Mišo Kovač

Mišo Kovač: legend of popular music and a audience phenomenon

Mišo Kovač, born as Mate Kovač on 16 July 1941 in Šibenik, is one of those names that long ago outgrew the bounds of a classic show-business career. In Croatian popular music he occupies a special place because, across several decades, he has remained recognizable for his powerful emotional interpretation, Mediterranean sensibility, and a repertoire that leans on big, memorable refrains. His voice was not only a technical tool, but a “story” in itself: the way he pronounces verses, emphasizes sadness or pride, and pulls the audience into the song, has become part of the identity of domestic popular music. When speaking of Mišo Kovač, his exceptional popularity and discographic reach are often highlighted. In biographical overviews and media reviews it is regularly stated that he is among the best-selling performers in Croatia and the region. But numbers, however impressive, explain only part of the story. The other part is the relationship with the audience: Mišo is a performer whose songs have for decades been present in people’s private lives, from family gatherings and radio programs to big halls, stadiums, and open-air stages. That is why his career is often experienced as a continuous social phenomenon, and not only a series of albums and hits. His repertoire developed over time, but it kept a clear core: songs about love, partings, returning, the sea, fate, and those moments when a person breaks between reason and feelings. In that lies the key to durability: the themes are universal, and the interpretation strong enough for the audience to believe every word. In that sense Mišo Kovač shaped the standard of the “singer of emotion” in Croatian popular music, and that standard still serves as a reference when speaking about charisma and stage presence. It is also interesting how the public’s interest changes with the years, but does not weaken. While some follow his work out of nostalgia and personal memories, others discover him through family heritage, compilations, television shows, and the cultural status that follows him. Precisely for that reason, information about performances is always especially sought after: when a confirmed concert announcement or a larger public appearance emerges, the audience wants to know the details about the venue, the concept of the evening, and logistics. In that search, tickets are often mentioned as well, but not as an aggressive purchase, rather as a practical question of planning an event that for many has personal value. In more recent announcements, attention is also drawn by the fact that a feature biographical film with the working title “MIŠO” is being prepared, a project described in the media as a larger production devoted to his life story and career. Such a film is not just another cultural news item, but confirmation that Mišo Kovač has become part of broader collective memory. When a performer gets a biographical film, it usually means that their story has crossed the boundaries of discography and entered cultural history.

Why should you see Mišo Kovač live?

• The experience of singing together — the audience knows his songs by heart, so the concert often becomes a “choir” in which refrains are sung from the first to the last row.
• Emotional interpretation — Mišo’s manner of performance emphasizes the story and the feeling, which is why the same songs live sound more personal and more intense than on a recording.
• A repertoire that covers multiple periods — whenever he appears on stage, a cross-section of his career is expected, from older classics to songs that marked later periods.
• Charisma and stage presence — even without excessive “production noise”, his figure and voice carry the evening and hold the audience’s attention.
• The atmosphere of Mediterranean identity — motifs of the sea, leaving and returning in his songs work especially strongly on open-air stages and in coastal cities.
• The rarity of larger appearances — precisely because he does not appear constantly on the scene, every confirmed performance announcement becomes an event that people talk about and that the audience plans in advance.

Mišo Kovač — how to prepare for a performance?

If a Mišo Kovač concert is announced, it is most often a classic concert format in a hall or on a large open-air stage. Visitors can expect a program that relies on recognizable songs and an evening rhythm that comes in waves: a strong beginning that “lifts” the audience, then a series of hits sung in unison, followed by more emotional sections in which the tempo calms and the emphasis shifts to interpretation. The audience is generally mixed — from those who grew up with those songs to younger people who adopted them through family stories and a lasting presence in the media space. Practical preparation starts with logistics. For such events it is often necessary to count on crowds when arriving and leaving, especially if it is a bigger city or a location that draws audiences from multiple places. Arriving earlier almost always means a better experience: less stress at entrances, calmer orientation in the venue, and more time to “get into” the atmosphere. If the concert is outdoors, it is worth thinking in layers — evenings by the sea or in larger open spaces can quickly change temperature and impression. For the “maximum” experience, it is useful before the performance to go through key songs from different periods. Mišo Kovač has a repertoire that is not tied to one generation, so the visitor will “catch” more nuances if they refresh both ballads and faster, anthem-like songs. In addition, it pays to follow only verified information about the announcement and program, because with performers with a long career and rare appearances plans sometimes depend on circumstances and can be adjusted. Tickets are often mentioned in such situations as part of planning, but the most important thing is that the audience starts from accurate and confirmed data about the event.

