Just dream idea …
Both outstanding directors make one/same film
Robert Polanski does the Europe, Poland sequences / parts
Quentin Tarantino shooting sequences in the US
DRAFT –
not so precise translation yet by Google translator and ME …
-----------------------------------------------------------------
The
difference between ignorance and awareness is wisdom
We don't
know where we are going unless we know where we've been
Without that
knowledge... history is gone with the wind
...
!!
- I was a
DJ in early '70
- before
there were NO discotheques even
and disco
DJ profession :-))))
To be a discothque DJ and play american / english music
here in Poland when ’60, ’70, ‘80 communist time - was real life risk for me. Not so much pleasure and good bizz as for west / free world DJs !! Secret political Police (SB) killed many people for smallest reason than
DJ.
Why I'm alive ? Well maybe I'm lucky or God saved me of His reason and way ? - - ->> or they (SB) thought (because lack of knowledge, informations, etc.) DJ work not any danger for communism ...
But today we know DJs work and discotheques changed some / many young Poles
minds and they fall in love to other style of life than communists want for
them :-))))) I spent part of my life to spread, popularise american / english music, culture
and style of life in communist Poland back then and put my small brick to build
freedom here - same what Mr. Walensa did but he did much bigger size / scale ofcourse.
Discjockey
... trampled dreams ...
story of
discotheque deejay behind ‘Iron Curtain’
former
communist regime Poland of ’60, ’70, ‘80
__________________________________________________________________________
...
enlightened and intelligent people
from
primitive and stupid people
it
distinguishes wisdom or knowledge about the past ...
Intro ...
In the '70s - when extremely interesting things happened
in the world, when disco music was born overseas, Poland and Poles remained
(without their fault) in deep backwardness and ignorance about the
above-mentioned phenomena. We were tightly separated from the world and
civilization by the famous Iron Curtain, which was left by the communist rulers
of our country. This iron curtain did not allow messages, music, new
recordings, mixes etc. of things to be born in London or New York. The Polish
nation, or rather parts of this nation, flashed many interesting events around
the nose. The contemporary Polish media directed by specially educated, obeying
to the authority ignorant whores with full unconsciousness, and perhaps with
perfidious deliberation (who knows) caused that in the minds and memory of
Poles (with few exceptions) there was no and no knowledge about those days,
about people who made disco.
A dozen or so years have passed since the political
breakthrough in 1989 musical business and media in Poland were first of all
taken care of piracy and the creation of fortunes built on ordinary thievery.
They stole and traded what, by random accidents, became known, popular and
could bring quick revenues. Far from it all, it was from the truth and
knowledge that could bridge the gap separating Poles from the achievements of
world culture. Time cures all social illnesses, and in Poland you can see a
healthy manifestation.
There are, for example, the possibility of writing -
writing also and what, as I have already mentioned, escaped Poles (with a few
exceptions) near the nose leaving in their minds emptiness and ignorance about
certain issues related to the civilizational musical achievements of humanity.
Based on the assumption that it is better late than never - I write informing
about what the above emptiness and ignorance will allow to fill facts, names,
titles, dates and descriptions of events.
In times when disco history started, nobody cared about
it (especially here in Poland !!) to preserve for the purposes of historical
order various important facts, names, events and dates. For this reason (today
after years) it is quite difficult and imprecise to determine how it all began.
FOREWORD
First steps
...
At first it was collecting pictures. I got the first one
from Zbyszek Sękowski (his father was an important communist party activist in
the city) who lived on ul. Pocztowa in Dzierżoniów, cousin of my childhood
friend Andrzej Błaszczyk, with whom we met when we were about 5 years old.
Andrzej moved to the house next to mine. We stayed for a long time as two guys
and only when we were after 16 or 17 years everything started to change.
Everyone went their way.
It began with the movie The Beatles (worldwide known as
“A hard Days Night”) - drawing subtitles and pictures on the walls. Then for
the cash from school saving name SKO - the first rock'n'roll single bought in
the pawnshop - 7 EP (EP) Niemen, Michaj Burano, Toni Keczer. I did not have a
turntable at the time and could not listen to it, but I had it and it was my
pleasure to look at it myself. I played this disc / record for the first time
many years later. Such was life, such times - communist-PRL-poor.
In 1967, 68, I listened to Rytm Studio for hours - Polish
Radio or Radio Luxembourg, and imitated some gibberish that was supposed to be
the english language of these radio deejayas. My mother asked me if I had not
lost my mind or what - why I mumble and yell something out there in my attic
room 1.5m2.
In 1969, I made friendship with guys from the so-called
(by me) Radio RTV from the Radio and Television Technical School in
Dzierzoniow. I remember when we were at night practicing and recording programs
- then directed to broadcast in the school board speakers (some 400 listeners)
+ loudspeakers in school corridors, (some 900 listeners) running on a long,
20-minute break between lessons. It took me a lot of time to write texts of
comments for recordings with hard-earned
borrowed records. Then I practiced these texts for hours to finally
record them as so-called deejay saying to the microphone. It was fun, but as
everything had its beginning as well as the end.
Tear on the
record
I have in my collection of CDs, collected with great
difficulty over the last 30-40 years, one such a special, symbolic one that
evokes memories in my memory. I do not play this record anymore because I'm
sorry for it, and it's terribly cracking because it's gone. Sometimes I only
look at her, then I close my eyes, and from the memory come out images from
many, many years ago. When I open my eyes again to look at the plate / record,
before I hide it into the case, I notice something tiny and wet on its surface
which spills out with a narrow trickle between the grooves. Time blurred the
pictures, but I remember some people, places, circumstances and matters that
gave meaning to my life.
The Beatles
It was a late and warm spring in 1966, when I lived in
Dzierżoniów, a small picturesque town at the foot / so close of the Sudetes. In
the local cinema "Piast", an English movie called "The
Beatles" was screened. In other countries, this film was shown under the
original title "A Hard Days Night".
The house was not overflowing, so I wanted to go to the
cinema to make a ticket myself. I looked out for local drunkards in the nearby
squares and in the neglected parks. These were not lacking then, there is also
their arduous excess and today. Drunkers shitty, as my mother called it, always
left the bottles, probably because they did not want to bring them to buying
bottles shop. I knew my city quite well as well as I had a "rough"
all the surrounding area. I collected all these bottles and this was my way of
earning some miserable, but still cash. After a few days of collecting, I was
finally able to buy a ticket and sit comfortably in a cinema chair.
With a beating heart, I waited for what I would see. I
had no idea what I would see, but some strange way I felt something was coming.
The lights went out, the music I had never heard before, hits from behind the
picture / cinema screen. The images, the Beatles figures and the wonderful
songs they sang, gliding in front of my eyes, drew me into the story I watched
like an enchanted fairy tale.
I was only 14 years old - an open, absorptive mind and
felt like in the darkness of the "Piast" cinema, I became more and
more fascinated with what I saw and heard. The film lasted some 80 or maybe 100
minutes, but it seemed to me that it was only a moment between the first
pictures I saw on the screen and the final word The End. Today, from the
perspective of years, I can honestly write that my youth was divided into the
period before and after watching the movie "The Beatles". Before the
movie, I was the most ordinary boy, millions of whom were growing in Poland in
the 1960s. During the week as everyone was running to school, after school I
got dirty and torn pants on fences and trees. On Sunday, at the request of my
parents, I performed the duties of an altar-boy at a local church. I did not
really realize that there are other countries, people and phenomena such as The
Beatles and their music. My life determined the rhythm of the existence of the
family home and the city.
Mother, father, younger brother, a few closer and farther
colleagues, nearby streets and squares where we spent our childhood was
everything that I knew, what I had and which was enough for me, which was very
good for me. Several dozen minutes before the cinema screen and what was
happening on it, the idyllic calmness of the whole of my world in which I was
brought up so far torn down. A bacillus had sneaked into the young mind, which
over time overcame him more and more, causing some confusion or something. I
saw and heard this "other", something that in the minds of millions
of me like kids has revolutionized views (such as may have a dozen or so kids)
for the immediate surroundings or the notion of a distant world. Some dreams,
aspirations, new and previously unknown desires have begun. I liked this new
state of affairs, and this new fascination deepened and deepened me.
It started collecting photos and biographies of big beat
/ rock ‘n’ roll bands. We set up a band with classmates and we wanted to play
like the Beatles or the like, who grow like mushrooms after rain in Poland and
beyond. The world cultural and social revolution of the 1960s has become a
reality and I was very happy that I took part in it in my own way, but I did
take part in it. Probably, if not for Elvis Presley in the US and Beatles in
Europe, the fate of millions of young people around the world, the fate of all
music, the fate of all musicians, artists and everything that has always been
connected and binding would be completely different.
There was a
deejay ...
The autumn of 1968 was cool and rainy. I spent a lot of
time in my tiny little room in the attic, with my own hands from the lofty part
of the cell. I was sixteen and I was getting baked on my face when, late at
night, in secret from my mother and my brother raising my mother alone, my
mouth wide open, I listened to the voice of a man on the radio. It was Radio
Luxembourg 208, and the voice belonged to the excellent English discjockey Alan
Freeman. It was the first discjockey I heard in my current, short life and at
the same time an introduction to fascination with this profession. Soon, I
began to try to imitate this way of speaking and presenting music from records.
Everything was feigned because I was too poor to have any
records or a turntable with sound equipment. At that time I did not realize
what I was doing and why. It was an uncontrollable reflex, an internal need.
Life enriched me with new experiences, demanded sacrifices and sacrifices.
Making a choice between what was widely recognized, respected and recommended
to young people, and what was fantasy in Poland at that time, emptiness,
nothing - it became a great problem for me in the future to put a gloomy shadow
on my life. In the end, I chose. In spite of all the circumstances that were
unfavorable to me in those times, I tried to become a discjockey. Hours of
exercise, meditation, listening. Finally, work in community cultural /
entertainment centers and school radio stations.
Led Zeppelin
It was a sunny and quite warm spring day in 1970 when my
talented friend painted two huge posters of UK Led Zeppelin group informing
that soon the presentation of Led Zeppelin II album will take place in the
House of Culture of Cotton Works Bielbaw in the picturesque Bielawa at the foot
/ close of the Sudetes. At the time, I lived in Dzierżoniów, three kilometers
away from Bielawa. For days I was combining how to get into the work ordered
from time to time by the Workers' Houses, then called lectures - illustrated
with music from discs.
Although Dzierżoniów was bigger than Bielawa and had more
places where it was possible to organize these lectures and presentations of
music from records, Bielawa turned out to be more modern and forward. Probably
thanks to the wonderful young people who managed the Bielawa's Cultural Houses.
The man who trusted me and the first gave a chance was an unforgettable,
freshly baked master of art history at the University of Wroclaw, the new head
of the House of Culture of Cotton Works "Bielbaw" Mr. Andrzej
Janiszewski. It was thanks to him that I first appeared in public presenting
the Led Zeppelin II album.
I was preparing for this a few weeks earlier and very
solidly for those times and technical means. First of all, I learned by heart
the barely acquired biography of Led Zeppelin. I wrote a script and lyrics for
individual recordings. The day of trial and final test was imminent. That day I
woke up early in the morning, I made myself free from school and fiercely
practiced my announcements. In the afternoon I went by bus to Bielawa. I got
off the center city. The air was warm and smelled of the smell of nearby
mountain forests. A happy porter greeted me on the ground floor of the Cultural
Center. What he was so pleased with - I thought for a moment. I entered the
wide stairs to the first floor. I opened the door to the great hall and almost
flew off. The room was full of people. As I was told later there were about 400
people. My heart started to beat hard, my breathing accelerated. I went to my
place, put a record on the turntable and played the first recording of
"Whole Lotta Love". I sat on one of the chests of two playing East
German Vermon loudspeakers, took the microphone in my hand and waited for the
end of the recording. This was the moment of my first public statement /
announcement of the record and the next recording. Such a deejay baptism.
Dude from the
first grade of elementary school
In the summer of 1969, from Adam, a guy who was Polish
and came from England to his grandma's vacation, I learned for the first time
about the new fashion and phenomenon that the English called DISCOTHEQUE. I
knew Adaś and remembered from 1959. He sat in the pew behind me when we were both
7 years old in first grade primary school.
One winter and frosty day in 1959 a tall guy came to him
for class. Our teacher-lady said that we would say goodbye to Adas because he
goes to England forever. From the whole eight-year period of going to primary
school, I remembered only a few events that made a great impression on me.
The departure of Adam and his new, great English dad made
the biggest impression on me, the seven-year-old toddler. I do not know why
today.
When, after ten years, Adaś, as a 17 year old, came to
Poland for vacation, I immediately found him to talk, to learn as much as
possible about how a young man lives in the beloved of all of us, for the
Beatles, for the Rolling Stones and for Radio Luxembourg, England. Adam still
spoke Polish, but he already had a heavy English accent - which I liked.
We sat up late at night on the granite stairs in front of
my house - he was talking, I listened with a wide-open mouth. It was then that
I experienced my continous life fascinations with certain new phenomena of
European and English pop culture. From the Adas story I was most interested in
discotheques. I have determined that these are places where discjockeys play
and announce records, and people listen and dance.
At the age of 17, I made (as it turned out later) a life
decision - that I would be (for I do not know what!) Discjockey. Adaś, a guy
from the school bench in first grade, never appeared in Poland again. Maybe
because his grandmother died and he did not have anyone to come to? In my
memory, however, he remained forever as the one who twice made a great
impression on me and directed my fate to other, new paths.
It could have
been different
When the first discotheques appeared at the beginning of
the 1970s, no one would predict that it would take so long and develop so much.
As far as the so-called in the Europe West it was fast and easy, in Poland the
whole phenomenon called the discotheque was subjected to the
"filtration" of various communists, pseudo-activists, more or less
connected with the then administration and authorities. We were rather about stopping
the development of discotheques and everything connected with it. Even the
so-called "verifications for presenters / deejays", a camouflaged
form of controlling and hindering the work of very independent and free deejays.
It is worth noting that nowhere in the world were discjockeys verified in such
a dumb administrative manner. There, deejay either liked by the audience and he
had a job, or they did not like him and nobody wanted to hire him. Simple and
true, but in Poland, due to the sick ambitions of some "activists",
it had to be different.
Those of us (DJ's), who survived these tragicomic times
for Polish discotheques, probably remember how these "verifications"
looked like, whom and what type of deejay they preferred. The effect of those
who then decided about the fate of the Polish discotheque and DJs was such that
the world went its (right) way, and Poles its (also proper) Poles, but in the
opposite direction. I was aware of one of the few discotheque discjockeys in
Poland at the time, in all these swindles, because I was informed by well-known
friends from the professional discjockey organization NADD - National
Association of Discotheque DiscJockeys based in New York and the Great Britain
NADJ - National Association of DiscJockeys based in London.
I was honored to be an honorary member of these organizations
as the only (?!) deejay from Poland. American NADD issued a magazine MELTING
POT, and an English NADJ magazine – (first) DEEJAY, then DISCJOCKEY and RADIO
TODAY. These writings brought a lot of valuable information and were a great
educational material for the discjockeys at the time. Very often, the
above-mentioned magazines were also written about me. These were cool articles
illustrated with my photographs from the "action" at the console.
Some of these articles (only a few copies of the above-mentioned magazines reached
Poland to other than my address) evoked animal, cruel and primitive rage of the
so-called "the national board of discotheque presenters / deejays
(KRPD)" and related (as it turned out, unfortunately) surprisingly wicked
and stupid people. They were surprised that some absolutely free and
independent Polish discjockey, who does not want to be with the
"members" - KRPD - to make friends and totally overeat their
so-called "verifications" can be treated by Americans and English
with due respect.
What surprised all these "members" with - KRPD
- not at all, but it did not surprise people from the US or Great Britain,
because they rated me on the basis - mainly the tapes I was told to them,
recorded in my discotheque and based on texts that I wrote for them about
Polish discotheque and deejays. Apparently, they regarded all of this as
materials at a sufficiently high professional level to treat me as the then
discjockey number 1 in
Poland. They wrote about me that way. What is the most important in all of this
is that all Polish deejays and organizations could (after all) conduct themselves
similar to my international activity and cooperation. Why did they not do this
and would rather envy me / envy the effects of my foreign cooperation in the
form of, for example, hundreds of promotional CDs a year and similar materials?
To this day, I can not answer this question with precision. I could only assume
that the reason was the stupidity of these people, maybe their backwardness,
maybe ignorance, and perhaps the innate national flaw which is undoubtedly
selfless envy, or maybe something else that I did not have and I have no idea.
I was a discotheque
deejay back then,
when there
were no discotheques in Poland yet ...
A handful of enthusiasts composed sound and lighting
equipment, while looking for sources from which regular foreign albums could be
received. We were 17/18 years old, we were able to work with hunger, cold and
mostly for free. We liked the idea, the idea of being
a discjockey of music that all the young people loved at the time, that we did
not pay attention to the laws, regulations, councils or the attention of the
surroundings. Surely, if we would listen to it, the entrance of the discotheques
to the Polish lands would be postponed by several years, a few long years.
Fortunately, the quality of youth is usually a small respect for existing
social or family orders. Thanks to this, among other things, civilization is
developing.
The 1st
National Discotheque Deejays Tournament
In 1973, it was certain that despite all the problems
that should be associated with those times,
the discotheque was an undeniable fact in Poland. Between
October 15-21, 1973, the first National Discotheque Tournament took place in Wrocław.
At that time, Poland was a backward country
in many fields, but (I can say that with certainty) in
one of the few areas of human activity that discotheque clubs were in the early
seventies, we were almost at the level of Europe and the World.
I know this because I had my own numerous contacts with
deejays and foreign organizations. I could easily compare the level of Polish
and foreign deejays, as these others gave me a lot of different promotional and
advertising materials, among which there were also tapes recorded by them live
in discotheques.
The first National Discotheque Tournament organizationally
was a very big undertaking. Discjockeys first passed through the elimination
sieve of rural, communal or county Cultural Centers. The best were on
provincial eliminations. Subsequently, the laureates of provincial tournaments
came to Wrocław. There were so many of us that the tournament lasted up to a
week. The esteemed jury chose the final 16 semi-finals, ie the sixteen best
discotheque discjockeys in Poland at that time. I had the privilege of being
among the sixteen wonderful. I remember the member and the head of the jury,
Franek Walicki, remarked to me: "It's good, you do it very vivaciously (I
present, comment on released hit records), but too much of similarity to Radio
Luxembourg discjockeys." Well, to whom I was supposed to be similar like
when the best example was they, giving their wonderful programs on the
wavelenght (medium wave (MW) of the 208 - deejays of Radio
Luxembourg. Almost with the service, I listened to them at nights. I learned
from the English style and how to quickly speak, accent and mix text with
music.
The discotheque dance music was quite different from
today's times. At the very beginning, what was very popular at the time was
playing: Led Zeppelin, Deep Purple, Budgie, Jimi Hendrix, Janis Joplin, Black
Sabbath, Ten Years After, Jethro Tull etc., strong, blues-based hard rock
records.
In the mid-seventies, so-called British pop wave with
such stars as: Gary Glitter, Suzy Quatro, Smokie, Bay City Rollers, Status Quo,
etc. Also received music from USA, rhythm & blues, soul, funk and funky.
