About an hour after the show, my friend Faerie Fee and I sat down with Tito Larriva
in a very suitable ambient of the “Una” theatre in Bihać.
Interview was more than just a series of questions and answers, and for a journalist like myself, it is always a great pleasure talking to such a pleasant collocutor such as Mr. Larriva!
I’d like to extend my graditude to Faerie Fee, Damir Bajrić from the “Una” theatre, people from Art Zone
and of corpse, Tito Larriva! Gracias!^^

Faerie Fee: So tell us how did the Tito & Tarantula got its name?
Tito: Well I had a band for maybe a year or more, and I didn’t have a name so we just played for fun, work too, I used the band for movies. But we would just play as Tito & friends, and then one day my friends said “you should call it something, like anything, like Tito & Tarantula, and I said “Oh, that sounds good, I like that” (laughs), and that’s really the truth, that’s why. But then later, I liked it for many other reasons, because of it’s hairy legs, eight legs, and there’s a book that Bob Dylan wrote, called “Tarantula”, it was the only book he wrote, and then my father made a funny joke about tarantulas in Mexico, they say ‘tarantula’ for a woman’s… thing, you know, so every time I met somebody, it was more perfect… (laughs)
Darkness 69: It became more suitable.
Tito: Yes, as it grows, it becomes better.
Darkness 69: Actually, now that you mentioned Bob Dylan, he sort of participated in an album of yours…
Tito: Oh yes, he did…
Darkness 69: In 2001 I think.
Tito: Yeah well, my band played with him for almost a year. And then we asked him to play on our record, and he played harmonica. So, we’re known him since… ’84, and we’re very lucky.
Darkness 69: When people describe Tito & Tarantula as a “cult band”, what are your thoughts on such a description of your band?
Tito: I like it, I’ve always been associated with a cult band because of the Plugz. Me and Stevie… Stevie was in the Plugz later, it was one of the first LA punk bands and we were one of the first bands to produce our own record. I think our album the Plugz – “Electrify Me”, that album was first album from the LA punk scene. Then we made many other records, I produced records too in the punk era. And this cult status started then. Then when I worked with Stevie, he joined the Plugz later, and we did a movie together called “Repo Man”, this made it even more cult cause this movie was very… I think in the beginning it’s one of the first like cult kind of punk films ever, and the same director who did “Sid and Nancy”, Alex Cox – this was his first movie. And he was a big the Plugz fan, so he would come to all our shows and then we did this movie. At the same time we did another movie with the director named Jonathan Demme, this was in like ’81, and for this movie we used this guy named David Campbell to do the strings arrangement. His son was Beck, he grew up to be Beck. He played accordian, he was a little 10-year old boy… and the movie was directed by Jonathan Demme, it starred Rosanna Arquette, who was in Pulp Fiction, and also David Byrne, who was the singer of Talking Heads. And this was a really small movie, cult movie too, but what was interesting from that movie, David Byrne made another movie that I was in, as an actor, called Ramone, and that was called “True Stories”, and this was another cult movie, that was very popular in the late ‘80s, and it started that many stories, John Goodman starred in it…
Darkness 69: Very connected with the cult scene.
Tito: The cult thing has been a part of my life for a long time, yeah.

Darkness 69: How do you usually like to qualify your music? Or you tend to avoid such branding?
Tito: What’s funny is I don’t… there’s not a real specific thing that I could call it… but a lot of different people call it different things, depending on what they’re listening to. And because we’ve been around for so many years, and we’re done so many different things, that the more, if you like… you were at the show, some of it is kinda bluesy, some of it is very spaghetti western, some of it is really punk, and there are all the different thing that we have done for movies. But also it’s things that are part of us in being a Mexican, and being from the desserts, being from the border, this is our influences, so we love all these influences, Mexican, ZZ Top, punk, well the punk thing came from LA, and that’s why it’s so different. So I think I used to think that is a bad thing, and then I realised later “No this isn’t a bad thing”. It’s ok”.
Darkness 69: Yeah, different influences, various sources…
Tito: Yeah, I think a lot of bands do have these influences and they stay away from them sometimes, because they want to be a certain thing. And that’s good too, but I think they’re missing something. For me, it frees me from being “Oh, I can’t do that, because I can’t sing in Spanish, I can’t sing notes, Spanish love songs”. But I can sing Spanish love songs, so why not, who cares. But the audience seems to like it.
