1983 advert, 2) Mole featured Chris Wilkinson in the 1984 advert and 3) Music Playing in 1985 advert, "Now You're Home" an advert with a bus and school dinners ran (1987–1990), "Only Bisto Puts The Ahh into Gravy", "Insist On Bisto" was a series of family adverts, rectory and bistro, "For A Winner Of A Dinner" shown in Ireland only in 1987 and "When It's Dry Let It Pour". Chef Ruth Watson had a family advert for it in 1986.

In 1984 RHM Foods launched a nationwide competition to find children to act the role of the Bisto Kids, the recurrent "The Bisto Kids of the Year Awards". The first ever competition was won by Hayley Griffiths and Jimmy Endicott from Doncaster. They were six years old at the time and became the faces of Bisto, both for public relations and marketing events, and also appeared in an advert shown on prime time TV to find the next Bisto Kids. Bisto sponsored the ITV Telethon in 1988.

1990s
Adverts for Bisto gravy during the 1990s included the Dean Martin song Memories Are Made Of This. Other phrases were "Real Gravy in No Time at All", Vanessa Williams in a series of adverts called Save the Best for Last for Bisto Best range (1993–1996) and "It Put's The Ahh into A Meal" series (1990–1992) and a series with Julie Walters (1996–1998). In a 1993 advert for Bisto Fuller Flavour Gravy Granules a young couple for dinner on a train featured the Orient Express just before rebranded as Bisto Best.

2000s
During the 2000s adverts including in the early part of the decade "Gravy Matters" series of adverts (1999–2002) in Great Britain only, 100 years in 2008, Make A Great Meal Special shown in Ireland only.

2010s
During the 2010s adverts including "Now You're Talking".

The company sponsors the Bisto Book of the Year Awards in the Republic of Ireland.

The latest campaign for Bisto encourages families to sit up at the table for one night a week to eat 'proper' food.

2020s
In Autumn 2024 first advert for Bisto gravy powder for some years will be issued.

Ownership
Bisto has had several owners since its creation. It is currently owned by Premier Foods, which acquired Bisto when it bought Rank Hovis McDougall in March 2007 to form the largest UK foods manufacturing company.

Competition
Bisto's main competitor is Goldenfry Foods Ltd, which makes a branded gravy as well as most supermarket own-brand gravies.

title: Bisto


text: File:Temptations-emperors-of-soul.jpg

title: File:Temptations-emperors-of-soul.jpg


text: User talk:85.97.87.44

title: User talk:85.97.87.44


text: User talk:86.132.64.235

title: User talk:86.132.64.235


text:
Category talk:Gabber songs

The idea is to make a list of significant gabber/hardcore songs and to include these tracks as well in the List of songs by name. Brz7

title: Category talk:Gabber songs


text:
Paxo

Paxo is a brand of stuffing in the United Kingdom, currently owned by Premier Foods.

Paxo was devised in 1901 by John Crampton, a butcher from Eccles near Manchester, who wanted to have something extra to sell to his customers shopping for their Sunday lunch menus.

In the beginning sales growth of Paxo was slow because stuffing is mainly served with chickens and poultry was then traditionally regarded as a luxury. As the price of chickens dropped and that of red meats rose in the 1950s and 1960s, Paxo's popularity grew.

At Christmas, the product is advertised with the slogan "Christmas wouldn't be Christmas without the Paxo" (a play on the phrase "Christmas wouldn't be Christmas without the turkey").

Paxo was manufactured from the early 1950s in Sharston, Manchester, until 2009 when the factory was closed and production moved to the re-opened Bachelor's factory in Ashford, Kent.

title: Paxo


text:
Kandhamal district

Kandhamal district also known as Phulbani district is a district in the state of Odisha, India. The District headquarters of the district is Phulbani. It is a district full with natural beauties includes wild animals and birds.

Kandhamal is famous for its local turmeric renowned as 'Kandhamal Haldi' which has earned the Geographical indication (GI) tag from Intellectual Property India, an organisation functioning under the auspices of the Ministry of Commerce and Industry (India).

History
The Kandhamal district was established on January 1, 1994, following the division of Phulbani District into Kandhamal and Boudh Districts in Odisha, India. The district derived its name from the prominent Kandha tribe, which inhabits the region.

Geography
The district lies between 83.30° E to 84-48° E longitude and 19-34° N to 20-54° latitude. The district headquarters is Phulbani, located in the central part of the district. The other popular locations are Baliguda, G. Udayagiri, Tikabali and Raikia.Daringabadi (Kashmir of Odisha)

The territory is rural, with a number of waterfalls, springs, hill stations, and historical and archaeological places.

 * Area: 8,021 km²
 * Altitude: 300 to 1100 meter
 * Rainfall: 1597 mm
 * Climate: Minimum temperature (December) 1 °C; maximum temperature (May) 35 °C

A majority of the land area of the district (71%) is forests, and 12% of the land is cultivable. The road connectivity with other districts is poor. Kandhamal is one of the poorest districts in Orissa, ranking 29th out of 30 districts by the Human Development Index.

Demographics
According to the 2011 census Kandhamal district has a population of 733,110, roughly equal to the nation of Guyana or the US state of Alaska. This gives it a ranking of 497th in India (out of a total of 640). The district has a population density of 91 PD/sqkm. Its population growth rate over the decade 2001-2011 was 12.92%. Kandhamal has a sex ratio of 1037 females for every 1000 males, and a literacy rate of 65.12%. 9.86% of the population lives in urban areas. Scheduled Castes and Scheduled Tribes collectively account for 69.34% (SC: 15.76% and ST: 53.58%) of the district's total population. Kandha and Pan are the two dominant communities of the district, comprising over half the population with 50% and 12% respectively. While other Scheduled communities like Gond, Kandha Gauda, Haddi, Ghasi, Savar (Soura), Tanla, Keuta, Dom, and Dhoba also have a considerable presence. The district's general population makes up the remaining 30.66%.

At the time of the 2011 Census of India, 53.15% of the population in the district spoke Odia and 45.65% Kui as their first language.

A majority of the inhabitants belong to the Kondh tribe, following various religious faiths, who are said to be "proud and aggressive", in the words of a district official. The Kondhs hold 77% of the cultivable land. Khond Scheduled Tribes (including 21% Protestant Christian Khond tribals) make up the total of 53.6% of the population of the District.

Panos (the main Dalit community) hold less than 9% of the cultivable land. Officially Hindu, the Scheduled Castes, most of whom belong to Pano (Scheduled Caste) community, make up 15.8% of the population. However it is estimated that more than 10. 3% of the aforementioned 15.8% Panos in Kandhamal, while claiming to be Hindu in documents, covertly practise Catholicism in reality, and hence they are not even legally eligible for Scheduled Caste Status.

The majority of Panos are "covert" Catholics and there have been intercinine conflicts between the Catholic Panos and Protestant/ Hindu Khonds in Kandhamal over land resources.

Agriculture
Rice is the primary staple food and crop of Kandhamal district. In recent years residents have focused on horticulture, sericulture, floriculture and other agricultural activities apart from rice. The district is full of flora and fauna. A wide variety of wildflowers like orchids are found in the dense forests of the district. Mango, mahula (mahua), Indian gooseberry (amla), kendu, meswak and jackfruit are also found in abundance in the wilderness. Bamboo and Thysanolaena (broom grass) are collected from the forests of Kandhamal and used or sold. A special pulse known as kandula is native to this district; the Kondh people mostly cultivate it in the hilly forests. The organic turmeric cultivated in this district is popularly known as 'Kandhamal Haladi' and is renowned for its purity. An organization called Kasam promotes turmeric cultivation in the district. In some areas ginger is also cultivated along with turmeric.