All this was popular music, but not especially discotheque. It was not until
the second half of the seventies that typical discotheque productions started
to appear (dance music). Barry White, Sister Sledge, Bee Gees, Peter Brown,
Earth Wind & Fire, Chic, KC & Sunshine Band, Isaac Hayes, Salsoul
Orchestra, Donna Summer, and many others have gained popularity. Deejays were
then divided into two groups: those who played American music, recorded mainly
by black musicians, and those who played the primitive European songs in the
style then called italo disco, which can be compared to today's shitty “disco-polo”
of Polish music market.
The saddest
period of Polish discotheques
The beginning of the eighties was martial law in Poland,
and thus the retreat from the profession of many excellent Polish deejays,
whose names no one remembers today. Many of them emigrated from Poland. There
was a breakdown of the Polish discotheque. For a time, various losers were
clubbing in the clubs promoted by their excellent predecessors, and finally,
with their own characteristic, "slaughter" almost all the best
discotheques in those times, mainly the network of ZPR TIP-TOP, and some of the
more famous student clubs.
In the second half of the eighties, our best discotheques
turned into smelly, drunken pubs where a waiter, a drunk gypsy, a hooker, a
prostitute or a “toilet grandmother” decided what the deejay was supposed to
play and say. It was the saddest period of Polish discotheque history.
Dancing with
shadows
I never stained my honor with the pioneer deejays,
pummeling with those who harmed, teased and persecuted the deejay for being
more powerful than the average sense of freedom.
That's how I used to be, I'm like this today and I will
always be like that. Once, I opposed the communists and their slave-servants,
who were all without exception taking part in the shameful persecution of free
Polish deejays with the help of the so-called "verification" or some
"national boards of disco presenters / deejays". Today (writing sharp
and bold articles) I defend the deeks of the persecuted from another but
equally stupid as in the past reason. For the morality and righteousness thus
understood, the blind fate rewarded me with humiliation and misery. The
overwhelming desire to remain oneself, avoiding the simplicity, clicks created
by guys for dudes, all layouts / layouts and top-down ideas led to loneliness
in actions and work.
The socialist / communist reality was overwhelming, it
seemed so merciless that it seemed to me that all weakness was in me. It made
an impression as if some dark shadows escaped from the evil fairy tale followed
my trail looking for a weaker moment, looking for opportunities to make life
more difficult. My colleagues, discjockeys from the free world were making
careers, earning money. I, due to my unfortunate place of birth, stood with my
dreams and strivings in place, losing distance to those who I was still not so
long ago. Any attempts of a desperate breakaway of a citizen of category B
(which no doubt in communist Poland was a discjockey like me) from the
stagnation, marasmus and backwardness, sock communist Poland of the '70s or'
80s came to naught. All my plans, built with panache, and attempts to remain a
deejay at all costs and against unfavorable circumstances led only to greater
alienation, stress, bitterness and loneliness. I suffered, my relatives also
suffered: a wife, children, a tired and old mother who believed in her son's
aspirations and dreams.
The beginnings of discotheque in Poland were great
because it was free and independent. However, the ‘haunted commie repairers’ of
the world had to appear (as it usually happens in Poland). They organized,
confused and killed everything that was the best, namely youthful enthusiasm,
passion, dreams.
The beginnings of a great adventure,
to be the meaning / sense of my life ...
1969, 1970, 1971 ...
In 1969, I came up with the idea of presenting
records with my commentary in culture houses. For nearly a year the idea
matured, I also did a lot of training and I was looking for a guy with records
- well, of course, I was too poor to have one.
The winter of 1970 was at times quite warm as for the
winter in the Sudetes. I walked around the houses of culture in Dzierżoniów and
Bielawa, asking if they can make such presentations that I came up with. Of
course, I was blown away by everyone except one guy, who turned out to be the
manager of the Bielbaw factory in Bielawa by the central square. Andrzej
Janiszewski (because that's how he called) was a graduated of the University of
Wrocław at the Faculty of History. He agreed to my presentations and at the
beginning of February 1970 - he was the first.
However, before this happened - I wrote the texts of
comments for individual recordings, and the first album I planned for the
presentation was borrowed from the friend Led Zeppelin II.
A friend painted a beautiful poster for me based on some
nice photo Led Zeppelin, which we glued behind the glass of the culture house,
on the ground floor. After a few days, I went to a distance of about 4 km from Dzierżoniów, where I
lived to Bielawa to set up the equipment and make an attempt. After the
rehearsal, I went back home, then returned at 4pm for a presentation / lecture
- as it was called. The entrance itself was normal, the lobby was empty. I went
up the stairs to the first floor where there was a large room / hall, I entered
the door and almost fell down. The room / hall was full of people. There were
probably 400 of them there. I went to the turned on equipment, put the record
on the turntable and ‘ride’. The music flew loudly from the Vermon
loudspeakers. After the first song, I gave a learned text followed by another
piece and text - - more, more and more to the end.
I overcame some stage fright, I was kind of in a trance.
After the presentation, people came, asked about various matters, commented,
and I had max dry throat and sweat-soaked back from the takeover.
Subsequent lectures were held every week. I remember some
albums: Deep Purple, Ten Years After, Tremeloes, Grand Funk Railroad, Cream ...
After some 4 events of this type, we planned a dance
party.
There was supposed to play a cool blues-rock band
practicing regularly in a house of culture and playing the so-called dance
'Fajfy = parties' and me as a deejay playing music from records - also for
dancing.
It was the first discotheque in this area (spring 1070 -
Bielawa / Dzierżoniów).
The conditions were maximal primitive, namely I played
only from one turntable, and between them I had to make some long announcements
when changing records. These events appealed to us and we played every weekend
for about six months.
Then the band broke up and the party fell. However, I
still did the parties with the presentation of records. At that time I also
wrote articles for the music press and a book about The Beatles.
Two of my articles printed a respected 'Jazz' magazine.
One of these articles was devoted to the history of the deejay profession. For
many years it was the first and only such article in the Polish press. And the
book (?) - the book remains to this day as I wrote it in 1971. The cards have
been yellowed for over 40 years and the ink from the pen has faded.
*
I also included all the rock concerts that took place at
the movie-theater in Dzierżoniów at ul. Świdnicka and the second theater called
"Włokniarz" (sometimes a movie theater) near the stadium.
I watched and listened to Niebiesko-Czarni band with
bated breath with Ada Rusowicz and Wojtek Korda, Janusz Popławski, Czerowno-Czarni,
Niemen, Silesian Blues Band, Józef Skrzek and Breakout.
A youthful and very naive conviction was growing in me
that I was going a good way in my life and that I would also gain a lot of fame
and great money.
*
In the summer of 1970 I went to Sopot to see the then
discotheque organised by communist administration name 'Musicorama' managed by 50
years old communist Franciszek Walicki - manager of many famous Polish rock
bands, which I previously watched on two concert stages in Dzierżoniów. I had
some money and lived in a hotel about half a kilometer from the famous
"Mąciak" - the main pedestrian street in Sopot, ie ul. 'Bohaterów
Monte Cassino'. I wanted to check how this "famous by communist propaganda"
discotheque look like, how deejays play it or is it better than what I am
doing, i.e. my discotheque, which I play since April 1970.
It was very easy to enter 'Musicorama'. There were no
crowds in front of the entrance, and there were not many people inside. I sat
near the console and waited for it to start. I wondered what the deejay would
show. The first one was Jana Kras, a beautiful chick with a nice voice and cool
records. Then Marek Gaszyński, whom I knew from radio programs and around 23.00
on the console appeared the biggest star then Piotr Kaczkowski the author of an
excellent radio program MiniMax.
They were good, they fascinated me, but I did not feel
much worse than them as a deejay of a provincial discotheque in Bielawa. On the
contrary, it seemed to me that I could jump on one of them on the 'Musicorama'
console and nobody would notice any special difference. In other words, at the
beginning we were all equal because for all of us it was the beginning of discotheques
and deejays profession in Poland.
*
At the end of 1971, my mother decided to leave
Dzierżoniów for Silesia - and me with her. As if I was in Dzierżoniów and
Bielawa very well known / local fame / ‘star’, I had a lovely and max sexy girl
from Bielawa who was my first girlfriend in life and with a great love. Life
was interesting, I made myself popular, I earned some small money, but I was
tempted by the great Silesia, bigger cities and perhaps some new, but
unspecified plans, dreams ...
1972 ...
In the early winter we were already in Silesia. For the
first time in my life I encountered people who spoke the Silesian dialect, very
often incomprehensible for me at that time. I was also surprised by the
characteristic red and green windows in Silesia and the amazing dirt and stench
around.
We settled in Ruda Śląska, a district called Nowy Bytom,
or more precisely sub-district called from German - Schlafhaus (pronounced here
in a simplified form 'szlafałz'), ie a sleeping house / hotel for
metallurgists, which was when the steelworks 'Pokój' was once called
'Friedenshutte'. In Silesia there were many German names and connections due to
the fact that before the Second World War Poland was bordering Germany here,
and most of Silesia was German, and almost all of the smelters, mines, etc.
belonged to German capital.
After the war, 'Szlafałz' was transformed into apartments
for the metallurgists' families. We stayed there with a friend, we have about 2
years, after which my mother got her own flat from a steelworks in the
neighboring district called 'Kaufhaus' - coming from a once huge department
store, changed after the war mainly into an office building and two shops on
the ground floor. 'Kaufhaus' pronounced by the inhabitants of' Kafauz 'here -
it was a workers' settlement consisting of small, two-story houses called here
familokami. The apartments were small and usually consisted of a kitchen and a
room. Inhabitants of this district were 99% workers from the 'Pokój'
glassworks. Many of them churned to the maximum of alcohol each day, which
often led to nearby bites and broke. It was a neglected district, dirty and
extremely bleak. I experienced some ten nasty years in it, dreaming of moving
out every day. A certain detachment from the gray reality was my dream of a
Discjockey discotheque career. I did what I could to make this dream come true.
On my letter, that I am looking for similar deejays -
printed in 1971 in
'Sztandr Młodych' in the column 'music not serious' by Roman Waschko - only two
deejays from Poland replied - Andrzej Matuszek and Kazik Jarząbek - both from
Siemianowice Śląskie.
In the late winter, I met with Kazik and Andrzej - in the
apartment of Kazik in Siemianowice Śląskie. So we sat in this apartment, Kazik,
with heads and dreams hot from thoughts and dreams, planning joint activities
that would soon inevitably happen.
***
For now, however, I had to take care of several
current-life matters. The army reminded me. In PRL=communist Poland every young
man had to go to the army for two years. There were ways to avoid it. One of
them was the work of a miner in a hard coal mine, of which there were many in
Silesia. It was one of the important reasons that I decided to move from
Dzierżoniów to Silesia together with mum.
I therefore accepted to work in the 'Sośnica' mine -
located halfway between Zabrze and Gliwice.
I lived in a workers' hotel and after work I went to
Gliwice, several kilometers away, where I made friends with two other deejays
from Silesia, namely Piotr 'Kumys' Kobyłecki and Jan Sokołowski. They played at
the student club 'Spirala' at the Gliwice Polytechnic. At that time, I liked
them a lot, but later they took on a dead end or a discotheque replacing the
PRL-Polish village-and-ballang-wedding dancing for a dumb mob - just such a
kind of "disco-polo" today *.
Club 'Spirala' had a deejay booth console hidden in the
studio on the first floor and there was no visible floor on the ground floor.
Interesting was the solution, resulting rather from
architectural necessity. However, it gave some comfort to the deejay, who did
not really care (because he did not see it) what was happening on the dance
floor. It was supposed to be good if the deejay played cool (in his opinion)
music.
In the early discotheques it actually worked. It was
enough to let go of the shit music and the dance floor filled up. For this
reason, the deejays in early discotheques were people who in 90% were not
suitable for this at all.
A typical example of this was a man named Reinhold
Rolland from Chorzów Batory - known locally as 'Holdek Ruła' (that he was so
little brainy, clumsy, slow and sluggish), who at that time was considered a
super-mega-anti-deejay and a local victim they all mocked each other. Despite
this, and despite the fact that he was incredibly ugliest, always smelly and
with heavily greasy, unwashed hair, clothed as if in a funny and unfashionable,
'antediluvian' clothes, even though he was speaking into a microphone with a strong
Silesian accent, he played a terribly acoustic music - it and so he had a full
dance floor in the house of culture in which he played in Chorzów Redyna. He will keep Rolland and his other 'fawns' still ahead,
and for now ...
*
"disco polo"
- it is a very twisted and extremely
distorted name, which can only be created in the heads of ignorant and backward
people - just like all their crap-like-music.
The basic mistake is to use the American word
'disco' derived from the abbreviation 'discotheque' or the name of the first
discotheques in the world. In the word 'disco', the Americans and the whole
civilized world defined and still define the disco created in the early '70s,
and later the specific style of dance music that was created for the needs of
these discos. This music based on the R & B, Funk and Soul styles was at an
exceptionally high level of composer, instrumental, arrangement, sound,
performance and recording. There is no way to say whether to write about a
Polish badziew-mutant village from the village-menelskich-balanga-dancers in
the firehouse called here silly 'disco-polo'. This Polish name should change
and sound different - for example: 'wsiok-polo', 'beetroot-polo',
'badziew-polo', or maybe (seriously and without a sneer) - 'polo'. Apart from
the fact that this kind of music (hammered with electro-clippers by
semi-illiterate music for max-musically understated receivers), it brings us
disgrace all over the world - that is, its name, which includes a respectable
and widely respected word in the world 'disco' - is a serious mistake promoted
by some Polish ignorant punks or other people.
1973 ...
First National
Tournament
Discotheque
presenters / deejays - Wroclaw
I remember a huge impression in 1973 advertise in the
press column run by Roman Waschko, "non-serious music" - rock,
big-beat - an announcement about the First National Discotheque Tournament. I
did not think that in Poland, a country deeply backward and blocked by commies,
you can do something like that. And yet …
At that time I lived in Upper Silesia (after moving from
the picturesque Dzierżoniów at the foot / close of the Sudetes) and worked in a
mine that guaranteed avoiding conscription to the army. All intelligent young
Poles tried then to avoid going to the army and did it in various more or less
effective ways.
It was in Upper Silesia that I had friends from
discotheque and deejay profession: Andrzej Matuszek and Kazik Jarząbek from
Siemianowice Śląskie, Krzysiek / Józek Sochowski from Katowice Załęże.
In Dzierżoniów, the head of the Poviat Culture Center was
a creature name Czocher - a drunkard and former SBek and a fierce communist - a
creature who disturbed everything and everyone. He did not want to sign me and
send me the application to the province DJ contest. He considered it all a
betrayal of communist ideals and decided to block the matter! However, I had a
nice and honest guy in the Poviat Culture Center who decided to help me and
steal (risking enormously, considering who the Czocher was in the city) his
boss's seal / stamp - while he was (as usual) wrecked. He falsified his
signature and in a corporate envelope we sent a notification to Wrocław. We
were sure that the dull Czocher commander would never fall for it. After some
time, there was an invitation to the provincial eliminations, voivodships of
Wrocław, which were to take place at the Municipal Cultural Center in Jelenia
Góra.
It was very cold in March 1973 when I was pounding on
these eliminations with a beating heart. Guys from Upper Silesia (Matuszek
& Jarząbek) prepared me a tape with music, which I had to present / play in
Jelenia Góra. The train from Ruda Śląska where I lived then went to Jelenia
Góra for 7 hours. I got on this train at the Ruda Śląska - Chebzie station at
4:00 in the morning. The train was cold, empty and unpleasant. However, I
enjoyed the views outside the window. Southern mountain ranges, small and
picturesque towns and their railway station. Although I was fascinated by life
in Upper Silesia, I missed Dzerżoniów, in which I spent all my life so far - a
life which, despite many bad moments, I really liked.
Finally, just after noon I arrived in Jelenia Góra. Until
17.00 on which the eliminations were designated, I had a lot of time, but in
those years in cities such as Jelenia Góra there was nothing to do. I wandered
around the streets watching the shop windows on which almost nothing was. I
also visited the local milk bar for a cheap but hearty meal. Finally, I decided
to find the Municipal Cultural Center. It turned out that it is a few dozen
minutes walk from the center, on the outskirts of the city in a factory palace
taken away from the owner after the war. In the House of Culture a good crowd
of guests waited, that is, presenters with accompanying persons, journalists,
activists, and spies from the SB.
Presenters and those who just wanted them to be played
various music and made bizarre presentations. There was a guy who played opera
arias and talked about them (rather read from pages) for about 15 minutes each.
There was also a guy who played Soviet military marches, and another one, which
played only Beatles hits. Nobody else knew exactly what the discotheque and
this presenter / deejay was supposed to be. We imitated radio programs and
radio discjockey better or worse because it was the only thing that reminded us
of playing music from records. After midnight the qualifiers ended and the qualifying
committee set to work.
At around 1.00 am, a fat gentleman came out of a
smoke-filled room and stammered and strangled (said Pawel instead of Pawul,
Bitelas instead of Beatles, etc.) began to announce the results - the names of
the winners of the elimination. Among the names that were being picked up, mine
fell as well. The commission strongly emphasized that the guy presented the
Beatles and the later from the opera arias are very good and mature presenters,
and I go on a sticky tape because I played without a guiding idea, i.e. only
there, pieces to dance and it was too pro-western and American and the
commission clearly lacked a good Polish hit in all of this. One of the hits I
played at that time was particularly memorable (because it was sensational) -
'scorpio' - Dennis Coffey. Other hits that I played were 'black night' - Deep
Purple, 'ramble on' - Led Zeppelin, 'get ready' - Rare Earth, 'down on the
corner' - Creadence Clearwater Revival, 'green eyed lady' - Sugarloaf, 'we're
an american band'- Grand Funk Railroad, 'sweet home alabama'- Lynyrd Skynyrd,
'crosstown traffic'- Jimi Hendrix, 'born to be wild'- Steppenwolf, 'all right
now'- Free. Such was the music for dancing.
The eliminations ended around 2.00 at night and there was
nothing else but to go back to the Jeleniogórski railway station. The train was
only in the morning, so a few hours of sitting at a cold station was being cut.
Nothing - I was happy that I had these tragicomic eliminations behind me and
that I went further ... I believed that the tournament would be different and
better. The cold station did not impress me. I sat on a wooden bench, closed my
eyes and dreamed. My head was hot from dreams - I dreamed about a good
performance, I made texts for announcements, I dreamed about winning, about
fame, cash register and a dozen beautiful sexy girls. I was 21 years old and I
had such dreams then.
