Article The multi-layered transnationalism of Fran Palermo Mazierska, Ewa Hanna and Kránicz, Bence Available at http://clok.uclan.ac.uk/21230/ Mazierska, Ewa Hanna ORCID: 0000-0002-4385-8264 and Kránicz, Bence (2017) The multi-layered transnationalism of Fran Palermo. Popular Music History, 10 (3). pp. 241-261. ISSN 1740-7133 It is advisable to refer to the publisher’s version if you intend to cite from the work. http://dx.doi.org/10.1558/pomh.35325 For more information about UCLan’s research in this area go to http://www.uclan.ac.uk/researchgroups/ and search for <name of research Group>. For information about Research generally at UCLan please go to http://www.uclan.ac.uk/research/ All outputs in CLoK are protected by Intellectual Property Rights law, including Copyright law. Copyright, IPR and Moral Rights for the works on this site are retained by the individual authors and/or other copyright owners. Terms and conditions for use of this material are defined in the policies page. CLoK Central Lancashire online Knowledge www.clok.uclan.ac.uk The Multi-layered Transnationalism of Fran Palermo Ewa Mazierska and Bence Kránicz Abstract Fran Palermo is an indie band based in Budapest which started performing in 2011, initially as a cover band, and so far produced over 30 original songs and 2 LPs, ‘Fran Palermo’ and ‘Razzle Dazzle’, in 2015 and 2016 respectively, to a significant critical acclaim. Its current line-up includes eight musicians, with Henri Gonzalez, a musician of Cuban and Spanish descent, being its leader. This article considers the transnational character of Fran Palermo’s work in the context of the history of pop-rock in Hungary and Eastern Europe at large, arguing that it does not fit the prevailing narrative of Eastern European music as imitator of a Western idiom. The lyrics often engage with exotic landscapes, and are populated by touristy clichés, yet the way they are juxtaposed, suggest that the band does not try to recreate realistically an experience of travelling to the South, but rather play with its representations. The large number of instruments, including a trumpet, two saxophones and a conga, allows for creating a rich, eclectic sound. The music betrays a multitude of influences, from Anglo-American rock to South-American and African music. The study draws on the idea of ‘world music’, understood as a music produced in the periphery and offered to western consumption. Our argument is that Fran Palermo’s music complicates this idea, as it originates from the place which is neither West nor a typical East, and it is produced by neither westerners nor ‘proper’ easterners, neither outsiders nor insiders. We also use the concept of heterotopia to explain textual characteristics of Fran Palermo’s music. Our primary source is an interview which we have conducted with two members of the band, Gonzalez and Dimitris Topuzidis in July 2016, two concerts of Fran Palermo we attended in summer of the same year and their songs and performances available on YouTube. Key words Fran Palermo, Hungarian music, transnationalism, world music, Spain, Orient. Ewa Mazierska is Professor of Film Studies, at the University of Central Lancashire. She published over twenty monographs and edited collections on film and popular music. They include Popular Music in Eastern Europe: Breaking the Cold War Paradigm (Palgrave, 2016), Relocating Popular Music (Palgrave, 2015), edited with Georgina Gregory, From Self- Fulfillment to Survival of the Fittest: Work in European Cinema from the 1960s to the Present (Berghahn, 2015), Falco and Beyond: Neo Nothing Post of All (Equinox, 2014) and European Cinema and Intertextuality: History, Memory, Politics (Palgrave Macmillan, 2011). Address 17 Grove Crescent, Adlington, Lanc., PR6 9RJ, UK E-mail [email protected] Bence Kránicz is a journalist and a PhD student at the Film, Media and Contemporary Culture Programme of Eötvös Loránd University in Budapest. His articles on film, literature, comic books and music have been published in various Hungarian magazines since 2009. Address 1123 Budapest, Csörsz u. 1., Hungary E-mail [email protected] Fran Palermo is an indie band based in Budapest which started performing in 2011, initially as a cover band and so far produced over 30 original songs and 2 LPs, ‘Fran Palermo’ and ‘Razzle Dazzle’, in 2015 and 2016 respectively, to significant critical and popular acclaim, as reflected by the fact that in 2016 it received an award for the best upcoming band at the Petőfi Live Awards, a prize given out by the state-funded popular music radio channel. Its current line-up includes eight musicians, with Henri Gonzalez being its leader and the principal author of the lyrics and music. The band is young not so much in terms of their experience, as their age. The majority of its members are in their early twenties with Gonzalez being born in 1993. Its size, rather unusual for contemporary pop-rock bands, is explained by its origin and a way to