Festivals
The people of Kandhamal celebrate many religious festivals from their tribal culture as well as many Odiya festivals. The Danda Nach is celebrated in the district mainly by the Kondh tribals, following their traditional religion. They observe this for thirteen days in the Hindu month of Chaitra. People go fasting for all the thirteen days who viewed for the particular boon or for grace from the goddess Kaali. The festival starts on the first of April and closes on the thirteenth day. The closing ceremony is called Meru. Kondhas consume the first mango of the season, only after it has been offered to the goddess Kaali on the evening of Meru.

In the month of January, Kondhs perform worship rituals after harvesting in the villages as per their own convenience. This puja is called Sisaa Laka. In the month of March they perform puja to get blessings from Darni Penu (the village deity) and Saru Penu (a mountain deity) to collect the mahula flower and green mangoes as well as the forest products. After offering to the deity, they collect the product to use as food, etc.

In the month of April/May they offer the mohula flower in the form of cakes to the village deity; this is called Maranga Laka. On special occasions Kedu Laka is done depending on the requirement of the mother earth, which is decided by the village priest, locally called Kuta Gatanju. Kedu Laka is one of the main occasions among the Kandha tribes in Raikia block; they do Kedu Laka to eat mangoes of the village.

After the sowing of the crops, to appease the mother earth, puja is performed for good crops at the village deity by the priest called Jakera. This Puja is called Bora Laka. This puja is done in the month of September/October. In the month of November/December new crops are collected; chuda and rice are prepared and made into khiri (rice pudding), which is offered to the village deity, and the villagers eat the new harvest.

The major Hindu festivals like Holi, Diwali, Rakshabandhan, Shivratri, Ram Navami and Janmashtami are celebrated by Kondhs and other Hindus in the district with equal fervor. The Hindu month of Kartik is considered sacred by tribal and other Hindu residents of the district; people observe fasting and stay away from non-vegetarian food and alcohol. Nowadays people celebrate the Savan (Shravan) month by offering their prayers to Shiva and carrying water to Shiv temples walking barefoot. During Rakshabandhan, village children organize a game called Gamhadiyan, where a small earthen pedestal is created and a string containing toffes is hung over it. Children jump over the pedestal to pluck and win the goodies from the string.

Many of the Khond tribal people converted to Protestant Christianity in the late 19th century, and they celebrate Christmas and Easter as well. Some of the Kondhs follow Islam and Eid; Ramzan and Muharram are also celebrated.

The Catholic Panos celebrate Christmas and Easter while the Hindu Panos celebrate all Hindu festivals. There are several Panos who have converted from Catholicism and Hinduism to Buddhism, especially in Raikia and Balliguda, and they celebrate Buddha Jayanti religious festivals.

There are other small communities of Sikhs and Jains who also celebrate their religious festivals.

Places of interest
Balaskumpa is a village in this south-east of Kandhmal (Phulbani) Sub-Division situated 20-25’N and 84-21’ at the confluence of two hilly streams, which combine to form the Pilla Salki river. It is 15 km from the Phulbani district headquarters, connected by a good road.

Belghar is situated at a height of more than 2,000 feet (609.6 metres) above the sea level in Balliguda sub-division. It is 70 km from Balliguda and 155 km from Phulbani. The area has a number of mountains, forest and wild animals, especially elephants. It has an Inspection Bungalow of Forest Department, which is built with wooden planks. It is lighted by solar power. Ushabali valley is near the village. Sometimes flocks of peacocks or wild elephants are seen by the roadside.

Chakapad is situated about 800 ft (243.84 m) from sea level in G. Udayagiri Tahasil. The historical Bhrutanga River originates here.

Another temple dedicated to Lord Anandeswar and Jogeswar (Siva) is located nearby; one big fair is held here on the Sivaratri day. The place is situated in the midst of thick forest.

Daringbadi is situated at a height of about 3,000 ft (914.4 m) above sea level in Balliguda sub-division. It is 105 km from Phulbani. It can be approached directly from Berhampur. The place is attractive in the summer season due to its low temperatures. Hill View point has been developed at Daringbadi, where visitors can view the valley. A tourist complex has been built at Daringibadi for accommodation of tourists. Coffee plantations attract visitors to Daringibadi all through the year.

Dungi is about 45 km from Phulbani, situated on Phulbani-Berhampur road in G. Udayagiri Tehsil. This is the only archaeological site in Kandhamal district. There was one Buddha Vihar of the 11th century; since it was ruined, Siva temples have come up on the site, excavated during construction of new temples, and are kept in the temple premises. One Buddha statue has been shifted from the nearby area to the Odisha State Museum, Bhubaneswar.

Jalespeta is a valley about 127 km from Phulbani, situated near Tumudibandh. It is the site of a Shiva temple located right between the hilly river rock bed. The banks of the tiny river surprisingly have white sand, which is very rare for this place. This part of the state usually doesn't have such clear white sand, which is common in coastal region river banks and sea shores.

Kalinga Valley (Kalinga Ghaats) is located 48 km away from Phulbani, the district headquarters on the Phulbani – Berhampur National Highway. The valley is famous for silviculture garden and medicinal plant cultivation. The silviculture garden has rubber trees and human-thick bamboo plants.

Ludu is located about 100 km from Balliguda in Kotagarh Block and 185 km from Phulbani. It is situated in dense forest inhabited by wild elephants. One fair-weather road leads to the side via Subarngiri. There is a 100-foot (30.5 m) high waterfall.

Mandasaru Kuti is located about 100 km from Phulbani in the Raikia Block. There is an old church on the outskirts of the village, surrounded by mountains. There is a mountain gorge nearby. Lodging options available.

Pakadajhar is about 30 km from Phulbani town near the village Sudrukumpa, situated on Phulbani-Boudh road in Phulbani Tahasil. The Pakdajhar waterfall is 60 feet high, and is nestled in the natural forest. There is a single road leading to the site from Sudrukumpa. With recent development of the destinations, a lot of tourists visit the place for picnics from early November to the end of February.

Putudi is 18 km from Phulbani town with a waterfall of 100 ft height, situated in the dense forest. One good road leads to the site. The waterfall is on the river Salunki.

Rushimal is situated about 50 km from Daringibadi, near the village Tamangi in Hattimunda G. P. A group of hills known as Rushimal hills are the origin of the river Rushikulya. At the source there is a small reservoir known as “Rushikunda”, and above the hilltop a cave known as Rushigumpha.

Urmagada is 17 km from Phulbani town on Phulbani-Gochhapada road in Phulbani Tahasil. The waterfall is 50 feet high, situated in a dense forest. One fair-weather road leads to the site.

Kotagarh is located in Kandhamal district about 120 km from Phulabani and 54 km from Baliguda. In the Kotagarh block there is a 375 m waterfall. Maa Bhabani Temple is in Keshragu, 2 km from Kotagarh (Bighna). Kotagarh also has a wildlife sanctuary with elephants, tigers, nilgai, wild boar, chital and antelopes. Along with a variety of reptiles and mammals, the sanctuary has an aviary as well. The aviary has red jungle fowl, peafowl, peacocks and a wide variety of wild birds.

Kuruduawaterfall is situated at the village of Ladimaha in Kotagada block about 160 km from the district headquarter Phulbani. It is surrounded with dense bamboo forest.

Transport
The nearest airport is at Bhubaneswar 211 km. There is an airstrip at Gudari 5 km from Phulbani town for landing small planes and helicopters.

The nearest railway station is Rairakhol, on the Sambalpur – Bhubaneshwar line, which is 99 km from Phulbani. However, Berhampur (165 km from Phulbani) is another convenient rail link.

By road, Kandhamal can be approached from Sambalpur via Boudh (170 km, 106 miles) and Berhampur (165 km) as well as from Bhubaneshwar via Nayagarh (210 km, 130 miles). It is 170 km away from Bolangir.

While there are no dedicated tourist buses to the places of interest in the district, taxis may be hired at Phulbani or Balliguda. There is no railway route in the district.