Interesting facts about Mišo Kovač you might not have known

During his career Mišo Kovač built a status that is rarely seen: a blend of striking popularity, a recognizable musical identity, and strong public charisma. In biographical overviews it is often emphasized that he is one of the highest-circulation performers of Croatian popular music, and his influence is felt beyond Croatia as well, especially in the region where he for years had a large audience. In professional terms, among the more important recognitions stands out the Porin lifetime achievement award, which he received in 2012, which further confirms that his place on the scene is recognized within the most important domestic music awards. Additional weight to his legacy is given by the current story of the feature biographical film “MIŠO”. According to publicly available announcements, the project is being developed by producer Vanja Sremac, the screenplay is signed by Milana Vlaović Kovaček, with the collaboration of director and screenwriter Pjer Žalica. The very fact that such a biographical project is being undertaken speaks about the breadth of the theme: Mišo Kovač is interesting not only as a performer, but also as a figure whose life story enters the space of culture and the history of popular music.

What to expect at the performance?

At a Mišo Kovač concert the audience typically expects an evening based on the biggest songs and recognizable refrains. The flow of the event is often shaped to “build” shared energy: songs everyone knows open space for spontaneous singing, while more emotional compositions bring a pause and the intensity of interpretation. If there is an announcement of special guests or a specific concept for the evening, it is generally used as an additional emphasis, but the core remains in the songs that built his identity and status. The audience behaves actively at such events. They do not come only to listen, but to participate: they sing, react to familiar lines, and moments often arise in which the hall or space “takes over” the refrain. Precisely that is part of the experience people remember and retell — the feeling that the concert is more than a performance, that it is a shared evening of memories, emotions, and belonging. Because of that, when confirmed information about a performance appears, interest spreads quickly, people look for details about the venue and organization, and during planning the topic of tickets naturally opens as part of the broader picture of preparing for an event experienced as an important musical moment and one that is often remembered by how the songs “stayed in the air” even after the program ended, while among the audience the conversation continues about when the next opportunity for such a live encounter might appear, and that impression is strengthened by the fact that Mišo’s repertoire is often experienced as “folk” popular music in the broadest sense: the songs are familiar even to those who do not actively follow the discography, because for years they were part of radio airplay, television shows, and everyday life situations. Precisely in that omnipresence lies the specialness of his performance: the audience does not come to the concert to learn new songs, but to confirm an already existing emotion and relive it again in a shared space. When analyzing why Mišo Kovač still carries weight in the public sphere, it is important to understand his role in shaping the “model” of a domestic popular-music star. In periods when the scene changed, when arrangements, production standards, and media changed, he remained recognizable by several constants: emotional interpretation, themes that do not depend on trend, and charisma that cannot be copied by technique. With such performers the audience often seeks the “story” behind the songs — where a song was created, what it marked, at what moment it turned into a hit — so conversations about a performance spontaneously turn into conversations about time, listening habits, and personal memories. In practice that means that at the concert it is not crucial whether the program relies on a new album or a special production concept, but whether what the audience expects will happen: a string of songs that “sit” immediately, with refrains in which thousands of people recognize themselves as one audience. That is why planning the arrival often talks about the ambiance: it is not the same whether the concert is in an indoor hall, where emotion and voice more quickly “compress” into one mass, or in an open space, where the atmosphere spreads and becomes part of the city, the sea, or a summer evening. In both cases, the audience expects to experience a performer whose songs carry both a private and a collective dimension. It is also important that Mišo Kovač throughout his career is often tied to the idea of the “big song” — a melody and text that are not only a momentary hit, but a piece of repertoire that returns for decades. Such songs are not remembered because they were pushed by marketing, but because they “stuck” to personal stories: partings, returns, family turning points, trips, leaving a town for a city or returning to the sea. When such songs are performed live, the audience does not listen to them neutrally, but through their own memories, which is why the concert gains an additional layer that cannot be experienced through an audio recording. On the other hand, every performance by a performer with such status also carries expectations that are very concrete. The audience generally wants to know whether the program will focus on the “greatest”, whether the duration will be typical for a concert evening, what the atmosphere in the venue is like, and what the arrival protocol looks like. Such information is not “trivia”: it determines whether a visitor will come from another city, whether they will plan accommodation, how much earlier they will set off, and what the rhythm of the evening will be. Because of that, as soon as a verified performance announcement appears, alongside musical curiosity practical planning immediately appears as well, and in that planning tickets are often mentioned as part of organizing a visit to an event experienced as special.