In October 1973, almost half a dozen Polish presenters /
deejays were traveling from different cities and towns to Wrocław. Everyone
with hopes for success and a piece of normality, for progression in a career
and stuff. The first National Discotheque Tournament took place in a small and
cramped, substitute seat of the 'Pałacyk' student club - near the city center
square. The main organizer commie Franciszek Walicki, a Polish rock guru, sat
down between the gathered and read the list of participants of the tournament
while handing the entrance cards to the club, to the hotel and to the student
cafeteria. Then he informed everyone - about the rules of the tournament. The
rule that nearly knocked me to the knee is that you can not play the party from
a tape recorder only from the original vinyl records. Hardly anyone in those
days had foreign records. We all almost played with tape recorders from the
so-called "Reels". So I had a problem. In two days my performance in
qualifying for the finals, and I did not have a single album, just carefully
hidden with a sham reel tape taped on a licensed Grundig tape recorder by my
Silesian friend and deejay Andrzej Matuszek. The problem was even greater
because I did not know anyone in this crowd of presenters / deejays, and
besides everyone was a competitor. This first evening was only an organizational (the
tournament was supposed to last a whole week). After this first meeting, we
took a cold tram to the area of the Olympic
stadium in Wroclaw - built by Hitler's people.
In the stadium inherited from the Germans there were many
buildings - among others an Olympic hotel. His standard may have been a good
thing for 1936, but not for 1973. Dormitory rooms, massive showers and showers
- not alive of the Prussian-Swabian culture. In total, it was all in a
deplorable condition, cold and degraded. Nothing - I had another worry. Find
presenters / deejays, make friends with them and borrow records to play my
first tournament block.
From the first day, I was friends with two deejays who
were open, kind and just like me talkative (a feature of real presenters /
discjockey players). They were Darek Śmietański from Warsaw and Robert Mazur
from Bydgoszcz. There was not too much time to tell my problem and ask if they
would help. They helped without any problem. Of course, they immediately showed
the records that I can get, which I will never get in my life, because they
will play them. For me, it was like proverbial "capturing God for the
feet." Each borrowed record was an invaluable asset to me. That day I fell
asleep with a broad smile on my face, and my head was hot with dreams again.
The next day, me and my new duds Darek and Robert - we
went to the center of Wroclaw for breakfast in the student cafeteria and for
rehearsals in the club. We had a few pennies in our pockets and we were
counting down cheaply what to buy for as long as possible.
However, there were so poor guys that the money was
exhausted after only two days.
There was no other way but to help them - take out
breakfasts, lunches and dinners, which meant that my cash reserves and my new
guys ended around Thursday - and the end of the party promised to be Saturday.
In the meantime, I met a good acquaintance from Bielawa and Dzierżoniów, Jorgos
Skolias, a talented vocalist of the Dzierżoniow blues-rock band - later a
well-known and highly regarded jazz vocalist. Jorgos was often in Wrocław at
the time trying to make a "career" in student bands. At the time,
however, he was as poor as everyone else. I remember when I bought myself a
sausage and a piece of bread in a booth with beer for dinner - I could not
afford a beer anymore. On the shelf next to the booth there were free mustard
and tomato purée. We put on this mustard and puree, which is not a measure and
we laughed that all this together should feed us so that it would be enough for
the next dinner. The next day, however, Jorgos was gone. Maybe he came back
home? However, my friend from Silesia, Andrzej Matuszek, appeared. I got him
the so-called a professional entry to the club as each participant of the
tournament had the right to enter along with an accompanying person. In
exchange, Andy lent me some money because in those days his "secret"
businesses put him in the row of those young people who always had some pennies
with them. This cash for a cheap chicken in the student cafeteria was extremely
important, not to faint somewhat in exhaustion - how much can you starve?
The day of my performance has come. The attempt on the
Dynacord console was limited to seeing the console and listening to the
instructions of its owner. I was afraid of it because I never played something
like that. In front of me played the guys whom I already knew Krzysiek
Sochowski and Jurek Kindla representing the Śląskie Voivodeship as a duo of
presenters / deejays and a DJ with the Beatles program known to me from the
elimination in Jelenia Góra. I also remember Maciek Dobrski from Warsaw that
day, who entered by Harley into the small, crowded club. This interrupted the
continuity of the event for a few minutes before this Harley fired, drove 2 metres in and made a
stink of nothing.
Finally, my name was read. I was already specially
disguised and ready for action. The first hit-song I played was the single
O'Jays - 'back stabbers' - then I do not remember anything - I was in a trance.
At that time I had a style that moving / dancing at the console quite
energetically to the rhythm of the music, changed my clothes quickly during the
performance, which caused a piece of applause in the audience. After me, there
were people from Warsaw, Eddie and Jacek Olechowski, and the mighty in the Włodek
Preyss and Benek Patocki. I remembered Eddie because he acted on the console
like me - only that he still sang, and I never did – also he had extremely sexy
girl dancer. Olechowski played quite syntactically and that's why I also
remembered him. In addition, it was a DJ who jumped on the console and was the
first to congratulate me on the performance while it was still running - which
was a nice / interesting entertainment element in all, and sparked public
applause.
Włodek and Benek played primarily beautiful music - the present
dream of every deejay.
I remembered two of them: 'cisco kid' - War and 'jungle
boogie' - Kool & Gang. Benek played calmly and concentrated on the music
played. Włodek, however, disguised himself as much as I did in various outfits
so much that his costumes were much more expensive and better. I remember, for
example, how he put on the helmet of an American soldier (where did he dig it
up in the times of deep communism ??) on the occasion, as in a commentary to
the recording, he said something against the nasty US war in Vietnam at that
time.
The performances of my tournament dudes by Darek
Śmietański and Robert Mazur also impressed me. The next day the head of the
tournament, commie Franciszek Walicki, accompanied by the jury: Marek
Gaszyński, Piotr Kaczkowski, Wojciech Cejrowski from PSJ (Polish Jazz
Association) announced who got to the finals. They listened to the names:
Preyss, Patocki, Olechowski, Eddie, Śmietański, Mazur, Pawul - and at that
moment my pulse probably jumped to 200! My God - I am, a poor boy from
Dzierżoniów and Silesia who was allowed by the grace to perform at the
tournament despite "playing without a guiding idea, i.e. only a hit to
dance and it was too pro-western and American and without Polish hits" -
boy starving, frozen, tired, incorrigible dreamer - now with / among the best
deejays in Poland - WOW !!
Walicki continued to read the names, but I did not hear
anything anymore because I fell into some inconvenient amok. Before my eyes
stood my beginnings, difficult decisions made in pain, disputes with my mother
about my future, night listening to Radio Luxemburg, reading everything that
was only available about modern music, and finally hours of thought and
exercise. It worked - I am among the best!
Walicki finished reading the names and invited the
sixteen finalists to the cellar under the club to talk and discuss all the
performances. This basement was a small and narrow office of the 'Pałacyk' club
manager. We sat wherever it was possible, and opposite us - experts and specs
from the jury. And it started. Professionals instructed us what was good and
what was wrong. They pinned a patch to everyone. Me - Walicki said, "that
I played cool, live and interesting + this cloth change and my movements to the
rhythm of music and that it made a positive impression, BUT - commentary, the style
of speaking into the microphone is too similar to the discjockeys from Radio
Luxemburg and that if I want to be a presenter / deejay and can gain wider
recognition in the country, I must change it. "
Jesus (!) - more nonsense in 1973 to young Polish deejay
could not be said. At that time, commie Walicki lost all his authority in my
eyes. Then it was just worse and worse ...
Well, to whom I was supposed to be like when the best
example was they, giving their wonderful programs on the wavelenght 208 deejays
of Radio Luxembourg. Almost with the as a sanctity I listened to them at
nights. I learned from the English style and how to quickly speak, accent and
mix text with music. My deejay gurus were and still are today: Alan Freeman,
Tony Prince, Emperor Rosko, Tony Blackburn, Dave Cash, Peter Powell, Barry
Alldis, Mike Hollis, Rob Jones, Benny Brown, Stuart Henry, Paul Burnett, Mark
Wesley, Dave Christian, Bob Stewart, Dave 'kid' Jensen, Tony Hadland.
And who should I imitate, as a model like not the best in
the world ??
* Walicki may as an accidental deejay, who was not going
in rock music anymore, he was changing into a new profession
* other random and unsuitable for this profession?
* maybe Pogranicznego – governement radio DJ whose mercilessly
lisped?
* Waschko, who appeared to me only as a trader of records
swindled from foreign record companies (I have this written evidence (!) -
while he attacked in the press for the same others - wanting to eliminate
competition?
* Dariusz Michalski - awkward or gluttonous Szewczyk's
marauding?
* Kaczkowski, who has just imitated those from Radio
Luxembourg at the maximum and best in Poland?
Who should I consider to be the authority and role model?
There was no deejay in Poland at that time - we were the first !!
Of course, I did not say a word in October 1973 because I
still hoped to take a good place after the final shows.
The representatives of Upper Silesia Krzysiek / Józek
Sochowski and Jurek Kindla dropped out of the tournament. So I asked them
deceitfully and cunningly if they would lend me good singles to play the final
show - since I'm actually the only presenter / deejay living in Upper Silesia
who was in the final. Sochowski flattered and writhed, but Kindla eagerly
opened the box with the singles with the words - "choose ..." This
openness and good disposition of Jurek then allowed us to have a longer and
closer friendship and professional cooperation. So I chose 6-7 singles, played
and waited for the final results.
On Saturday, around noon, my girlfriend from Bielawa
arrived, whom I called from the Czech Krysiaczek milaczek. When I saw her at
the bus station getting off the bus, I almost fell over. It had a cool look.
Not only was she the owner of an insane figure, she was also dressed for this
day in extremely tight, clever and sexy clothes. Her mini showing beautifully
formed thighs caused quite a stir around. Mini covered only and exactly what
had to be covered in a public place, and all the rest shone, beat with sex -
shocking some or magnetically attracting the gaze of others when we walked the
streets of Wroclaw from the station to the center for lunch in the student
cafeteria.
Wrocław's streets from March 1973 were, like all streets
in Poland, gray and boring. Krysiaczek made a stunning impression on such a
background. She was colorful, well dressed and super sexy! I was proud of
walking around such a beauty and knowing that it was my beauty and to know what
will be next in the night in hotel :-)))))
After dinner, we used to walk along the streets of
Wroclaw in the company of friendly deejays.
We also sat at the famous 'Świdnicka cellar' at the time
- a large bar near the town hall in Wroclaw.
*
There was already a huge crowd at the entrance to the
club. We barely made our way through the human mass with the help of the
bodyguards whose shouted from a distance - "the place for the best
presenter / deejay !!". They knew that I played my sets well and that I am
now the only representative of the Wrocław Province and their city of Wroclaw.
At the entrance, the juror Andrzej Kosswicz from PSJ stopped me. He introduced
me to his friend from Germany and he firmly demanded a "beautiful lady who
is with me". Kossowicz and his colleague congratulated me on my talent,
skills and high level. They comforted themselves not to take on the words of
Walicki, who accused me of the similarity of my style to the discjockeys of
Radio Luxemburg. "Franek is always like that," said Kossowicz,
"he is just jealous and not reformable." The gentlemen took my
address assuring me that I am so good that (because of them) I will soon be
traveling on the discotheques of Europe starting from Germany. Someone asked me
for an autograph. For a moment I felt like a real star. Cool feeling !
The club this evening was filled to the limit. There was
not enough space to sit, even to stand, and there was no question of free
dancing. It even seemed to lack breathing air. My sexi Krysiaczka had to sit on
my knees. She was sitting next to me, cuddled up and hardly visible to others
creating a tight and busy crowd.
Walicki began to read the names of the presenters /
deejays who won the first three awarded places. Włodek Preyss won, the second
was Benek Patocki and the third was Jacek Olechowski. I was told (as Andrzej
Kossowicz, a member of the jury later said) that I was classified in 4th place.
There were quarrels in the jury who is to be the third me or Olechowski.
However, my supporters were voted and I was out of the first three. The winners
received prizes and congratulations, and Walicki continued to read the names of
the finalists who were receiving diplomas and consolation prizes. When he read
my name - I did not get up and did not go on stage - I ignored it. Walicki saw
it because I was sitting near the stage. He looked at me for a moment, amazed
and then continued to search for more names. Then the winners played their show
sets, and the presenters / deejays slowly began packing and going out.
Last night I spent in the hotel alone with Krysiaczka, as
all the presenters / deejays from my room had already left.
The next morning, I escorted Krysiak to the bus. It was very
difficult to part with us - we both had moist eyes. We just loved the unearthly
furious love! When the bus with my sexi-goddess disappeared in the distance - I
returned to the guys from Silesia, with whom we had an evening train home. On
the train I had to go to the conductor and ask him to write a penalty ticket
for me because I did not have the money back. It was extremely humiliating. The
conductor threatened to blow me up at the nearest station. In the end, he gave
me a plea and left me on the train.
When I arrived home, I only remember that I ate a plate
of tasty meat-rice stuffed cabbage my mother did and went to sleep. I slept two
and a half days and my mother only checked if I was breathing. It seemed
disturbing to me that I was sleeping so long and deep. Well, yes, but my mother
did not know what I experienced during the last week. For a long time it seemed
to me that these were the most beautiful days of my life.
Soon it turned out that the tournament did not give me
anything and did not change anything for the better in my life. Hope for change
came to naught ... Permanent professional vegetation.
1974 ...
"Verifications"
of deejays in communist-PRL = Poland
of that time
or max degenerate betrayal
of basic
discotheque and deejay ideas
At the beginning of 1975, former manager of rock bands
Franciszek Walicki, who apparently dried up the trough from which he had eaten
up to date and pumped his account, flew to the communist Minister of Culture
with a crafty and a tricky idea on how to control and supervise - the Polish
market for discos and deejay - unfolding freely.
He proposed "verifying" deejay - he called
stupidly - "presenters", that is separating those who can play from
those who can also do it very well, but in an official way, they are forbidden
to do it !!!
The Ministry's response was the agreement (law / ordinance
No. 38 of 27.06.1975), but also the condition that not everyone (and how!), Who
wanted to, good intentions and some records, he could do the profession for
which he had collect remuneration. This is how the Examination Committee was
established, whose chairman (if otherwise) was the author discotheque-decree
betrayal in Poland, namely the great and undefeated "master" – commie
Walicki. Then Walicki apparently fell in love with the commies, and in the
position of the main "diffuser" of the Polish deejays, another better
"communal co-worker" was set up, obviously (!) Completely unconnected
with discotheques or deejays - the PRL author of song lyrics - Janusz
Kondratowicz .
From the very beginning, the commission (such as
Walicki's idea had assumptions and tasks) was used for persecution and pressure
on people who were already working in disco clubs and were very successful!
Verifications were to eliminate them and clean up the place for the verified,
ie, their cronies, losers, whom no one in discos would voluntarily listen to
and watch!
"Verifications for discotheque presenters / deejays"
in Poland was the same as CENSORSHIP was for the press, literature or film! A
few of the “commie-guards” decided what to do and what to be. Nothing more
sick. The world of rock, known as the Polish - English big - beat, has already
been subject to these notorious "verifications". Not one good rock
'n' roll Polish musician (just like later deejays) was persecuted and released
at every step.
The idea was known, its operation also, and so directing
discotheques and deejays to the same rut was a conscious action. It caused a
lot of damage as everywhere where top-down / central control was used. Today,
no one needs to explain for a long time the harmfulness of these bankrupt and
compromised principles of the functioning of the PRL = communist Poland.
Franciszek Walicki took part in this, probably not
knowing that he was going to end the commune poorly and his nasty
"verifications", "commissions", "national
councils" and similar degenerate perversions directed against Polish
discjockeys. Today, one would like to get out of this swamp and mud, which has
been done - unfortunately it can not be because there are people who remember
it, who, through such as Walicki and his like, suffered and were abused.
The "verification committee" created by Walicki
insidiously The Ministry of Culture and Arts, wanting to check the intelligence
and professional knowledge of the deejays asked idiotic questions, cosmically
distant from the profession of discotheque deejay. Those who
"verified" most often had less knowledge (or did not have it at all)
than "verified".
Such absurdities were brought about. The questions were
idiotic because the members of the "committee" asked what they knew
about, and they knew each other on many things only not at discos and deejaya
profession! Another absurd was "verifying" those who have just won or
found themselves in the finals of the National Discotheque Tournaments'. This
meant that they were not good deejays, despite professional successes, but only
some strayers, which pseudo professionals must quickly give to their
assessments.
Imagine as if such debilitating verifications as in
Poland - for example in England or USA - it would not be Jimi Hendix, Eric
Clapton, Led Zeppelin, Deep Purple, Janis Joplin, Joe Cocker and many other
genius musicians - self-taught - educated, rock stars.
I think that there was a very good form of shaping a
group of professional deejays through National Tournaments. But it was a
simple, honest and beneficial method for the deejay, discotheque and audience.
Such a method, however, did not create such great opportunities for
manipulation and interference in our affairs as ministerial
"Verification". The authorities, represented by the then Minister of
Culture and Art named Józef Tejchma, meant precisely to control and centrally
control all discotheques and deejays. The "Verification Commission"
is just one of the dirty communist forms of the slow / uncontrolled development
of discotheques and deejays in Poland.
Franciszek Walicki admits voluntarily that he led the
so-called minister together with the then minister. Culture and Art (previously
mentioned by Tejchma) to establish a "verification committee for discotheque
presenters / deejays" (PRZYPOMNĘ - ONLY SUCH ONE WORLD!). The
"commission" was created - as Walicki writes in order to guard the
Polish discotheques from extermination, and they were to be killed by
independent and free deejays, like me and hundreds of others who created these
discotheques. Walicki recognized himself as a divine oracle from the discotheque
and performed with
the guys are tremendously treacherous.
Walicki is boasting that his and his friends were intent
on eliminating people with zero intelligence (?!) And songwriters from discos.
Walicki and his clique, not only that they did not eliminate people with
"zero intelligence" of the songwriters, but that's exactly what the
Polish discotheques have covered !!! Independent and free deejays certainly did
not because they were removed from deciding the fate and development of
discotheques in Poland. Other nonsense consisted in the fact that those who
from the top dictate "verified" and "managed" deejays,
could not be better from these deejays (knowledge / experience / skills). These
were the beginnings for everyone and no one was able to raise the professional
level. We differed only: desire, stubbornness, honesty, reliability, age,
equipment, enthusiasm, talent, sets of records or dreams.
How, then, could equal "verify" equal ??? I
answer - only through deception, dictate and extortion. Enslavement in this
field was no different from that of other areas of life in the PRL=communist
Poland reality. Deejay, who just got to the final of the Nationwide Discotheque
Tournament, which in the end turned out to be the fourth or fifth deejay in
Poland, he was now going to verify idiots who had no idea about discotheques
and deejays ??
Or why the school-leaving qualification was a condition
for verification, since the exam was asked for matriculation questions, and the
verified owners of the so-called 'Matur' answered how illiterate ?? Everyone
should have the right to take the exams, and then it would turn out that the
answers cited by Walicki below will be verified by the authorship of the
baccalaureate, or perhaps without a high school diploma ?!
Verification of deejays is only a proven form of
persecutor. Previously, rock musicians were verified. If they did not know the
answer to the question in the field of classical music and ballet, jazz and
such diamonds and did not read notes - then (ATTENTION !!!) - they could not be
rock musicians in communist Poland. For example, the great Czesław Niemen
himself was destroyed (his career) by such haunted verificationists for many
years!
Franciszek
Walicki wrote to me after many, many years several e-mails - here are some of
them:
These reveal
the total lack of knowledge, experience, skills and necessary contacts in the
world to verify other deejays:
1 / - - - -
fragments / parts of an unfinished interview ...
