Screamed Poetry: Rock in Poland’s Last Decade of Communism by Raymond A. Patton A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) in the University of Michigan 2011 Doctoral Committee: Associate Professor Brian A. Porter-Szucs, Chair Professor Geoffrey H. Eley Professor Ronald G. Suny Associate Professor Genevieve Zubrzycki © Raymond A. Patton 2011 Acknowledgements I have accumulated a number of debts as I have worked on this project over the past several years. First, I would like to thank Piotr Westwalewicz for introducing me to communist era Polish punk rock – a genre I never imagined could exist until Piotr played his recordings of Maanam, Lady Pank, and Republika. I also thank Brian Porter-Szűcs, my dissertation committee chair, for his support and enthusiasm for my work on what might seem an eccentric topic to a less inquisitive and open mind. His exceptionally insightful and timely feedback has allowed me to improve the quality of my work here many fold. I would also like to extend my gratitude to my entire committee – Geoff Eley, Ron Suny, and Genevieve Zubrzycki – for their roles in developing this project and broadening my analytical scope. I hope each can see the ways in which s/he has profoundly influenced my work. In Poland, I extend thanks to all the people at the Archiwum Akt Nowych, the Archiwum Panstwowe w Kaliszu, the Biblioteka Narodowa, and Polskie Radio, who never ceased to amaze me with the Polish practice of appearing cool and stone-faced at first meeting but growing increasingly warm, personable, and supportive with each encounter over the subsequent weeks and months. I am at least as indebted to the “alternative” archival system – the multitude of people who have kept the experience of Polish punk alive with their dedication in collecting and preserving materials and memories from their days in the rock scene – including Andrzej “Amok” Turzynowicz, Mirosław “Mr.” Makowski, Michał Szymański, and Robert Jarosz, and the countless punk fans who have made their bootleg recordings available. I also thank Przemysław Zielinski – teacher, scholar, and rock aficionado – who helped me negotiate the labyrinthine Polish archival system on my first research trip to Poland. Of course, a research project does not simply arise from the “life of the mind,” and my work would not have been possible without the support of the University of Michigan and the Rackham Graduate School. I am particularly grateful to the Department ii of History and Center for Russian, East European, and Eurasian Studies, which have provided an exceptional combination of intellectual development (through workshops, guest lectures, film festivals, conferences, colloquia, and countless other programs and activities) and financial support. Translations here are mine unless otherwise noted – but this is largely thanks to first rate instructors in Polish language and culture, Ewa Małachowska-Pasek and Piotr Westwalewicz. I deeply thank my wife, Kerry, who has provided not just emotional support, but also many hours of editorial assistance from the perspective of the proverbial “educated, intelligent non-specialist.” Finally, I would like to thank our cats, Lily and Mocha, who have made the long days and nights of writing and editing a bit warmer – at least when they aren’t standing in front of the computer monitor. Any typographical errors in the pages that follow are quite possibly theirs. iii Table of Contents Acknowledgements……………………………………………………. ………….. ii List of Figures………………………………………………….…………............... vi List of Abbreviations………………………………………………………..….…. vii Abstract…………………………………………………………….…………….... ix Chapter I. Introduction……………………………………………………………………… 1 A Brief History of Polish Rock…………………………………………….. 8 My Theoretical Approach…………………………………………...…....... 21 A Word on Sources…………………………………………………….…... 27 Place and Organization…………………………………….………………. 28 II. The Socialist Music Industry…………………………………............................. 33 Live Music……………………………………………….…........................ 45 The Record Presses……………………………………….………….…….. 60 Broadcast Media……………………………….………………………....... 75 Impresarios: Socialist Poland’s Music Professionals…………….….…….. 88 Conclusion…………………………………………………………..……... 107 III. The Party and the State…………………………………………………............ 112 History of the PZPR on Youth and Culture…………………….….…......... 116 Three Crises and the Return to Youth and Culture.……………….………. 122 Policy and Rock…………………………………………………..………... 147 iv Central and Local: Principals and Agents…………………………..……… 160 The Party Responds…………………………………..………….………… 169 1987-1988: Incorporation?............................................................................. 190 Conclusion…………………………………………..……………………... 