Smogovci
Luka Bulic · Other Songs - Luka Bulic
to je prica o Vragec family
sjecam se, nije bilo sansi
da na spicu se zakasni
jer bi do tad sve za sutra spremili
Svi bismo sjeli na kauc
Hetrich uvod nam da
Zatim Zagreb iz zraka, znana melodija
onda se pojave braca u stilu kauboja
vidis Bucu, Cobru, Stefeka, Peru, Mazala i Drageca
Mazalo imao je Dunju
strasno zaljubljen je u nju
al' je njezin stari zandar
opak lik
Bucko pekmez je pozder'o
nogomet je igr'o Pero
mali Cobra, on je ludi znanstvenik
Ma opce ne bu poletel,
viknu Nosonja tad.
Vidis kakvu je dusu nekoc imao grad
previse dzekova crnih
nas je napalo sad
u vladi dvadesetak kumpica
i sve me nekak' obuzima jad
Ref.
Fale nam novci, moji Smogovci
na biciklu vise nije fantom
sad vidim penzionere i depra me pere
jer druze se s bocama i kantom
e, pa da
Pa procijedim psovku
steram sve u materinu
zamislim da sam Dado
da imam svoju Marinu
i poslusam zandara
jer on je bio mudar stvor
Dovoljno veliki mi smo
da ne budemo mali
pola je istine u svakoj sali
ma volim ih pogledat jer me u trenu
vrate u bezbrizno djetinjstvo
Smogovci
The refrain begins like a television theme remembered from childhood, and the song unfolds as a guided tour through a family of familiar characters. The narrator recalls everyone gathering on the couch, the opening sequence, the neighborhood and the Vragec family, then inventories the names as if listing old friends. That detail gives the lyric the warmth of shared viewing rather than a detached tribute.
Smogovci was a Croatian television series adapted from Hrvoje Hitrec’s novels, following the Vragec family in Zagreb’s Naselak neighborhood. The song’s nostalgia is therefore attached to a real piece of Croatian popular culture, not just a personal memory. Its references to the program’s opening and cast of characters reproduce the ritual of watching as much as the story itself. No independent review of Bulić’s song was located. The piece works as cultural memory in miniature: television becomes a weekly gathering, and a fictional family becomes part of the audience’s own domestic routine.
Nostalgia songs can flatten the past into a warm blur; this one resists that by naming characters, routines and the precise act of gathering around a television. Those details turn a remembered show into a social ritual, not merely an object of individual affection. Smogovci’s adaptation from Hrvoje Hitrec’s books to Croatian television helps explain why the Vragec family could feel familiar across generations, while the lyric’s roll call reconstructs that familiarity through names. The song functions like a TV theme revisited years later: its emotional subject is as much the audience watching together as the fictional family on screen.