----- Original Message -----
From: Franciszek Walicki
To: 'YAHUDEEJAY' Sent: Saturday, December 22, 2012 10:15
PM
Subject: answers
Yahu Dear!
You must be crazy!
You treat me as a professional presenter
(question 40).
and I was just an amateur who was interested in
discos,
but not as a source of livelihood but as fun.
And you ask me (question 9) "From whom did I learn
the secrets of the deejay profession"?
From anyone, from anyone!
Or "Do I know (question 37) the foreign books you
have mentioned, devoted to the history of discos and deejay"?
I do not know, I do not know!
I do not know, I do not know!
Or "Are the names of foreign deejays known to
me" (Question 33)?
And for what purpose ?
"Did I maintain professional contacts with deejays from
the US, UK, etc." (question 41).
I did not maintain.
"Did I receive promotional records from record
labels of the USA, UK, etc."? (Pyt.42).
I did not receive.
I did not receive.
"Did I maintain professional contacts with
professional magazines
in the USA, UK etc. "(question 43) and NADJ and NADD
organizations (question 44)?
I did not hold, I did not support!
I did not even hear about such organizations.
Franciszek
Walicki
Total
self-disgrace of Walicki ...
In the above email to me, Walicki reveals his total lack
of professional knowledge, contacts, skills - he writes that he was an amateur.
He did not learn the profession of discjockey from anyone, that is from real,
professional / better discjockey.
Well, how could he do that ? Or he could not, and he did?
on what base
he and similar to him verified polish deejays if they same professional level,
knowledge, experience as other - in fact they were worse - (for example) from /
of me ...
Because I was
the only Polish deejay from those years:
* I kept in touch with NADD and NADJ
NADJ (National Association of Discjockeys) President Ben
Cree, London, UK
NADD (National Association of Disco Dee Jays) President
Robert J. Casey, New York, USA
* I have read and read books and letters
BOOKS OF THE '70'S,' '80 AND TODAY'S TALES ABOUT HISTORY
OF DISCOTHEQUE AND DEEJEYS:
* This business of Disco by Radclife Joe
* Disco by Albert Goldman
* Turn the beat around by Peter Shapiro
* Last Night A DJ Saved My Life by Bill Brewster, Frank
Broughton
* My Life And The Paradise Garage - Keep On Dancing by
Mel Cheren
* Saturday Night Forever: The Story of Disco by Alan
Jones, Jussi Kantonen
* Love Saves the Day: A History of American Dance Music
Culture, 1970-1979 by Tim Lawrence
* The Disco Files 1973 - 78 by Vince Aletti
* And Party Every Day (the inside story of Casablanca
Records) by Larry Harris
* The Record Players by Bill Brewster & Frank
Broughton
I collaborated with the editors of the deejays which
resulted in fruit
numerous articles about me and about Polish discotheques
from the '70s and' 80s
DEEJAY AND DISCOTHEQUE magazines from the '70 and '80:
Billboard Disco Sourcebook, Lee Zhito editor
Melting Pot - USA - Bob Casey editor
Disco Star, New York, USA, Art E. Scott editor
Progressive Platter, Boston, USA, Cosmo Wyatt editor
Disco Gossip magazine, Chicago, USA, Alfred Cain editor
Disco News, New York, USA, Scott Anderson editor
Discothekin ', New York, USA, Alex Kabbaz editor
Discotheque, Los Angeles, USA, Bernard Blain editor
Disco World, New York, USA, Susan Friedman editor
Discotrade, New York, USA, Nicole Sehmon editor
Mix Master, New York, USA, Michael Gomez
Steppin 'Out, Los Angeles, USA, Jeff Kutash editor
DISCONET mixed records + magazine, New York, USA
Dee Jay Monthly, London, UK, Ben Cree editor and NADJ
President
Disco Mirror, London, UK, editor (?)
Disco International, London, UK, Gerry Gilbert editor
* I received tapes with deejay programs recorded live in
discos or radio studios, I learned the profession from them, from the best
* I knew and still know a lot of names of deejays from
those years and with many of them
I maintained professional contacts then and today ?!
David Mancuso - Richie Kaczor - Nicky Hay - Tom Savarese
- Francis Grasso - Bobby Viteritti - Tony Smith - Bobby Guttadaro - David
DePino - Eddie Rivera - Steve D'Acquisto - Walter Gibbons - Michael Capello -
Francis Kevorkian - Tee Scot - Frankie Knuckles - Barry Lederer ...
and many, many others with whom I have posted interviews
on the No. 1 website in the world about the world history of discos and deejay
- www.djsportal.com (no longer exists)
Max
and total amateur Walicki and his team of amateur-guys verified the amateurs
??!
THIS IS ABSURD OF COSMIC SIZE ...
THIS IS ABSURD OF COSMIC SIZE ...
HOW IT WOULD HAVE BEEN HONEST AND AGAINST THE
IMMERSONING YOUNG PEOPLE OF THE YEARS '70 WHO ARE DISCJOCKEYS, THE GAMES IN
DISCUSSIONS, FOUND THE 16TH FINAL OF THE FIRST TOURNAMENT - BUT FOR SOME YEARS,
THE ART, OFFICE, AND OFFICE OF PRL-STOP WORKS - "VERIFICATIONS" -
WERE THE VERIFICANTS HAVE BEEN ALONE AS HAPPY WHO HAVE TO BE VERIFIED (!!!)
- WITH THIS DIFFERENCE THAT IT HAS BEEN
SETTLED ONLY, OFFICIAL GILET ??? IT WAS A HEALTH !! WALICKI AND HIMSELVES WERE
THERE ARE ALONE AS ME AND I LIKE ME, BUT THE ARRANGEMENTS ARE CONSTANTED ABOUT
US, WERE THEY HAVE USED WITH YOUR SLAUGHTER OF THEM, WHO HAVE TO GO WHILE I
WELCOME ...
What is also very important - the idea of a discotheque came to us from the so-called (as the
propaganda of the PRL shouted) "rotten west" from the UK, USA. It was
not invented in Poland, Walicki did not do it, etc. He bought good equipment in
the Netherlands, which was produced by those who knew each other, and from whom
he did not learn anything, he did not want to teach - he did not care about it!
Waliki
wrote: "I was just an amateur who was interested in discos, but not as a
source of livelihood, but as fun."
So
what were the verifications for, the tables and all this stuff ?!
THESE
OFFICIAL TOYS FOR "FUN" WERE NOT NEEDED !! :-))))
Marek Gaszyński in his interview in this book writes
something completely different: "Just in my
life, just like in the lives of Mann, Olechowski, Pograniczny, Karewicz,
Walicki and Niemczycki - the disco was a short episode, a short, short way
earning a living or making money for salaries and fees, he was ... and he
passed, and nothing left of him, nothing to be ashamed of, to regret, not to
brag about. "
Piotr Kaczkowski also gives something completely
different:
- an excerpt from the interview:
"In 1970, Franciszek Walicki opened the
first Polish discotheque, he offered us - several presenters - overwhelming
financial conditions. I think there was no man who would not bend. "
So it was about cash, and how - and probably
(worst of all) about nothing more !!?
-------------------------------------------------- ----
The
other thing is that (between God and the truth) I should first verify them -
because then I had greater knowledge, contacts, orientation (such a fate of
fate ;-)))))))
I read professional books and magazines that were then
available in the US and UK - I studied them many times (about which Walicki and
his companions did not have and do not have the concept today), I was a member
of global organizations and maintained dozens of contacts I learned from the
best discjockeys of the world !! And they were supposed to verify
"AMAZING", people who did not know the discjockey profession ?? !!
They asked idiotic questions on the exams in which they
knew each other, but not in the discography or discotheque profession because
they knew nothing about it! Bakers, shoemakers, car mechanics, butchers and
painters could equally verify us, and we would be testing them too.
THEY PLAY VERY
DIRTY GAME AGAINST US IN COMMUNIST ERA ...
I have documentaries with verification, I hear THEM
questions, speeches of gonzo and my hands fall - what it was doing then. It was
a total destruction of discjockeys and discotheques, not progress and
development.
Probably Walicki and his group are not too surprised that
the Polish discotheques quickly fell, and in the "rotten west" it
went like a storm and exists in the correct form to this day. With us,
EVERYTHING FALL - all this PRL- discotheques –presenter / deejay-verified
pathology came to nothing - and what exists today is a bent, warped and
crippled character (!) - cut off from any roots, teachers, authorities - only
superficially similar to the world but completely different from the bottom ...
such imitation ... illegal counterfeit ...
continuation of pathology !!
continuation of pathology !!
These
(the following) emails received from Walicki
mainly
concern the verification of deejays:
1.) ----- Original Message -----
From: Franciszek Walicki
To: YAHU PAWUL
Sent: Friday, November 14, 2008 6:20 PM
Subject: Re: question for an article about the history of
discos in Poland
Dear Mr. Yahu
Regarding the National Council of Presidents, I only
remember that its first chairman was Marek Gaszyński, after him (shortly)
Zbigniew Niemczycki and from 1976 Adam Halber.
At the time, I did not deal with disco clubs (I was an
impresario of the SBB team) and considered all the verifications, exams,
auditions, categories, etc. for crap and misunderstanding !!
2.) ----- Original Message -----
From: Franciszek Walicki
To: YAHU PAWUL
Sent: Sunday, August 15, 2010 11:32 AM
Subject: RE:
I remember the names of the members of the Commission
from 1976. I also know the names of subsequent members of the Commission, but
only until I
decided that the further activity of the Commission lost its meaning.
Walicki.
Well, finally (!) - after almost 40 years of waiting for the truth ...
_________________________
As you can clearly see (the above emails), commie Franciszek
Walicki changed his opinion after many years about what he did and what he
believed in the '70s and' 80s!
He admits this openly - and what he cares about - he does
not have to fear anything. He gets a retirement and lives peacefully. The
prosecutors of the Institute of National Remembrance do not go too far - what a
pity ?! Well, because the amount of damage that this individual did to Polish
discotheques and deejays can not even be accurately described - precisely
because of their enormity, but also the secrecy (!!) or destruction of
documentation from those years ...
'Category' S
'and' A 'presenter
A great curiosity of all this insidious communal-betrayal
prepared for us by Walicki and the clash of his clappers was granted to himself
the powers - so-called. categories "S" and "A".
The first in Poland professional licenses for the
discotheque presenter / deejay in 1973 / '74 could only be obtained by persons
with a diploma from a journalistic or music school.
* What were the verifications / permissions
* who published it and how it was published
* to whom they were issued and why
* on what principle such verifications were
issued
Well, it was a
full pathology and crime story !! A few grumbled cedics gave themselves the
professional license to prevent other deejays work !!! THERE ARE THE GOAL AND
THE EFFECT OF THEIR REPORTS AND ALMOST CRIMINAL ACTIONS !!
Then, it was allowed to issue such verifications to
persons holding any university diploma, and then the requirements were reduced
and a barrier was established in the form of having so-called communist (not
much worth (!) secondary school certificate?
A professor at my school once told me in secret that
"such falsified education and PRL school-leaving examination is a
distortion of a man / his mind for a lifetime, that a man without crap was at a
much higher level but it was dangerous for commies because he was not shape and
submit them as they wanted "...
The first official verifications for presenters / deejays
in Poland were organized in June 1974. At that time, 11-person State
Qualification Commission for discotheques presenters / deejays was appointed. Commie
Franciszek Walicki became the head of this commission.
Walicki verified and played in the discotheques as a
presenter / deejay, but he never took exams before the verification committee
to get the so-called permission to play in discotheques. Walicki and his dudes
were not concerned with the rules regarding all other deejays. Walicki and his
team were the chosen ones, anointed by commies - such as those who were all
allowed, who were given 'red' privileges.
Here
is a list of:
Roman Waschko - Sztandar Młodych
The verified list has been published for the first time
in history
discotheques presenters / deejays in Poland from April 1,
1975.
72 presenters / deejays.
CATEGORY 'S'
(14)
- they never passed any exams
- a bunch of self-adventurers who was better than others
Jacek Bromski, Marek Gaszyński, Piotr Kaczkowski, Marek
Karewicz, Andrzej Karwan, Jerzy Kossela, Jan Kras, Andrzej Marzec, Zbigniew Niemczycki,
Elżbieta Piotrowska, Witold Pograniczny, Andrzej Staszewski, Krzysztof Szewczyk,
Franciszek Walicki
CATEGORY 'A'
(14)
- they never passed any exams
- a bunch of self-adventurers who was better than others
Jerzy Błeszyński, Bogdan Bogiel, Jan Chojnacki, Stanisław
Danielewicz, Maciej Dobrski, Wojciech Gąssowski, Roger Gregorowicz, Adam
Halber, Zdzisław Hoffman, Jerzy Janiszewski, Bogdan Konikowski, Paweł Koper,
Kaba Riate (he did not even speak Polish, he got Polish classifications 'A' -?!), Andrzej Zaunar
This kind of "powers" to be in the
PRL deejays (that is, the 'S' and 'A' categories) in 1974 were obtained only by
a few individuals who were mutilated with each other. There were 28 of them.
Why did they get it from the commies, and the others were much better and max
real (!) Deejays, they did not have access to it ?! Because it was commune and
PRL gentlemen and ladies - total pathology and degeneration ...
CATEGORY 'B'
(26)
Wojciech Biernatowski, Tadeusz Ender, Danuta Herzyk,
Bogdan Fabiański, Marcin Jacobson, Piotr Kobyłecki, Tomasz Krawczyński,
Krzysztof Kryszak, Piotr Kukliński, Zbigniew Lewandowski, Krzysztof Marzec,
Jacek Olechowski, Wojciech Pawłowski, Andrzej Pluciński, Włodzimierz Preyss,
Krzysztof Simm, Jan Sokołowski , Tadeusz Stolarczyk, Tadeusz Sztop, Wiktor M.
Taras, Wojciech Teska, Wojciech Wardyński, Bogdan Wojnar, Zbigniew Wysocki,
Tomasz Zieleniewski, Ryszard Żółkiewicz
LEGAL PERMIT
FOR COOPERATION (18)
Zbigniew Banach, Joanna Bańburska, Krzysztof Białek,
Krzysztof Delos, Marek Grynkiewicz, Ryszard Radzewicz, Andrzej Haponiuk,
Zdzisław Karpiński, Henryk Kowalski, Marek Kowalski, Marek Kwaśnicki, Piotr
Kwiecień, Marek Lachowicz, Jerzy Olesinski, Bernard Patocki, Wiktor Świtoniak,
and Kazimierz Wlekły , Michał Żmigrodzki
________________________________________________________
Description
of the film's relationship with the communist
verification
for disco presenters
QUESTIONS
OF VERIFICATORS AND THEIR TERMINATIONS
-
registered in the Warsaw café 'Stolica' on a documentary
(almost
10 minutes) of the "Disco Fashion" movie.
________________________________________________________
It will be easy to notice - the questions asked for
deejays were 100% debilitating and completely had nothing to do with the disco
deejay competition !!
The movie begins with how a certain Franciszek Walicki
asks a folk who came to the examination of the communist verification committee
for presenters / deejays - "what brings you here?" - can you ask a
stupid question for good?
Then another “wise man”, a certain Marek Gaszyński asks -
"what is the standard?" - and what for the hell, who knows this in a discotheques
where you come to drink, jump and snatch your ass for the night ??!
Another verifier (abruptly with a stick or pale) asks a
question - "who wrote the 'November Night'?"
What is it !? - after all, the guy has a red high school
diploma (because that was the condition of admission to the face of the
commission) and probably he knows well from the curriculum (rather stupid !!) -
who wrote 'November Night'! Why check his matriculation / maturity knowledge?
Well - unless this secondary school exam - the need to have it - it is just
such a fake, but really it was about creating a debilitating barrier in order
to allow some to let others off.
But, but !!! - a dude with a school diploma (Piotr Kubik)
is not answering - he does not know who wrote this unfortunate "November
Night". And he should know as a mate with a high school diploma. Well,
what now (?) - or the high school diploma was given to him illegally and now it
should be taken away - or how? And the question arises - what was the barrier
of the verified presenters / deejays - the moronic and unnecessary as we see
the barrier of having the red Matura / school diploma ??! It turns out that the
commission has checked its 'maturity' knowledge anyway.
Everyone should be admitted, including those with
baccalaureate and without baccalaureate, university professors and their
students, farmers and street sweepers, milkmen and teachers, and grandmothers,
or people with and without primary school - and "mature question" -
"who wrote November Night "etc. crap. If someone has learned (eg by
means of self-help) and has the knowledge required by the committee and answers
the questions asked, he or she will pass the exam regardless of what the
so-called. "Paper proofs of your knowledge and qualifications". Well,
yes - what's the reason if this is not the point ... After all, it was a matter
of blocking discotheque clubs in PRL and releasing deejays ... the PZPR (commie
organisation / political party) culture and its minions have secretly
established this treacherous commission for persecution ...
Then "genius" Walicki asks another super
question for deejay of discotheques -
"Who is the minister of culture and art in
Poland?" Jesus! - that's how you ask about everything - who is the first
secretary of the Central Committee in Albania, etc. of stupidity, how many
leaves are on the maple and whether the algae have roots.
WE
SEE AND WILL LOOK ON THE FILM
VERIFICATORS
ALSO TALKED
Some day with TV asking verifiers a question - "what
three characteristics should characterize a good presenter / deejay?"
Gaszyński answers - "two features - he must be a
good actor and he must have good records - he does not have the third
one". Well, and this knowledge about which the committee and its member
"genius" Gaszyński asked? - you remember his question - "what is
the standard?"
By the way, we find out that in the opinion of super
verifier Gaszyński - "the presenter / deejay should be a good actor".
Well - if he was a good actor, he would certainly blame the crap that
undoubtedly was and still are discotheques and he would go to a movie, theater
or TV - hehehe :-))))))
Well, no matter - we're going further - this time the
same question asked by dawn from TV answers some foxylady in the fox hat on the
spear (vixen) - only that now she has taken off her hat. It tells you that the
presenter must have more than three features - it must have "culture,
intelligence, reflexes, sense of humor - and awareness of what to do".
Another verifier - claims, aping his predecessor
"foxylady" that the presenter / deejay should characterize -
"competence, culture and reflexes". What did the hen go on this
'reflex'?
Well, there is one more verifier - ugly in red sent by
the government ministry of the so-called culture, which claims that deejay must
characterize - "Intelligence, personality and the ability to conduct
fun".
At the end of the speech of the experts on the subject,
the same master Walicki will blame the content that the presenter / deejay must
have - "stage predispositions, personality, individuality and
responsibility".
Ironically, there are some Reinhold Rolland from Silesia
who, at first glance, do not have any of the features mentioned by the great
verifiers.
Walicki busts him straight from the bridge as at the
interrogation on SB (secret political Police or any nazi ‘SS’) -
"education, profession - where do you work?"
Well, our quiz-presenter named Rolland from Silesia,
accusing characteristically the head to the back, replies - "electronics
technician, I work part-time in a labor co-operative". Rolland further
testifies that "he has been involved in youth music for 12 years, that is
since 1964 (Oh! - just like Lennon and McCartney or Niemen) and he belongs to
the pioneers of bigbits / rock ‘n’ roll music in Silesia - he founded the first
bigbit band 'Czarne Diamenty' - then he brought his first bass guitar to Poland
- and finally, after so many successes in 1970, he founded the first discotheque
in Poland "...
