DOCSLIB.ORG

271 the Index Refers to Persons, Organizations, Places, Bands

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
271 the Index Refers to Persons, Organizations, Places, Bands Index The index refers to persons, organizations, places, bands, newspapers and topics. Page in italic: Footnote Nouns in italic: Newspaper or title of a movie Small towns, streets and places are marked with the country or town. ABBA (music band), 204 Azra (punk band), 191 Abrasive Wheels (punk band), 221 Action Pact (punk band), 221 Bahnhof Zoo (Berlin), 90 Aegidigasse (Vienna), 47, 49 Banlieu (France), 172, 175–6, 178–80 Afghanistan, 84, 93 Beat, The (music band), 223 Algeria, 182 Beats of Freedom, 209 Amerlinghaus (Vienna), 44–6 Belghoul, Farida, 175–6 Amsterdam, 2, 15, 25, 34, 35, 53–64, Belgium, 179 67, 72, 84, 90, 112, 120, 125, 152, Belgrade, 191–3, 195, 200 231, 244 Benyon, John, 262 Angelic Upstarts (punk band), 222 Berkeley, 162, 163 Anti Pasti (punk band), 221 Berlin, 1, 2, 4, 11, 25, 34–5, 43, 49, 60, APO (extra-parliamentary opposition), 62, 67, 71–2, 74, 77, 81, 84, 87–90, 73 112, 120–1, 163, 167, 231, 236, 244 Apostles, The (music band), 223 Berliner Morgenpost, 236–7 Arbeiterzeitung, 43 Berlinski zid (punk band), 194 ‘Arena’ (Vienna), 41–4, 47, 50 Beur movement, 12–13, 172–83 Ariès, Philippe, 247 Bey, Hakim, 209 Association for Children and Young Bezbednost, 179 People with Physical Disabilities, Bild, 237–8 166 Birmingham, 217, 259, 266 Association of Hotel Managers Birmingham Centre for Contemporary (Germany), 165 Cultural Studies (CCCS), 262 Au Pairs (music band), 225 Blecha, Karl, 44 Auslandsschlachthof (Vienna), 44 Blitz (punk band), 221, 222 Autonomes Jugendzentrum / Blumer, Herbert, 31 autonomous youth centre (AJZ), Boney M. (music band), 204 1, 7, 43, 72, 84–7, 89, 243 Bopp, Jörg, 231, 235 Autonomia, 120, 128 Borghesia (music band), 194 Autonomia Operaio, 49 Bramsche (Lower Saxony), 75 autonomy Bremen, 2, 67, 71, 162, 167, 231 concept, 4, 12, 49, 57, 67, 71, 73–5, Bristol, 217, 221–2, 260, 266 77, 85, 98–9, 116, 122, 129, 163, Britain, 16–17, 152, 162, 211, 217–26, 170, 184, 197, 211, 248 258–67, see also England; UK movement, 14–15, 16, 18, 42, British Council of Organizations of 49–50, 69, 82, 97, 106–7, 113, Disabled People (BCODP), 162 116, 120, 122, 127–30, British European Nuclear 134–5, 139 Disarmament (END), 150–2 271 272 Index Brixton, 120, 222, 224–5, 258–60, Czorsztyn (Poland), 206 262, 266 Buldogi (punk band), 192 Dahrendorf, Ralf, 250 Burggarten (Vienna), 42, 45 Dakar, 179 Buzzcocks (punk band), 219 Delaware, 149 Della Porta, Donatella, 30, 117 Cabaret Voltaire (music band), 224 Delorme, Christian, 174 California, 149 Delta 5 (music group), 225 Cannabis, 82, 87–8 Denmark, 2, 14, 15, 99, 100, 105, Caribbeans, 261, 265, 270 108, 179 Carstens, Karl, 12, 167–8 Der Spiegel, 67, 71, 73, 231, 232, 234 Chaos UK (punk band), 221, 222 desencanto, 127, 130, 131, 133, Chernobyl, 15, 206 135, 139 Christiania (Copenhagen), 44, 90 Detroit, 149 Christoph, Franz, 164, 167–8 Dezerter (punk band), 213, 214 Chron Gen (punk band), 221 Diani, Mario, 30 Clash, The (punk band), 120, 219, Die Grünen, 152 222, 224 disability, 12, 159–70 Clubs of Disabled People and their Disabled Peoples’ International (DPI), Friends, 163 161 CNT (Campaign for