201 IV. Performing Rock……………………………………………..………………… 204 MMG and Punk, 1978-1981……………………………..………………… 207 Mainstream Rock and its Alternatives, 1982-1984………............................ 222 Mainstream? Alternative? 1985-1988……………………………..…......... 272 Conclusion…………………………………………………………..……... 285 V. Rock’s Public……………………………………………………..….……......... 289 The Press……………………………………….…………………………... 292 Punks...……………………………………………………………..…........ 316 Fans, Fan Clubs, and Anti-fans……………………………………..……… 330 Rock as a “Third Option”?..…………………………………………........... 352 Conclusion…………………………………………………………..……... 375 VI. Epilogue and Conclusion………………………………………………..…….. 377 Analysis………………………………………………………………......... 388 Bibliography……………………………………………………………………….. 397 v List of Figures Figure 1. Bałtycka Agencja Artystyczna, “Pop Session 1978 Program,” 1978. 15 2. Number of rock bands distributed on LP records and cassettes by year, and rock LP’s in thousands distributed by year (sum of all post-1980 Polish rock subgenres). 67 3. Membership of Socialist Youth Organizations by date. 131 4. Survey of Gdańsk school pupils and students, in percentages. 152 5. Andrzej Turczynowicz, “Biuletyn, I Ogólnopolski Przegłąd Zespołów Rockowej „Nowej Fali,”” 1980. 217 6. “III Ogólnopolski Przeglad Muzyki Młodej Generacji Jarocin,” 1982. 253 7. Henryk Gajewski and Piotr Rypson, Post, September 10, 1980. 317 8. Henryk Gajewski and Piotr Rypson, Post, November 10, 1980. 319 9. Henryk Gajewski and Piotr Rypson, Post, February 20, 1981. 320 10. Jacek Lenartowicz, Papier Białych Wulkanów no. 2, 8. 322 11. Jacek Lenartowicz, Papier Białych Wulkanów no. 1, 10. 323 12. “Brygada Kryzys,” no. 0, August, 1981. 324 13. Stołeczna Estrada, “20 Lat Wolności,” 2009. 378 vi List of Abbreviations BART Baltic Artistic Agency (Bałtycka Agencja Artystyczna) FSZMP Federation of Socialist Polish Youth Unions (Federacja Socjalistycznych Związków Młodzieży Polskiej) GSA Gdansk Alternative Scene (Gdańska Scena Alternatywna) GUKPPiW Main Office of Control of the Press, Publication, and Entertainment (Główny Urząd Kontroli Prasy, Publikacji i Widowisk) KOR Workers’ Defense Committee (Komitet Obrony Robotników) MKiS Ministry of Culture and Art (Ministerstwo Kultury i Sztuki) MMG Music of the Young Generation (Muzyka Młodej Generacji) MO Citizens’ Militia (Milicja Obywatelska) MSW Ministry of Internal Affairs (Ministerstwo Spraw Wewnętrznych) PAGART Polska Agencja Artystyczna PRL People’s Republic of Poland (Polska Rzeczpospolita Ludowa) PSJ Polska Stowarzyszenie Jazzowe PZPR Polish United Workers’ Party (Polska Zjednoczona Partia Robotnicza) SBIA Capital City Bureau of artistic events (Stołeczny Biuro Imprez Artystycznych) SZSP Socialist Union of Polish Students (Socjalistyczny Związek Studentów Polskich) ZHP Union of Polish Scouting (Związek Harcerstwa Polskiego) ZMW Union of Village Youth (Związek Młodzieży Wiejskiej) vii ZOMO Motorized Reserves of the Citizens’ Militia (Zmotoryzowane Odwody Milicji Obywatelskiej) ZSMP Union of Socialist Polish Youth (Związek Socjalistycznej Młodzieży Polskiej) viii Abstract While the martial law years in Poland, 1982-1983, are often remembered as a time of fear and repression, they are also fondly recalled as the peak of Polish rock music. “Screamed Poetry: Rock in Poland’s Last Decade of Communism” seeks to resolve the paradox of this explosion of controversial music and culture in an authoritarian communist state. Based on an array of sources, including archival documents from the Party and state, music periodicals, underground fan publications, interviews, and music and texts, “Screamed Poetry” shows how rock became a fulcrum against which various people, groups, and institutions sought leverage to push socialist Poland in the direction of their own ideals and interests. As rock became popular over the 1980s, debates over its interpretation determined whether the music would be accepted as a form of Polish amateur youth culture, harnessed as a badly needed financial asset, studied as a symbol of social crisis, or suppressed as a threat to socialism and the Polish nation. Meanwhile, young Poles performing and listening to rock sought to prevent their music from being hijacked for these uses by politicians and social activists. “Screamed Poetry” tells the story of Polish rock as a struggle to define Polish youth, the nation, and its culture – a debate that took place in Party meetings, in the press, in production decisions at record factories, at performances, and in the sound of a guitar chord. It reinterprets the 1980s – often mischaracterized as stagnant between martial law and 1989 – as a dynamic period that set up the fall of communism and subsequent transition to capitalism. Beyond Eastern Europe, “Screamed Poetry” offers a solution