Well, it was Walicki, the creators of the Polish bigbit
and the "first discotheque" had to
legs bend. What is such a "star" from Silesia
doing here? - he should have been the star of the show and deejay no. 1 in the country on the
Vistula river - and be a verifier, not a verified one!
Okay - enough of the idyll - Gaszyński's guru is pounding
the first professional question -
"Please name some Polish musicals?" - there is
a meaningful silence - then Gaszyński adds - "what is a musical?" -
still silence - you can see our poor from Silesia has no knowledge to become a
communist presenter. Gaszyński continues to oppress questions, namely -
"what were you in the theater lately?" - what our Silesian hero,
licking at every turn and throwing his head at this in-touth, replies that
"he was in the opera but already long time and do not remember how it was there.
"
Now the movie depicts a demo of Rolland's skills from
Silesia at the console, which announcing the largely ineptly hate Rolling
Stones commits a cardinal mistake saying that "vocal solo will be
performed by Mick Jagger" - because there is no (horror!) anything like
vocal solo! ! DJ Ruła, of course, failed verification, and for the time being
he was not a presenter of commies - he became one
(horror !!) a little later.
Then the movie shows some poor deejay, who is banging the
bull, announcing the hit of Abba as "ej-bi-bi-ej - s.o.s." This
"e-bi-bi-ej" is supposedly so professionally announced with the
English name Abba. Another show of our poor deejay is an invitation to a
"recreational-conversational-consumer" break. Christ, what kind of
fools were these verified comedian presenters.
IT
IS NOT SO MUCH STRANGE IF SUCH IDIOTS PUT POLISH DISCOTHEQUES INTO TROUBLES,
AND THEY DID ALL THE WORST AGAINST SUCH A BEAUTIFUL PROFESSION AS DEEJAY IS ...
As the movie was aired in a program by Wojciech Mann on
TVP Kultura, the above mentioned great radio deejays appears after the
screening of the video with his guy and comment on what was happening in the
video.
dude
- these questions were bullying ...
Mann
- that's what I mean - what a hell guy who announces
(unsuccessfully) Rolling Stones to know who wrote the November Night '... These
whole commissions were a fig leaf, that we do it legally and we pull up the
level ...
dude
- I think that it was here that those who
ruled it first realized that too many competitors appeared - and then the next
exams need to be organized in order to verify them and hinder access to the
profession and discos ...
Mann
- maybe anyway - and in the committee the names
themselves: Marek Gaszyński, Franciszek Walicki, Stanisław Cejrowski ... these
committees were annoying - annoying!
In those days it really was a stamp and paper was more
important than real skills ...
verifiers:
Franciszek Walicki -
manager, discotheque deejay, which no one has ever
verified, and yet he played Polish discotheques for big money !! ?? They gave
themselves such verifications themselves - to themselves and their fellows !!
Marek Gaszyński -
a radio deejay that no one (just like Walicki) ever
verified, and yet he played Polish discotheques for a big money !! ?? They gave
themselves such verifications themselves - to themselves and their fellows !!
Stanisław Cejrowski -
jazz activist, head of PSJ, nice supposed persona -
R.I.P.
Some day -
'Ugliness in red' with ZAIKS or the ministry of the
so-called culture
Some day -
'foxylady' (because in a hat made of fox fur) from PZPR
or from the Ministry of so-called culture
Jerzy Shoen -
probably sent from the so-called culture from the Central
Communist Committee of PZPR
Tadeusz Górny -
director of ZPR - a company that had several discotheque
clubs in Poland
The comrades sent their offices to keep an eye on what
was going on
- is it in accordance with the vision of the PZPR Central
Committee ...
The compositions of these committees have changed over
the years. A member of the commission was, for example, a radio deejay Witold
Pograniczny or another radio player Roman Waschko, who was also a longtime
associate / agent of the SB and spy everything and at all - for presenters and discotheque
probably also!
THIS
FILMS (because several are similar) REPRESENT
THE
WHOLE HORROR, STUPID AND NON-SENSE OF VERIFICATION !!
The questions for the deejay were simply
debilitating, not having the slightest connection with the deejay profession.
People who have surrendered to this degeneration - they are called by me "deejay
prostitutes" :-)))))))))
Consciously or not, however, they went on the
slightest line of resistance, that is, full cooperation with commies, licking
them in the gap and confirming the blunt commies in the belief that they are
right and go only the right way.
These were the times of Lech Wałęsa and his
similar brave and enlightened Poles resisting the degenerates who ruled Poland
in the communist era.
To the Polish deejays (with a few
exceptions), these glorious and obvious examples of patriotism and care for national
dignity, however, did not reach. Almost all went to full cooperation with
traitors and persecutors of the nation.
Why
?!
And for purely selfish reasons - for money,
splendors, pounding cheap whores, simplified and simplified lifestyle, etc. The
Polish deejays was a specific type of man, such a cowardly and scheming syppe -
a careerist in a comic style.
The Polish Deejays in their majority did not
resist communes - they are in full swing
they cooperated with the commune and supported
her actions in the discotheques and not only. There were cases of cooperation
with special services, a secret commissar Militia
and reporting on colleagues.
A bad example came from the very top, namely
how it turned out years later that the SB agent was a
"discotheque and radio-press guru" Roman Waschko - a significant journalist, author of books, a member of the commission
verifying deejays, etc. I also came across him in my correspondence with record
labels and deejay magazines from the USA and UK. I was asked about him because
he seemed to Americans from Salsoul Records and Casablanca Records with a light
suspect. Suspected of such obvious reasons that he could have more than others
and had significantly more privileges and facilities than others, and large
influences from the authorities, what other Poles from those years did not have
??!
... or other
nonsense!
Deejay, who just got to the final of the nationwide
deejay tournament - in the end it turned out to be even a 4 or 5 deejay in
Poland, he was to undergo verification of idiots who did not have the slightest
idea of deejays ??
VERIFIED BY WALICIAN AND HIS NECKLISTS (not everyone, but
most of them) AND HALF-ANALFABETA WITH "MATERNIES COMUS" - WE WOULD
NOT BECOME WRONG TO A MICROPHONE OR SENSING NOTHING TO SAY THAT I WILL NOT WELCOME
TO MUSIC. POLISH DISCO THAT WERE END OF AMEN, AND THESE DEEJAYs FOR GOD'S GRACE
DISAPPEARED ON ZERO. TODAY IS NOT SMALLEST TRACK OF THEM - AND THE NO POSSIBILITY
TO FIND ANY.
THERE WERE OTHER DISCO - ON ANOTHER DEEJAY BASIS, AND ON
THE BASIS FOR OTHER PEOPLE. WRITTEN ABOUT THE CRAP-TECHNO OF THE YEARS '90.
THOSE PEOPLE THOUGH THEM IN POLAND WAS NOT DEEJAY AND DISCOS - THAT THEY ARE
THIS FIRST. WE DO NOT EXIST FOR POLES - IT WAS NOT US - POLISH DISCO PIONEERS
FROM THE YEARS '70 !!
WHAT
ABOUT ME -
Well - for me, for example, some SB-eckie
deejay rags from Silesia hurt me (spying and informing on me to the max) that
Milicja / Police controlled my foreign correspondence, stopped and confiscated
sent from record labels from the USA and UK promotional records, my press,
awards, etc.. It has been reported to me, thus causing me immense harm.
Finally, they reported to me to the National Council of Discotheque Speakers
(KRPD) to forbid me to work as deejay - which soon followed and lasted for
quite a long time.
I was neither a verified nor a member of the
KRPD - and therefore an enemy full of giants!
It was so easy to beat and kick, even when it
was already lying!
They submitted ideas that incoming to me from
the US and the UK massive promotional records for deejays confiscated at the
post office and share between them - those traitors and losers of the KRPD !!
And so it happened. About the militia
confiscation of my records told me secretly a girl from my local post, a
frequent visitor of my events.
With some of them I was even very, but it was
very close because they were sexy, beautiful and worth the sin :-) In bed under
pressure and excitements were greatly effusive in conversation. They talked
about the exploits of SB-eks in the secret rooms of the Post Office. In
addition, I have found more than one of my albums on black record markets. They
were traded by highly suspect people and frequent slave readers - in short, SB
agents :-) I knew beyond doubt about the confiscation of my records sent from
the USA, because I also corresponded with the labels asking what and when they
sent me. I knew that they did not send these records to anyone else in Poland
at that time !!
***
National
Council of Discotheque deejays (KRPD)
- a
communist organization (others then could not be) aimed at
enslavement
of Polish deejays and subordination of PRL-power / communist ideology.
(based on archive KRPD documents)
bosses:
Marek Gaszyński - 1974
Zbigniew Niemczycki - after Gaszyński
Adam Halber - after Niemczycki
Marek Lachowicz - member of the board
Andrzej Karwan - social labor inspector
Bogdan Konikowski - member of the board
Maciej Dobrski - - member of the board, delegate to the
congress
Romuald Laskowski - secretary of the audit commission
Zbigniew Wysocki - member of the board
coworkers and guys:
Ryszard Adamus, Waldemar Błazucki, Krzysztof Białek,
Dariusz Chybowski, Tadeusz Ender, Bogdan Fabiański, Ryszard Hadzewicz,
Krzysztof Lasecki, Aleksander Łodygowski, Janusz Kasprowicz, Krzysztof Kryszak,
Tadeusz Redas, Marek Słowikowski, Jolanta Sztop, Tadeusz Sztop, Maciej Taras.
___________________________________
The assumptions and goals of the KRPD, as we read in
their documents, are in the first place:
"Raising and shaping the ideological level
of presenters"
then we read:
"It is necessary to raise the level of
engagement with the presenters / deejays ideo-political and constant
ideological training at special conferences and seminars "
In other words, every "subjected" deejay was
supposed to be
and he was a servant of commies and that's it ...
___________________________________
The National Council of deejays (KRPD) was an
organization whose aim was to politically use discos and deejays to spread
communism, socialism and whatever else.
This organization served mainly to control free deejays
and persecute the rebellious people, such as me.
* KRPD - released pirated singles, so-called
"Deejay" - regardless of international laws and regulations.
* KRPD - initiated and carried out work bans for defiant
deejays such as me - I WOULD AGAINST ME THIS JUSTIFICATION !!
In free Poland, the KRPD people should respond for
collaboration with a comic persecutor - but this is a topic for IPN
prosecutors.
***
from
correspondence and interview with deejay pioneer
from the early
1970s Stanisław Danielewicz
disco deejay
in the early '70s was the author of a popular column about pop music in
Dziennik Bałtycki, and more importantly, a correspondent of the well-known and
respected music magazine from England -' New Musical Express'. IT WAS THE ONLY
IN OUR HISTORY OF DEEJAY INTERNATIONAL IN THE WAR - which has its important
historical significance ...
Mr. Stanisław, In the '70s and' 80s, I wrote articles
similar to those in professional USA and UK journalism, openly and strongly
criticizing the commune and all disco deejays with the verifications and the
national council of presenters in the main role at that time. It was pretty dangerous
and good then, that no one here (except me) of these professional disco /
deejays did not read / read - because then they would be wired to 100% for
2000%, and the SB would put me in the helm or and the head secretly shot or
drowned with a stone at the neck.
On this basis (in my criticizing communist discos and
deejays articles) in the spring of 1989 I got almost political asylum in the US
- just like that, without even the slightest problems and effort. The
interrogator of the Office for Exile in Los Angeles was just surprised that
"after such articles I am sitting in front of him all healthy and not
lying somewhere in a muddy Polish grave" ...
They in the USA knew well how the communism dealt with
their enemies. They arrested you and I avoid. I was able to do it because the
backward Polish disco environment had no contacts with professional magazines
for deejays from the US or the UK, and they did not report me like they did
against you! If they knew about me at the time (about my articles), I would
undoubtedly be the second Polish deejay interned during martial law, and
perhaps also a dead deejay, considering that in those days nothing could be
certain. Some people have killed others ...
In the mid-1980s, a certain "verified" deejay
with whom I worked closely (that is why he had some information about my
foreign contacts) a member of the national board of disco presenters (KRPD)
reported to me and gave Maciej Dobrski or Adam Halber a little article about me
from english writing for deejays. Outrage of Halber and a certain Dobrski - the
rulers of this council was enormous. "How is that?!" - they shouted -
"some Pawul, who does not belong to us and is not verified is the most
famous Polish deejay outside of Poland, gets mass slabs, etc. ?? Destroy the
rogue, and hundreds of promotional records from the US and UK that go to his
address every year to the KRPD address. "
At that time, the Council advised me on how to
"destroy me" - and they advised that they would send letters to: ZPR,
provincial committees ZMS (part of PZPR for youth) and to Provinces of Culture
Voivodship Offices - letters declaring that they KRPD ( commie disco rulers and
kings) "forbid me to work as a deejay - because I am not a presenter, just
like them, but only under such impersonation to extort records from foreign
companies."
My friend SB agent from Katowice, who loved to dance at
my events, stole one such KPRD letter and I had it in my archive for a long
time. While applying for political asylum in the USA in 1989, this important
document remained in the archives of INS Los Angeles.
I do not know where and how these letters were sent and
who deemed them worthy of attention, but in ZPR's Tip Tops, for example, I had
a clear barrier (my friend Tip Top showed me a letter from ZPR headquarters
about me - a clear prohibition on employment) and I had to play under the names
of others deejays who for a small paw agreed to replacements. They're on papers
and I'm in a disco. The point was that I was enjoying some popularity here and
there and that it was not going to liquidate.
I was attracting people to discotheques, and in a
straight line it was converted into a large cash register - and that's it ...
Unanimously, without the slightest objection (!!) of any
deejay, the Council voted against work for me throughout the country, and
Halber, in cooperation with a certain Jan Poprawa from Cracow, smeared about me
with a scarlet in a rag called 'Student', who was then commanded by that
improvement .
It is not difficult to imagine what such people would do
to me if their dirty, red paws fell into some of my articles (let's call them
briefly political) criticizing the PRL authorities, their verifications and
their organizations such as KRPD ?!
...
because it was the commie Polish People's Republic ladies and gentlemen ...
the
fucking communist country - a home for some kind of strangers = one great
pathology
***
Phonographic
detective story - 'made in KRPD'
that is,
pirate singles for deejays in the PRL
- so-called
"Discjockey"
The National Council of Discoteque Presenters was
publishing very, very pirate singles for the
so-called "Tonpress" with the help of Tonpress.
verified deejas in PRL-Poland.
They did not toil and deal with foreign licenses (because
they could not do it anyway), they did not pay royalties for the owners of the
recordings. They also did not pay for copyrights. They made themselves such a
left-under-the-table under the table, and shared the money with each other.
Singles were sold by Maciej Dobrski's mother, a commie prominent
"activist" with the KRPD.
ADAM
KAZIMIERCZAK – pioneer deejay
Y@HU - Are you known to the Lord, was the Lord receiving
or buying, or maybe he still kept the so-called archive somewhere in his
archive? "Deejay single" - pirated tiles pressed by 'Tonpress' on
behalf of the National Council of Discoteque Presenters?
Adam - I did not receive but I bought because I had to
pay for it, I still have a few dozen in my CD archive. If I remember, they were
pressed at the Pronit plant in Pionki, and their distribution was handled by
Mrs. Dobrska, Maciej Dobrski's mother.
Y@HU - What is your opinion about the people who then
controlled everything: Franciszek Walicki, Adam Halber, Maciej Dobrski, Janusz
Kondratowicz, etc.?
Adam - Although I appreciate the contribution of
Franciszek Walicki to the development of Polish discos, many of his actions
(maybe unknowingly) wrongly served this phenomenon and Polish DJs. Adam Halber
and Maciej Dobrski were rather injurious than helping, aiming only at their own
interests. Janusz Kondratowicz was a well-known author of the lyrics, but at
discos he did not know each other completely, he became the chairman of the
committee for some key because I do not see the connection of his profession
with what we do to DJs.
BOGDAN
KONIKOWSKI – pioneer deejay
Y@HU - What is your opinion about the so-called The
National Council of Discoaters (KRPD)?
Bogdan - This, in turn, is the biggest nonsense that DJs
from the "trough" area could have invented. No one ever really knew
what was the reason for creating it, who was behind it (certainly Halber) and
who benefited from it. The only effect was the pirate DJs released several
times, for which you had to pay and whether you wanted or did not have to buy
them because if not, you were threatened with removal from the Council's
membership, and consequently the loss of verification.
The National Council was probably the best time for the
Halber-Dobrski company, which, as I recall, ended tragically for one of them.
"Tragic"!! Maciek Dobrski, who by nature was and is a brazen master
and never counted with his surroundings (hence he called himself the king) at
some point jumped too high Halberowi and his company.
It was in 1984. Which was the reason he never really told
me, and he would have lied. He was so confident that he did not realize that
Halber was much better placed than him. He was moved away from the
"manger" to such an extent that he had nowhere to play in Warsaw, he
lost his job at "Scouts radio" and was unable to make any money.
That's when he called me to Canada asking for help in
emigration from the country, although he always made fun of me, that I left the
country and how I ran away abroad.
In 1985, he came to Canada through Greece and soon took
him to go back to a new world, but this is a completely different story, which
has nothing to do with de-dating. For 13 years, although we live in the same
city (Edmonton), we do not have any contacts !!
ABC of the
disco presenter
1984, Warsaw, Central Center for the Methodology of Dissemination
of Culture, ISBN 83-00-00558-7
A book was published in the PRL. This is cosmic sizes
crap-book.
Over and above all useless for a real deejay !!
The very hide cover was deterred for good morning. Crap-book
was also obnoxious to the touch because he was made for so-called
"Sandpaper" from the era of falling communism. Comparing this book
with some foreign deejay books (professional guides from those years, etc.) -
this Polish book appears as a serious misunderstanding and a departure in the
completely opposite direction.
...
here is my anti-propaganda commentary
PRL-review
of this crap-book ...
Reviewer - I
can say that it was a real mine of knowledge at the time, although it is still
today! We will find, for example, an explanation of professional terminology,
descriptions of the main musical genres, and short, informative biographies of
their representatives.
The word music and its definition are explained very
skillfully, but at the same time extremely accessible language (some still have
a problem with defining music).
YAHU - It
could be a mine of knowledge only for 100% deejays illiteracy! Someone is
actually scribbling in this Grafomania / poor book about some styles + adds
some biographies, BUT NOTHING is JOINT or WITH DISCO MUSIC, NOT WITH ARTISTS,
OR DEEJAYAS. Ot simply worthless text that only serves to clog up a book with
so-called chama no culture person and deleting the royalty fee!
Reviewer -
Music is the art of sound organization, which in the implementation takes place
above all in time. The sound is a wave, how a turntable is built, if you speak
through the microphone and what to say.
YAHU -
Jesus - what is this cosmic rubbish ?!
Reviewer - In
the book we find almost anything that could potentially be useful to a DJ.
YAHU - More
can be found in the cookbook than in this book junk !!