Darkness 69: What are some of the positive and negative aspects of performing live, tour life and everything? You’ve been on the road for quite some time during all these years.
Tito: I guess the most negative thing about touring is family and home. Everybody after maybe 3 months starts to miss their family. So this is the hardest part, I think, for everybody. But if the family was with us, then we could probably tour for a year, and no problem. So that’s why Willie Nelson tours with his family, cause it doesn’t matter. But I think that’s the hardest part. The negatives are very small. There’s very few things that are bad about touring, ‘cause you are in a different city every night, you meet new people every night, you enjoy life, the response like today, we played in a city that we would never have played before, probably if we would’ve stayed in the US. And I think this is a very special thing for a band to experience. And I, when I go back, I tell my friends: “ You don’t know what you’re missing.” I tell them :”Try to go to Eastern bloc countries, try to go to”, you know, “all these countries that you would never think of going”, ‘cause these are very special times. There’s a lot fo information on the Internet, and I think people are understanding quicker, what’s going on, and I feel I notice it, like tonight, maybe 5, maybe 10 years ago we would have played and people would have been very confused. “What is that?” or they would’ve liked it a lot. (laughs)
Darkness 69: That’s for sure!
Ttito: Yeah, there would be two kinds of responses, but I think now with the Internet, it’s opened up a very different youth. There’s a new movement of understanding, and communication, in music, in art, and everything. So it makes it great for us. I’m a lot older than you, so or me, to see this happen, it’s real clear for me. For you it’s normal. For me it’s real clear that it’s a very important time for you guys. It’s nice to see, ‘cause everything’s changing so fast, really fast. It’s gonna be good (laughs) It’s gonna get better I think.
Faerie Fee: What song you like to perform most live? Especially from the new album?
Tito: Oh, from the new album, I like a lot of the songs, I like, tonight I think we only did five… or four… “In My Car”, “Monsters”, “Murder”… “Machete” and “Come Out Clean”… but I think my favourite is… I like “Monsters”, I like the story, I like the lyrics. I like “Come Out Clean” because it’s so simple, but it has a really strong point. And then the other songs, I like “In My Car”, ‘cause it’s kind of crazy, it’s like ‘going to the edge’ (laughs). And the old songs, I like playing ‘After Dark” even though you would think I’d be sick of it by now (all laughing). But I’m not and I’ll tell you why, because I get to be with the audience, and this is the most fun that we have on the whole show.
Fearie Fee: Yeah, I just love the song.
Tito: Yeah, ‘cause, we can bring everybody, and that’s why we’re here, they like the song and… the more we like it, because the audience gets to be a part of us, and we get to be a part of them. I started doing this many yeas ago, and at first it was just for fun. Then I realised “this is the time we connect the most with everybody, because everybody gets unafraid. They go “Ok, I can have fun without worrying about, you know, whatever, being poor”, and then we’re more relaxed too. We used to do this song “After Dark” at the end of the show, but now we do it in the middle ‘cause then everybody relaxes and it’s more fun.
Darkness 69: And from then on it’s smooth sailing…
Tito: Yeah, it’s like after that, everything goes! (laughs)

Darkness 69: Ok good. You visited Bosnia before. What were your impressions then?
Tito: It was different things, like I said they’ve changed. Six years, I think it was six years, right? Like five or six years ago, something like that, yeah. When we came here, the audience was amazing too, they were really into it, but what I noticed was, there’s more young people now, and that the cities have changed quickly. There’s more construction, the roads are better… so things physically are changing. So when they change physically, they change inside too. I think the people are more relaxed because back then they seemed a little more… not afraid, but… they didn’t want to express too much. Today it was different. They were screaming when we were playing, 5 years ago they weren’t screaming. They were excited, but not screaming. That boy who got up there, he was like the Bosnian Flea from the ‘Chilli Peppers, you know Flea? (laughs)
Darkness 69 & Faerie Fee: Yeah, yeah!
Tito: He was amazing. I just thought:” Wow! Things are really changing…”
Faerie Fee: He got really crazy.
Tito: Yeah, but it was good. And I think this is important for the young people to see this, that it’s ok to explode…
Darkness 69: Every once in a while…
Tito: Yeah!
Darkness 69: It was such a good show!
Tito: Yeah, and it was a good thing for him! (laughs)
Faerie Fee: It was excellent.