How the atmosphere is created at Mišo’s concert

The atmosphere at concerts by performers like Mišo Kovač is often built before the first song even starts. The audience arrives with a clear emotional expectation, and that can be seen in the way people gather, talk about the songs they would like to hear, and share their own memories. Often it is enough that the musical backing or introductory bars touch a recognizable melody for a change to be felt in the space: the audience “joins in” immediately, as if the concert were a continuation of something that has already been going on for years. When the program starts, the dynamics usually rely on alternating songs that “raise” the audience and songs that calm them, but emotionally intensify them. In the first minutes a quick connection with the audience is often sought — a song that immediately confirms the performer’s identity — and then the evening develops as a series of recognizable points. With such repertoires the audience often reacts most to refrains, but also to certain lines that have become quotes in everyday language. This creates the impression that the audience is not coming to listen only to the performer, but also to their own “shared text” that everyone knows. In that context, stage production can be simpler than in modern pop spectacles, but that does not mean the experience is smaller. On the contrary: with a performer who relies on charisma and interpretation, the impression often arises precisely from the “purity” of the performance. The audience focuses on the voice, on the way the song is “told”, on pauses, emphases, and moments when the space quiets before the refrain. Such details create a feeling of intimacy even in a large hall, because the audience feels that the song is addressed to everyone, and at the same time to each person personally.

Mišo Kovač’s place in Croatian music

Mišo Kovač is often described as a performer who defined the notion of mass popularity in domestic popular music. It is important to distinguish transient media visibility from long-term influence. His position on the scene did not arise only from one period of success, but from a series of periods in which the audience continuously recognized the same core: emotional interpretation and a repertoire that relies on “big themes”. In Croatian music that is especially important because the scene changed across decades, and yet certain constants remained that the audience ties to identity: Mediterranean sensibility, stories of leaving and returning, and songs that have both melancholy and pride. In professional terms, his place has also been confirmed by awards, among which biographical overviews highlight the Porin lifetime achievement award in 2012. Such recognitions do not speak only about an individual song or album, but about overall contribution: longevity, influence on the audience, and how much the career marked a broader period of domestic musical culture. For the audience, however, something else is often more important: the feeling that the performer is “theirs”, that they do not experience him as a fleeting star but as a voice that accompanied their lives. That is why even today, when information about a performance appears, it is not experienced as ordinary concert news. In public it is often treated as an event, and in conversations people immediately start assessing what that performance means: is it a special evening, an important location, a venue that carries symbolism, or a date that is practical for arrival. Although the audience differs by age and habits, what is common is that people go to a Mišo concert with the expectation of an emotional climax, and not only musical entertainment.

Why the audience returns: songs as a personal map of memories

There is a specific phenomenon tied to performers like Mišo Kovač: the audience returns not only because it likes the music, but because it recognizes itself in that music. Many of his songs act as a “map of memories”, and the concert becomes a place where those memories are shared without explanation. People often come as a couple, with family or friends, and the very arrival has the character of a ritual: songs are discussed in advance, arrival is planned, and after the concert moments are retold when the audience sang loudest or when the space fell silent. Because of that, the impression after the concert is often deeper than the usual “it was good”. Visitors not rarely talk about how some songs “took them back” to a certain period of life or how they felt togetherness in the audience that they otherwise rarely experience. Such an experience depends not only on sound, but on the fact that the audience has a shared repertoire and shared references. In a time when music is often listened to fragmentarily, through individual songs and algorithmic lists, a concert by a performer with a clear canon of songs acts as the opposite: as a rounded evening in which everything is known and everything is recognized.

The biographical film and new interest in the life story

Announcements of the biographical film “MIŠO” have additionally opened space for new interest from the public, especially those who perhaps did not closely follow his biography, but knew the songs. Biographical projects as a rule activate two parallel interests: the first is cultural — how periods of Croatian music and society will be portrayed through one career — and the second is personal, because the audience wants to understand how the performer whose voice marked so many lives came to be. In such situations, the need for reliable information also grows: people look for confirmed facts about the career, key collaborations, important performances and turning points, but also context that explains why certain songs became a “commonplace” in domestic culture. For a portal audience that is relevant also because the story of Mišo Kovač is not only a story about music, but also about changes in media and audiences. He is a performer who went through the eras of vinyl and cassettes, CDs, television shows with large viewership, and radio top lists that shaped taste. Today, when music is consumed differently, his status endures precisely because he is present in the public sphere as a cultural fact, and not only as content for short listening.