Reviewer -
Cited in "ABC ..." - "Report on the state of discotheques in
Poland from 1981, developed at the request of the Ministry of Culture and Art,
gives the number of 300 discos visited every day by an average of 50 people.
Calculated on the number of people on an annual basis, this gives a total of
over 46 million!
YAHU -
This report was written for the Control Department of the PZPR Central
Committee and special services (SB) controlling the whole phenomenon called
Disco and Deejay. The author of the report / denunciation is a certain
Franciszek Walicki. This is evidence of full betrayal and collaboration with
commies, a kind of careerist made in a commune by an individual named
Franciszek Walicki. After many years he wrote to me, (cutting off from what he
did in the '70s and' 80s) that all this was a mistake and misunderstanding ...
Reviewer - It
is worth recalling that in 1977 all theaters in Poland, operas and operettas,
symphony orchestras and orchestras, chamber orchestras and song and dance
ensembles, circuses and stage events (including festivals) gathered a total of
about 43 million viewers, that is, 3 millions less than discos.
YAHU - And
what about this extraordinary? There was a new and popular fashion that young
people loved at the time and the attendance was enormous. This is just writing
about fetters straight from the commune. At that time, newspapers and books
were full of such writing. Such specificity of communism.
Reviewer -
Interestingly, to be so-called Disciples' presenter (away from foreign
terminology - deejay!) Had to have at least secondary education and pass a
special exam before the National Qualification Commission for Discotheque
Partners, appointed by the Ministry of Culture and National Heritage.
YAHU - I
write about it extensively on other pages of my book ...
Reviewer - In
"ABC ..." we also find several-description descriptions of many works
that were suitable for the dance floors at that time. We find here songs from
the musical "Hair", hits Village People, The Rolling Stones and many
more. For this we have a large, very detailed (eg very insightful analysis of
the construction of a turntable) and a comprehensive dictionary that covers
most of the book.
YAHU -
Such pieces played only so-called verified deejays, collaborators against
commies, collaborators, massacres disgracing disco parquet floors, who in the
'70s and' 80s destroyed the Polish discotheques.
Reviewer - This item should be in the library of every
Polish DJ!
YAHU - To
have a good laugh to stomach ache you can read such a book sell, but it's
better to buy some DVD with cabaret programs, that is material for a better
satirical level.
CASUS
- ADAM HALBER
in
the '70s and' 80s, the head of the so-called
'National
board of disco presenters (KRPD)
KRPD is a
communist organization (others then could not be), whose aim was political
oversight of Polish deejayami and discos - as evidenced by one of the goals of
this organization, namely - "shaping the ideological worldview of Polish
deejayów." It is well known what it meant then - it meant that the views
of the deejay were to be socialist-communist. For disco and deejayów (western
idea) fit like a proverbial stick to the back ...
_______________________________________________________
In 1979 Halber made himself known as the
"activist" of the KRPD. He became one of the heroes of the heavy
press slander, probably convinced of his total impunity. In the pages of the
then communist rag with the title 'Student' - he made a press slander against
one of the Polish discotheque deacons Yahu Pawul [yahudeejay] - means me
:-)))))
Adam Halber attacked me hideously, because I was in a
direct and very powerful opposition to him and the KRPD - precisely in the sphere
of another completely ideological worldview, in the scope of my deejay activity
or getting rid of deejays from the "rotten, imperialist west" (as it
was then called) instead of those from KPRD.
Halber and his dude from Krakow - Jan Poprawa, who was then
the commander-in-chief of the communist party (others could not be then) a
cloth called 'Student' - they created a hideous intrigue against me. They wrote
a hideous and defamatory text about me, that one day I wrote a letter from
beggars to one of the English magazines for deejays, as a result of which
foreign colleagues started to send me (Polish deejay a beggar!). promotional
records (that is, free / advertising) for disco presenters.
I hereby disclose this letter in photographic materials -
the reason for envious of scrawl and vilification by Adam Halber. As it was a
"beggar's letter" - the author of such a definition and confusion of
even pre-school concepts should have been directed to appropriate psychiatric
treatment.
Where did Halber know about my letter abroad and its
content !? I suspect that he knew it because of his then position at the
so-called 'Trough' - a position that would probably give him the opportunity to
read the materials of the secret political militia (SB) of the Security Service,
which then controlled and censored my very extensive foreign correspondence.
Another explanation of the halber knowledge of my correspondence with foreign
magazines - NO !!
My extensive cooperation and correspondence with foreign
friends was spied on - this is evidence of the "official"
surveillance / spy of the Silesian deejay Yahu Pawul by SB secret services in
PRL=communist Poland times (these red stamps on the envelopes) censored my
letters or even confiscated, official theft stolen massive slabs, tapes, dreadsy
journals, etc !!! (vide photo materials)
At the same time, the KRPD, based on the denunciation of
several Silesian confident-deejays (such indigenous deejay-prostitutes),
planned a total attack on my freedom and basic human rights, prohibiting me
from doing discography discotheque and confiscation sent to me from the US and
UK promo records, and division of these boards among themselves / members of
the KRPD. In those days it was both possible and very easy. It was enough for
one commie to send a letter to other similar commies in the regional communist
parties of the PZPR or ZMS + to the SB, and these in a flash blocked the deejay
from reaching all clubs and discos of the PRL and scooped his post with the
records and letters from the post - what actually took place at the end of 1979
and almost the whole of 1980. Afterwards, these persecutions ceased and were
replaced by others - those resulting from the communist introduction of martial
law in December 1981. During martial law I was already persecuted differently -
it was done quite officially, without the slightest hiding. To this day, I keep
envelopes and packaging with famous stamps about the inspection of my parcels,
which control was the "right" of that period of war with my own
people.
In order to survive and keep the family alive, after the
KRPD introduced persecution against me, I had to hide in my own country, appear
under my name, cheat on documents, and finally emigrate from Poland and ask for
political asylum in the USA. To this day (and we have the year 2017 when I
write these words) I can not understand why and why the KRPD commanded by
Halber and his friend Dobrski did it. There can be many answers. Perhaps Halber
liked to tease other people, and maybe he wanted to show himself to the
authorities as a clever young activist, that he was so vigilant, perceptive,
and forgive no one, that he found an unrivaled enemy of socialism and a
collaborator of the imperialists.
Adam Halber, my persecutor of the past after many years,
with the support of the PZPR later called the SLD, got to the Sejm / parliament
of the Third Polish Republic, and then to the National Broadcasting Council.
Now he is laughing in a corner of the naive Poles who allowed him to do so and
thus provided him with good apes and pensions.
After a few years, Halber died, and the President of my
fatherland gave him a posthumous decoration for merit !! Read more about this
swindle in the text 'HALBER CASE' - in the 'MY ARTICLES' section.
I feel strange in my homeland, bearing in mind such
memories and facts that can not be erased by any means, because these events
were too vile, painful, breaking my career and life.
DJ WALICKI
Franciszek Walicki - creator of the famous in the 70's
turmoil in Polish discotheques entitled 'verifications for presenters' +'
national council of disco presenters (KRPD), totally idiotic and the only in
the world scale ideas aimed at enslavement and persecution of free Polish then
discjockey disco
DJ Walicki or, as some of him jokingly called DJ Franek,
in 1970, 50 year old, very unsuccessful deejay - the only one among the then
Polish deejay pioneers of very young and talented 17-20 year old boys. In the
'80s, DJ Franek was 60 years old and he was still not very successful (!). He
tried to entertain 18 year old women in the discos, who had a circus and a lot
of fun to the armpits themselves :-)))
At that time, Walicki was an extremely pathetic, funny
and very shameful event for Poland and Poles on a world scale !! He pressed
himself to the Polish disco after he had burned all the bridges in the world of
the Polish bigbeat / rock ‘n’ roll, where he was supposedly the creator and
manager of something, and what really existed without him and probably even in
a better form (!?).
Author / confident of a special report on Polish
discotheques and deejays for communist authorities of the PRL. For
collaboration with commies, that is the "report" and the famous
imposition of so-called deceit and violence by Polish deejays.
"Verifying" professional or pulling them into an organization called
the "national council of disco presenters" (KRPD) gained significant
influence in the party apparatus of the PZPR and the then administration of the
PRL (Ministry of so-called "culture"), which led him very well
throughout his life - as opposed to those Polish deejay, who in cooperation
with the commies he and his followers persecuted and destroyed!
Walicki had and has several supporters, mostly the same
as he who were submissive to the communist communists, who defend him and
support him to this day (we will take a look at them and decipher their
"careers" in separate texts). Obedient to the commies, they used
similar privileges like Walicki, giving an open road to comfortable life in the
difficult and rough times of the Polish People's Republic ...
Below are interview questions addressed to Franciszek
Walicki, the so-called "The father of Polish discos and deejay".
Walicki never responded to these questions, wriggling only with acrimonious
insults against the author of the questions.
I give him the chance to reveal, honestly describe
history, and he secrets it, hiding it and keeps silent ... Quirky behavior ...
It's like he had a lot of dirt and deejays' hurt on his paws, he was afraid of
the truth or something (?) He was ashamed of that everything he made ...
Such open and bold, and at the same time extremely
important historically questions, no one has ever asked F. Walicki, which is a
significant flaw / lack of knowledge in the history of Polish discos and
deejays. On the other hand, Walicki himself (repeatedly encouraged) avoids the
uncomfortable subject and did not want to answer the questions, giving evidence
of what is the basis of my opinion about him, namely that it was "landing
/ dropping" to Polish discos and between the Polish deejay of man at that
time marked by the communist authorities for surveillance and control of this
new phenomenon that came to us from the rotten West (as the communist
propaganda wrote about disco and deejay).
Propaganda of the People's Republic of Poland considered
discos as "the cleverest grip of the imperialists (as Westerners were
called) aimed at derailing the Polish workers 'and peasants' youth, distancing
them from learning and working for a socialist homeland. Deejays, on the other
hand, were referred to by the communist propaganda, as imperialist agents, who
have this subversive task (sabotage and diversion) to perform.
I know this perfectly because I was interrogated and
persecuted by so-called Security Service of the Polish People's Republic. On
those auditions, which I was often beaten in an ingenious way - I was
repeatedly told the above propaganda crap - forcing me to sign false
testimonies about what I was doing as deejay, about my foreign contacts and
received promotional / free disco records for deejays and disco and deejay
magazines from USA and UK !!
*
Walicki suddenly and unexpectedly found himself among the
first Polish BigBitians / rock ‘n’ rollers - as he called them, and what the
power of the Polish People's Republic and the stupid people agreed in silence.
Walicki suddenly and unexpectedly became a kind of
administrator and supervisor of the Polish R'n'R - which probably did not
surprise one. How so suddenly and why? After all, what did Walicki and R'n'R
belong to two completely different worlds ??
Well, if he could help and do something there (probably
the commies allowed it and made it easier for him to be credible), then
everyone (well, maybe not everyone :-))) was fooled.
Y@HU - Difficult and suspicious questions that remain
unanswered ...
1 /
Why, at the age of 40, Walicki suddenly ended his career
in the Polish Navy and took up Rock 'n' Rollem / BigBeat - it was a turn in
interests and life priorities by 360 degrees - a bizarre, suspicious and
unprecedented thing? The sailor and the "communist" suddenly deals
with R'n'R, a big boil on the ass of communist Polish People's Republic of the
'60s! WHY ??
2 /
Why did Walicki make such a dirty move against the team?
Jerzy Kosela - "knowing Walicki, I was afraid that
he would want to destroy the band "Czerwone Gitary "(CZG). After our
huge successes in 'Non-Stop' in Sopot, then in Warsaw 'W-Z' cafe and 'Stodola'
club - Walicki in November 1965, he sent a letter to the Ministry of Culture to
liquidate the 'Czerwone Gitary'. In this letter he wrote that CZG distracts
young people from science, gave an example of Seweryn Krajewski, who at the
time just gave up the school. "
{- statement written in Marek Gaszyński's book
"Mocne Uderzenie – Niebiesko Czarni" - pp. 72, 73}
3 /
Janusz Popławski (RIP) - in his book "Byłem
Niebiesko-Czarny" on pages 24 and 63 also reveals quite dark moments from
cooperation with Walicki. Why has this wonderful team once thanked Walicki for his
"managerial services"?
4 /
There were also musicians who left the bands administered
by Walicki - they fled from his sick vision of the Polish R'n'R and created the
best Polish band from the '60 - POLANIE. Why could they exist and act so
briefly? Did Walicki go into his hats / "help" like in the case of
Czerwone Gitary?
5 /
In 1968 and 1969, Walicki went to the Netherlands
together with the Breakout team as their then manager. What happened then - did
the team leaders Nalepa and Kubasińska pour him out of the manager's function?
So suddenly, he "gave up" from the lucrative jobs of the manager
here, there, from the role of the so-called "Godfather of the Polish
BigBit / rock ‘n’ roll" and he wanted to become a disco deejay, although
(which turned out to be practical in practice) he did not have any
predispositions and needed knowledge for this. Did the purchase of expensive
equipment (as a man privileged in the Polish People's Republic had a lot of
money for it - a lot of money and permission to import) and a few records was
all that was enough to become a deejay then?
6 /
It seems suspicious to me to write lyrics for the bands
songs that Walicki managed. He mastered the plot very quickly and
inexpensively. He wrote very bad lyrics to connect to regularly paid royalties
from ZAIKS, etc. It is known that royalties are easy money for the rest of his
life.
Was there no better songwriter in the area? Why did
Walicki (as Jacek Grań) press / enforce his texts? What do team members /
performers do? (we know that Tadeusz Nalepa very much forcing this text through
Walicki, he did not like the Breakout band and that it was one of the main
reasons for leaving the partitioned manager Walicki)
7 /
Why did he change the great name of the fabulous Silesian
band Silesian Blues Band (SBB) into a totally absurd and sick – Szukaj, Burz,
Buduj?
8 /
Andrzej Karwan, a man from Upper Silesia who, from
unclear and unjustified reasons, got from Walicki (without verification
examinations that were applied to other deejays) one of the first professional
verifications for presenters in Poland - so-called 'S' category.
Karwan wrote to me in a momentary (as it turned out)
sincerity:
----- Original Message -----
From: "Andreas Karwan"
It: "YAHUDEEJAY"
Sent: Tuesday, October 14, 2008 6:35 PM
In the case of F. Walicki I know everything, because we
were very close then. Franek invented the verifications, and the decision on
the appointment of the verification commission (at the request of Minister
Tejchma) was made by Andrzej Ikanowicz, director, Department of Theater and
Estrada from the Ministry of Culture and Art, and appointed Franciszek its
chairman.
----- Original Message -----
From: "Andreas Karwan"
It: "YAHUDEEJAY"
Sent: Sunday, December 28, 2008 5:56 PM
F. Walicki was the SBB impresario only until the autumn
of 1974. The people's coup of Adam Halber and Maciek Dobrski took place in 1976
and until that time Walicki was on the board of the National Council. In his
absence (I think he was forced on him), a new management without Frank was
elected at the congress. I know it very well because I was the only member of
this board to be present in the group of F. Walicki. They (I am talking about
the people of Halber and Dobrski) divided the positions among themselves,
leaving me the position of the Social Labor Inspector of the National Labor
Inspectorate.
You are doing an absolutely amazing job for our history
!!
I greet you heartily wishing you a happy new year.
Andrzej Karwan
9 /
Why, after such a short time, Walicki was removed from
the position of the head of the verification commission for presenters and put
in his place a certain Andrzej Kondratowicz who was known to write some teasers
for joyful songs, but about disco and deejay has no clue?
10 /
Walicki invented and introduced the so-called the
national council of disco presenters (KRPD), and its first boss was nominated
by Marek Gaszyński. Why him ?
11 /
Why the winners and finalists, that is 16 best deejays in
Poland were treated at the distribution (because there were no examinations in
this respect before the verification committee) first professional
verifications - so-called category 'S' as unworthy of being a deejay? Not one
of us (I emphasize - THE BEST THOSE POLISH DEEJAYS!) Did not get the 'S'
category verification.
Verifications were handed over (giving away to cronies)
by favoritism to people who were friends with Walicki or favored / appointed by
the authorities of the Polish People's Republic.
These verifications were then given:
- Andrzej Karwan from Siemianowice Śląskie
- some Elżbieta Piotrowska - landing from the PZPR
Central Committee
- Jerzy Kosela
- Janina Kras Kosela
- Marek Gaszyński
- Jacek Bromski
- Piotr Kaczkowski
- Marek Karewicz
- Andrzej Marzec
- Zbigniew Niemczycki
- Witold Pograniczny
- some Andrzej Staszewski - where did he come from PZPR
or SB?
- Krzysztof Szewczyk
- Franciszek Walicki
- he gave himself self-verifying verification of the 'S'
category presenter
Suddenly, they were all nominated from the office for the
disco deejay called the PRL in a stupid term - presenter. None of these people
participated in the First National Discotheque Tournaments in October 1973 at
the Wroclaw 'Pałacyk' student club. And then it was the only and true gauge /
determinant who was a disco deejay here, and who a pretender, a poser and
landing dropped on Polish deejaystwo by the authorities of the PRL.
12 /
Someone Maciej Taras in e-mail correspondence with me
revealed:
From: Maciej T.
It's: 'YAHUDEEJAY'
Sent: Thursday, October 04, 2012 3:45 PM
Subject: RE: just letter
I did not have any reservations about Franciszek Walicki,
his pro and anti-disco activity. Well, maybe only the female prostitute name
'Mercedes' was not to my taste :-))) It was a nice story, do you know something
about it?
Y@HU - What was it for "promoting" DJ WALICKI
?? - this doll in Walicki's career
- so 'Merceds' - like a ‘piv. prostitute or something?
Did she, like other guys, get the famous verification of Walicki under the
table or in the hotel bed?
[we are looking for MERCEDES prostitute for you to submit
relevant historical testimonies :-))))))
13 /
In the American magazine 'Billboard' (issue from October
17, 1981) and his book Cylinder and Adidasy - Roman Waschko (agent and informer
of the secret political militia in the PRL - the SB) revealed Walicki's writing
a special 'REPORT ON THE CONDITION OF POLISH DISCO 'for the then communist
authorities of the People's Republic of Poland? What was the report about and
why did Walicki block access to it in the Museum as well as other PRL-scraps
submitted there?
14 /
Stanisław Danielewicz heroic deejay interned during
martial law in 1981 wrote: "... old Gdynia communists with Walicki in the
lead ..."
Was Walicki an official communist and a member of PZPR
because I have news from Gdynia and a few other sources that it was so?
That would explain many of Walicki's actions and
behaviors and it would be unnecessary to ask him about various things. As a
member of the PZPR, he was simply doing his job like everyone else. They did it
for the "socialist fatherland", the peasant-peasant class and the
perpetuity of the Soviet people. In other words, they did it directly and
directly against the Polish people. In this situation, action against Polish
deejays and discoers nothing, and nothing is surprising and should be taken
care of by IPN prosecutors.
15 /
Andrzej Buda - Hip hop Culture History in Poland 1977 -
2012
"Before 1970 there were discotheques in gastronomic
establishments in Poland, but the first of the real events was 'Musicorama' in
the Sopot Grand Hotel, run by PZPR activist Franciszek Walicki, who bought
professional equipment for the motto earned during the BREAKOUT tour of the
Netherlands - mainly He imported the rock through the sailors, and because the
authorities wanted to have control over the discos, Walicki, together with the
Ministry of Culture and Art, appointed the only verification commission for
presenters in the world ".
