The Network Effect and Rock Lyric Translation. the Case of Romanian Radio Producers and Musicians During Communism

The network effect and rock lyric translation. The case of Romanian radio producers and musicians during communism Raluca Tanasescu* Introduction Interestingly enough, most academic essays about Romanian cultural life during the Communist regime, alongside those about the post-Communist period, paint a much gloomier picture than one would like to see. For instance, A Reader in International Media Piracy (2015) features an essay on subtitle translation into Romanian, whose introduction thrillerizes the way in which foreign movies used to reach the local audiences: Friday nights in Romania under the Communist regime […], friends and fami- 10.17771/PUCRio.TradRev.45919 ly would gather in front of their television sets trying to guess what they were actually watching. Telephone calls would be made, film reference and theory books consulted. Such detective skills were required due to the government’s censorship tactics which included screening foreign films (both on television and in cinemas) with their titles altered beyond recognition, credit sequences removed, entire scenes eliminated and dialogue ideologically cleansed through the subtitling process. (Dwyer and Uricariu 2015, p. 207) While it is certainly true that state media was heavily controlled by the censors, the account is exaggerated and obviously employs a scenario that would dignify even a Hollywood blockbuster. However controlled and * University of Groningen. Submetido em 02/06/2019 Aceito em 12/09/2019 TANASESCU The network effect and rock lyric translation slashed subtitling was, there was still a great amount of exposure of the audiences to the realities of foreign life, especially American life, which was of the utmost interest to them. One of the most familiar slogans during and after World War II until well after the Cold War and during the transition years to the democracy that followed was Vin americanii! (The Americans are coming!), an expression of Romania’s deepest desire to be rescued from the Soviet bur- den. Specters of America were made available via other media channels (Luca 2013), such as radio shows, or via a parallel system of illegal video cassettes with Hollywood movies of all stripes, including pornographic productions. Such cassettes were readily available and many families owned a videorecord- er to play them. The practice continued and intensified after the fall of the regime, then subsided once the Romanian state television and the newfangled private TV channels started to air such productions themselves a few years after the revolution. Similarly, specters of America were often made available through rock and roll music broadcasting. If Romanian post-communism has known a strong movement of self-Americanization—“a voluntary appropriation of all things American, rather than an effect of the much cited U.S. cultural imperial- ism.” (Luca ibid., p. 90)—the years under communism were marked by an Americanization ‘on the stealth,’ through escapism into a music and a litera- ture that did not comply with the party’s guidelines. However, this American- 10.17771/PUCRio.TradRev.45919 ization did not take place necessarily as a result of Romanians’ interest in the formerly dubbed ‘decadent West,’ but, as Pop shrewdly notes, as a conse- quence of what was an easement of the Stalinist grip on society from 1965 to 1971, commonly referred to as ‘The Thaw.’ (2016, p. 54). As a result, rock and folk music, perceived as critical of capitalist societies, was among the genres that Communist cultural officialdom tried to accommodate. This relative openness towards the West favored the appearance of a local rock culture dis- illusioned with the local practices and ideology of local leaders. In a scholarly article dedicated to the alternative culture of the 1960s and 1970s, Madigan Fichter remarks that the “Romanian variant of the hippie movement was more Tradução em Revista 27, 2019.1 144 TANASESCU The network effect and rock lyric translation discreet and less flamboyant than its Western counterpart, but still incorpo- rated eccentric dress and a love of rock and beat music with a desire to escape the cultural and political rigidity of socialist Romania.” (2011, p. 570) She also notes that listening to rock music was not necessarily associated to hippiedom and that two staples of this counterculture activity were the purchase of black- market rock’n’roll records and listening ‘obsessively’ to radio shows such as Metronom, by Cornel Chiriac. Rock’n’roll was the music that helped young people create a private space away from the collectivized, socialist way of life, as well as entertain a myth of Europe and the United States and present forms of culture that originated within these spaces. Most importantly, it was an informal network phenomenon that propagated fast and was entertained by the one-way network effect of forbidden radio broadcasting. One important media outlet that contributed to this phenomenon was Radio