How to follow performance information without noise and rumors

With performers who have a long career and occasional appearances, the audience often encounters informational noise: announcements circulating on social networks without confirmation, incorrectly conveyed dates, or assumptions that later prove incorrect. That is why it is most important for the audience to distinguish verified information from speculation. In practice that means relying on official statements from event organizers and credible media publications that clearly state the venue and date, with the possibility of later changes. Such caution is not overdoing it, but a necessity in circumstances where planning is often tied to travel, accommodation, and free time. When a verified announcement appears, it is useful to think about the context of the venue as well. A concert in a large hall carries a different atmosphere than an open-air space, and cities that have a strong relationship with Mišo’s repertoire — especially those along the coast — often add an additional emotional layer to the experience. The audience then does not go only to a concert, but to an event that fits into the space and identity of the place. Precisely because of that, planning is not only logistics, but also a decision about what kind of experience is desired: more intimate in a hall or broader, “summery” outdoors. In that planning, the question of tickets often naturally appears as well, but it most often comes only after key data are confirmed: where the performance is, when it is, and in what format. With performers of this profile, the audience knows interest can be large, but it also knows it is worth sticking to verified information and not drawing conclusions based on rumors. Such an approach also preserves expectations: when a performance is experienced as a special evening, disappointment due to incorrect information can be greater than with an ordinary night out.

What remains after the concert

After a Mišo Kovač concert, the impression often does not boil down to one song or one moment, but to the feeling that the audience participated in something larger than the standard concert form. People retell how the refrain sounded when the whole hall sang it, what the silence in a ballad looked like, how strangers smiled at each other on a familiar line. Such details become part of shared memory, and that is the reason why people talk about Mišo’s performances long after the lights go out. In media terms, such concerts often generate additional stories: about the venue, about the audience that came from different cities, about generations who found themselves in the same space, and about how domestic popular music is experienced when it becomes a shared event. In that context Mišo Kovač is not only a performer, but also a повод to talk about listening culture, about what the audience seeks from a concert, and why some songs last longer than trends. When the next verified performance announcement appears, the audience does not activate only because of curiosity, but also because of the desire to experience again that specific feeling of togetherness, which is hard to convey in words, but very easy to recognize when it happens live, especially at the moment when the first bars of a familiar song open space for a refrain that everyone already carries with them even before the evening has even begun, and that feeling often spreads beyond the evening itself, because after the concert the songs continue to “spin” in conversations, on the radio, in the car, or in those moments when people, jokingly or seriously, quote lines that remained in their head. That is one of the important differences between performers who have fleeting hits and performers who have a canon: with Mišo Kovač, after the performance the audience does not carry only the memory of a good night out, but also a reactivated relationship with a repertoire that has already been present in everyday life for years.

A repertoire that became a common language

The public often describes Mišo’s repertoire as a blend of Mediterranean melos, popular music, and ballads that carry dramatic emotion, but without the need for excessive stylization. His songs generally have a clear melodic line and lyrics that rely on images the audience easily recognizes: the sea, distance, waiting, leaving, returning, love that lasts or love that hurts. Such themes are not specific only to one time, but in his interpretation they received a local tone and character, which is why the audience often says these are “our” songs, even when they were created in collaborations that crossed regional borders. It is interesting that biographical overviews emphasize how at the beginning he built his career also through covers of foreign hits, and later developed a recognizable, emotional style that the audience experienced as authentic and domestic. That career arc is important for understanding his longevity: Mišo did not remain tied to one phase or one wave, but over time “found” a voice and repertoire that suits him, and the audience recognized that as lasting value. In such careers, consistency of identity is key, but also the ability to make songs universal, which in his case was achieved through an interpretation that feels like a personal confession. When such a repertoire is performed live, the audience often comes with its own expectations, but also with tolerance for the evening having its spontaneous moments. At concerts it often happens that the audience reacts more strongly to certain songs than an organizer or an outsider would predict, because the links between songs and the audience are personal and invisible. What is for someone “just another ballad” is for another a song that marked a departure or a return, and that is why reactions are often strongest precisely in parts of the program that are not necessarily the loudest.

