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This paper is based on the assumption that Goran Bregović's transition from Yugoslav rock star to contemporary Balkan composer, as he defines himself today, has unfolded via the appropriation of the different strategies the music industry (M I) devised in its own, bumpy and often contested, but undeniably technologically constituted transition and transformation during the last decades of the 20th and at the beginning of 21st centuries. Notable for his usage of existing (mainly traditional) music even in his rock years, Bregović actually developed some peculiar modes of production that almost neatly matched the MI strategies not only of production but of distribution and consumption as well. Hence, I shall address the possibilities of interpreting Bregović's creative/production procedures, here defined as recycling, remediation, and reformatting as appropriated music industry production, distribution and, naturally consumption strategies, show-casing his music for Emir Kusturica's Underground and the pop song(s) emerging from it.

Recycled/remediated/reformatted: Goran Bregović's appropriation of the music industry strategies in pop song (post)production