Darkness 69: So let’s talk about the new album…
IMG_0160Tito: Well, we wrote about 48 ideas, and then we started to sort them out, And as we did that, I wasn’t sure where I was going yet. But then I saw this little drawing of the guy on a bicycle, and a title came into my head “Back into The Darkness” and once I got the title in my head, I called Stevie and said “I think I know what direction I wanna go to”. I wanna go back and listen to the old records and find out what it is that is inspiring me at the time. It’s like going back to basics. And you find out ‘Oh, that’s why I did this, that’s why I was so titled” and I remember a boxer, who was a famous Mexican boxer, and he was losing his fights towards the end of his career. And then he went back and looked at his films, of his early fights, and he noticed that he had more fire, and he was now more lazier, he did things, like stupid mistakes and I compared it to myself, I was like “My old record was not very focused, I did a bit of mistakes, I did things I didn’t want to do”, and so when I went back to “Tarantism”, I thought “I see I did that”. And then I picked the songs. And I knew “Ok, now I have something I really want to nurture and make it good”. Not for the fans, or for anything, but for the songs themselves. To respect the material. And this is something that I had forgotten, You have to have respect for the song. And then everything else comes. So it helps to go back and that’s a good title.
Darkness 69: He’s driving back…
Tito: Yes! (laughs) he’s going back into the darkness.
Darkness 69: Describe that process of going to the studio, how do you make the album there?
Tito: Well, after we did the writing, and we did the writing at Troublemaker studios in Austin, where Robert [Rodriguez] has all his monsters and everything, and he has the big stage that he let us use, so me and Stevie made the final things there, and then we flew to Germany because I wanted to be away from, I wanted the time to be away from the families and friends, so we could only focus on music. And we went to this really small German village and we had a really good studio there, we were there for a month and a half, actually three and a half months, but we also did some touring. But we lived there, and it was very exciting, because we haven’t made a record in six years. I haven’t felt that good about a material in a long time, and the band was ready. So, when we started, it was pretty much this recording, recording, recording, till we couldn’t record anymore, and then sorting out what was good and what was not. Then after we finished that process, I went back home and did all the singing by myself, in my house, in my closet…  I have a little closet and I put everything inside, and was eating and getting fat for three months (all laughing) and then, that was it. And then we mixed it. And I didn’t want to be at the mix. This is the first record that I wasn’t a part of the mix, because I felt I had to let it go, so that I wouldn’t control everything, and like in the writing process, was me and Stevie, and then the vocals, I controlled the vocals. Then I didn’t want to do anything else. So then the mixing I left to Marcus, and Marcus was really great. And they would just send me their mixes, and I was surprised and it was just great, more than I expected, so I was just very happy with the results.

Darkness 69: Ok, so we mentioned earlier the “bicycle guy” here. The artwork here on the album is quite interesting, and you have always had some for example, rockabilly parts, sometimes, and various things in general. Can you tell us more about that? Do you have a great input when it comes to the artistry?
Tito: Well, the artist who made that was a friend of my niece. And she showed it to me one day, and I really liked it. And then I met him – I wanted to meet him, he told me this skeleton he took from a pyramid in Mexico, from the Aztecs, and I liked it even more. And I knew it would be the cover of the record. Then the cover itself was redone. I’ve had this idea to take pieces of the bicycle, or the head and take it and make it into these different things, the spiderwebs, the trees, and so, it was just a simple idea and I gave it to the artist, and he took it apart. The bass player Lucy, she’s a graphics artist, so she did it first, she made all these pieces, and I sat there with her, and “What if we do this…? So then he did the final cover, the guy in Germany. I was also very surprised that it came out the way it did. The American version of the record will be different, it will be in colour. It’s a little different. It might also have one different song, but we’re not sure yet. But we’ll finish that in fall, when it comes out…
Faerie Fee: So when we think of your band, we think of the film industry, especially Rodriguez and Tarantino, of course. So can you tell us about the beginnings of that collaboration?