Why Mišo’s voice is often more important than the arrangements

In the modern concert industry the emphasis is often put on production: video walls, choreography, pyrotechnics, complex visual concepts. With Mišo Kovač those things, when present, are experienced as an add-on, not as the center. The center is the voice and the way it “carries” the song. The audience does not seek surprise from him in the sense of a new effect, but confirmation in the sense of interpretation: that feeling that the line comes from experience, not from decoration. Precisely for that reason many visitors after the performance talk about details that with other performers would pass unnoticed: how he inhaled before the refrain, how he slowed down on a certain line, how he left a pause before the end of the song, how the audience spontaneously kept singing even when the band fell silent. Such moments arise when the performer is strong enough to allow the audience to enter the song, but also confident enough that she does not have to control everything to the last second. In that sense, Mišo’s performance often feels like a conversation with the audience, even when not much is said between songs.

The audience as a co-performer

One of the most noticeable characteristics of Mišo’s performances is the audience’s relationship to the repertoire. The audience does not come as a neutral observer, but as someone who already knows the songs’ “script”. That creates special energy: when the refrain starts, the space often feels how the audience takes on the role of co-performer. In such situations the performer can let the audience carry the song, and he is only the “trigger” that sets it in motion. For visitors that means the concert experience is not the same in every part of the venue. Someone closer to the stage often experiences more details of the performance and contact, while someone in the middle or in the stands can feel the shared singing and the mass as an instrument more strongly. That is why experiences after the concert differ, and in conversations it is often heard that someone’s strongest moment was when the audience was singing, and someone else’s when Mišo “tightened” his voice in an emotional part. In both cases, the point is the same: the concert is remembered as a shared event, not as individual listening.

Types of venues and how they affect the experience

When Mišo Kovač appears live, the performance format most often fits into two types of venues: large halls and open-air stages. Halls provide a more compact sound and a denser atmosphere, because emotion and audience reactions “return” into the space and amplify the sense of togetherness. Open-air stages, especially in Mediterranean towns, have a different magic: songs with motifs of the sea and leaving gain a natural context, and the ambiance of a summer evening often becomes part of the interpretation. In both cases, the audience usually expects a concert evening that has its flow and rhythm. It does not have to be strictly scripted, but it must have the feeling that the program is thought out: that faster and slower songs alternate, that there are moments for a breather and moments for a peak. With performers like Mišo, that flow is often built so that at the end room is left for the songs the audience experiences as most important, because people like to go home with the feeling that they got “what they came for”.

What a “big hit” means in Mišo’s case

In Croatian popular music the notion of a big hit is sometimes worn out, but with Mišo Kovač it has a very concrete weight: a big hit is a song that has survived decades, and is still sung effortlessly. Such songs do not depend on trend or season, but on emotion and recognizability. When such a hit is performed live, the audience reaction is often immediate, like a reflex. That is important information also for those who are going to his performance for the first time: the evening will probably be composed so that those “golden” songs hold the central place. In practice, that means even those who are not experts on the discography can follow the concert without problems. Many visitors come with the feeling that they “don’t know everything”, but after the first two or three songs they realize they know more than they thought. That is a consequence of the long-term presence of the songs in media and private spaces, but also the fact that the refrains are built so they are easy to remember.

How music and society mix in the story of Mišo

When speaking about his popularity, it is important to mention the social context: Mišo Kovač is a performer whose career grew in a period when popular music had a different role in the public space. There were shared television shows, radio top lists that shaped taste, and discography that was massively present in homes. In such a system, a performer who wins the audience can become more than a singer: he can become a symbol of a certain emotional culture, a way of talking about love, leaving, and returning. That is why even today Mišo is talked about not only as a musician, but as a phenomenon. His audience often feels that it is “part of the story”, and that feeling is transmitted through families and generations. Children grow up listening to songs that were important to their parents, and in that a continuity is created that is rare in quickly changing trends. When such continuity is transferred into a concert venue, an experience arises that is hard to compare with performances by artists whose audience is strictly generationally limited.

