Oživljenje stare ulice.
Ulice Sarajeva bile su pozornica svakodnevice i ritam grada. Od Titove ulice – živog bulevara u kojem su se miješali mirisi kafe, novi parfemi i prve note s radija – do prve asfaltirane Ulice JNA, simbola modernog doba i optimizma koji je pratio svaki korak. Ispred Narodnog pozorišta započinjale su večeri pune svjetla, dok je pogled prema Vijećnici nosio dah historije i eleganciju grada na Miljacki. Svaka od ovih ulica čuvala je svoj ton, svoj korak, i dio onog neuhvatljivog sarajevskog šarma koji se pamti i kada ga više nema.
The streets of Sarajevo were the stage of everyday life — the rhythm of the city itself.
From Titova Street, where the scent of coffee mingled with new perfumes and the first sounds of radio music, to JNA Street, the city’s first paved road and a symbol of progress and optimism that marked each step forward. In front of the National Theatre, evenings began in a glow of light, while the view toward the City Hall carried the grace of history and the elegance of a city on the Miljacka River. Each street held its own tone, its own pace, and a fragment of that elusive Sarajevo charm remembered long after it fades.
Fabrika duhana Sarajevo bila je jedan od industrijskih ponosa bivše Jugoslavije – prva koja je u zemlji proizvodila svjetski brend Marlboro. Ove cigarete, prepoznatljive po savršenom dizajnu i simbolici prestiža, predstavljale su duh vremena u kojem su kvaliteta i stil bili znak napretka. Iako je njen najpoznatiji domaći proizvod bila legendarna Drina, poznata i kao Sarajevska Drina, upravo je saradnja s međunarodnim brendom Marlboro potvrdila tehnološku i proizvodnu snagu sarajevske fabrike.
Poklon kutija Rodoljuba Živadinovića, unuka direktora fabrike Hazima Ćerića, danas čuva uspomenu na period kada je industrija bila stvar nacionalnog ponosa i simbol modernosti, a miris duhana pratio svakodnevicu Sarajeva.
The Sarajevo Tobacco Factory was one of the industrial landmarks of the former Yugoslavia — the first in the country to produce the global brand Marlboro. These cigarettes, recognized for their flawless design and symbol of prestige, captured the spirit of an era when quality and style defined progress. While its most famous local product was the legendary Drina—also known as Sarajevska Drina—the collaboration with Marlboro showcased the factory’s technological and manufacturing excellence.
A gift from Rodoljub Živadinović, grandson of factory director Hazim Ćerić, now preserves the memory of a time when industry stood for pride, innovation, and the scent of Sarajevo’s everyday life.
Gotovo svaka kuća imala je iste suvenire – kristalne pepeljare, porculanske figurice, čipkaste stolnjake i goblene koji su svjetlucali na zidovima dnevnih soba. U tim enterijerima ogledala su bila ukrašena cvjetnim okvirima, a vitrine pune suvenira sa ljetovanja svjedočile su o zajedničkom ukusu jednog vremena.
Znalo se, međutim, ko je putovao vani – po žutoj vazi iz Trsta, ogledalu s italijanskim motivima ili telefonu u boji mora, predmetima koji su se čuvali kao dokaz avanture i svijeta ‘tamo negdje’.
Almost every home shared the same souvenirs — crystal ashtrays, porcelain figurines, lace tablecloths, and embroidered gobelins that shimmered on living room walls. Mirrors had floral frames, and glass cabinets filled with seaside mementos reflected the shared aesthetic of an era.
Yet it was always clear who had traveled abroad — by the yellow vase from Trieste, the Italian mirror, or the sea-blue telephone, cherished as proof of adventure and a glimpse into the world ‘out there.’
Upaljači su bili sastavni dio svakodnevice — mali, praktični predmeti koji su se nosili u džepu, dijelili među prijateljima i palili cigarete uz kafu i razgovor. Promotivni upaljač kompanije Dita nosio je prepoznatljiv logo jugoslovenskog deterdženta AVA, simbola domaće čistoće i urednosti. Bio je to znak vremena kada su industrija i reklama išle ruku pod ruku.
Upaljač s tim logom bio je više od suvenira — bio je dio svakodnevnog rituala i podsjetnik na doba kada su i sitnice imale dušu i miris fabrike koja je vjerovala u rad, red i kvalitet.
Lighters were an essential part of everyday life — small, practical objects carried in pockets, shared among friends, and used to light cigarettes over coffee and conversation. The promotional lighter from the company Dita bore the recognizable logo of the Yugoslav detergent AVA, a symbol of domestic cleanliness and order. It was a sign of a time when industry and advertising worked hand in hand.
The lighter with that logo was more than a souvenir — it was part of a daily ritual and a reminder of an era when even the smallest objects had a soul and carried the scent of a factory that believed in work, order, and quality.
Muzičke kasete bile su srce svake mladosti — presnimavale su se s radija, poklanjale uz poruku, razmjenjivale među prijateljima. ‘Napravio sam ti kasetu’, bila je rečenica koja je imala posebno značenje — znak pažnje, emocije i vremena kada je pjesma bila najličniji poklon. Oni koji su imali double deck kasetofon bili su pravi tehnološki čarobnjaci – mogli su presnimavati, slagati pjesme po osjećaju i snimiti dragoj osobi njen playlist prije nego što je taj pojam postojao.
