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The Present Study Examines the Reception of Anglo-American Popular Music In Beatlephiles and Zappists: Rock Fandom in Communist Czechoslovakia in the Context of the Scene in Brno in the 1980s* Jan Blüml Abstract BLÜML, Jan: Beatlephiles and Zappists: Rock Fandom in Communist Czechoslovakia in the Context of the Scene in Brno in the 1980s. The history of rock in Communist Europe has been viewed by a number of domestic and foreign authors as a series of events with a dominant political content, either in the form of a general youth revolt or directly in the spirit of anti-communist opposition. In this regard, the present study extends the current simplifying concept with an emphasis on the reception history, including relevant issues related to the typology of listeners and aesthetics. The primary subject of this paper is the reception of two of the most influential representatives of Anglo-American popular music in Communist Czechoslovakia, these being the Beatles and Frank Zappa. The reception of both artistic subjects is reflected in the specific space of the Brno scene of the 1980s, within the framework of the artist fan clubs which had no parallel any- where else in the country. The study demonstrates the specifics of American and British rock fandom in the given time and space and challenges the long-held narrative about the supremacy of the political functions of rock behind the Iron Curtain. Keywords: The Beatles, Frank Zappa, Czechoslovakia, Communism, rock music, rock fandom, Brno, Moravia, reception history DOI: https://doi.org/10.31577/forhist.2020.14.2.3 he present study examines the reception of Anglo-American popular music in T - riod of late normalization. The topic is analysed through the history of fan clubs the specific environment of the South Moravian metropolis of Brno in the pe1 during the 1980s and whose systematic and long-term functioning at that time – atwhich least were according established to the incurrent the second state oflargest knowledge city of – the was Czech unparalleled Socialist anywhereRepublic - else in the country. This was first the fan club of the British band the Beatles formed in 1982 in Hrušovany, near Brno, and second, the fan club of a repre sentative of rock in the United States, Frank Zappa, established in Brno in 1986.- Both institutionalized communities, concentrated around musical idols from the West, shared roots in the Czechoslovak and Moravian rock tradition. Addition ally, each of them benefited in an original way from the possibilities provided by the Brno scene at that time. Based on archival documents and interviews with the protagonists in the described events, the article maps out the activities of both *1 This study is a result of research funded by the Czech Science Foundation as the project GA ČR P410/20-24091S “Brave New World: Youth, Music and Class in Czech Post-socialism”. As a member state of the federal Czechoslovak Socialist Republic in the years 1969 – 1990. In 1980, Brno had almost 400,000 inhabitants, and the capital city of Prague had approximately 1,100,000 inhabitants. Forum Historiae, 2020, Vol. 14, No. 2 37 - clubs, not only in the light of contemporary cultural policy and the tradition of Czechoslovak rock2 fandom, but also taking into account the specific func tions that the Beatles and Frank Zappa fulfilled within Czechoslovak culture - over the long run. Both the Beatles and Frank Zappa became the subject of original Czech mono graphs during the CommunistPoplach kolem era, Beatleswhich did not apply to anyone elseBea in- tles:the field výpověď of foreign o jedné rock. generaci In the first case, the authors were Jiří Černý and his wifeŠuplík Miroslava plný Zappy Černá ( , 1966) and Antonín Matzner ( A Collection, 1987); of in Beatles the second Oldies case, but Goldiesit was Petr Dorůžka ( 3 , 1984). The first LP by the Beatles was officially released in Czechoslovakia in 1969 ( 4 ), followed by several others. The release of music by the Mothers of Invention was planned5 by the Supraphon Gramophone Club as early as 1972, while the first and last- official medium (cassette tape) with Zappa’s music appeared only in 1977. For many listeners, the artists in question represented the counterparts or ar- gicchetypes glance of to rock the past.of the This 1960s: confrontation American andactually British took style place – thedirectly first throughrational and critically focusedWe’re 6 Onlyon the in Itpresent, for the the Money second intuitive and with a nostal world of Sgt. Pepper’s Lonely Hearts Club Band Zappa’s album (1968) parodying the fantastic The polarization of the mainstream band the Beatles and the underground artist (1967) by the Beatles. Frank Zappa took on a special meaning in the Czechoslovak reception of popular music during the normalization process after the occupation of Czechoslovakia by the Warsaw Pact troops in August 1968. While the Beatles8 through became propaganda part of the so-called official7Atentát scene, na for kulturu example, through nostalgic songs by pop singers such suchas Karel as Gott, through