16 /
Cezary Prasek in the book "Golden Youth of the
PRL" on page 82 wrote:
"Roman Waschko and Franciszek Walicki reported as
commies confidents on writer Tyrmand"
And on page 118 he wrote: "Today, I think that it was
not without reason that Franciszek Walicki played the role of the godfather of
Polish rock music. This graduate of the Higher School of Social Sciences at the
Central Committee of the Polish United Workers' Party was somehow the guarantor
that the changes would not go in the wrong direction. "
Similarly to the author of the text book from pages 82,
118 I also give a lot to think about. For years, I have suspicions bordering on
the certainty that "old communist" - comrade Franciszek Walicki (just
like the agent / confident SB 'Adam' = Roman Waschko + some others) sent by the
so-called. culture department - Central Committee of PZPR to supervise and
control Polish rock 'n' Roll, and then as a well-tested and well-deserved
companion - also disco and deejays. It is perfectly logical that such a miracle
such as discos and deejays could not be carried out here according to
imperialist principles straight from the UK or the US and to distort the
worldview of workers-peasant and socialist youth - ABOUT NO !!
In my deejay career I had this dubious pleasure, but
rather the unpleasantness that my companion Walicki personally gave me in 1973
at the First Polish Tournament Discotheque Presenters / deejays remarks idiotic
that "I am too similar to the deejays of the imperialist Radio
Luxembourg". Well, I was supposed to be, in his opinion, probably similar
to Polish presenters from the Commie Polish Radio, singing and lisping without
composition and order, and the sense or technique of announcement / correct
setting and sounding of the voice.
Comrade Walicki, wonderful Polish bands such as
Niebiesko-Czarni, Czerwono-Czarni, Breakout, etc., directed a blind alley under
the title of "Polish bands sing Polish songs". To this day, when I
watch it (video) on Youtube or in the base of my computer, it's up to my fists
to beat !! Something as dumb as all this pseudo folk-crumbling bastard was
nowhere anywhere in the entire multifarious world.
Well, what were these poor bands to do. They had two
exits or go on a deal with Walicki's companion - the authorities supervising
them, or disappear from the market - for example, like Polanie - the best band
in the history of the Polish R 'n' R '60 - playing exactly the same as the best
in the world that is, late bands from the UK.
Walicki as some sort of Jacek Grań dictating the
conditions of the bands pressed their own pseudo folk-village texts, thus
creating himself a very popular author, whom ZAIKS (as I know these structures)
still pays high royalties for this whole crap - although it has not been in a
long time media that play something completely different.
There was nothing in the Polish People's Republic, so
even the biggest shit that was without a doubt all this debil bigbit wave of
folklore folk folklore was easily promoted to hits. Well, but everyone knew that
these Jacek Grań "hits" had to a real R'n'R from UK or USA like a
stick to the back :-)))
The world was really happy and at the Rock 'n' Roll
level, and we in Poland had 'BigBit' crap and politicized rural-folkloristic
bands created by comrade Walicki.
The world was fun and at the disco and deejay level, and
we in Poland had some weird 'presenters', bizarre 'verifications', and 'KRPD' -
the maximized politicized crap created by the companion Walicki.
NO SIMPLY MAX
FUCK REVERSE / OPPOSITE
AND FULL FUCK
UPSIDE-DOWN !!
We
endured it all because if it was not the power, it was "pounding in the
snout!" That was the fucking PRL men and women - max and total pathology -
a cesspool where a few mists controlled the great, wise and helpless nation
with the help of clubs, rifles and tanks.
***
_____________________________________
In 2012, someone published Walicki's book about the
stupid title "Epitaph for the Death of Rock and Roll".
This book (along with real content) is like the crowning
of the talk and propaganda about Walicki spreading from the '60s to this day -
propaganda flattering the oversized ego of Franciszek Walicki.
My revealing the truth (for many years hidden) about
Polish discos and deejayS from the times of the PRL caused a lot of confusion -
especially with those who, along with the communists, exterminated and
destroyed Polish discos and deejays in the name of the "higher"
socialist-comic idea / ideology.
I do not know, therefore, whether the fact that Walicki
mentioned me by name and surname, and a little note wrote about me in his book
as an unprecedented honor or for insult and disgrace.
I gave him a sign when he wrote about me :-)))
There is no point in cheating - Walicki has described me
and slandered me on pages 140 and 141 of his book. It assures the reader that I
wrote something about the history of Polish discos and deejays + also about
him.
Yes, I wrote a lot, but not the words that
"quoted" Walicki !! :-))
He is 93 old and his so-old person confabulations and max
fuss about me are amazing considering that everything I published was, is and
will be visible on the internet
- it's easy to check it out !! ?? :-))
Walicki probably expected that everyone loves him and
nobody noticed how much evil he caused to Polish discotheques and deejayom.
Nothing of that ! There were a few deejay who noticed this, which I just had to
deal with Polish history due to the fact that I wrote down the world history of
discos.
Always, that is from 1974, I was against the artificial
divisions of the Polish deejays, and Walicki's 'verifications' were just an
administrative and vile division of us into better and worse ones.
Verifications were not a way to regulate the right to pay
for deejay - as Walicki wrote in his book. It's just that typical in his style
max fake! It was about eliminating competition, which threatened DJ Walicki and
his dudes with other great deejays.
Not only I noticed it. They talk about it in the same way
on the archival film from the TVP program about verifications Wojciech Mann and
his interlocutor. I have this document in my archive.
This is what many Polish deejay pioneers from the '70s
have told me about the same with me.
Another important document is the interview of Piotr
Kaczkowski, in which he reveals with disarming honesty that Walicki's deejays
of his disco from 1970 'Musicorama' offered such money that no one was able to
refuse. This is proof that deejays was able to pay even large fees, without
'verification' and 'S' category.
I myself also made a lot of money in the spring of 1970
for playing disco and I know well how the Houses of Culture etc. settled this
money.
The real reason for the verification was that Walicki
noted with horror at the First National Discotheque Tournament in Wroclaw in
October 1973 how great we have disco deejays in Poland. Sixteen finalists
(among them also myself) were then the best deejays in Poland. We were in the
country unrivaled and on a world level !!
The disco deejay Piotr Kaczkowski's show was very
promising at this tournament. It was assumed that our level would be so
mediocre that we should show what disco deejay is and how it is done.
Kaczkowski was there, but he doubted his skills when he saw how great deejay we
are in Poland !? :-)))) THE SHOW WERE NOT ... Because what would Kaczkowski
have as a disco better than heaven for him ?!
DJ Walicki also noticed that his deejay skills, or rather
their lack (!) Will not allow him to compete with us and that we will easily
eliminate him from discos. Well, what's the point, but DJ Sticki was not able
to let it happen. Quickly after the tournament he set to work and already in
the spring of 1974 we had an artificial administrative barrier / barrier in
Poland, or 'verifications'. Walicki managed to fool somehow and convince to
this idiotic idea the so-called Ministry. Culture.
First, however, Walicki strengthened his guys on the
market, namely from the office above all and over verifications he granted
privilege, i.e. category "S" and "A". He gave it to himself
and a few of his guys, who, of course, would soon be eliminated by the great
deejay from the tournament mentioned above. Walicki deliberately and planned
"killed his child" - deceitfully, deliberately and deliberately
destroyed the achievements of the first tournament - scared off his great
results. SO IT WAS AND THIS IS THE TRUTH HISTORICAL !!
"Gazeta
Muzyczna" - Janusz Popławski
Towards the end of the 1990s, in the journal Gazeta
Muzyczna by former guitarist and friend Walicki, Janusz Popławski, I published
an article that severely criticized many negative phenomena from Polish discos
from the times of the Polish People's Republic. It was the first in Poland
brave and very true article that unravels / deflects the highly contorted
"truth" according to propaganda from the People's Republic of Poland.
Walicki was a huge major in the PRL, when it comes to
discos and the fate of the deejay !! It was very amazing how he did what he
wanted and everyone could snap. It was only the tipper of the comic system in
1989 that left him marginalized and thanks to God - as unbelievers :-))).
First, they made him COUP in his KRPD, and then quickly and just scattered all
the way to the gutter of disco history ... In contrast, in his biased and
deceitful book, Walicki hardly ever wrote anything about it. The four pages of
the text are ZERO in comparison to what he was doing.
He gave some of his materials to the Museum in Gdynia -
probably not everything, and probably it was falsified anyway. However, he did
it in a bizarre way, according to the adage, 'the dog will not eat and it will
not let another one'. Walicki blocked the access to this material.
______________________________________
Returning, however, to the contents of the book - Walicki
calls me on pp. 140, 141, he talks and slanders, defames me with the term
"discotheque without a talent". He also writes about me that "I
was quoting myself as the best deejay in the world and the author of the
largest and the best website in the world devoted to the history of discos and
deejays."
I never and never served as the best deejay in the world.
However, my website www.djsportal.com (no longer exists) actually was, at one time,
the biggest and the best site in the world when it comes to the history of
discos and deejays :-))))
He also writes in his book, Walicki, that I wrote
somewhere in his book that he was "the chairman of some criminal gang of
gravediggers of Polish discos and that I called him stupid, idiot, sloth,
parasite, crook, carrion, and slug, and that I asked him for an interview about
Polish discos because I had no idea about it myself and that Walicki advised me
to visit a psychiatrist. "
Well, only one thing is true in Walicki's words, namely
that I asked him for interviews many times - thus giving him a unique (!)
Chance to explain and possibly refute what I write about him and about the
history of our discos from the communist era. Walicki, however, recklessly
ignored the given opportunity ...
On the other hand, as to the words quoted above, I have
never written them anywhere, and these are only confabulations, inventions of
the old and probably already ill-minded Walicki's mind !!! However, I never
advised him, like me, to visit a psychiatrist - though he would have done it
well - provided he did it years ago, not now :-)))) It is too late now ...
Calling me by Walicki in a style worthy of a street
vendor or grandmother's toilet with the term "discotheque without a
talent" can be easily disproved by suggesting the reader to read the
content published under the links: http://yahudeejay.blogspot.com and http://1952yahudeejay1970.blogspot.com
DJ Walicki does not have such achievements as deejay, he
did not even know that you can have such a thing :-))) - from pure envy and
jealousy he insults his colleague - deejay, whom (despite his connections and
layouts) he is never and dull managed to match :-))))
Walicki much brags (the result of oversized ego and
stardom) in his book, what he did not do in his life. Some of this is true, but
certainly not everything and you should know the second bottom - well, we will
never get to know it because Walicki has no interest to reveal it!
What is the most strange and suspicious to me is that
Walicki does not write about his deejay career, disco and deejay in his books,
and yet in the PRL, nothing was done without it! Why does Walicki ignore this
topic? And no simple - because in this field he suffered a complete defeat and
the only thing left after him is the mass of his very harmful mistakes which he
later admits himself, namely he wrote to me that "verifications, etc. was
a misunderstanding".
After Walicki's actions in Polish discos, there remains
only a huge shame and shame for him and a mass of human harm to deejay such as
me - destroyed, plundered and dishonored in the PRL in an almost inhuman way by
such Walicki or other Halbers and the like.
***
DJ Walicki today (2012) - 92 year old man (!), And yet he
is slandering a deserved, but not decorated with medals, true deejay pioneer of
Polish discotheques, and also the only historian securing the truth about
Polish discos and deejay from the times of PRL .. .
______________________________
Franciszek
Walicki apologizes!? :-)))))
A communist and strongly red disco gonzo from the '70s -
Franciszek Walicki apologized to me in the email below for defamation in his
old book - terrified that I can lawfully block the sale of his ragtag book:
----- Original Message -----
From: Franciszek Walicki
To: yahu70@gmail.com
Sent: Wednesday, December 19, 2012 10:19 AM
Subject: Bury axes
Yahu!
With a lot of attention and interest, I read your
statement "Trapped dreams" in a freshly published collection
"Memories of rock'n'roll lovers" (Fundacja Sopockie Korzenie 2012).
My surprise did not have any limits. There were fragments out of my biography:
fascination with records (my Guru was Presley), Radio Luxemburg, Beatles,
Hendrix, Janis Joplin, Led Zeppelin, Black Sabbath, Deep Purple etc. I also
started my lectures at the tape recorder from Whole Lotta Love ...
I was also surprised by the language of your speech:
factual, natural, without venom, - how different from what you used to do to
me. I regret that I have called you a "disco-less talent" - and I'm
sorry. It was a kind of rematch for the epithets you gave me for many months.
Bury the axes of war. I have a settlement offer. Come to
Gdynia. I agree to cooperate and provide an interview. You will also receive
the full set of materials that I deposited in the Gdynia museum - including the
"Report on the state of discos in Poland"! And you will learn
"the whole truth".
Regards
Franciszek Walicki
Against the background of the above history and evidence,
the fact that Franciszek Walicki has been honored by the Poland with many
allegedly honored medals, etc., looks very strange:
Officer's Cross of the Order of Polonia Restituta
Grand Prix XXXV International Song Festival in Sopot
Gold Medal "Merited to Culture GLORIA ARTIS"
Medal "The heirs of the National Commission"
Medal of the President of Gdańsk
the "CIVITE e MARI" medal of Gdynia's survivor
"Sopocka Muzę" in the city of Sopot
Grand Prix of the 35th Polish Folk Festival in Opole
Golden Badge of the Association of Polish Journalists
The Golden Badge of the ZAiKS Association of Authors and
Composers
I have the irresistible impression that Poland rewarding
today such individuals as Walicki is still the home of our persecutors, commies
and their collaborators from the 1970s, that this is not our homeland - no one
here rewards me, like me or Stanisław Danielewicz.
It may even (horribly !!) prove that if we discover too
much historical truth about these "recognized and rewarded" - we get
in a similar or even similar way as we used to get from SBs, commies and their
collaborators in PRL times :-)))
'Musicorama'
creating false
facts, that is historical lie of Franciszek Walicki !!
... freedom is
the ability to speak or write to people what they do not want to hear ...
George Orwell
There is a whole bunch of "communal-rags",
veiled beneficiaries and pets of that system today trying to portray themselves
as his opponents in a political or even cultural setting as veterans of
fighting the system etc. And that's why it's trying to calm down and pacify any
voices that can violate their idealized, untrue images ...
___________________________________
[...] Walicki is the vice of the famous in the 70's
turmoil in Polish discos called 'verifications for presenters', which is
totally idiotic and the only idea in the world scale aimed at enslavement and
persecution of free deejays [...]
[...] With the help of commie PRL propaganda, he created
himself as "the father of Polish rock
and discos / deejays. "Thank you so much for
this" father " - I prefer to be an orphan :-))) [...]
Walicki is not the godfather of Polish discos or deejays,
it is a huge fake and false. He was not the first deejay either and his
Musicorama in Sopot was not the first disco. He had a dough guy and
arrangements that he was promoted, but it had nothing to do with the truth! The
truth is that a few people at the same time in different places in the world
and Poland came to mind!
At one time, I sent letters to many people who were
strongly or somehow connected with the first discotheques in Poland.
I asked directly -
or a disco called 'Musicorama' - organized in 1970
by Franciszek Walicki and his dude in the Sopot Grand
Hotel
was the first in Poland ??
Here are the answers:
______________________________________________
----- Original Message -----
From: Franciszek Walicki
To: YAHU PAWUL
Sent: November 14, 2008 6:20 PM
Subject: Re: question for an article about the history of
discos in Poland
Dear Mr. Yahu!
I am surprised and regret that you do not introduce me to
me as the precursor of Polish discos. After all, it was me, as early as in
1970, that I imported from Holland, for earned there money, professional disco
equipment and led (not without opposition to the then decision makers) to open
in Sopot in 1970 the first Polish discotheque entitled Musicorama. I was also,
together with Piotr Kaczkowski, the first pair of Polish deejays, which on July
18, 1970 led the first such event in Poland. It is a pity that when writing the
history of discos in Poland, you did not look into my book "Szukaj. Burz. Buduj".
TRZ 1994, and did not pay any attention to the chapter "In the heat of
discos" (pp. 2-20), devoted to the beginnings of the disco movement in
Poland. On one of the pictures I'm standing at the mixing table by Alan
Freeman.
Best wishes. Franciszek Walicki
(attribution - author)
Regarding the above fragment of the letter - "you
did not look in my book" Search. Burz. Buduj "Wyd. TRZ 1994, and did
not pay any attention to the chapter "In the heat of discos" (pp.
2-20), devoted to the beginnings of the disco movement in Poland. In one of the
pictures I'm standing at the mixing table at Alan Freeman's side. "
- I looked into this book - and how! - and I wrote
something about it:
Walicki claims his claims and rights that he and his
Musicorama were the first disco in Poland. This is a very controversial fact
considering that in 1970 many disco clubs or something that imitated them were
already in operation. The pattern, however, was not Musicorama, but discos and
foreign deejays mainly from the USA and the UK.
*
excerpt from an interview with Piotr Kaczkowski:
"In 1970, Franciszek Walicki opened the first Polish
discotheque, he offered us - several presenters - overwhelming financial
conditions. I think there was no man who would not bend. "
Y@hu - what were these "stunning financial
conditions"? - how much ?? :-)))
Well, how much Mr. Walicki got from each of you for
letting go someone else's record ??
How much a miner or teacher's salary - how much? - - - 4,
5 or maybe 10 thousand PLN?
Where did this "stunning cash register" come
from?
I can smell some PRL fake here :-))))
______________________________________________
So I wrote the following letter to Walicki
to whom he graciously and magnanimously responded.
----- Original Message -----
From: YAHU PAWUL
It's: walicki
Sent: November 27, 2008 3:46 PM
Subject: historical lie !!
www.djsportal.com (no longer exists)
Mr. Walicki,
I can not agree that Musicorama in Sopot was the first
disco in Poland, and the Lord the first deejay. As a reliable and serious disco
historian (what proof of my successes and recognition in the world).
I can not agree to
such a falsified "truth".
I played disco clubs myself (spring) before the
Musicorama start date (summer 1970). There were also others I knew - deejays
from Silesia. They live to this day and confirm the facts. The commies was so
intrigued - because their propaganda did it - that Musicorama was the first
disco in Poland, and your friends artificially hailed – total fake title -
"the father of Polish discos and deejays".
It's a historic falsehood and a lie. It is only years
later that you can unscrew your "truth" and write a true story !!
There is more to describe it, of course, and I do it as the only Pole!
Yahu Pawul (yahudee@y)
deejay / editor-in-chief / writer / historian of discos
and deejay
WORLDWIDE NO 1 DISCOTHEQUE & DEEJAY WEBSITE HISTORY
______________________________________________
Walicki wrote back to my letter like this:
----- Original Message -----
From: Franciszek Walicki
To: YAHU PAWUL
Sent: November 28, 2008 3:46 PM
Subject: Re: historical lie !!
Please provide the date and name of the first, in your
opinion, Polish professional disco, where it was located and who was its
organizer. Then I am ready to put a correction. Otherwise, I will continue to
treat you as a cheat and a liar - and I will post it on the internet. Walicki.