Health facilities
There are fourteen hospitals:
 * District Headquarters Hospital, Phulbani
 * Sub Divisional Hospital, Balliguda
 * Community Health Centre, Subarnagiri
 * Community Health Centre, Tumudibandha
 * Community Health Centre, Barakhama
 * Community Health Centre, Daringbadi
 * Community Health Centre, K.Nuagaon
 * Community Health Centre, Raikia
 * Community Health Centre, G.Udayagiri
 * Community Health Centre, Brahamanpad
 * Community Health Centre, Tikabali
 * Community Health Centre, Gumagarh
 * Community Health Centre, Phiringia
 * Community Health Centre, Khajuripada

Vidhan sabha constituencies
The following are the 3 Vidhan sabha constituencies of Kandhamal district and the elected members of that area.

Communal unrest and insurgency
On 25 December 2007, ethnic conflict broke out between Khond tribals and Pano Scheduled Caste people in Kandhamals.

In April 2010, a special "fast track" court in Phulbani convicted 105 people. Ten people were acquitted due to lack of evidence.

It is currently a part of the Red Corridor of India, an area with significant Maoist insurgency activity. Suspected Maoist rebels detonated a roadside land mine on 27 November 2010, blowing up an ambulance. A patient, a paramedic, and the vehicle's driver were killed.

title: Kandhamal district


text:
Triple Trouble (1918 film)

Triple Trouble is a two-reel American silent comedy film that was released in 1918. It stars Charlie Chaplin, Edna Purviance, and Leo White. This film was not an official Chaplin film, even though it has many Chaplin-directed scenes; after he left the studio, Essanay edited it together using outtakes and newly shot footage directed by White. It had already been established in court that Chaplin had no legal control over the films made during his time with Essanay and could not prevent its release. In his 1967 autobiography, Chaplin included "Triple Trouble" in his filmography.

Cast

 * Charlie Chaplin as The Janitor
 * Edna Purviance as Maid
 * Leo White as Count and Flophouse keeper
 * Billy Armstrong as Cook and Pickpocket
 * James T. Kelley as Singing Drunk
 * Bud Jamison as Tramp
 * Wesley Ruggles as Crook
 * Albert Austin as Policeman
 * 'Snub' Pollard as Flophouse tramp (uncredited)

Synopsis
Charlie (Chaplin) takes a job as a janitor in the home of Colonel Nutt (unidentified actor), a munitions manufacturer. As the butler (unidentified actor) introduces Charlie to the ill-tempered cook (Billy Armstrong), Colonel Nutt demonstrates his new wireless explosive device to his daughter (unidentified actress). Meanwhile, agents of the "Pretzelstrass" meet with the Count (Leo White) to devise a plan to get at Colonel Nutt's device. Charlie carelessly dumps garbage all over the maid (Edna Purviance) and her freshly cleaned floor. He takes the trash can and dumps it over the fence, inundating the Count in the process. Back in the kitchen, the maid scolds Charlie, but then she becomes emotional, and he comforts her. The Count enters the house, and is hit by a wet rag thrown by the maid, but intended for Charlie. The Count tosses it off to the side, and it winds up hitting the cook, and when the cook begins to act cruelly towards the maid in return, Charlie sticks up for her. The Count makes his way to the Colonel, who rejects his offers and has the Count ejected by the butler.

His day's work done, Charlie makes his way to a flophouse for a night's sleep. At this point, a pickpocket (Wesley Ruggles) holds up the Count, but instead of taking his money he agrees to join the caper to liberate Dr. Nutt of his invention. The conversation is overheard by a cop, who then runs off to inform his fellow officers, who are in an abandoned lot, shooting craps. They storm the Nutt house, disrupting its resident, but explain to him that they "are on the trail of a great robbery."

Back at the flophouse, Charlie is prevented from settling down by a loud, singing drunk (James T. Kelley) whom he eventually—and somewhat affectionately—dispatches with a champagne bottle. A thief (also Billy Armstrong) steals in during the night and robs the singing drunk, and although Charlie takes what he thinks are adequate precautions, he is also robbed. Charlie disguises himself under the blankets and manages to get his money back from the thief, but when the thief tries to stab him it wakes everyone up and a fight breaks among all of the men. Charlie manages to escape, dodging several cops on the way. However, he runs into the pickpocket on the street; recognizing him as an old friend, Charlie agrees to help him find a target, and leads him to the Nutt house.

The cops are all still there; lying around, smoking, waiting for something to happen. Pandemonium breaks out when the pickpocket enters the house, and amid the chaos, Colonel Nutt's explosive device is detonated, blowing all of the cops skyward. In the aftermath, the pickpocket is buried in a heap of rubble and Charlie is seen poking his head out of the kitchen stove.

History and background
Chaplin's contract with Essanay ended at the beginning of 1916 when he went to Mutual. Police, released on May 27, was his last authorized title with the company. On April 9, 1916 Essanay issued a re-edited version of Chaplin's completed film Burlesque on Carmen but padded with additional material to bring it to a four-reel length. Chaplin filed suit on May 6, but to no avail, as on July 8 the court determined that Essanay had the right to reinvent the client work Chaplin had done for them in any way that they saw fit. This opened the door to a number of subsequent Essanay-Chaplin compilations and re-releases such as The Essanay-Chaplin Revue of 1916 and Chase Me Charlie (1918).

According to publicity material that appeared at the time of its release in August 1918, Triple Trouble represented a new wrinkle in Essanay's strategy: "If you bought a piece of real estate and foresaw that its value would quadruple if you held it a certain length of time, what would you do? That's just what we did with Triple Trouble. [...] We knew there would come a time when it would be worth many times its weight in gold. We held this negative in our vaults for the most opportune time of release, which we believe is NOW." Such hyperbole is somewhat disingenuous; in 1915, Chaplin had begun work on Life, his first feature-length comedy, but Essanay had stepped in and stopped the production as Chaplin was taking too long—what they really needed was one-reel subjects to fill then voracious public demand for Chaplin's work.

Essanay created Triple Trouble, their last "new" Chaplin comedy, by taking at least one—and perhaps two—sequences that had been intended for the unfinished Life, bridging them with outtakes from Police, and through borrowing the ending from Work (1915). In addition, Essanay contrived new material to pad it out to the length of a two-reeler, the standard for comedies by this time; this material was shot in 1918 and directed by character actor Leo White. Though White appeared, most often uncredited, in close to 2000 films, Triple Trouble is the only credit he ever received for direction, and it has been suggested that White was strong-armed into the task. Certainly Chaplin never held it against him, as he continued to hire White as a supporting actor in his own films into the 1940s. Nevertheless, Chaplin's own response was swift; a telegram from Chaplin published in the August 10, 1918 issue of Moving Picture World reads, "THIS IS NOT A NEW CHAPLIN BUT FROM THE ADVERTISING LAYOUT IN TRADE REVIEW MUST BE NOTHING BUT THE DISCARDED PORTIONS OF POLICE THE LAST PICTURE MADE BY CHARLIE CHAPLIN FOR ESSANAY FIRST NATIONAL SHOULD STOP THESE MISLEADING STATEMENTS AND ADVERTISING WHICH MUST BE STAMPED OUT."

Legacy and preservation
Evaluations of the finished film vary; even in 1918, The Moving Picture World called it an "atrocious patch quilt of ancient slapstick reels." A review on the imdb refers to it as "Chaplin's worst film. The story doesn't make any sense " and indeed, the continuity in Triple Trouble is very difficult to follow; the pickpocket knows where the house is as the Count has already directed him towards it, yet he is still looking for a place to rob later in the film, and Charlie directs him towards the house again, presumably double-crossing his employer in the process. In Police, the scene is taken from the opposite angle.