find its audience. It was a band made up of schoolmates who liked to hang out together. Creating music was a means to prolong their pleasure. Having eight members meant that more friends could be brought to their early gigs than if the band had only three or four, as each member was expected to bring ten friends. This strategy paid off, as in a short period it gained a sizeable fan base and currently their largest concerts have an audience counted in thousands. This is also reflected in the size of their virtual audience. Their most popular songs, Morning Waltz and Am I Right Boy, have each over 100,000 YouTube hits. In this article we consider the transnational character of Fran Palermo’s work, arguing that its transnationalism is multi-layered and does not easily fit into the dominant narrative of the development of Eastern European pop-rock nor the concept of ‘world music’. To demonstrate this, we will draw on the work of transnationalism in popular music, as well as a history of pop-rock in Hungary and Eastern Europe at large. Our primary source is an interview which we have conducted with two members of the band, Gonzalez and Dimitris Topuzidis in July 2016, two concerts of Fran Palermo we attended in summer of the same year and their songs and performances available on YouTube. Eastern European pop-rock as transnational music It is a truism to say that pop-rock is transnational. However, there are different ways to theorise it. On the one hand, we find the concept of ‘cultural imperialism’, according to which Anglo-American pop-rock ‘displace and appropriate authentic representations of local and indigenous music into packed commercial music commodified for ethnically indeterminate, but predominantly Anglocentric and Eurocentric audience’ (Mitchell 1996: 1). On the other hand, we encounter a more democratic idea of ‘aesthetic cosmopolitanism’, espoused by Motti Regev, who sees pop-rock as pertaining to late modernity and consisting of an intensified aesthetic proximity, overlap, and connectivity between nations and ethnicities or, at the very least, between prominent large sectors within them. Regev argues that under late modernity the expressive forms of cultural practices used by nations and by groupings within them, share much common ground, becoming a unit within one complex entity (Regev 2013: 3). Although quite different from each other, the two concepts are based on the conviction that pop-rock develops towards a greater homogeneity. Applying the model of ‘cultural imperialism’ to pop-rock in Eastern Europe of the Cold War period is problematic, because governments in state socialist countries limited their cultural exchange with the West, by censoring the import of Anglo-American music, as well as restricting opportunities of local artists to travel to the West and absorb their influences. Seeing Eastern European pop-rock in terms of cultural imperialism is also tricky because artists from there usually willingly borrowed from the West. Hence, the concept of self- colonisation seems to be more pertinent to this region and this framework has a particular appeal to authors discussing pop-rock in Eastern Europe in Western publications. Some of the more dramatic passages written by authors such as Timothy Ryback and Sabrina Ramet, state that drawing on English and American rock was a form of rebellion against the dominant state socialist system by infecting oneself with western values to which state socialism was hostile (Ryback 1990: 3-6; Ramet 113994). But there are also problems with applying this idea. One consists of sentencing Eastern European pop-rock to the position of a poor relative of its Anglo-Saxon cousin. Furthermore, seeing Eastern European pop-rock merely as a product of imitation of western models disregards rare, yet existent cases when Anglo-Saxon artists borrowed from the East, as with David Bowie’s Warsaw or the more obvious case of Kanye West sampling Omega’s Pearls in Her Hair. Neither does it consider situations when the source of inspiration for Eastern European artists was other ‘peripheral‘ cultures, for example Greek or South American music. Given the abovementioned difficulties, Regev’s model of ‘aesthetic cosmopolitanism’ comes across as more suitable to capture the position of Eastern European pop-rock during the Cold War. It suits even better postcommunist times and especially the period after the digital shift when online platforms such as YouTube give the impression that music from all over the world exist in close proximity to each other and there are infinite ways of infecting oneself with music from elsewhere, as well as affecting others with their own music. Under such circumstances using English, which in the case of Eastern European artists was previously seen as a sign of artistic immaturity or even inability to create their own idiom of expression, can be regarded as a purely pragmatic choice, increasing the chance of reaching a potentially global audience.