Nuclear Discharge (punk band), 221, 222 Disarmament), 220, 225 Disorder (punk band, 221, 222 CNT (Confederación Nacional del Donauinsel (Danube island, Vienna), 46 Trabajo), 128, 130 Drahdiwaberl, 50, 51 Coalition for International Dreux (France), 174 Cooperation and Peace, 147 DRS (Swiss Radio Station), 245 Cock Sparrer (punk band), 222 Düsseldorf, 167 Cockney Rejects, 222 Dutch Inter-Church Peace Council Cold War, 10, 145–6, 150, 220 (IKV), 149–52 Colley, Linda, 267 Comiso (Sicily), 118–19, 123, 152 Earth Day, 147 Committee Against Cruise Missiles Engert, Jürgen, 234 (KKN, Netherlands), 150 England, 259–61 Confederate Commission of Youth Environmental Action, 147, 211 Affairs (Switzerland), 245, 248, Environmental Defense Fund, 147 250–3 Environmental Policy Center, 147 Conservative Party, 266, see also Tory Emergency (punk band), 221 Conservation Society, 148 ETA, 132, 137 Convergence ‘84, 176 Euromissiles crisis, 146 Coordinating Committee in Germany Europe, 1–18, 25, 34, 42–3, 46–7, 50, (KA), 150 53–4, 59–60, 63–4, 81–2, 90, 97, Copenhagen, 5, 35, 44, 90, 119, 244 100–2, 104–5, 107–9, 112–13, Costil, Jean, 175 115, 119–21, 127–9, 131–2, Crass (punk band), 220, 223, 224 134–9, 145–6, 148–9, 150–3, Creys-Malville (France), 148 159–60, 163, 169, 173, 179, Critical Mass Energy Project of Public 204–6, 211, 231–2, 240, 243–4, Citizen, 147 251, 260 Croatia, 191, 199 Ewing, Winnie, 266 Czechoslovakia, 205 Exploited (punk band), 221, 222 Index 273 Fala, 210, 212 Grunewald (Berlin), 236 Federal Office of Criminal Investigation Grupa 92 (music band), 194 (Germany, BKA), 67 Guardian, 263 Flamanville (France), 148 Guillou, Jan, 238 Forsberg, Randall, 150 Gumol, Pawel, 210 Foucault, Michel, 87 Gut, Theodor, 245 France, 3, 12, 17, 137, 152, 172–3, 175–6, 181–2, 205 Hafenstraße (Hamburg), 237–8, 241 Franco, Francisco, 15, 41, 127–9, 132, Hageleit, Peter-Schultz, 235 134, 136 Hall, Stuart, 221 Frankfurt, 70, 163–4, 166 Hamburg, 7, 35, 60–1, 67, 231, 237–8, Frankfurter Allgemeine Zeitung, 238 241, 244 Frehe, Horst, 164 Hanover, 2, 69, 71–2, 231 Freiburg, 67, 231 Harrisburg, Pennsylvania, 148–9 French Committee for Nuclear Hattersley, Roy, 259 Disarmament (CODENE), 150 Häuserrat (housing council; Berlin), Friedrich, Rudolf, 250 45, 48 Friends of the Earth, 148, 155 Heigert, Hans, 236 Front National (FN), 172, 174 Helsinki Agreements, 205 heroin, 11, 54, 81–90, 114–15, 123, Gandhi, Mahatma, 174 131–3, 139 Gang of Four (music band), 225 junkies, 88–9 GBH (punk band), 221 Herrenknecht, Albert, 71 generational Hersch, Jeanne, 250–1 perspective, 26–9, 35 Heseltine, Michael, 266 shift, 5–6, 73, 75–6, 84, 104, Hesse (Germany), 68, 76, 168 112–13, 122, 124, 133, 139, Hippie, -culture, 41, 45, 73, 206, 227 146, 153, 176, 181, 231–2, 247–8 India, 84, 174 Geneva, 58, 245, 250 Indiani Metropolitani, see urban German Communist Party (DKP), 71 Indians German Democratic Republic (GDR), Industbag (punk band), 193 166 Inglehart, Ronald, 248 Germany, 2, 5, 7, 9, 11–12, 14–17, 25, INHALE (Initiative Hanf Legal – 29, 43, 49, 60–1, 63, 67–72, 76, initiative for the legalisation of 100, 105–6, 108, 120–1, 148, 150, hemp/marihuana), 48 152, 160, 162, 165–7, 205, 231, Inlandsschlachthof (Vienna), 44, 47 251–2 International Herald Tribune, 244 Geronimo (pseudonym), 49 International