Nevertheless, some have found value in Triple Trouble; in their 1965 book The Films of Charlie Chaplin, Gerald D. McDonald, Michael Conway and Mark Ricci stated that the film "has remarkable continuity and the pieces fit together, almost miraculously. " Walter Kerr, in his seminal 1975 book The Silent Clowns, stated that the film was "worthless, except for what it can tell us about the vein Chaplin was tempted to explore in his own kind of feature. " As it was, Chaplin did not make an actual feature until The Kid (1921), and he seemed to agree with that aspect of the inherent value of Triple Trouble through including the title in the filmography attached to his autobiography in 1964.

For Essanay, however, their claim that Triple Trouble "would be worth many times its weight in gold" apparently did not pan out. Burdened by the fallout from the loss of final appeals relating to the U.S. Government's anti-trust suit against former Motion Picture Patents Trust companies and an inability to compete in a market dominated by features, Triple Trouble was practically the last new film that Essanay produced. It was followed by a trickle of reissues of older titles that finally petered out in 1920.

Controversy
There is considerable controversy as to whether the flophouse sequence in Triple Trouble was footage trimmed from Police or part of the uncompleted project Life. The Essanay description of Police filed with the Library of Congress at the time of copyright on May 12, 1916 indicates a deleted scene similar to the content in Triple Trouble: "[Charlie] goes to a lodging house and in order to save his dollar from thieves puts it in his mouth, swallowing it while he sleeps. A crook robs the men in the lodging house but Chaplin takes the money from him. This starts a battle." As part of his television documentary The Chaplin Puzzle (1992), director Don McGlynn included a reconstruction of Police which attempted to re-incorporate the flophouse sequence from Triple Trouble into the earlier film. Some Chaplin scholars felt that the result was unconvincing and that certain incompatible details between the flophouse sequence which remains in Police and that from Triple Trouble indicate that the Triple Trouble material is merely a similar scene, but one derived from an independent project. The issue is regarded as unresolved.

Preservation and home video status
As a Chaplin film in the public domain, sources for Triple Trouble are numerous, and it circulated in 8 and 16mm in the era of home film collecting. The Image DVD version on Chaplin's Essanay Comedies Volume 3 has been adjudged the best available in that—for the most part—it is derived from a 35mm print, and includes one shot that does not appear in other versions.

title: Triple Trouble (1918 film)


text:
Cherie and Renno

Cherie and Renno, formerly known as Izabo (Hebrew: איזבו), are an Israeli duo that was formed in 1989. Their musical style is diverse, ranging from indie rock, disco and Middle Eastern music. Under the name Izabo, they represented Israel at the Eurovision Song Contest 2012, with the song "Time".

Biography
Izabo was founded in Petah Tikva in 1989. Their original line-up consisted of Ran Shem Tov, Shiri Hadar, Nir Graf and Tamir Muskat.

In 1994, they released their first album titled Movie Maker along with three singles. This album is often omitted from Izabo's chronology and songs from it are never played in live concerts. The band's line-up changed following the release of the album and again in 1997, with the final line-up, which remained for 19 years, consisting of founders Shem Tov and Hadar, as well as Jonathan Levy and Nir Mantzur.

Their sophomore album, The Fun Makers, was released in late 2003 and received highly positive critical acclaim, with the songs "Morning Hero" and "Cook Me" achieving major radio success in Israel. Several months later, Izabo signed on to Sony BMG, through which they released their British debut, The Morning Hero EP. The release was accompanied by a concert tour during which Izabo performed in England, Scotland and the Netherlands.

Izabo collaborated with a large variety of artists, on stage and in studio, from singer-songwriter Ahuva Ozeri to choreographer Ohad Naharin.

Izabo's collaboration with Shotei Hanevuah produced the single "Hu", which won the Music 24's "song of the year" award.

Their third LP, Super Light, was released in July 2008.

On March 26, 2012, Izabo released an EP titled Summer Shade. The EP included the 2012 singles "Summer Shade", "On My Way" and "I Like It", the band's final singles under the name Izabo.

In early February it was revealed that Izabo had been chosen by a group of mass communications and music industry experts to represent Israel in the Eurovision Song Contest 2012 in Baku, Azerbaijan. The song, Time, has verses in English and choruses in Hebrew. They did not progress past the semi-final round.

On the May 21, 2012, they released the album Life Is on My Side in the UK, through 100% Records.

In 2016, Nir Mantzur and Jonathan Levy left the band, and the band changed its name to Cherie and Renno.

Two years later, Cherie and Renno released a self-titled album. The album is Cherie and Renno's first album, and the fifth in the band's history.

Albums
As Izabo:

 * Movie Maker (1994)
 * The Fun Makers (2003)
 * Super Light (2008)
 * Life Is On My Side (2012)

As Cherie and Renno:

 * Cherie and Renno (2018)

Singles
As Izabo:

 * "Beady" (1993)
 * "Here She Comes" (1993)
 * "Movie Maker" (1993)
 * "Morning Hero" (2004)
 * "Tomorrow" (2008)
 * "Slow Disco" (2008)
 * "Slow Disco (T.B.S. Remix)" (2009)
 * "Summer Shade" (2012)
 * "On My Way" (2012)
 * "Time" (2012)
 * "I Like It" (2012)

As Cherie and Renno:

 * "MEOW!" (2017)
 * "Let Me In" (2018)
 * "Space" (2018)
 * "Summer Smile" (2019)

Music videos

 * "Morning Hero" (2004)
 * "Play with Me" (2004)
 * "Cook Me" (2004)
 * "Shawarma Hunters" (2008)
 * "Slow Disco" (2009)
 * "On My Way" (2010)
 * "Summer Shade" (2011)
 * "I Like It" (2012)
 * "Time" (2012)

title: Cherie and Renno


text:
Top lista nadrealista

Top lista nadrealista ("The Top List of the Surrealists", sometimes "The Surrealists' Chart Toppers")—also known as TLN or Nadrealisti ("Surrealists")—is a Yugoslav sketch comedy and variety television show. Produced by TV Sarajevo, it aired on the nationwide Yugoslav Radio Television (JRT) public broadcasting system in three separate instalments between 1984 and 1991, having originated from a weekly fifteen-minute local radio comedy segment that was part of the Primus program on Radio Sarajevo's channel two from 1979 until 1985.

In 1984, after establishing a core radio audience locally in the city of Sarajevo, Top lista nadrealista radio segment got spun off into a television sketch series. Two more series on television followed, in 1989 and 1991, making household names of its protagonists all over SFR Yugoslavia and helping launch and solidify successful television, film, and musical careers for some of them (most notably Nele Karajlić and Branko "Đuro" Đurić).

Although eventually best known for insightful and often prophetic political humour, TLN initially relied mostly on its protagonists' youthful improvisation and ad-libbing for laughs while staying away from politics entirely. Towards the late 1980s and into the early 1990s—during the show's second and third series, respectively—a period during which some of its most memorable and enduring sketches were created, Top lista nadrealista incorporated political satire while infusing their social satire with additional surrealist and black comedy. The show's 1989-1991 popularity is reflected in some of its sketches' language and phrasing entering public vernacular (see Hrkljuš). In the late 1980s and early 1990s, a number of TLN sketches dealt with the deteriorating political situation in Yugoslavia that turned out to be a prelude to the Yugoslav Wars with some sketches proving prophetic, portraying a dystopian near-future—featuring the Yugoslav state being disintegrated, the city of Sarajevo divided between different newly-established states, a single family split into two clans warring over control of rooms in their apartment, UN peacekeeping forces adding fuel to the conflict, etc.—years before it became reality.

In the context of the Yugoslav Wars that had already begun as the show's third series was being filmed, Nadrealisti held a clear pacifist posture, often using absurdity and dark hyperbole when portraying rising ethnic tensions and imminent war in SR Bosnia and Herzegovina (e.g. warning that "peace may break out and ruin Bosnian harmonious war" or giving alarming instructions on "how the public should act in case of peace").