Music cassettes were the heartbeat of every youth — recorded from the radio, gifted with notes, and exchanged among friends. ‘I made you a tape’ was a phrase that carried special meaning — a gesture of affection, emotion, and a time when a song was the most personal gift one could give. Those who owned a double-deck cassette player were the true tech wizards of their era — able to record, arrange songs by feeling, and create a personalized playlist for someone special long before the term even existed.
Knjiga Ko je ko u Sarajevu bila je enciklopedija grada i svojevrsni portret jedne epohe. Na njenim stranicama nalazila su se imena ljudi koji su oblikovali Sarajevo – od umjetnika, profesora, sportista do radnika i inženjera. Svaka biografija bila je svjedočanstvo o radu, talentu i doprinosu zajednici. Ova knjiga bila je više od spiska – bila je ogledalo grada koji je ponosno znao ko su njegovi ljudi i zašto su važni.
The book Who’s Who in Sarajevo was an encyclopedia of the city and a portrait of an era. Its pages featured artists, teachers, athletes, workers, and engineers – the people who built Sarajevo’s identity. Each entry told a story of dedication, talent, and contribution. More than a record, it was the city’s mirror – a celebration of those who gave Sarajevo its character and heartbeat.
Krajem osamdesetih, gute para su se gotovo nosile u koferima. Inflacija je rasla iz dana u dan, novčanice su gubile vrijednost, ali se život nije zaustavljao. Na pijacama su se cijene mijenjale po satu, a humor Sarajlija postajao je način preživljavanja. Dinari, novi dinari ili najnoviji dinari… teško ih je bilo razjasniti. U tom apsurdu ekonomije, ironija i dovitljivost bile su najvrednija valuta – jer dok je novac vrijedio sve manje, duh grada vrijedio je sve više.
In the late 1980s, bundles of money — were carried almost in suitcases. Inflation rose by the day, banknotes lost their value, yet life never stopped. At the markets, prices changed by the hour, and Sarajevo’s humor became a way of survival. Dinars, new dinars, or the newest dinars — it was hard to tell the difference. In the absurdity of that economy, irony and wit became the most valuable currency — because while money was worth less and less, the spirit of the city was worth more than ever.
Sarajevska Olimpijada 1984. godine donijela je u grad Coca-Colu – simbol globalne kulture, mladosti i modernog svijeta. Crvena limenka i logo ispisan latinicom postali su znak da je Sarajevo ušlo na svjetsku mapu. U kioscima i kafićima, boca Coca-Cole bila je više od pića – bila je dokaz da grad može biti domaćin svijetu.a. Svaka biografija bila je svjedočanstvo o radu, talentu i doprinosu zajednici. Ova knjiga bila je više od spiska – bila je ogledalo grada koji je ponosno znao ko su njegovi ljudi i zašto su važni.
The 1984 Sarajevo Olympics brought Coca-Cola to the city — a symbol of global culture, youth, and modernity. The red can with its iconic logo became proof that Sarajevo had joined the world map. In kiosks and cafés, a bottle of Coca-Cola was more than a drink — it was a sign that the city could welcome the world.
Svaka kuća imala je police pune knjiga i to u tomovima – Andrića, Selimovića, Dizdara, Krleže. Korice u vitrinama bile su ponos svake porodice i dokaz da se znanje čuva jednako kao porodično srebro. Knjige su bile pokloni za mature, godišnjice i uspjehe. Čitale su se uz tišinu i miris kafe, a svaka je imala posvetu, datum i trag prstiju – znak da su bile voljene i korištene.
Every home had shelves filled with books — entire volumes of Andrić, Selimović, Dizdar, and Krleža. The spines displayed behind glass cabinets were a family’s pride, proof that knowledge was cherished as dearly as family silver. Books were given as gifts for graduations, anniversaries, and achievements. They were read in silence, accompanied by the scent of coffee, and each carried a dedication, a date, and the trace of fingertips — signs that they were loved and well used.
Izdavačka kuća Svjetlost iz Sarajeva bila je simbol kulturnog uzleta i obrazovanja čitavih generacija. Među njenim najvoljenijim izdanjima posebno mjesto zauzimala je Vesela zbirka – serija knjiga za djecu koja je kroz jednostavne priče, bogate ilustracije i prepoznatljiv miris svježe štampe uvodila najmlađe u svijet književnosti.
To nisu bile samo knjige, već prvi susreti s maštom, znanjem i radošću čitanja. U istom duhu kao i legendarne Male novine i časopis Lastavica, Vesela zbirka bila je most između djetinjstva i kulture, između igre i obrazovanja. Ilustratori, pisci i urednici Svjetlosti radili su s idejom da knjiga ne bude luksuz, nego pravo svakog djeteta.
The publishing house Svjetlost from Sarajevo was a symbol of cultural growth and education for entire generations. Among its most beloved editions was the Vesela zbirka (Joyful Collection) — a series of children’s books that, through simple stories, colorful illustrations, and the familiar scent of freshly printed pages, introduced the youngest readers to the magic of literature.
These were not just books, but the first encounters with imagination, knowledge, and the joy of reading. Much like the iconic Male novine and Lastavica magazine, Vesela zbirka served as a bridge between childhood and culture, play and learning. The illustrators, writers, and editors of Svjetlost worked with the belief that books should not be a privilege but a right of every child.