Tito: My collaboration with Quentin, was before Robert I met Quentin making a film for a guy named Alex Rockwell, also an underground film worker. Quentin was a friend of his, through acting. He was doing a small part in this movie that I was doing the score for. I was also involved as an actor. It was called “Somebody To Love” with Anthony Quinn, Harvey Keitel and Rosie Perez. Steve Buscemi was in there too. I met Quentin there, and went to dine with him and Alex and listened to him talk all day, and he was very interesting because he knew so much about film, it was unbelievable. When I met him, the first day I went to dinner with, he already was writing “Kill Bill”, and he had just finished “Reservoir Dogs”. He was ahead with everybody. He probably, you know, he just had so many ideas. And then I met Robert about, maybe 4 or 5 months later, at a benefit to raise money for college for Latin students, and he was there as a guest, and so was I. I didn’t know who he was, but I had heard about “Mariachi”, about this movie, but I hadn’t seen it. There were all these famous directors, and Cheech Martin came to me and said: “There’s a kid that wants to meet you. He’s a big fan of your group, and he wants to meet you, he’s standing over there”, and I said: ”Ok, we’ll go over there” and introduced myself. And when he was 14, he bought my record rom the Cruzados, and because he was a big fan. He told me, when he did “Mariachi”, he played the music to the actors, and he said: ”This is how I want you to feel”, and when he wrote the screenplay, he would listen to our music. So “yeah, that’s cool, and I’m gonna make another movie and you’re gonna be in it and you’re gonna do music”, and blah blah blah, I said “Ok!” (laughs) I didn’t believe him, but then about a year later, he called me and he said “I’m gonna start making ‘Desperado’”, it was called “Pistolero”, not “Desperado”, they changed the title, but so I went and auditioned, and I got the part, that was it. By this time, Quentin had just finished “Pulp Fiction”, it hadn’t been released yet, He was very excited. “Reservoir Dogs” had done ok, it was, it’s bigger now but it wasn’t so big then, and he was really excited about “Pulp Fiction”, and kept talking “it’s gonna be great”, and so he shot this movie “Desperado” in Mexico,and movie came out while we were there. It was huge. Then I think Robert’s movie, well maybe it came out around this time, I can’t remember now, it was so long ago, so we started that relatonship that way. Quentin, interestingly enough, was a big fan of ours too. He was a fan of “Repo Man”, he loved this movie, and then if you noticed in “Pulp Fiction”, the suitcase has a light inside and nobody ever sees what’s inside the suitcase and in “Repo Man”, it’s the same suitcase. It has a light inside and you never see what’s inside the suitcase. A lot of people think that it’s the same suitcase as in “Repo Man”, but it’s not, but he took this idea. He’s very clever. So he was a fan already of our music, and Robert was too and this is really the great relationship we have. While we were working on “Desperado” I played “After Dark” one day, just sitting up, we were mixing the movie and Robert filmed it, and said “I’m gonna play this for Quentin ‘cause we’re working on a vampire movie”, which I didn’t know, and I played them a vampire song, but it was just a coincidence. Then he went home that night and called me and said: “We were up all night, and we came up with an idea with the snake. Salma’s gonna dance and you’re gonna be in the movie, and we have all these really cool stuff”, and I said “Oh, cool”, so the movie originally didn’t have Salma dancing with the snake, and our band. It just had a jukebox. So we were very lucky also that the song created this moment in this film, because I think in the movie, it’s hard to imagine the movie without this moment. So it was a good collaboration between the three of us. I mean, we’re very proud with this moment, we were very lucky.
Darkness 69: It was definitely a sort of trademark scene that marked the movie.
Tito: Yeah. Where everything changes, “Oh, what happened?”, “What is going on?”
Darkness 69: One time it’s an action movie, another it’s like a bunch of bats flying around…
Tito: Yeah, and people getting killed…

Darkness 69: So how fun was it to shoot that scene?
Tito: It was so much fun! We worked maybe two and a half weeks in the bar, “Titty Twister”, every day it was crazy, fun, all the girls, the beautiful, and the costumes and the make-up, so many people come to the movie set, because by this time, Robert and Quentin were very famous, ‘cause “Desperado” was a big success, “Pulp Fiction” was huge, and so like, Robert De Niro was on the stage. All these… you know, they liked this kung fu movies, all these chinese directors came, and we had very many great dinners and one time we were celebrating Robert’s birthday, and at a restaurant, and Salma, we finished, had a lot of drinks and we walked out of the restaurant and we were waiting for our cars to pick us up. So they bring Salma’s BMW, and Robert had a big expensive car, Landrover, and then Quentin’s car comes and it’s all full of smoke! And it’s a little Yugo, you know the stuff?