Background
Top lista nadrealista first appeared on 10 November 1979 in the form of a radio segment, airing as part of the Primus program on Radio Sarajevo's Channel Two. The segment—a 15-minute piece of free-form radio envisioned by its creator Boro Kontić as a showcase for talented local Sarajevo-area youngsters within his Primus weekly radio show—featured a group of protagonists that didn't stick around past one or two weeks.

The segment's late 1979 launch took place as part of the radio host and producer Boro Kontić's takeover of Primus a.k.a. Priče i muzika subotom (Stories and Music on Saturdays)—a weekly magazine-type radio show that had already been airing on the state-run Radio Sarajevo's Channel Two since 6 January 1979. Kontić thus inherited the weekly Saturday morning 8-11am show from the previous host Jovo Došlo who had decided to leave the radio business altogether and move back to his hometown Mostar. A young man in his mid-twenties, Kontić immediately set about infusing the show with elements of pop culture by introducing two new segments—Šta je pisac htio da kaže involving translations of the English language pop hits into Serbo-Croatian and the aforementioned Top lista nadrealista that would, over the following year and a half, become somewhat of a revolving door featuring a multitude of amateur participants none of whom would keep showing up long enough to develop any continuity.

Always on the lookout for fresh talent to bring on the show for the Top lista nadrealista segment, by early 1981—through his younger budding musician brother Saša Kontić as well as their neighbour, Saša's classmate and Ozbiljno Pitanje bandmate Zlatko Arslanagić—Boro Kontić became aware of a group of kids in their late teens from Sarajevo's Koševo neighborhood, each one involved with music as well as other forms of artistic expression. In addition to music, Arslanagić—who had also been dabbling in prose writing, poetry, and graphic design—attracted Kontić's attention for his hobby of coming up with fictional bands' record covers with elaborate sleeves and liner notes. Relaying Boro Kontić's offer of taking over the Top lista nadrealista segment that had been airing on Primus for some eighteen months already, Saša Kontić and Arslanagić approached Zenit Đozić and Nele Karajlić—high school seniors and two of the members of a recently formed garage punk rock band Zabranjeno Pušenje—who after some initial trepidation on Nele's part eventually accepted the offer.

May 1981 debut of Nele Karajlić, Zenit Đozić, and co.
Though the Top lista nadrealista fifteen-minute segment on Primus had already been around since November 1979, its start in earnest is considered to have taken place on Saturday, 9 May 1981 as the group of kids debuting that day—led by eighteen-year-old Nele Karajlić and nineteen-year-old Zenit Đozić—would go on to do the segment for the rest of its run on radio including eventually spinning it off into a television series. Their debut radio segment was conceptualized as a faux terrorist takeover of the radio station with insurgents reading out their manifesto along with a list of demands. These included: more young bands on radio and television, Dom mladih (Youth Center) being returned to those it nominally belongs to—the youth, removal of older radio executives from the station, more punk on the daily radio playlists, etc. Unbridled, raw, and unscripted, the debut segment done by Nele Karajlić, Zenit Đozić, Roki, Rizo Petranović, Zlaja Arslanagić, and Saša Kontić set the tone for what was to come: juvenile behaviour, infantile jokes, raucous street energy, with occasional cogent observation hinting at deeper social issues—all seldom heard prior on the buttoned-up state-run radio in communist Yugoslavia. The only adults in the mix were the Primus host and executive producer Boro Kontić and his sound engineer Husein Vladavić, both of whom were present behind the scenes during the segment tapings, but did not take part in them on the microphone.

Right after the debut show, Boro Kontić asked his younger brother Saša not to come any longer. Decades later, Karajlić would speculate Kontić did so realizing right away the amount of scrutiny segment would be under from the radio higher-ups thus not wanting the added pressure of having a close family member there. Roki also stopped coming after the debut show. In turn, Karajlić brought along Boris Šiber, a neighbourhood buddy from Koševo, while Zenit brought in Dražen "Para" Ričl, another Koševo lad.

Though the attendance was spotty throughout its entire run on radio, five guys—Nele Karajlić, Zenit Đozić, Zlatko Arslanagić, Boris Šiber, and Dražen Ričl—established themselves as the core of the Top lista nadrealista segment over its initial weeks and months on the air. At first reserved and somewhat skeptical about the long-term radio prospects for this raw new group of kids, the segment's producer and Primus host Kontić would soon become one of their biggest media supporters, devoting a lot of his time and energy to championing their work in and outside of radio. According to Kontić, after completing several initial weekly radio segments with the new Top lista nadrealista kids, the catalyzing occurrence for his own personal realization about their potential and talent was witnessing the energy and crowd reaction at an early Zabranjeno Pušenje (at that point still a demo band fronted by Karajlić with Đozić on drums) club gig in June 1981 at the Cedus venue's small room in Sarajevo. Likening the experience to "feeling a change in atmospheric pressure within that room", Kontić fully embraced the role of a behind-the-scenes facilitator and nurturer for this group of young performers.

Not formally trained in performing arts and completely unfamiliar with the specifics of performing on radio, the five-member group of Koševo kids initially relied on the intuitive techniques they picked up while performing for their social circle in a Koševo apartment building basement that had been serving as their practice facility. Over time, they began somewhat deferring to the more experienced Kontić, even the sound engineer Vladavić, accepting and incorporating their performing advice and content notes. Since each one of the five performers was simultaneously also involved with a band—Karajlić, Đozić, and occasionally Šiber with Zabranjeno Pušenje and Ričl and Arslanagić with Ozbiljno Pitanje—music became the focal point of many of the radio sketches. A lower music school graduate and by far the most talented guitarist among the group, Ričl usually provided the musical support on guitar in the sketches.

Local popularity in Sarajevo
The group's creative modus operandi on radio consisted of getting together every Thursday in Šetalište, a kafana on Sutjeska Street (around the corner from the Radio Sarajevo building at 7 Danijela Ozme Street) a couple of hours before their scheduled 9pm studio taping in order to come up with bits for that week's segment. Under their command, the segment became a complete free format—sometimes a single bit for the entire fifteen minutes, other times a weekly recap through satirical commentary touching on recent local and global events, ranging from hyperlocal human interest newspaper stories to world events such as the downing of Korean Air Lines Flight 007, assassination of Indira Gandhi, and Ronald Reagan's re-election. Since the attendance was always very unstable, the taping often involved bringing random Šetalište patrons into the studio for bits. Uncoordinated and chaotic as well as airing at an unpopular timeslot, Saturdays at 10:15am, when most of its target demographic is fast asleep, the segment nevertheless rapidly gained popularity among young listeners and soon became the staple of Primus. Getting around the early timeslot, many youngsters resorted to recording the segment on audio cassettes and sharing; scenes of young people in bars listening to segments they taped off radio were not uncommon around the city.

Though mostly free of direct political messaging or even mild allusions (and in no way injurious to SFR Yugoslavia's unquestioned values and sacred cows such as the Communist League, Comrade Tito, and People's Liberation Struggle so as to trigger a swift ban), the segment's irreverence and increasing listenership still led to it being closely monitored by the Radio Sarajevo executives and consequently tweaked and censored as they deemed necessary. Kontić attended most of the content review meetings Friday mornings during which he reportedly often resorted to multiple forms of trickery in order to save various pieces of material from being cut. Having a sudden coughing fit, starting random conversations to divert attention, and purposely including a more outrageous piece of material for the executives to glam onto, so that the piece the group really wanted in gets through were just some of the ways Kontić used during content review sessions in order to try to reduce the censorship of the Top lista nadrealista segment. According to Karajlić, part of his own personal fun of listening to the Saturday morning radio segment broadcast was realizing which part of the material they had recorded two days earlier on Thursday never made it to air.