The biographical film “MIŠO” and what it says about cultural status

The announcement of a feature-length biographical film with the working title “MIŠO” has further strengthened the impression that Mišo Kovač is no longer discussed only through discography and concerts. According to publicly available information, the project is being developed by producer Vanja Sremac, the screenplay is signed by Milana Vlaović Kovaček, and announcements also mention authors involved in directing and screenwriting collaboration such as Pjer Žalica, while Vinko Brešan is named as the director. In such projects the audience is usually most interested in whether the film will be able to capture what is hard to retell: the relationship between voice, time, and the audience, and the way songs became part of the identity of people who listened to them. For portal readers that is relevant also from the perspective of events: a biographical film usually opens a new round of interest, reminders, and conversations, so the need for accurate information about the career increases as well. When film and media reactivate the story of a performer, interest in performances, archival recordings, shows, and concerts that stayed in the audience’s memory often strengthens again. This is not only nostalgic returning, but a cultural mechanism: society again “checks” why someone became a legend.

Discographic records and how to read them without exaggeration

In public sources and media texts it is often highlighted that Mišo Kovač is a performer with the most sold records and sound carriers in Croatia, with strong reach in the region, and that his total sales figures are cited above 20 million. Such numbers, by themselves, do not say everything about artistic value, but they speak about reach and about how broad and loyal the audience was. They also remind of a period when discography was physical, when an album was an object that is bought, gifted, and kept, and that is an important part of the story of how star status was built. It is important to remain within verifiable frames: figures in public sources can differ depending on methodology, but the consensus is that this is one of the biggest discographic stories in this area. For the audience, however, numbers are often not the main argument. The audience generally does not come to a concert because someone sold a certain number of sound carriers, but because the songs mean something to it. But the fact that such a number of people over decades reached for his songs explains why he is spoken of as a phenomenon, and not only as a successful singer.

How to behave at such a concert

Visitors who come for the first time sometimes wonder what the “etiquette” is at a performance by an artist with such status. In general, the atmosphere is warm, often family-like, but also emotionally intense. People come with the intention to sing and to participate, so it should not be surprising if the audience stands up, claps, sings loudly, or reacts to lines as if they were a personal message. It is important to respect other people’s space: leave a passage, be considerate if someone wants to sit and someone wants to stand, and accept that different ways of experiencing are part of the same evening. For open-air venues, it is useful to think about practical details as well: crowds at entry, the possibility of weather changes, longer standing. For halls, one should count on the flow of people, time to enter, and finding the seat. Those are all elements that do not sound romantic, but they often determine whether the experience will be relaxed or stressful. And at concerts experienced as an important event, the audience wants the evening to pass calmly, without unnecessary complications.

Why the topic of tickets is always present, even when sales are not discussed

With performers who have a large and loyal audience, interest in tickets appears as a natural part of being informed. People want to know whether there is a performance, where it will be, what the venue is like, and then they logically think about availability and planning the arrival. In media terms, that is part of the audience’s “service” need: the audience wants verified information, not speculation. That is especially important in situations where announcements can spread quickly, but can just as quickly change. In such a context, the most important thing is that information remains accurate and verifiable. When speaking about performances, speculation should be avoided and one should stick to what is confirmed. The audience appreciates that, because it knows that planning to go to such a concert is often connected with travel, free time, and family agreements. In such situations good information is worth more than any excitement a rumor brings.

What Mišo Kovač means as a cultural constant

If Mišo Kovač is viewed from a broader perspective, it becomes clear that he is a cultural constant: a performer who survived changes of eras, media, and audience habits. That is not an accident, but a consequence of his songs being anchored in the emotional culture of society. People celebrated and grieved with them, left and returned, and that is why the audience’s relationship to him is often deeper than the relationship to a typical pop star. Precisely that status also explains why his performances are talked about as events, and not only as concerts. The audience often feels it is attending something that is part of the history of popular music, but also part of personal life. When everything is added up, a Mišo Kovač concert is experienced as a place where music and memory meet, where the private turns into the common, and where refrains, even if they last only a few minutes, have the power to return the audience to the time when they first heard that song and realized that it carries something more than melody, and that feeling, precisely because of that, is remembered long after the venue empties and the city returns to its usual night silence Sources: - Wikipedia (hr) — basic biography, birth data, discographic reach and the Porin lifetime achievement award - Porin (archive) — text about the Porin lifetime achievement winner and the context of the award - Muzika.hr — announcement of the feature-length film “MIŠO” and key project data - Dalmacija Danas — announcement of the “MIŠO” project and description of the biographical film - ŠibenikIN — local context of the film “MIŠO” announcement and project data - Večernji list — overview of discography and claims about sales of sound carriers