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Artist Biographies

  • Željko Bebek

    From Wikipedia, the free encyclopedia
    Željko Bebek
    Želimir "Željko" Bebek (born 16 December 1945) is a popular Bosnian singer most notable for being the lead vocalist of Bijelo dugme from 1974 to 1984.

    Early years

    Bebek was born in Sarajevo to Bosnian Croat parents. He showed an early interest in music, entertaining his mother's guests by singing songs he heard on the radio. He also experimented with harmonica, but abandoned it in third grade of primary school as he wanted to play guitar and sing along. His teacher, however, discouraged such intentions so Željko ended up playing mandolin instead. He soon became the school's best mandolin player and was allowed to play guitar as a reward.

    At age 16, Bebek entered his first band Eho 61, which operated as a school activity for musically inclined students of Sarajevo's 2nd gymnasium. A couple of years earlier, the same band featured Kornelije Kovač who would later also go on to become famous musician and composer.

    Bebek's next musical activity came in a nameless band with Šento Borovčanin and Redžić brothers — Fadil and Zoran. Bebek carried on playing with the band until Fadil Redžić left to join Indexi.



    In 1965 Edo Bogeljić invited Bebek to join a cover band he founded called Kodeksi that also featured Ismeta Dervoz on backing vocals and Luciano Paganotto on drums.

    Bebek spent the next couple of years singing and playing rhythm guitar with the band, helping them become quite prominent locally. As Kodeksi had perisistent problems filling the bass guitar spot, Bebek recommended young 18-year-old Goran Bregović after seeing him play with Beštije in 1969.

    After a falling out with bandmates during the stay in Italy Bebek left Kodeksi in fall 1970 and returned to Sarajevo.

    [edit]Novi Kodeksi

    After returning home, Bebek revived Novi Kodeksi with another former member; Edo Bogeljić. The new band had little success, although they broke a record for non-stop playing, on stage for 32 straight hours.

    The new year brought more creative stagnation as their repertoire consisted entirely of foreign covers. In December 1971, Bebek received a notice from the Yugoslav Armyto report for the country's mandatory military service and Novi Kodeksi played their last ever show in Sarajevo's Dom mladih. Twenty six years of age at this point, Bebek got married with the intention to settle down and leave the music business altogether.


    Just as he was about to report for army duty in early 1972, 26-year-old Bebek received an invitation from Bregović (whom he hadn't spoken to for a year-and-a-half since the split in Italy) to record a song "Patim, Evo, Deset Dana" with newly formed band Jutro. Bebek accepted, recorded as a studio musician, and then left to serve in Pirot.

    Discharged from the army, and returning home in March 1973, Bebek joined Jutro in earnest, but took a job as a clerk as a protective measure, as he wasn't yet certain about the band's creative and commercial potential. Jutro did become successful and he quit the government job to again devote to music full-time. Jutro soon transformed into Bijelo dugme, with Bebek as a founding member.

    [edit]Bijelo dugme

    Bebek continued as vocalist and occasional bassist in Bijelo dugme from its inception in 1974. Bebek found himself to be an country-wide celebrity. He ended up spending a full decade with the band before eventually leaving in April 1984 to fully pursue a solo career.

    [edit]Solo career

    Bebek's solo career actually began in parallel with Bijelo dugme.

    In 1978, while Bregović was away serving the army stint and Dugme was on hiatus, Bebek recorded a solo album Skoro Da Smo Istiwith drummer Điđi Jankelić, old friend Edo Bogeljić on guitar and on keyboards. The album was released on 28 July 1978, but failed both critically and commercially as it sold only 6,000 copies and quickly fell into oblivion. Though the band had planned a tour to support the album, their plans quickly got scrapped following the poor public reaction.

    In late 1983, just before officially leaving Bijelo dugme he recorded his second solo album Mene Tjera Neki Vrag. The album was released in 1984.

    Bebek had a few major hits throughout his 11 album run. Most of his hits had strong folk influence, including "Oprosti mi što te volim", "Da je sreće bilo", "Jabuke i vino", "Sinoć sam pola kafane popio" (with lyrics by Bora Đorđević), "Puca mi u glavu", "Čašu otrova", "Gdje će ti duša", and "Da zna zora".

    When the Yugoslav wars started, he moved to Zagreb where he continues to live and work. His record labels included Taped Picturesand Croatia Records.