As its popularity grew, 'Top lista nadrealista' segment slightly expanded from topical humour to include longer bits, played in installments. Some of the more popular sketches included "Bata brani u Sarajevu" (a takeoff on the famous partisan film Valter brani Sarajevo) and rock opera "Kemmy" (parody of The Who's Tommy).

It wasn't long before a move to television was suggested and first steps to that end arranged by TV Sarajevo. However, following a few screen tests that essentially consisted of the group doing their radio schtick before cameras, the television executives deemed them too unpolished and sent them back to radio.

By March 1983, some of the individuals in and around this often intertwining group of Sarajevo-based budding radio personalities, musicians, and comedians (most of them from the same Koševo neighbourhood) came up with an idea of putting all of that activity under a single definition banner—thus giving birth to New Primitives, an entity that functioned as something between a (sub)cultural movement and a cheap public relations ploy.

Musical synergy
Most members of the on-air radio crew were simultaneously involved with music. Since 1980, Karajlić had been fronting a garage rock group called Zabranjeno Pušenje together with his buddy and neighbour Sejo Sexon while early lineups included Đozić on drums with even Elvis J. Kurtović and Šiber spending some time in the band. Furthermore, Zlatko Arslanagić and Dražen Ričl played together in a band called Ozbiljno Pitanje that disbanded when Ričl started playing alongside Kurtović and Rizo Petranović in a band called Elvis J. Kurtović & His Meteors, initially the most established group of the lot since they were the first to get a recording contract (with ZKP RTVLj).

The synergy of weekly radio appearances along with constant gigging around Sarajevo in student hangouts (Trasa, Kuk, Cedus, etc.) created a bit of local buzz that benefited both the radio and music side of things. By early 1984, Zabranjeno Pušenje finally got the record deal they were after (with Jugoton no less) while Top lista nadrealista developed enough of a following among the Sarajevo youth that it got a second shot on television in June 1984.

Radio segment in parallel with expansion to television and after
The weekly radio segment continued in parallel with the television episodes and the success of Pušenje's debut album.

Good album sales combined with the satisfactory reception of the television episodes prompted the release of Top lista nadrealista radio material on audio cassette tape by Diskoton. Produced by Boro Kontić, it consisted of the troupe's best radio sketches. However, the so-called 'Marshal affair' that Nele Karajlić and Zabranjeno Pušenje got themselves into put a damper on many activities. First, the 11-episode Top lista nadrealista run on television ended in late December 1984. Then, the Top lista nadrealista audio cassette tape's promotional cycle got blocked on administrative orders from above — becoming unavailable for sale in general circulation, only through traveling salesmen. Nevertheless, it still managed to sell 10,000 copies.

Finally, during March 1985, the Top lista nadrealista segment got taken off radiowaves for good.

First television series (1984)
Top lista nadrealista's expansion to television came about through the TV Sarajevo folk music programming executive Erna Perić who came up with an idea for a prime time show of folk music numbers with comedy sketches in-between each song. Though not at all fitting into the folk music milieu, the group accepted the offer of being the comedy filler on a folk music show as it meant exposure to a whole new audience they would normally never reach on the radio. They started shooting sketches in April 1984, a few months following the Sarajevo Winter Olympics. In addition to the radio five of Nele, Zenit, Para, Šiber, and Zlaja, the group was now joined by soon-to-be twenty-two-year-old Branko Đurić, local journalism student, musician, and aspiring actor, whom they had befriended at the Dedan kafana in Sarajevo where he had a knack for spontaneously entertaining the patrons by doing impressions.

Top lista nadrealista television show debuted on 2 June 1984, airing Tuesdays at 8:00pm on TVSa2 (TV Sarajevo's channel 2) while also shown in the rest of SFR Yugoslavia through the JRT system. Directed by Davor Marjanović who was joined by Vuk Janić after a few episodes, and with main on-camera protagonists Nele Karajlić, Branko Đurić, Zenit Đozić, Boris Šiber, and Dražen Ričl as well as Zlatko Arslanagić who participated in later episodes, the television sketches mostly retained the structure and form of their radio skits. Around 45 minutes long, each episode features between five and eight folk music numbers performed by popular folk singers of the day like Halid Bešlić, Ferid Avdić, Šaban Šaulić, Hanka Paldum, Zehra Deović, Himzo Polovina, Zaim Imamović, Sejo Pitić, Usnija Redžepova, Amela Zuković, etc. Many of the sketches in-between the folk numbers are tied together by a common theme and presented in instalments over multiple episodes.

A number of sketches revolve around parodying a fictional TV station—usually as the opening bit of each episode—with recurring characters: news anchor Mitrije Crnica (played by Karajlić) and the station's security doorman played by Đuro whose catchphrase "Ćega, ba" caught on quickly. Another running parody based on Shakespeare's Romeo and Juliet features young lovers Sejo and Seada falling in love despite their respective families supporting bitter cross-town football rivals FK Sarajevo and FK Željezničar. They also lampooned Star Trek with a running multiple-installment bit called "Burek u svemiru" that portrays a space crew on a mission to find the best burek in the universe. Another running bit portrays Fu-Do (played by Đozić), righteous vigilante well-versed in martial arts who protects the residents of several local Sarajevo neighbourhoods from various ills—including ruthless smugglers selling counterfeit clothing and public market (pijaca) re-sellers offering produce at exorbitantly marked-up prices. Furthermore, actual events taking place as the series was shot—such as Yugoslavia's preparation for Euro 1984 or Rajko Janjanin's European Cup hat-trick versus Benfica—provided fodder for the sketches. Allusions to political figures and events were off-limits on the show. By closely sifting through sketch ideas and their implementation, applying censorship as needed, the state-owned and party-controlled TV Sarajevo made sure the show stays away from overt political commentary and direct social criticism.

Though it proved a challenge initially, it didn't take too long for the television show to start getting a bit of a wider following. Its core demographic—Sarajevo youth—that had been on board all along continued to be there, but getting viewership in other demographics and other parts of the country took some time. Once obtained, this newly found popularity was in large part based on the abundance of colloquialisms and local Sarajevo street parlance—none of which could be seen up to that point on the buttoned-up Yugoslav TV. In total, eleven episodes were aired during the first season. Considering each one of the six protagonists was in their early twenties, the sketches expectedly centred around exuberance and improvisation, which dominated over the written material.

Reception
According to Karajlić, speaking decades later in 2010, the first instalment of Nadrealisti was "the result of our youthful hysteria and it relied more on raw energy than brains". Elvis J. Kurtović, a friend of the crew who was involved with the show in limited creative capacity, said in 2005: "Back when we were kids those Top lista nadrealista episodes were done by people who didn't know jack-squat about television and who shot everything in a single take and on the first try. When you watch those episodes today you can see that many of them are badly directed and produced. Not all of them, there're some good ones, but the first series is particularly horrible in this regard".

Đuro, the new member of the group, rose to prominence immediately with his broader acting range setting him apart from the rest of the self-taught performers. Incorporating him into the group as a new piece, in addition to figuring out how to perform for the cameras for the first time, required adjustment compared to how Nadrealisti functioned on radio. However, since even their radio cast had always been fairly fluid from week to week, integrating a new member proved to be seamless as part of the group's generally frenzied, all-comers frame of mind. The arrival of Đuro also set the stage for a formation of a new dynamic within the group that would end up being much more pronounced in subsequent TLN television series: with original members Nele and Zenit on one side—framing the concept via providing initial ideas and connective tissue for the sketches—and "funnier and more talented performer" Đuro on the other side doing most of the heavy lifting on the acting front.