Peace Communication Ginnheim (Frankfurt), 70 and Coordination Centre Goli otok (Gomila), 197 (IPCC), 151 Gomila G (punk band), 194 Iraq, 29 Gonzalez, Yolanda, 132 Ireland, 132, 217, 259 Górski, Rafał, 207 ‘Islamic headscarf’ affair, 180 Grabowski, Krzysztof, 213 Italian Hot Autumn (Autunno caldo), Greece, 3, 115, 164, 166 112–13, 128 Greenham (Great Britain), 152 Italian Unified Committee for Groote Keyser (Amsterdam), Disarmament and Peace 56, 58 (CUDIP), 150, 152 274 Index Italy, 3, 5, 11, 14–15, 29, 33, 49, Kuroń, Jacek, 205 112–15, 117–18, 120–1, 128, 132, Kuzle (punk band), 193 152, 163 Labour Party, 263 Janjetović, Zoran, 192 Laibach (punk band), 194 Jarocin festival (Poland), 14, 204, 208, Lanc, Erwin, 44 211–14 Le Cun du Larzac, 152 Johnny Rotten Square (Ljubljana), Le Mouvement des Travailleurs 189, 193 Arabes, 182 Jugendzentrumsbewegung (youth Lebanon, 182 centre movement), 67–77 Leeds, 217, 221, 259, 260 Lefebvre, Henri, 57 Kalisz (Poland), 209 Libertarian Ateneus movement, 135, Kallman, Per-Olof, 166 139 Kärntnerstraße (Vienna), 41 Limmatstraße (Zurich), 243 Kelly, Petra, 152 Linksradikales Blasorchester (Radical- Kenney, Padraic, 8, 198, 204, 207 Left Brass Orchestra), 165 King, Martin Luther, Jr., 149 Liverpool, 217, 259–61, 266 Kinker (Amsterdam), 56 Ljubljana, 13, 189–99 Klee, Paul, 163 Łódź, 211 Klempicz (Poland), 206 London, 60, 112, 217, 226, 258–9, Komitet Obrony Robotników (KOR, 262, 266 Committee for Workers’ Defence), Long Island, 149 205 Loopmans, Maarten, 57, 59 KOMM (Nuremberg), 69 Lower Saxony (Germany), 71, 75 Koopman, Ruud, 30 Lublanski psi (punk band), 192–3 Koordinationsbüro für die Ludus (music band), 225 Initiativgruppen der Lyon, 173–4, 184 Jugendzentrumsbewegung e.V. (coordination office for initiative McAdam, Dough, 28, 32 groups of the youth centre McCarthy, John, 31 movement), 70 McConnell, John, 147 KPN (Konfederacja Polski Manaam (rock band), 210 Niepodległej, nationalist Manchester, 217, 259–60 opposition political party), Manhattan, 151 207, 213 Margiotta, Stephen, 258 Kranj (Yugoslavia), 197 Mark, Sir Robert, 259 Kreisky, Bruno, 46, 162 Marseille, 174–5, 184 Kressbronn (Germany), 70, 72 Marxism, Marxist theory, 5, 7, 73, 76, Kreuzberg (Berlin), 1, 62, 74, 88, 116, 225 235–6, 239 May, Karl, 237 Kriesi, Hans-Peter, 27, 34 Meluccci, Alberto, 10, 33 Kronenzeitung, 45 Michnik, Adam, 205 Krüppelgruppen (cripple groups), Milošević, Slobodan, 199 163, 168 Milwaukee, 149 Kuga (punk band), 193 Minguettes (Lyon), 173 Kukuk (Berlin), 74 Mitterand, François, 12 Kultur- und Kommunikationszentrum Mobilization for Survival (Mobe), Gassergasse (GAGA), 45, 48–9 147–50 Index 275 MOC (Conscientious Objector pacifism, 123, 125, 135, 194, 206, 224 Movement), 136 Hollanditis, 152 Moncloa Agreements, 129–30 pacifists, 207, 211 Morocco, 182 Pankrti (punk band), 191–8 Moscow, 149 Paris, 2, 60, 119, 174, 176–7, 179 Moskwa (punk band), 210, 213 Partisans, The (punk band), 221 Munich, 162 PCE (Spanish Communist Party), 129, 133, 138 Nader, Ralph, 147 Perfect (Rock band), 210 National Audubon Society, 147 Phorushalle (Vienna), 45 NATO, 9, 118–19, 136, 148, 150, 152 Pittsburgh, Pennsylvania, 149 nazi, neo-nazi, 107,
Load more

Recommended publications
  • Lithuanians and Poles Against Communism After 1956. Parallel Ways to Freedom?