Darkness 69 & Faerie Fee: Of course! (all laughing)
Tito: And Salma came there looking at Quentin: “Don’t tell me that’s your car!”, and he goes: ”It’s my lucky charm! It’s my lucky charm!” It was dusty, it was full of newspapers and shoes, and you couldn’t see up the windows, and the smoke everywhere, and she goes: “Tomorrow you’re coming with me, and you’re gonna buy a car, you cheap motherfucker!” (all laughing) and he drove up in his little car, and I kept thinking “Omg!” he could buy any car he wants, but this was a little car he got when he used to work at a radio store, he still had the same car and he was a funny guy. Of course now he doesn’t have it…
Darkness 69: Good thing he was able to travel with that…
Tito: Yeah, it was good, I thought we would have to push, but good he made it…
Darkness 69: I’ve read that Robert Rodriguez was even a guest guitar player on a couple of shows.
Tito: Yeah, he toured with us. He came on tour and we played with him many times when we go to Austin. Now I live in Austin, I just moved. But when we used to play in his home town, he would come on stage and play with us. In the beginning he wasn’t very good, he was just a fan of playing, like a hobby. But now he’s gone better, he has a little band that he does, ‘The Chingon”, and they play every now and then. But now he actually practised so he’s getting good. And he’s good at film scores, I shouldn’t have showed him all my tricks (laughs), now he doesn’t need me anymore. But he’s doing ok, he’s cool.
Faerie Fee: You are both an actor and a musician, having over 20 appearances. What do the movies give you for, for example inspiration, or for your music?
Tito: Well for my music… well, I think I don’t know if it relates to my music, but it relates to a dynamic. So you have acting, it’s similar to music and the sense that you have timing, you have a melody, sort of, in your dialogue, and a harmony with the other actors. So in that respect, they’re very similar. To find these moments, especially like, I’ve studied acting all my life, I was on stage, since I was a young boy, and this is where I learned they’re related, and I also sang in the choirs, played in the orchestra, so I realised all this was similar, it all was just a different way of expressing, and so in that respect I guess it relates to music, but only in that respect.
Darkness 69: And as opposed to music?
Tito: Music also has character in the way that acting does. And when you focus on the character of the song, it’s like being focused as an actor, if you’re playing Hamlet, so in some ways, not that music is acting, music has a different spirit if you wrote the song yourself, because it’s coming from inside. So it’s a hard thing to find in acting, is to find “how I am connected to this character”. Good directors understand this, or writers, and they write a character like Quentin writes, every character in his movie has a really long story. You know he has a brother, a sister, a really bad mother, a father who’s an asshole, you know, everybody has a story. And this helps the actor, because they can live this past. When you sing a song that you wrote, you know what it’s about, you know if it’s about a girl or something, your mother or whatever. So this is easier to do, and acting is harder if the director or the writer doesn’t have this understanding. So you have to kind of write it out yourself. Who is this person? Was he in jail? Was he bad? Was he good? Was he ever in love? Those things. So they do understand what you’re doing, so it helps, and I think this is why Quentin is such a strong director, ‘cause he knows every character very well. He knows who the person is.
Darkness 69: It sounds very good while on film.
Tito: Oh yeah, you believe it, you believe every character that he has on the screen. Robert’s different, he is not about the character. It is, but it’s more about the whole big picture, it’s spectacular action kind of thing, and he’s very good at that. They’s different kinds of filmmakers, and they’re really close friends, but they make two different kinds of movies.
Darkness 69: You’ve played in various genres, and you did a Spanish version of “Anarchy in the UK” by the Sex Pistols. That song featured on the “Million Dollar Hotel” soundtrack, where you also had a small role. What was it like to record the song with the musicians from U2?