Zabranjeno Pušenje takes off nationally as result of Top lista nadrealista on television
As mentioned, in parallel with Top lista nadrealista, Karajlić also fronted a punk rock band called Zabranjeno Pušenje that released its debut album barely two months before the show's premiere on television. Released by Jugoton, the record was out in limited circulation of 3,000 copies, a number clearly indicative of the label's modest expectations, especially after the poor sales of Elvis J. Kurtović & His Meteors' debut album barely a few months earlier. However, following Top lista nadrealista's television debut, the Zabranjeno Pušenje album started selling surprisingly well, eventually exceeding 100,000 copies sold.

Though none of the remaining five Top lista nadrealista performers were official Zabranjeno Pušenje members at this point, the two projects frequently overlapped, creating synergy that ultimately helped the popularity of both. By early summer 1984, Top lista nadrealista started getting bit of a wider audience, which in turn helped the sales of the Zabranjeno Pušenje album. By late September 1984, the band sold enough records for a Yugoslavia-wide tour to take place. Karajlić thus devoted more time to the band's tour than to the TV show whose production was now scheduled around his band obligations. The band's success on the road was rapid, and by November they were selling out sports arenas. During a concert in Rijeka in late November 1984, Karajlić made a pun after the Marshall amplifier broke down, jokingly announcing to the crowd: "The Marshall has croaked! .... The amplifier, that is", indirectly alluding to the late Yugoslav lifetime leader Josip Broz Tito who held the military rank of Marshal and who had died four years earlier. The seemingly innocuous statement delivered in jest in between two songs at a rock concert soon created a firestorm of controversy as various state and communist party bodies went after the band, targeting Karajlić specifically. For weeks and months during late 1984 and early 1985, the print media was full of articles condemning the band over the statement while its gigs were being cancelled. In order to cope with the new situation, the band opted to stay out of the public eye for the time being, which also meant putting the show on hiatus indefinitely.

Background
It would be more than five years before Top lista nadrealista returned for the second installment in fall 1989. In the meantime, some of its protagonists achieved a lot of success in other arenas.

Nele Karajlić had become a veritable country-wide celebrity and a sought-after media personality with an eye-catching stage persona as the vocalist of Zabranjeno Pušenje that had put out two more successful albums since its breakout debut one and was about to release its fourth. His TV profile had further been raised via starring in Timothy John Byford's 1988 kids show Tragom ptice Dodo on TV Sarajevo. A couple of years earlier, Karajlić had overcome the potentially career-ending 'Marshal affair' with the initially bombastic verbal offense court case against him eventually quietly concluded with a symbolic monetary fine.

Branko Đurić was in the process of also becoming quite well-known courtesy of his budding acting career with memorable roles in Audicija comedy show as well as films like Ovo malo duše, Dom za vješanje, Kuduz, and Kako je propao rokenrol while also maintaining a bit of a musical career with Bombaj Štampa.

Finally, after its commercially disappointing debut, Dražen Ričl made one more album with Elvis J. Kurtovich & His Meteors, but left right after in spring 1985 as the group effectively disbanded anyway. At the time of their breakup, Ričl had already been in the process of reuniting with old Ozbiljno Pitanje bandmate Zlatko Arslanagić to establish a new band with a softer, pop-rock sound. The two soon unveiled Crvena Jabuka, a group that immediately started taking off commercially. However, Ričl died on 1 October 1986 from the injuries sustained in a car accident two weeks earlier near Jablanica en route to a Mostar gig in support of their debut album. Zlatko Arslanagić was also in the same car but survived the crash, and after getting over severe depression decided to continue Crvena Jabuka, but did not return for Top lista nadrealista's second series.

Preparation and shooting
Nadrealisti thus reconvened in August 1989 without Ričl and Arslanagić, but with new protagonists Darko Ostojić, Dado Džihan, and Dražen Janković, as well as Srki Velimirović who kept behind the camera but contributed with sketch ideas and scriptwriting. Their getting together this time was organized and coordinated by Slobodan Terzić, TV Sarajevo executive in charge of culture and arts programming. Noticeably more mature and structured, the 8-member group was now directed by thirty-four-year-old Miroslav "Ćiro" Mandić who had already accumulated a bit of a cinematic CV behind him, having directed a feature film Život radnika two years earlier and having been one of Emir Kusturica's ADs on the Palme d'Or-winning When Father Was Away on Business in 1985.

The written material courtesy of Karajlić and Velimirović became tighter and more polished compared to the 1984 series as sketches now started hinting at deeper social issues and trends. The upgrade in production and organizational matters was noticeable from the start of the second series. Implemented in practice, it meant that rather than having sketch excerpts that revolve around a theme over an entire episode, the show incorporated different sketches of varied structure and the music numbers got reduced.

Just like the first series from 1984, the core of the second series also included a parody of television programming cliches with various TV characters — an unnamed news anchor played by Karajlić and his newscast director played by Ðurić as well as a plethora of roving reporters played by all cast members — framing the sketches. Predicting future political and social events, both in Yugoslavia and abroad, became another staple of the second series — with Murphy's law governing these forecasts where the worst outcome is usually the one that ends up occurring. Finally, many, including Karajlić and Nadrealisti executive producer Terzić, talked about the second series sketches being infused with satirical techniques from the works of Radoje Domanović such as Vođa and Kraljević Marko po drugi put među Srbima.

The shooting dragged on for months throughout late summer and fall 1989. It was not without personnel issues, including director Mandić essentially quitting early on due to creative differences with the guys before he got persuaded to continue on via intervention by executive producer Terzić who even enlisted Emir Kusturica's help in this regard. Mandić's relationship with the main on-camera performers Nele and Đuro was apparently so fraught initially that Đuro at one point even began lobbying for Mandić to be replaced with Goran Gajić, an old friend of the New Primitivism guys whom Đuro had shot The Fall of Rock and Roll with earlier that year. Mandić came back into the fold soon after quitting as the two sides found a modicum of common ground creatively.

Airing
Once it started airing in late fall 1989, the series achieved critical praise though it took several episodes for the general public to catch on. Once that happened, the series exploded all over SFR Yugoslavia with risque sketches that relied on absurdity as the starting point becoming widely quoted classics. Most also provided many thinly-veiled hints and winks in reference to the current political and social situation.

A very popular sketch featuring "Swedish workers escaping their politically unstable homeland and seeking refuge in Yugoslavia only to find low-skill jobs for local ruthless small-business bosses", in addition to providing uproarious laughs through well-crafted dialogues, parodied the decades-long drain of Yugoslav nationals to Western Europe in search of better employment opportunities.

Another classic sketch, featuring Rade Pendrek, an exemplary and obedient forty-year-old street cop, having a nightmare about waking up in a country where uniformed intellectuals round up disobedient cops to university halls in order to forcibly correct their misbehaviour by having professors aggressively read Nietzsche and play Mozart to them as worker riot-squads armed with shovels roam the streets outside breaking up police protest rallies, humorously hinted and winked at a wide range of actual events: from the Žuta Greda incident during the Anti-bureaucratic revolution to the party-initiated media and institutional campaigns against dissenting University of Sarajevo professors and lecturers Nenad Kecmanović, Vojislav Šešelj, and Esad Ćimić.

On occasion, because of the content's political sensitivity, trickery had to be used by the show's network-assigned executive producer Slobodan Terzić in front of his TV Sarajevo superiors in order to ensure the intended material makes it to air. This was particularly true when the material featured overt mockery of Yugoslav political figures such as the now-famous 14th Yugoslav Communist League Congress dubbing sequence (framed by Nele and Đuro as "closing time at the Kod dva bela goluba kafana"), which was recorded on a Wednesday night in January 1990—less than a day before the scheduled airtime for that episode on Thursday in prime time—while the Congress itself had been held days earlier and its political fallout was still huge. Nele and Đuro stayed up all night riffing and dubbing their voices over the politicians' speeches. In the morning, Terzić reportedly approved the sketch, prepared it for airing later that night, and then went home where he unplugged his home telephone in anticipation of the calls he knew he would be getting from his superiors during airtime. The sketch aired that night, causing a political stir, but it also got a great reaction from the viewers.