    Lithuanians and Poles against Communism after 1956. Parallel Ways to Freedom? The project has been co-financed by the Department of Public and Cultural Diplomacy of the Ministry of Foreign Affairs within the competition ‘Cooperation in the field of public diplomacy 2013.’ The publication expresses only the views of the author and must not be identified with the official stance of the Ministry of Foreign Affairs. The book is available under the Creative Commons Attribution License 3.0, Poland. Some rights have been reserved to the authors and the Faculty of International and Po- litical Studies of the Jagiellonian University. This piece has been created as a part of the competition ‘Cooperation in the Field of Public Diplomacy in 2013,’ implemented by the Ministry of Foreign Affairs in 2013. It is permitted to use this work, provided that the above information, including the information on the applicable license, holders of rights and competition ‘Cooperation in the field of public diplomacy 2013’ is included. Translated from Polish by Anna Sekułowicz and Łukasz Moskała Translated from Lithuanian by Aldona Matulytė Copy-edited by Keith Horeschka Cover designe by Bartłomiej Klepiński ISBN 978-609-8086-05-8 © PI Bernardinai.lt, 2015 © Jagiellonian University, 2015 Lithuanians and Poles against Communism after 1956. Parallel Ways to Freedom? Editet by Katarzyna Korzeniewska, Adam Mielczarek, Monika Kareniauskaitė, and Małgorzata Stefanowicz Vilnius 2015 Table of Contents 7 Katarzyna Korzeniewska, Adam Mielczarek, Monika Kareniauskaitė, Małgorzata
    [Show full text]
  • Stan Magazynu Caĺ†Oĺıäƒ Lp Cd Sacd Akcesoria.Xls
    CENA WYKONAWCA/TYTUŁ BRUTTO NOŚNIK DOSTAWCA ALLMAN BROTHERS BAND - AT FILLMORE EAST 159,99 SACD BERTUS ALLMAN BROTHERS BAND - AT FILLMORE EAST (NUMBERED 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - BROTHERS AND SISTERS (NUMBE 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - EAT A PEACH (NUMBERED LIMIT 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - IDLEWILD SOUTH (GOLD CD) 129,99 CD GOLD MOBILE FIDELITY ALLMAN BROTHERS BAND - THE ALLMAN BROTHERS BAND (N 149,99 SACD MOBILE FIDELITY ASIA - ASIA 179,99 SACD BERTUS BAND - STAGE FRIGHT (HYBRID SACD) 89,99 SACD MOBILE FIDELITY BAND, THE - MUSIC FROM BIG PINK (NUMBERED LIMITED 89,99 SACD MOBILE FIDELITY BAND, THE - THE LAST WALTZ (NUMBERED LIMITED EDITI 179,99 2 SACD MOBILE FIDELITY BASIE, COUNT - LIVE AT THE SANDS: BEFORE FRANK (N 149,99 SACD MOBILE FIDELITY BIBB, ERIC - BLUES, BALLADS & WORK SONGS 89,99 SACD OPUS 3 BIBB, ERIC - JUST LIKE LOVE 89,99 SACD OPUS 3 BIBB, ERIC - RAINBOW PEOPLE 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - GOOD STUFF 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - SPIRIT & THE BLUES 89,99 SACD OPUS 3 BLIND FAITH - BLIND FAITH 159,99 SACD BERTUS BOTTLENECK, JOHN - ALL AROUND MAN 89,99 SACD OPUS 3 CAMEL - RAIN DANCES 139,99 SHMCD BERTUS CAMEL - SNOW GOOSE 99,99 SHMCD BERTUS CARAVAN - IN THE LAND OF GREY AND PINK 159,99 SACD BERTUS CARS - HEARTBEAT CITY (NUMBERED LIMITED EDITION HY 149,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS AFTER HOURS (NUMBERED LI 99,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS OF RAY CHARLES (NUMBERED 129,99 SACD MOBILE FIDELITY
    [Show full text]
  • East and West As the Basic Concepts of Solidarity 1980-1989
    East and West as the Basic Concepts of Solidarity 1980-1989 Bronisław Swiderski A number of both Polish and foreign commentators conceive Solidarity as an alternative to both the ideology and the practice of the communist system. Books by historians, political scientists and journalists, for example by Alain Touraine (1982), Timothy Garton Ash (1983), Jerzy Holzer (1984), Lopiński, Moskit and Wilk (1989) or Georges Mink (1989) emphasize the conflict between Solidarity and the government. The authors see it as a struggle for freedom, democracy and liberalism against dictatorship. Analyses by Roman Laba (1991) and by Lawrence Goodwyn (1991) distinguish simultaneous confrontations on two different levels: one between the working class and the Leninist state, the other within Solidarity itself: the working class and the intellectual ideologues. Sergiusz Kowalski (1990) offers an interesting discussion of the distinction between tradition and the past in Solidarity ideology, as well as of the trade-union's "reconstruction" of the Polish tradition as an anti-communist one. Barbara Törnquist-Plewa (1992) points out the confrontation between different ideas which arose as Solidarity appropriated "Polish" religion, history and tradition. The official system was thus left unrooted in the Polish past. Many scholars, then, considered Solidarity to be a political and ideological alternative to the communist system, and saw the situation as the "new world" fighting l'ancien regime. But did the ideas of Solidarity and their application in fact constitute a real alternative to the official structures? It seems that more of the actual facts indicate that Solidarity should be described as complementary to Slavica Lundensia 14, 1995, pp 43-53 Bronisław Swiderski and not as an alternative to the official Poland of the time.