Europa Liberă (Radio Free Europe), which had a lasting influence on the “unknowing” Romanians: “The average Romanian is not allowed access to information, to experience. In constructing the images of the West, he cannot use personal experience or provable knowledge, because he doesn’t have any.” (Biro and Rostas 2001, p. 94) Secretly listening to such radio stations was one of the favorite past times of many young Romanians and music programs were extremely popular. Although heavily controlled by the Securitate, rock pro- grammes were recorded on tape and then circulated within informal networks, 10.17771/PUCRio.TradRev.45919 between friends, to the extent to which they created social attitudes (Pop 2016, p. 56). Massively targeted by censorship, playlists of local radios were carefully combed and only classical love songs or folk music were accepted (ibid.). However, many resourceful radio people would find ways to include otherwise banned rock songs in their programs and would cater to those rock fans with a certain limited access to Western cultural products. Rock music did not gain currency only because of the thrill of the banned, but mostly because of its socially-engaged content, because of the “smuggling of ideas and beliefs into the Soviet world” (McMichael 2008, p. 205) of which Romania was part at the time, as well as because of young people’s interest in the Western forms of ex- Tradução em Revista 27, 2019.1 145 TANASESCU The network effect and rock lyric translation pression (Fichter 2011); thus radio programmers would also translate the lyrics (Ionescu 2005, Vasiliu 2005), making sure the message would reach those listeners who didn’t have any knowledge of English. The tightly knit rock network vibrated at the lyrics of the Beatles, Led Zeppelin, Bob Dylan, The Doors, and other such bands and had private revelations about what the West looked like: the West looked like those bands and sounded like their hard-won music. Both before and after 1989 rock lyrics were the ones typically associated with translation projects1—be they personal or institutional. In this essay I ana- lyze those projects stemming out of radio programs and those grounded in individual preferences and initiative. This node is formed of radio people that have been considered by the Romanian rock community as trailblazers (Cornel Chiriac and Florian Pittiș), as well as of musicians (Alexandru Andrieș). For lack of consistent academic sources2 related to three of these music specialists, this research is based on online audio and video recordings, interviews, and heartfelt accounts by people who knew them personally or professionally. Rock Lyrics as Subversion: Jesus Christ Superstar Postcommunist rock lyric translation needs to be analyzed in close relationship with the same phenomenon before 1989 because it owes a great deal to several Romanian radio celebrities and musicians, who promoted jazz and rock music during the Communist regime, sometimes at the expense of their own lives. At 10.17771/PUCRio.TradRev.45919 the onset of the liberalization period, in 1964, the music scene in Romania started to become familiar with the music of great American jazzmen, like Lou- is Armstrong, or American and English rock musicians and bands, such as Bob Dylan, the Beatles, Jimi Hendrix, and many others. That came after almost twenty years in which jazz had been considered the art of the rotten West and forbidden by the propaganda. The jazz that still existed in Romania during 1 Since there is no official statistics related to lyrics translation, I rely completely on factual data identified during the present research. 2 The only scholarly article in English that mentions Florian Pittiș is related to his activity as an actor: Berlo- gea, Ileana. 1979. Shakespeare in Romania. In Shakespeare Quarterly, 30 (2): 281-285. Andrieș is not refer- enced in any scholarly work. Tradução em Revista 27, 2019.1 146 TANASESCU The network effect and rock lyric translation those years was a superficial version called muzică de estradă (a term3 imposed by the Composers’ Union in Moscow), very similar to swing—the only kind that was allowed on the national radio and television. The lenient 1964 brought a change that was expected by many young people: jazz was called by its rightful name on national television, real jazz began to be played in fashiona- ble clubs in the cities, international music festivals were set up, concerts were organized, and albums released. In this atmosphere, a radio show successfully counted for a sort of sound utopia for many young people: “Metronom,” by Cornel Chiriac, a self- taught jazz and rock specialist, arguably the most famous Romanian radio DJ of all times. Chiriac presented his audience with a special kind of show, in which not only did he play good music, otherwise inaccessible to most, but he also commented “on political issues and promoted the freedom of expression against the regime,” (Pop 2016: 57) as well as on the lyrics; he would also translate them for those listeners that could not comprehend them.

Load more