omewhat of a Bosnian parallel to the Rolling Stones, in both popularity and influence. Sarajevo was also the home of a very notable post-punk urban subculture known as the New Primitives, which began during the early 1980s with the Baglama Band which was banned shortly after first LP and was brought into the mainstream through bands such as Zabranjeno Pušenje and Elvis J. Kurtović & His Meteors, as well as the Top Lista Nadrealista radio, and later television show. Other notable bands considered to be part of this subculture are Bombaj Štampa and Šume i Gore. Besides and separately from the New Primitives, Sarajevo is the hometown to one of the most significant ex-Yugoslavian alternative industrial-noise bands, SCH (1983–current).
Perhaps more importantly, Sarajevo in the late 19th and throughout the 20th century was home to a burgeoning and large center of Sevdalinka record-making and contributed greatly to bringing this historical genre of music to the mainstream, which had for many centuries been a staple of Bosnian culture. Songwriters and musicians such as Himzo Polovina, Safet Isović, Zaim Imamović, Zehra Deović, Nada Mamula (who lived and worked for many years in Sarajevo), Meho Puzić and many more composed and wrote some of their most important pieces in the city.
Sarajevo also greatly influenced the pop scene of Yugoslavia with musicians like Dino Merlin, Hari Mata Hari, Tifa, Kemal Monteno, Željko Bebek, and many more.
Many newer Sarajevo-baseed bands have also found a name and established themselves in Sarajevo, such as Regina who also had two albums out in Yugoslavia and Letu Štuke, who actually formed their band in Yugoslavia with the famous Bosnian-American writer Aleks andar Hemon and got their real breakthrough later in the 2000s. Sarajevo is now home to an important and eclectic mix of new bands and independent musicians, which continue to thrive with the ever-increasing number of festivals, creative showcases