    [Show full text]
  • Komplette Ausgabe Als
    TRUST URGE LP/CD »Why hide the lie?« RPN 005/006 POLSKA MALCA MLP »Polska M alca« RPN 004 POLSKA MALCA ON TOUR MAY/JUNE 1991! 25.5. Basel (CH), Hirscheck/2 6.5 . Karlsruhe 29.5. Hamburg, Störtebecker/30.5. Hannover, M.A.D. 31.5. Arnsberg-Neheim,JBZ/1.6. Flensburg,Volksbad 3.6. Essen, Fritz/4.6. Wuppertal, HonkyTonk 5.6. Linz (Ö), Kapu / 6.6 Donauwörth 7.6. Wangen,JUZTonne/8.6. Wien(Ö)Flex Out in June: »Die 2555. Nacht« Live-Benefit-LP-Sampler mit PULLERMANN, FLEXX, SUBTERRANEAN KIDS und NOISE ANNOYS RISE LP/CD »Rise« RPN 007/008 Release-date: 15. June 1991 Still available: p y u i F w * Lindenweg 13 • 4763 Ense 2 , a V* West Germany_______ I----------------------- I----------------------- ------------ ^ J RQÜGH PULLERMANN 7” »l’ve g o t...« URGE LP »Listen carefu lly...« PULLERMANNLP/CD»Puller1rau« . ............................ T D A n c rpn ooi rpn 002 rpn 003/005 D is t r iD u t e d b y L U n H s All Records available in every good record-store or at POWERUNE-Mailorder, Brigitte Sawall, Große Riedbruchstr. 12,4600 Dortmund-Mengede. Hallo Alex/andere TRUST'ler, 1990 oder dem 15. Januar 1991 aus aber das despotische Osmanische Reich ' V o r z e i g e - B i l d u n g 1, um a n s c h li e ß e n d ich habe einige Anmerkungen bezüglich dem Gleichgewicht geworfen worden, quasi als Inbegriff m ultikultureller vom TRUST Lösungsvorschläge zu des Aufrufs der Friedensbewegung vom was ich als Verdummung der Marke Helmut Toleranz zu nennen grenzt an erbitten.
    [Show full text]
  • Komplette Ausgabe Als
    HARDCOREMAGAZIN M A I/ JUNI TRUST NR. 23 4.- DM Exklusiv im TRUST HAYWIRE & Der Massenmord ZODIAC Das ADOLESCENTS-Special D.I. FLOWER LEPERDS Der Wahnsinn URGE! Die HöHe HELLS KITCHEN Der Himmel auf Erden STENGTE DØRER DIE TROTTEL "\»Je *ïW t &wt- A ( TioGTbCU.! Mur^BU-^oo»r& So Sexist? - das Cover der NO/FX-Platte "S/M Realität und Phantasie trennt, kann Moin Trust! Airlines" doch nur jemand kommen, der Was da mit dem CHEMICAL PEOPLE-In- - z.B. die HARD-ONS im Zap-Inter- entweder an eine monokausale Wir- Dies ist mein erster Leserbrief, terview im Trust #22 produziert view Okt. 89: kung bei Menschen durch Medien- den ich abschicke. Premiere! Was wurde, schlägt wirklich dem Faß den Keish: "Wir respektieren Mädchen in einfluß glaubt (dieser Glaube wurde man über die DROOGIES liest, ist ja Boden aus. jeder Weise." in der zuständigen Wissenschaft hammerhart, aber ihre Musik ist ja Porno-Promotion in Reinkultur! Zap: "Fein." (!) seit ca. 30 Jahren aufgegeben, in eh scheiße. Ich hab ja nu auch beim Nicht nur, d a ß diesen widerwärti- Ray: "Ja, wir respektieren sie, so- gewissen ach so intellektuellen Poll mitgemacht und da dann auch gen, reichen, weißen, dekadenten lange sie die Beine spreizen..." Zirkeln wird ihm aber immer noch gleich losgelassen, was mir am upper-class Beverly Hills Kids ge- Keish: "... und wenn sie unsere mit äußerster Beharrlichkeit Trust gefallt, bzw. nicht gefällt. nügend Platz zur Verfügung gestellt Schwänze lutschen!" gefrönt.), oder aber andere Men- Ich dachte mir "Kàa, Rolli. Wenne wird ihren sexistischen Scheißdreck
    [Show full text]
  • Cultural Remix: Polish Hip-Hop and the Sampling of Heritage by Alena