    In 2005 he took part in 3 large farewell concerts of Bijelo dugme. In 2008, Bebek (in collaboration with Alen Islamovic and Tifa Vojicic) formed a Bijelo dugme tribute called B.A.T., which performed on numerous stages around the world between 2006 and 2009. Their 2006 "Kad Bi' Bio Bijelo Dugme" North American tour (together with Okus Meda and Tifa Band), was featured in a documentary titled "B.A.T.: Balkan Rock Nostalgia", (directed by Serb-American filmmaker B. R. Tatalovic). Bebek was one of the three featured performers alongside Alen Islamovic, and Tifa (musician), in a documentary that followed the musicians while they were on tour.[1]


    Bebek was born in Bugojno but grew up in Sarajevo. Bebek has been married three times. He has a daughter Silvija from his first marriage, and another daughter Bianca from his second marriage.

    From his current, third, marriage with Ružica from Tomislavgrad whom he met in 1997 and soon married, Bebek has a son Zvonimir and daughter Katarina, named after his father and mother.


    1. ^ Tatalovic, Branislav R. (2008-2012). Documentary. IMDb. Retrieved 26 February 2012.
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  • Pussycat Dolls Biography

    Founded by choreographer Robin Antin in 1995, the Pussycat Dolls began as a burlesque dance revue based in Los Angeles, spawned a second revue in Las Vegas, grew into an A-list phenomena with a revolving cast of guest celebrities, and eventually became a recording act with a number one dance hit. It wasn't long after launching its revue that the troupe began attracting actresses and models who wanted to become a Pussycat Doll for a night. Christina Aguilera, Pamela Anderson, Kelly Osbourne, Pink, Britney Spears, Carmen Electra, and Gwen Stefani are just some of the names who donned lingerie and pinup costumes and joined the Dolls for their flirtatious shows. An appearance in the 2003 film Charlie's Angels: Full Throttle was followed by numerous television appearances, most with Carmen Electra.

    Capitalizing on the nationwide attention and the addition of former Eden's Crush member Nicole Scherzinger as lead singer, the single "Don't Cha" with special guest Busta Rhymes appeared at the beginning of 2005 and climbed to number two on the pop chart, number one on the dance chart. With help from the Black Eyed Peas' and producer Timbaland, the Pussycat Dolls recorded their full-length debut. The A&M label released PCD, a Top Ten hit, in the summer of 2005. In 2008 member Carmit Bachar left to pursue a solo career while the Interscope label announced that a solo album from Scherzinger was being put on hold after four teaser singles failed to climb the charts. Continuing on as a five-piece, the Dolls released both the single "When I Grow Up" and the album Doll Domination that same year. "When I Grow Up" reached the Top Ten in 16 countries. David Jeffries, All Music Guide Read more »
  • Danity Kane WikiPedia Bio

    In 2004, producer Sean "Diddy" Combs returned with Making the Band 3, this time searching for the next female super group.[4] With the help of choreographer Laurie Ann Gibson, vocal trainer Doc Holiday and talent manager Johnny Wright, he set out on a multi-city search and chose twenty young singers out of almost 10,000 young women.[4][5] While seven women remained, Combs became discontent with the level of talent remaining in the competition, and eventually decided not to form a band.[4] He did, however, give a reprieve to three contestants he felt deserved another chance, including then-best friends Aubrey O'Day and Aundrea Fimbres, whose close bond originally formed early in the season.[4] The three contestants became the first to appear in Season 2 of the show.[4]

    Afterwards, Combs once again pressed his team to audition new young women for the group.[4] Finally, twenty young women were chosen and moved into a loft in New York City.[4] Viewers had become invested in O'Day and Fimbres's friendship, naming them "the AUs" and "Aubrea" (portmanteux of their first names put together), as they watched the two compete all over again for positions in the group.[4][6] As the competition's challenges increased, their friendship seemed to become the foundation upon which the group was being built.[4] In addition, O'D ay emerged as the show's breakout star.[4][5]

    After weeks of dance and singing lessons, promotional appearances, and a performance in front of 10,000 at a Backstreet Boys concert at Nissan Pavilion in Bristow, VA, eleven contestants remained, including O'Day and Fimbres.[4] The finalists were sent home for three months, told to polish up, and return for the final stretch in November 2005.[4]

    On the second season's finale, on Monday, November 15, 2005, the show's ratings broke MTV records as millions of viewers watched to see the group officially formed.[4] Five of the eleven remaining contestants were chosen: O'Day first, Wanita "D. Woods" Woodgette second, Shannon Bex third, Dawn Angeliqué Richard fourth, and Fimbres last.[4] The final five members of the group in place, the third season of Making the Band 3 tracked the development and struggles of the new band — from then on known as "Danity Kane" (a name taken from a female anime superhero created and drawn by Richard).[7] The group would later be featured on the second and third seasons of Making the Band 4 with new male R&B group Day26, as well as new solo artist Donnie Klang.

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