presentations in television series, - films such as (1977) or through ironic allusions in materials Úkoly české alternativní hudby (1979) by Josef Vlček,9 Frankor personalities Zappa ac quired the status of an iconic10 figure of underground and alternative rock, where he inspired groups such as the Plastic People of the Universe such as Mikoláš Chadima. Despite a number of natural overlaps, in terms of the- Czechoslovak reception of Anglo-American popular music, in this sense, one can actually register two relatively distinctive audiences – “Beatlephiles” and “Zap 2 pists” – more or less defining themselves in relation to one another in terms With its emphasis on the history of music reception, including relevant aesthetic and other issues, - Popular Music: The Key Concepts the article is based in the field of musicology. Its primary ambition is not to examine fandom in terms 3 of the formation ofCizí social desky and v zemíchother identities, českých, aneb, as other Ochutnávka disciplines, na samémincluding kraji Media útesu Studies, do. SHUK- ER, Roy. London and New York : Routledge, 2005, pp. 98-99. 4 DIESTLER, Radek.Melodie . Praha : Popmu 5 zeum, 2008. Z domova. In , 1972, Vol. 10, No. 6, p. 172. Šuplík plný Zappy DIESTLER 2008. 6 ŠŤASTNÝ, Jaroslav. Zappa jako „vážný skladatel“. In DORŮŽKA, Petr. Praha : Volvox 8 Globator, 2016,Inženýrská pp. 209-210. odysea Dobrá voda My všichni školou povinní 9 Plastic People a český underground 7 See the list of songs at Brouci.com, https://rb.gy/j1imry 10 For instance, Alternativa (1979), I (1982) or Alternativa (1984). II RIEDEL, Jaroslav. Praha : Galén, 2016, p. 123. Cf. CHADIMA, Mikoláš. Praha : Galén, 2015; CHADIMA, Mikoláš. Praha : Galén, 2018. Jan Blüml 38 by their attitudes to the social functions of music. of aesthetics, especially in relation to humour and irony in rock, but partly also It was not just Zappa, however, whose name was strongly politicized in the Czech popular music context, at least by certain social circles. The second cult figure,- unparalleled among the idols of Anglo-American popular music in Czechoslovakia, was the founder of the “PerhapsBeatles, John because Lennon, it so urgentlywhose tragic transcends passing itself; on 8as Decem if there wasber 1980,latently was present described more astragically the “death distinctive of the century” contexts, by problems the dissident and crisis and aspects future ofpresident today’s world Václav than Havel: in any other incident of this kind.”11 This link to the well-known - figure of anti-communist opposition also existed in the case of Frank Zappa, whom Havel met personally immediately after the Velvet Revolution in January 1990. Af ater great Zappa’s rock death personality on 4 December and his friend.1993, Havel12 was the author of the musician’s obituary, where he called the American artist the “God” of Czech underground, Beatlemania! The unique process13 andof canonizationthe interdis- ciplinaryof both artistic conference subjects The was Phenomenon later underlined of Zappa by extraordinary events, such as the exhibition of the Czech Museum of Music (2010)14 (2013) held by the Department of Czech Studies, Faculty of Arts, University of South Bohemia. be closely connected with the broader issue of the reception of Anglo-American The following comparative paper on both Moravian fan clubs based in Brno will- ternational discussion on the functioning of Western rock in European Commu- popular music in Czechoslovakia in the aforementioned sense. Regarding the in 15 nist countries, the text primarily follows Ewa Mazierska’s current critique of the- “Cold War Paradigm”, which rejects the simplistic16 perception of Eastern Bloc rock history as established in the early 1990s,How this the beingBeatles a viewRocked which the Krem attri- linbutes. the genre primarily with revolt and anti-communist attitudes, for example in the17 spirit of Leslie Woodhead’s later book In this regard, the article seeks to demonstrate that Anglo-American rock music, in many of its genre variations (even ideologically quite contradictory), functioned behind the Iron Curtain primarily as an aesthetic object; moreover,- feredoften underfrom that the ofauspices the capital and citywith of considerable Prague – the support central of scene official which institutions. through It additionally aims to display the extent to which Moravian rock culture dif 11selected localDopisy witnesses Olze (Spisy served 5) as one of the starting points for the narrative 12 The New Yorker samizdat Zapparition Zappostrophe HAVEL, Václav. Praha : Torst, 1999, p. 232. 13 The original text inBeatlemánie! English ( , December 20, 1993) was translated and published in 14 Fenomén Zappa , No. 1, later also in , 1996, No. 45, p. 5. 15 See the catalogue Praha : Národní muzeum, 2010. Popular Music in Eastern Europe See PAPOUŠEK, Vladimír – SKALICKÝ, David (eds). Praha : Akropolis, 2016. MAZIERSKA, Ewa. Introduction. RockPopular Around Music the in Bloc: Eastern A History Europe: of RockBreaking Music the in “ColdEastern War Europe Paradigm”.
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