    Cultural Remix: Polish Hip-Hop and the Sampling of Heritage by Alena Gray Aniskiewicz A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Slavic Languages and Literatures) in the University of Michigan 2019 Doctoral Committee: Associate Professor Benjamin Paloff, Chair Associate Professor Herbert J. Eagle Professor Charles Hiroshi Garrett Visiting Assistant Professor Jodi C. Greig, University of Wisconsin-Madison Alena Gray Aniskiewicz [email protected] ORCID iD: 0000-0002-1922-291X © Alena Gray Aniskiewicz 2019 To my parents, for everything. (Except hip-hop. For that, thank you, DH.) ii Acknowledgements To Herb Eagle, whose comments and support over the years have been invaluable. To Jodi Greig, whose reputation preceded her, but didn’t do her justice as a friend or scholar. To Charles Hiroshi Garrett, who was my introduction to musicology fourteen years ago and has been a generous reader and advisor ever since. And to Benjamin Paloff, who gave me the space to figure out what I wanted and then was there to help me figure out how to get it. I couldn’t have asked for a better committee. To my peers, who became friends along the way. To my friends, who indulged all the Poland talk. To Culture.pl, who gave me a community in Warsaw and kept Poland fun. To the Department of Slavic Languages and Literatures, the Copernicus Program in Polish Studies, the Rackham Graduate School, and the Sweetland Writing Center, whose generous funding made this dissertation possible. I’m thankful to have had you all in my corner.
    [Show full text]
  • MARCIN GMYS the Polish Composers' Union 70Th
    Integration Attempts Paweł Mykietyn and the Composer’s Self-Reflection MARCIN GMYS Department of Musicology, Adam Mickiewicz University, Poznań Email: [email protected] The Polish Composers’ Union 70th Anniversary events are co-organised by the Institute of Music and Dance and co-financed by the Ministry of Culture and National Heritage Integration Attempts. Paweł Mykietyn and the Composer’s Self-Reflection Musicology Today • Vol. 12 • 2015 DOI: 10.1515/muso-2015-0006 ABSTRACT interviews which in no way contradict my own idea of the composer’s aesthetic stance, developed on the basis In this paper, the author attempts to reconstruct the aesthetic views of of my almost twenty-year-long acquaintance with the artist. Paweł Mykietyn, a leading Polish composer of the middle generation. Since Mykietyn has never presented his views comprehensively, the author reconstructs his opinions on the basis of published interviews ON MUSICAL BEAUTY with the composer, focusing on his ideas regarding musical and non- musical inspirations, the significance of mathematical procedures in the In the magazine “Glissando” No. 16 (2010), Paweł compositional process, traditional musical forms, the role of quotations Mykietyn gave the following answer to a question asked and self-quotations, experimentation with microtones and musical by Jan Topolski and Ewa Szczecińska regarding the time, as well as the concept of music as autobiography. wisdom of the compositional procedures he applies, Keywords: Paweł Mykietyn, postmodernism, microtonality, temporal which are usually exceptionally elaborate and closely innovation, permanent accelerando related to combinatorics. As evident from his reply, the purpose of such procedures is to create a beautiful Paweł Mykietyn has not yet published his ideas in artefact which will have a predefined effect on the listener: a systematic manner.