Seven episodes were shot and aired during the season. An additional New Year's special episode was aired on 31 December 1989. A year later, another New Year's episode was shot and aired.

1990 Yugoslavia-wide tour
The highly-rated television series led to a surge of popularity for all things Top lista nadrealista and New Primitivism throughout SFR Yugoslavia. The group decided to cash in immediately by releasing a 3-tape VHS box-set as well as going on a country-wide arena tour, which had a commercial tie-in with one of Yugoslavia's most prominent tourist operators Unis Tours. The tour featured a unique business arrangement in that Unis Tours purchased it outright for a fixed price prior to its start thus acquiring its entire eventual gate revenue—an indication of the popularity of Top lista nadrealista in Yugoslavia at the time and the company's certainty that the tour would generate profit.

Booked and organized by the Zabranjeno Pušenje manager Dragan "Kiki" Zurovac, the joint Zabranjeno Pušenje, Bombaj Štampa, and Top lista nadrealista live show featuring a mixture of music and sketch comedy on stage played to sold out sports arenas across the country throughout the first part of 1990. The tour started in Belgrade on January 11 and 12, continuing in Novi Sad on the 14th, followed by Zagreb on the 19th and Split on the 21st, Ljubljana the 29th, and Sarajevo on February 1 and 2, Skopje the 13th, and Priština the 14th. Due to its popularity, many dates were added after the initial ones. However, relationships within the group had already deteriorated to the point of guys barely tolerating one another over revenue sharing and, through it, an unspoken recognition of who the main protagonist(s) is/are, as stated by Karajlić in his autobiography: At this point our internal relations were so damaged by fatigue and jealousy that it became practically impossible to even get six members of Top lista and four guys from Pušenje together for a single project. Each one of us thought his own point-of-view to be 100% right. Personal skulduggery became a daily occurrence while certain guys wouldn't even bother trying to conceal their mutual dislike and loathing anymore. Each guy wanted his own share, above and beyond any reasonable amount, while a concern or even simple understanding for the financial well-being of others was completely ignored. One guy wanted the most money figuring himself to be the most popular one. I wanted no less than him because I thought I was just as popular. Another guy was unhappy with his status because we're playing his songs and he's getting the same as everyone else. Yet another guy insisted on getting exactly one-tenth of total revenue....and so on.

Third television series (1991)
Top lista nadrealista third series began shooting on 4 October 1991, finishing in early November 1991. Produced again by TV Sarajevo, the material was divided into seven episodes that aired weekly throughout late 1991 and early 1992.

Members

 * Nele Karajlić (radio segment, TV seasons 1, 2, and 3)
 * Zenit Đozić (radio segment, TV seasons 1, 2, and 3)
 * Branko Đurić (TV seasons 1, 2, and 3)
 * Boris Šiber (radio segment, TV seasons 1 and 2)
 * Darko Ostojić (TV season 2 and 3)
 * Dražen Ričl (radio segment and TV season 1)
 * Zlatko Arslanagić (radio segment and TV season 1)
 * Dražen Janković (TV seasons 2 and 3)
 * Dado Džihan (TV season 2)
 * Srđan "Srki" Velimirović (TV seasons 2 and 3)
 * Davor Dujmović (TV season 3)
 * Davorin Šegulja (TV season 3)
 * Elvis J. Kurtović (TV season 2)
 * Zlaja Ivanišević (TV season 3)

Screenwriters, directors & producers

 * Nele Karajlić (writer, radio segment & TV seasons 1, 2, and 3)
 * Srđan "Srki" Velimirović (writer, TV seasons 2 and 3)
 * Boro Kontić (producer and director, radio segment)
 * Erna Perić (producer, TV season 1)
 * Davor Marjanović (director, TV season 1)
 * Vuk Janić (director, TV season 1)
 * Slobodan Terzić (producer, TV seasons 2 and 3)
 * Miroslav "Ćiro" Mandić (director, TV season 2)
 * Benjamin Filipović (director, TV season 3)

Guests in sketches

 * Emir Kusturica
 * Dragan Stojković Piksi
 * Dejan Savićević
 * Predrag Pašić
 * Braco Dimitrijević
 * Mladen Vojičić Tifa
 * Zdravko Grebo
 * Izet Curi
 * Rambo Amadeus
 * Bora Čorba
 * Davor Gobac
 * Sejo Bukva
 * Saša Lošić
 * Dino Merlin
 * Juka Prazina

Wartime Nadrealisti
A radio segment using the name 'Top lista nadrealista' aired as part of Dežurni mikrofon programme on Radio BiH during part of the Sarajevo siege.

On 9 May 1992 against the backdrop of rapidly deteriorating security situation in the city of Sarajevo as well as the rest of Bosnia-Herzegovina, Radio Sarajevo got restructured by merging its channels one, two, and three as well as its channel 202 into a single channel that officially got renamed Radio BiH. Boro Kontić who had performed program director duties at Radio Sarajevo's channel two since 1990 now continued as one of the more influential executives at Radio BiH. Right away, he decided to bring back Dežurni mikrofon, an hour-long political magazine that for years aired on old Radio Sarajevo's channel one. The new timeslot was Sundays at 9am and its first broadcast in renewed form aired on 24 May 1992.

In late June 1992, several months into the Bosnian War with the city already firmly divided between the neighbourhoods and surrounding areas held by the Bosnian Serb Army (VRS) and the central neighbourhoods controlled by the Bosnian Muslim-dominated Army of the Republic of Bosnia and Herzegovina (ARBiH), Kontić decided to re-assemble the group that made Top lista nadrealista by giving them a 15-minute segment on Dežurni mikrofon. For the very first gathering, he managed to find many of the individuals previously involved with the show or New Primitives who were still in the city at the time: Đuro, Zenit Đozić, Šiber, Srki Velimirović, Elvis J. Kurtović, Zlatko Arslangić, Sejo Sexon, and Saša Petrović, as well as new faces Haris "Gigo" Aljević, Haris Memija, and Almir "Batko" Čehajić. Đuro and Zlatko Arslanagić fled Sarajevo soon afterwards so that the remaining protagonists did the 15-minute weekly radio shows in the second part of 1992 and into 1993. Made in irregular circumstances in a besieged town with war raging all around, the primary objective of the short weekly segment was boosting citizen morale though very few could even hear it due to electrical power being in scarce supply so that the show would open with lines such as "good evening to all three of you who still have generators". The radio segment ran until July 1993.

In August 1993, after 50 odd shows on radio, the group shot and aired four television episodes. One war-time sketch showed Serbs arresting obviously innocent Czech tourists who got lost on their way to seaside as Muslim extremists and terrorists. Other sketch shows how a Bosniak "Super Imam" heals a child of Chetnik spirit.

Nadreality Show
Nadreality Show was made in 2007 as a partial reunion of some of the old crew from Top lista nadrealista. Of the returning protagonists Zenit Đozić, Elvis J. Kurtović, and Darko Ostojić were present, along with a slew of new actors.

Federalna televizija alongside RTL Televizija and B92 broadcast Nadreality Show in 2007 with few sketches. The main person in the sketches was Zenit Đozić.

Nadrealna televizija
In fall of 2012, Nele Karajlić began preparations for a sketch comedy series, marking his return to the format after more than twenty years. On 12 December 2012, the pilot episode of Nadrealna televizija appeared on 1Prva, drawing high viewership rates.

Directed by Milorad Milinković, the series got picked up and 10 episodes were shot throughout spring and summer 2013. The episodes aired from 3 September 2013 until 15 November 2013.

Nadreality Show 2
During 2017, sketches of Nadreality Show 2 were shot and broadcast on Federalna televizija as the continuation to the original first series of Nadreality Show.

title: Top lista nadrealista