Tito: What happened was, this director, Wim Wenders, he cast me in a movie, he was a big the Plugz fan, and he cast me in a movie and I got sick and couldn’t do the movie, and then two years later, he called me and said: “I’m doing another movie with Bono, and I want you to be in it”. He said: “You can’t get sick!” (laughs). “You have to promise me”. So I said “Ok, I’ll be in it”, and then Wim kept telling Bono “Oh, he’s famous, in a punk band”, and etc., and Bono had heard of the Plugz, and so he said “I want you to sing this song in the movie, and we’re gonna record it, maybe you could make some lyrics”, and he sent me a tape of him singing. Bono doesn’t sing in Spanish, but he was pretending to sing in Spanish. I wrote some lyrics but I noticed that the song was “Anarchy in the UK”, and when I went into the studio, and we got together, I said: “I wrote the lyrics, but isn’t this ‘Anarchy in the Uk’? Why can’t we just translate the lyrics?”, and he goes:” Oh you know that song!”, and I said “Everybody knows it” (laughs) “You gotta be kidding right?”, and he said ok, and we went in, he got on the phone with Johnny Lyden, he was talking with him. I played with Johnny Lyden – Johnny Rotten when they came to LA, with the Plugz, we opened for them. So, I had met him already, and Bono was talking to him saying: ”We wanna do this in Spanish, is it ok?”, and he said: “Yeah, yeah, do it”, so then he came in, right about the record, I sat there maybe 30 minutes, translated it, and then I started singing it, and Bono was just like sitting in another segment, going “Yeah!”, yelling at me “Great!” (laughs), and we recorded it in one day, and it was exciting, it was cool.
Darkness 69: It’s such a nice closure for the soundtrack.
Tito: Yeah, it’s nice in the movie too, there’s the scene in the movie where they speed It up, and I like the way where he put it. The movie, unfortunately, didn’t do very much, but there’s a group of like cult people that really like the mvie, and they find it really good. I think Wim had a lot of trouble with the script, and that’s why, it kind of changed, and then it’s a little bit of… something’s missing, but it’s still I think beautiful to watch. Milla is great in there, and oh Mel Gibson is great as well, he’s a very cool guy. When I met him, he said: “Did you hear the one about the Mexican?”, he was telling a joke, and I said: “I’m a Mexican”, he said: “I know you’re a Mexican”, he goes: “Did you hear the one about the Mexican”, and he tells the joke. (laughs)
Faerie Fee: Yeah, we have also many jokes about Bosnians.
Tito: Oh yeah?
Faerie Fee: Probably the most in the world, like one million, yeah.
Tito: (laughing) That’s funny, well if he ever makes a movie here, he’ll be telling Bosnian jokes that’s for sure.

Darkness 69: Last year you got the newest member of the band, Caroline. The audience really seems to love her.
Tito: Yeah, they love her. And I love her too, she’s great.
Darkness 69: How is the chemistry in the band now?
Tito: It’s the best that’s ever been. And it’s because of Lucy. Together we have the best rhythm section we ever had, and Alfredo played with her before. But then he had to go on tour with the Beastie Boys, so he couldn’t do the record, ‘cause he’s been playing with the Beastie Boys for many years. He unfortunately couldn’t do the record, but after the Beastie Boys tour, we started this tour, and he said: “I can do the tour”, so we already have had Lucy for one year, and they just connected. What’s nice about Lucy is that all the people I’ve had in my band are very well known musicians, our bass players that we changed, because they’ve gone to do other things, like Dominique plays with Blue Bonnets now, Abby went with the Bangles, Jennifer went too… so, you know, we’ve had these musicians, that when they’re not working, they go and everybody wants to play with them, so it’s very hard to keep the band together, so, when Dominique went to play with the Blue Bonnets, I thought maybe I look for someone that nobody knows, so I got on the computer, the Internet, and I typed “Mexican girl bass player, lives close to Austin, TX”, and I hit enter, and then Lucy came up (laughs). She lived in San Antonio, she’s half Mexican, she plays bass and there was a little interview with her in a basement, and I thought: “Oh, that’s what you do”, and then I heard her band, and it was like a punk, psychobilly bad, and I thought:”Wow, she is really good”, I mean, she can play. Nobody knows who she is, so Stevie called her, ‘cause she moved to Las Vegas, we met with her, we talked with her, and she said:”I don’t know, I’ve always been with my own band”, and we said that it’s ok, so her first tour was in Russia, we toured all over Russia. I said if she makes it through Russia, she’s gonna be fine, and she’s great.
Darkness 69: In the end, I’d like to thank you very much for this interview.
Tito: Oh thank you, and I hope I didn’t talk too much!
Darkness 69: Can you send a message for all your bosnian fans?
Tito: I would like to say “Hvala”, thank you to all of Bosnia, and I hope to see you again next year!
Faerie Fee: we hope to see you too. Thank you very much.
Tito: Thank you!


Featured Video
Our networks