    [Show full text]
  • Polish Punk Rock Scene in the 1980S
    2.7. “Fallen fallen is Babylon”. Polish punk rock scene in the 1980s Piotr Zanko1 Abstract The 1980s were in Poland a time of crucial changes occurring in society. It was when Solidarnosc, a trade union and a democratic opposition movement, emerged, and when the communist regime introduced martial law to stop democratic transformation. Poland faced economic crisis and almost a million of its citizens chose emigration, both because of economic and political reasons. In the background Poland experienced then an extraordinary boom for rock music. It was also a time of huge popularity of punk rock – crude, uncompromising music. In my article I want to bring nearer a production of chosen bands of Polish punk rock music from the 1980s, among them Dezerter, TZN XENNA, Brygada Kryzys, Smierc Kliniczna, Siekiera, Moskwa. I will focus especially on selection of the lyrics of these bands. I will show how these bands criticized the social reality of that time, and what alternative visions they created in their artistic production. After Stephen Duncombe (2002), I assume that Polish punk rock music in the 1980s was indeed “a haven in a heartless world”, a way of escaping from politics, as well as a means to set free a feeling of discontent with dull reality, but on the other side it created, in spite of the censorship, some kind of a “free space”, a place where new language and new meanings could emerge, as well as where communities might be built. Keywords: Polish punk rock, cultural resistance, DIY, communism Poland after World War II became a satellite country of the Soviet Union, but in the 1980s it experienced important social changes.
    [Show full text]
  • 267 Począwszy Od Drugiej Połowy Lat Siedemdziesiątych XX W. Teksty
    Począwszy od drugiej połowy lat siedemdziesiątych XX w. teksty muzyki punk-rockowej pozostają istotnym komentarzem do aktualnej sytuacji polityczno-społecznej. Zespoły takie, jak Sex Pistols, Dead Kennedys i The Clash, expressis verbis nawiązywały w swoich piosenkach do zagrożeń politycznych, społecznych i gospodarczych. Silnie lewicowe sympatie grupy The Clash niektórzy recenzenci określili jako „rock stojącego po zasiłek” [23, s. 77]. Frustracja bezrobociem, twardymi rządami Margaret Thatcher sprawiły, że duża część punków (w tym zespołów muzycznych) w latach osiemdziesiątych czynnie popierała strajkujących górników. Szczególną pomoc brytyjskim górnikom okazała pochodząca z tego kraju grupa Crass. Jako jedna z pierwszych rozpropagowała ona idee DIY (do it yourself), czyli samoorganizowania się środowiska punkowego. Z czasem pojęcie Crass oznaczało ścisłe połączenie punk-rocka z ideologią anarchistyczną. Słusznie więc Jon Savage zauważył, że grupa Crass miała także poważny wkład w latach osiemdziesiątych w polityczne odrodzenie idei anarchistycznych [26, s. 549]. W tym miejscu warto przypomnieć, że członkowie grupy Crass, na czele z Jeremym Johnem Ratterem przeprowadzili liczne akcje antymilitarne. Ich celem był sprzeciw wobec wojny Wielkiej Brytanii z Argentyną o Falklandy [18, s. 27]. Przedstawiciele punka, postpunka, a także inni autorzy zachodniej sceny rockowej w latach osiemdziesiątych XX w. podjęli w swoich tekstach cały wachlarz problemów, które przeżywał ówczesny świat. Nie dotyczyło to jedynie aktualnej polityki, notabene ocenianej bardzo krytycznie. Uwagę skierowano na ekologię, niebezpieczeństwo niekontrolowanego rozwoju energetyki atomowej (szczególnie po katastrofie w Czarnobylu w kwietniu 1986 r.). W tekstach piętnowano rasizm, nierówności ekonomiczne, a także brak skutecznego rozwiązania 267 problemu głodu w Afryce. W połowie lipca 1985 r. czołowe zespoły rockowe zagrały dwa równoległe koncerty charytatywne (tzw.
    [Show full text]
  • The Dfficult Relations Between Art, Science and Technology in Poland
    Wydawnictwo Naukowe UAM AGNIESZKA JELEWSKA, MICHAŁ KRAWCZAK The difficult relations between art, science and technology in Poland Contemporary science and technology have common hori- zons… there exists a world that belongs as much to the artist as to the scientist/researcher or practitioner/technician.1 When writing the above words For the catalogue oF the First Exhibition oF Modern Art in 1948/1949, Mieczysław PorębsKi considered the possible relations of Polish art, science and technology which had been resurrected aFter the wartime atrocities and the involve- ment oF science in military objectives. BacK then it seemed that this line oF development in art would be a chance For new experiments, despite the well-known limitations and cen- sorship on the part of the regime. According to Porębski, this was also to be a proposal of continuing and revisiting the accomplishments oF the First avant-garde in its many and varied currents, such as Constructivism, Futurism, innovative actions in music, literature, film, photography, etc. However, the history of the concept based on building bridges between art, science and technology in post-war Poland proved more complex, which no doubt impacted the unique approach of the artists to this type of experiments and to the overall social aura around these questions. A confluence of political, economic and social Factors generated a zone oF aFFective experience with respect to techno-culture, and this experience is still powerFul in many intellectual circles. In addition, this mix oF Factors in- fluenced a clear division oF the humanities From the exact sciences, and of art education from science.
    [Show full text]
  • Dezerter I Qulturka W Klubie „Barka”
    Koncert: DEZERTER QULTURKA 21 października 2017 (sobota) Klub Muzyczny BARKA Piła, ul. Wodna. Godz. 19:00. Wstęp: 35 zł przedsprzedaż / 45 zł w dniu koncertu. Informacje o przedsprzedaży: Polsky Group Promotion w miejscu: Klub Muzyczny BARKA Piła ul. Wodna (rzeka Gwda). Sklep RESZKA, ul. Rogozińska 33, Piła. Przedsprzedaż online: https://goo.gl/88EP2q https://ticketos.pl/ https://ticketos.pl/event/264/Dezerter-Qulturka-Barka-Pila.html DEZERTER (punk rock Warszawa) Dezerter to zespół punkrockowy, który powstał w Warszawie w maju 1981 r. Grupa przyjęła prowokacyjną wówczas nazwę SS-20 (pochodzącą od radzieckich rakiet z głowicami nuklearnymi), którą była zmuszona zmienić w okresie stanu wojennego. Już jako Dezerter zespół nagrał singiel „Ku przyszłości” (1983). W 1985 r. ukazały się dwie kompilacje z piosenkami Dezertera: „Fala” i „Jak punk to punk”. Rok 1987 przyniósł wydanie w USA przez Maximum Rock'n'Roll pierwszej długogrającej płyty Dezertera „Underground Out Of Poland” oraz pierwszej (ocenzurowanej) płyty w kraju – „Kolaboracja”. Rok 1989 to kolejny album – „Kolaboracja II”, a 1990 – „Wszyscy przeciwko wszystkim” (wydana w Polsce i we Francji) oraz dwumiesięczna trasa po Europie Zachodniej (Szwajcaria, Niemcy, Francja, Holandia) i Japonii. Kolejne lata działalności przyniosły ważne płyty dla polskiej sceny niezależnej, m.in. „Blasfemię” (1992), „Ile procent duszy?” (1994), „Mam kły mam pazury” (1996), „Ziemia jest płaska” (1997). W XXI w. ukazały się trzy studyjne albumy: „Nielegalny zabójca czasu” (2004); „Prawo do bycia idiotą” (2010), który został doceniony nie tylko przez słuchaczy, ale wyjątkowo również przez branżę muzyczną, czego wyrazem była nagroda Fryderyk 2010; oraz „Większy zjada mniejszego” (2014). W 2016 r., po 33 latach, został wznowiony singiel „Ku przyszłości”.
    [Show full text]
  • Translocal Hardcore Punk in Los Angeles and Ljubljana
    Georgia State University ScholarWorks @ Georgia State University History Theses Department of History Spring 5-13-2011 "Through the Roof and Underground": Translocal Hardcore Punk in Los Angeles and Ljubljana Mindy L. Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_theses Recommended Citation Clegg, Mindy L., ""Through the Roof and Underground": Translocal Hardcore Punk in Los Angeles and Ljubljana." Thesis, Georgia State University, 2011. https://scholarworks.gsu.edu/history_theses/44 This Thesis is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. "THROUGH THE ROOF AND UNDERGROUND": TRANSLOCAL HARDCORE PUNK IN LOS ANGELES AND LJUBLJANA by MINDY L. CLEGG Under the direction of Michelle Brattain ABSTRACT Punk moved from a marginal subculture to an underground counter-culture -- hardcore punk -- which shared musical culture and sense of a communal identity. Local punk scenes grew, in part due to attention from mass media. New kids in the scene brought new tensions and attracted the attention of authorities. Two police incidents signaled a shift in the punks© view of themselves. I examine two punk scenes from 1975 to 1985 in Los Angeles, USA and Ljubljana, Yugoslavia by looking at newspapers, television programs, fanzines, music, and clothing. I show that a loosely connected group of individuals, self-identified as punk, became increasingly similar as the parent cultures put increasing pressure on punks. Index Words: History, 20th century, Punk, Rock, Los Angeles, Ljubljana, Yugoslavia, Slovenia, Cold War, Popular culture, Counter-culture "THROUGH THE ROOF AND UNDERGROUND": TRANSLOCAL HARDCORE PUNK IN LOS ANGELES AND LJUBLJANA by MINDY L.
    [Show full text]