______________________________________________
And I wrote back to Walicki:
----- Original Message -----
From: YAHU PAWUL
To: Franciszek Walicki
Sent: November 29, 2008 2:38 PM
Subject: Re: historical lie !!
… read below
FACTS IMPROVED FROM INTERVIEWS WITH OTHER
THE FAMOUS AND KNOWN DISCO DJ PIONEERS
Stanisław Danielewicz - Human memory is unreliable. That
is why today, at this particular moment, it is difficult for me to determine
the exact date. A statement by well-known jazz musician Przemysław Dyakowski,
with which I recently conducted an interview for the needs of a book I wrote,
the history of jazz in the Tri-City in the years 1945-2010, may help.
Well, Przemek, who from the mid-1960s was a member of the
Rama 111 team, claims that the first Polish disco was not the one that
organized Franciszek Walicki in the Tourist Hall of the Grand Hotel in Sopot,
but opened a few months earlier in Gdynia (at Świętojańska Street) in the
basement of Liliput cafe - DISCORAMA 111. The event consisted of two parts. In
one, the band played Rama 111, playing music to dance, which today I would call
smooth-jazz, mostly jaded versions of world hits, including a lot of the
Beatles.
In the second part, I performed as a DJ, there was no
console at the time, so I had two turntables standing next to me, I had to mix
on an amplifier that would normally be used to amplify the vocals, and I had a
microphone that was used by the female singer Marianna Wróblewska in the first
part of the show. the mother of the well-known vocalist, Marysia Sadowska. I
played mainly rock music - then I danced with such music! But also pop - also a
lot of my favorite Beatles. Recordings of bands: Creedence Clearwater Revival,
Fleetwood Mac, Jethro Tull, etc. We also hired a second DJ who, I think, had
great acting talent and performed well in this role. It was Marcin Jacobson,
today a known producer and manager of bands.
Przemek Dyakowski interview on May 28, 2010 with
Stanisław Danielewicz
PD: Everyone says that the first disco, which was created
in the Tri-City, was at the Grand Hotel in Sopot. As far as I remember, they
worked there as DJs - Piotr Kaczkowski, Jan Kras, and Franciszek Walicki. I say
that the first one she brought to life was Rama 111 in Gdynia's Liliput; to
the company with Stanisław Danielewicz (Yes, that was me, author's note) who
acted as a DJ. What At most I can agree that these were parallel events, but
rather I tend to think that we did move a little earlier. Unfortunately, I no
longer have a poster from Liliput, who announced this quite unusual event
because the party was changed by a DJ and band, in this case Rama 111, playing
repertoire, which today I would call pop-jazz, with a lot of attention to, for
example, own arrangements Beatles songs.
SD: Anyway, by not resolving the priority here, I would
like to draw attention to the huge difference between the discotheque at the
Grand Hotel (in the so-called tourist hall) and the one in Liliput. Not only
because there was also live music in Gdynia, but the biggest difference was in
the repertoire. The disco at the Grand Hotel was like we were talking today,
commercial, and there were current hits of pop music. We did not avoid them in
Liliput, but among the hits we chose the ones that had the most connection with
rock, there were songs from the circle of white blues, quite a lot of ambitious
American and British rock music. I invited Marcin Jacobson to work as a DJ.
1 / I myself and personally played the first disco in the
spring of 1970 in
Bielawa in the 'Bielbaw' cultural center
2 / Andrzej Matuszek and Kazik Jarząbek played in
Siemianowice and the surrounding area
3 / Krzysiek Sochowski played in Załęże in Katowice
4 / from an interview with Bogdan Fabiański: "The
first discos were held in the club of the Warsaw Polytechnic 'Mechanic' in
1966. Then cyclically in the club 'Alfa' in Warsaw (club Politechnic) since
1967.
In addition, in 1968 discos began to function, among
others, in the club 'Stodola' in Warsaw. I think that the "truth"
about 'Musicorama' - is stretched. "
5 / from an interview with Krzysztof Wodniczak: "At
the beginning of the 1960s, dance parties called
"fajf " took place in a café-club in my
hometown of Ostrów Wielkopolski, I played the bass guitar in the band TRAMPY,
and during the breaks I played records. I owned a huge record collection -
better than colleagues who only had sound postcards. "
6 / from an interview with Piotr 'kumys' Kobyłecki: 'My
discotheque' FONORAMA 'at the student club' Spirala 'in Gliwice, certainly was
several months earlier in 1970 than' Musicorama 'by Walicki, instead of the
original stroboscope we had such a so-called 'stupefaction' "made of a
Bambino turntable engine." There was such a board with a hole, in the
middle a 1000watt bulb, and it produced a similar effect to the strobe. There
were also professional, theatrical and decent, colorful headlamps (WE HAVE
HUSKED WITH KINOTEATER 'X' - Gliwice - which was behind the wall) and gave an
amazing mood, as well as ultraviolet, in which the white underwear showed up to
the girls, and it was extra for the boys to look at these beautiful young babes
in the same underwear, ihihih - oh, there were times, tear in the eye.
... These are
a few facts - and yet I did not control all Poland at that time !?
Will the announce something on the Internet or not - I
write the true story of Polish discos and deejays - not the "official"
- created by the commie propaganda, but the real "underground" - by
communist persecuted and destroyed with maniacal stubbornness - no because it
was not theirs ...
It was very foreign and hostile to them, according to the
words of the then ZMS chief from Katowice, 'a companion of Laskiewicz when he
called me for a rug -' we know what you are doing, a traitor '- you work with
imperialists US and England to derail our peasant-peasant youth - to break away
from learning and working for a socialist homeland - the imperialists have
invented a clever trick, but we will manage to overcome it in our own ways.
" And such a creature as this Laskiewicz was later the commanding officer
of the Silesian branch of the ZPR, from communist and order.
However, he turned the rollers until he was caught with
his hand in the potty. The rollers were so large that the past and the red
acquaintances did not help. Laskiewicz was closed for several years to support
him. In ZPR Silesia with the management in Tychy, Jan Chrostek replaced him.
Despite the nationwide ban on working as a deejay in
Polish discotheques (the whistle of an arrest for a villain) I managed to avoid
this prohibition, because the managers of discos and companies were able to
bribe and corrupt.
In 1977, the
National Council of Disco Deejays (KRPD) under the direction of its leader Adam
Halber and his assistant Maciej Dobrski from the denunciation of a couple of Silesian
deejays prostitutes - he proposed that I should forbid deejay's work throughout
the territory of Poland. As a leader, he also brought his servants from KRPD,
that is, they raised their fingers upwards, that they agree with the commander.
It should be noted that among those who voted and supported this act of
enslavement and assassination on civic rights and my freedom were also dudes -
like dudes - deejays from Silesia, with whom I cooperated anyway.
The ban
quickly came into force and I could forget about working in discos. From what,
however, is human inventiveness, ingenuity or creativity based on innate, not
learned by heart and in the sweat of the intelligence. I came up and found
those who were easy to corrupt, that I would play secretly, namely the
so-called "poles". Who else was in the papers, and I played and
canceled a solid fee. I played because that's what the managers of discos and
the public wanted. Besides, the managers loved me because I paid their paws for
playing in their discos and gave foreign records, which I got in excess.
I wrote
extensively to the guys in the USA and the UK about all this
"prohibition" and persecution of me in my homeland. Soon, articles
about me appeared, followed by secret help for the persecuted Polish deejay. I
received massively plates and even packages of food and clothing from private
individuals, record companies or radio stations. I traded these plates and
corrupted them with so-called verified presenters.
They danced as I played them ... I played with nothing in
a good circus. They drank from me every single and they asked for more. It
worked quite well, but it was not a normal situation. I knew that, which is why
I planned to leave Poland and ask for political asylum in the USA. As planned
and so I did. Police gave me a passport for paws / bribe, which was a huge
money that I had from the trade of records for deejays. I soon lived - in
exchange - in New York - in Los Angeles or Seattle.
'MELODIA' -
Katowice
In April 1974, I played in Wisla - for a change in the
'Centrum' café and in the fire station hall. The hall was a large, but terribly
dusty.
There were a few millimeters of dust on the floor. A
public like that - rather accidental, cheap tourist-jumble. After these events,
only dusty singles left me, which gained a light gray, almost white color -
dust pressed in the grooves of the records. It was the worst phenomenon (about
playing and records) that I remembered from my entire 40-year deejay career.
Café 'Center' while it was a different world. The
customers were: crooks, expensive whores, stitching, private businesses,
foreign tourists and as always and everywhere there are undercover / SB-ecs. The restaurant was small, low and I remember that it was
very tight and hot, a lot of sweat in the air mixed with exquisite perfumes,
sexy dancing ladies and less exquisite sweaty scents and horny (for earlier
mentioned ladies and expensive whores) gentlemen.
The organizer of the events was a certain Andrzej
Bogusławski from Katowice - musician after piano studies and the owner of a
special commie permit - issued to him for solid paws (as I confided in a
drunkard) for organizing discos - issued by the then max corrupt the so-called.
Department of Culture - Katowice City Hall. One day a certain Czesław Gazda
from Chorzów found me in this Vistula cafe 'Center' - a well-earned and rich
manager from WAIA (Provincial Agency of Artistic Events in Katowice) - former
manager of known and beloved teams Niebiesko Czarni and ABC.
Gazda persuaded me to open the 'Melody' discotheque in
Katowice on the main street in the premises of pre-war cinema converted into a
pub after the war. The 'Melody' pub was at that time a totally collapsing
dancing-dive for the local men's.
The beginnings of my playing in 'Melody' - in the spring
of 1974 were over-tragically-amusing. Well, for my disco people came (as if
from a moment) people who were always there before / at the red-necks / village
and wedding dances. My playing was a shock for them and a terrible torture.
They could not be reconciled with the fact that in a very short time it would
cease to be their place. They walked to me, protested, threatened, tried to
beat me, and sitting (and therefore in this circumstance) near my console at
Permanent wielgaśny goalkeeper / bodyguard - on average every hour he dumped
some dancing-chew, who accosted the deejay behind the door - on the street.
After a month of everyday playing, such a bothersome
"stylistic reform", "Melody" began to visit young people.
They understood perfectly well what is going on in this new form of
entertainment which in the early 1970's was a disco. I had a lot of cool Soul
and R & B singles from the USA, which were rare here and made a great
impression on the goers of my discos. I remember these singles - besides, I
keep some of them to this day as a special reminder:
Kool & Gang - jungle boogie,
War - cisco kid,
Stories - brother louie ...
At that time, it also played blues-rock hits such as:
Jimi Hendrix, Janis Joplin, Grand Funk Railroad, Led Zeppelin, Deep Purple,
Sugraloaf, Joe Cocker, Santana, Cream, Iron Butterfly, Pink Floyd, Vanilla
Fudge, etc. - alternately with pop hiccups: Suzi Quarto, Slade, T. Rex,
Creadence Clearwater Revival, Doobie Brothers, Gilbert O'Sulivan, Leo Sayer,
Mungo Jerry, Paper Lace, Smokie, Sweet, Steppenwolf, Ram Jam, etc.
I also did such a great (as for those times) show number,
something that other deejays did not do because they either did not know how to
be lazy or what else. But in turn ... A novelty in discos of the early '70s -
alongside colorful lights flashing to the rhythm of the music were also strobe
and UV lamps (ultraviolet), which in the dark gave great effects. UV
highlighted everything that was white, and the human skin seemed tanned and
attractive - while the strobe lights made the dance movements appear two or
three times faster than they actually were. Strobo (as we were saying in a
nutshell) was then a wonderful effect that all the discotheques dreamed of.
I had such a 7 inch single from the well-known British
record label RAK, which my excellent dude sent me, English deejay Tony Hadland,
namely the recording - 'Dance with the Devil' - by the accomplished English
drummer Cozy Powell. I danced behind the music console from this single for 3.5
minutes in total darkness, only with a UV lamp and strobe. Music and my dance
moves, consisting mainly of quick waving hands and undressing from a special jacket
with white dots and a T-shirt with white inscriptions (I know it beyond any
doubt - because a lot of people have reported it to me) an unearthly impression
on my guests discos - mainly on sticks :-)))) In those days it was great -
SOMETHING ... I was a star and God for them ... Some sort of landing from
another world ...
In May 1974, playing 'Melody' became more and more
enjoyment. The village-dancing / red necks audience from the previous era went
to devils, and the new loved the disco and his deejay :-))))) I was delighted to see them dance, how they play, how
happy they are, how they seemed to forget about the gray, burly and hideous
communist-PRL world outside. With such sights in front of my eyes and in my
ears like that muse I was the happiest deejay in the world ... I even had
groups of fans including a few beautiful sticks with which I did not blame to
make friends, and even much more than just "make friends" :-))))
One of them was so beautiful, sexy and so sensational she
looked in the dance with well-known hits of black performers from the USA, that
I even planned - how to shoot it here forever, for example on my wife ... I was
then convinced that a more beautiful doll was not she is in this world and that
you can start a family with her, breed with four or seven kids and make dreams
come true. Failed to. Sarah (because that was her name), apart from my then
girlfriend and partner, was also a famous stripper from Katowice, working all
over Poland and for a huge (for those times) money.
I did not realize at once that Sarah was a stripper - but
only after some two weeks of our total "close" acquaintance. She told
me about it one morning after a night spent in her small flat rented in the
district of Koszutka in Katowice.
In total, it even made me in a special way, it made me
proud that my doll is so beautiful that it is viewed for a thick cash by
others. One of her 10-15 minute performance, which she undressed for full
naked, cost as much as it was then (1974) two or three miner's salaries - and
such performances were in the month from 4 - 8. So, not only that beautiful and
dressed in a miracle of clothes (which was a rarity in those times), it is
still a max coffin - much more than me - although as a deejay I also earned a
lot of money. An interesting fact is that although it was suggested to perform
at the discotheque 'Melody', it never agreed - claiming that it will not
perform in front of its boyfriend - ie me :-)))) and will not perform in a
private place - relax and dance. In addition to having a divine body and a
smiley face, the creator did not batter her mind :-)))))
She was so good / excellent in this stripteese that she
went on some foreign contracts for a cold and rainy summer day. They were
supposed to be performances for four or six weeks. She promised to write, keep
in touch (phones were a rarity then), but something did not work / went wrong.
She never returned to Poland, she did not say anything. It seemed very strange
and suspicious considering what we had in common for several months. It was
very difficult for me to believe what happened and come to terms with it ...
I was looking for it in my own way, even with the help of
the then Police called then - Militia. It did not do anything. The only thing I
got from the Militiamen and gave it to her parents, whom I did not know before.
I visited them, of course, but I was very coldly welcomed in the door of the
stairwell, a fairly well-kept tenement house on ul. Gliwicka in
Katowice. I talked to her mum for about two minutes, looking at the
long-haired, stranger young man with a lot of reserve and reluctance. The only thing she told me is that she does not know
where Sara is and that she has not lived in the house for several years.
After Sarah's disappearance, I used to be sad (as they
say in Silesia) in the image of some poor who lost all payment / salary after
drunked without control. In other words, I was very disheartened and sad, which
was noticed by many people around me, often asking - what happened (?). I did
not enjoy the company and the liking of other cute female fans from 'Melody'.
Remaining memories of days and nights spent together. Very, but it hurt me that
loss.
After some time I visited Sara's parents again on ul.
Gliwicka in Katowice. This time the door was opened by my father - an elderly,
heavily grayed man. When I asked him about my love, which I could not forget
about - he invited me inside, ordered me to sit down and then revealed the most
terrible truth possible. Sara died in a car accident near Kologne / Germany and
was buried somewhere anonymously, unknown or somehow. The police in Poland
learned about it only after a month from the day of the accident and passed
this message to their parents. Today it seems bizarre, but then, during the
so-called "Cold war", "iron curtain" and the lack of any
logical cooperation between the Polish Militia and the German Police was real.
Sara's father went to the then Germany or West Germany,
but before he got what he needed and before it got the permission of the "authorities"
it took perhaps two months for the trip. In the PRL communist it was very
difficult to get permission for a foreign trip! Sara's father tried to find her
grave in Cologne in 1974 to take and transport her daughter to Poland. Failed
to. Sara - beautiful Polish stripper, my girlfriend and my great love from 1974
it remained forever somewhere in the German soil ...
Today when I pass by her childhood home on ul. Gliwice in
Katowice or near the former discotheque 'Melodia' on ul. 3 maja in Katowice, I
am always caught up with the same beautiful memories and followed by a specific
melancholy, and tears spontaneously flow in, wandering and hurting under the
eyelids.
***
At the end of 1974 I was still playing in this 'Melody'
and it was great, but dumbfounded by success (which at the very beginning ensured
me playing) discotheque manager, Czesław Gazda, he listened to those who dug
the holes beneath and hired me, co-wrote me one day as deejay of Jerzy
Grunwald, who lived in Katowice - a member of the no longer existing group of
No To Co. Gazda thought that, as on the poster, he would write that Jerzy
Grunwald's dance records would be made of No To What the public would be
knocking on the door and windows and the basement's excavation. Nothing of that
…
I always played first, I started the party, and after me
- somewhere around 10 pm there was a "star" - disco presenter Jerzy
Grunwald. Grunwald as a disco deejay was a picture of misery and despair. He
brought in some old Polish records and wanted to entertain the audience by
favoring, in a loud-sounding voice, some long talk about music and performers,
a 5-league radio deejay from total-backward Albania.
The parquet, which I had filled in, immediately deserted
him and people mocked him.
I felt sorry for him, because he compromised himself to
the max. Gazda then gave me the condition that "I have to give my Grunwald
this album because it is his vinyl-trash". I did not agree and after a few
days Gazda removed him, employing / co-opting for (probably punishment) the
then largest red necks / village and wedding shitty among the deejays Silesia
county - Piotr 'Kumys' Kobyła and Jan Sokoł from Gliwice. Duo - 'Kumyś and
Sokół' - as I jokingly called them, they were presenters characterized by their
singing into the microphone, falsifying mercilessly and interrupting -
disrupting - shouting every now and then music heard from the album and making
the audience flip paws or bounce with nothing stoned kangaroos.
This has driven the 'Melody' of cool young people to
indigenous and heavy drunkers with money, elderly playboys looking for whores,
in favor of pimps, chinkers (illegal money exchangers) and agents of SB.
These two Gliwice fawns - 'Kumyś and Sokół' turned Melody
into destroying my entire over a year's heritage, style and class of the disco.
The fact that the crap turned 'Melody' into alcoholics crap space was noticed
by the SB people very soon and they immediately blasted stupid Gazda, replacing
him as the head of the 'Melody' discotheque with some SB-agent agent. The SB
had such a tactic that they pressed on the heads of the discos of their agents
to spy on clientele. I knew three of them: in the ZPR "TipTop" in
Ruda Śląska, in Tarnowskie Góry and from this "Melody".
This SB, the "manager" of the Katowice
'Melody', had no idea about discos, but it was not his role to know about disco
or deejays or disco music. We know what the SB was supposed to do - to follow
the "movements" of the public who went there - to track and do their
own. In the morning I saw him a charming tinker woman near Katowice Pewex -
briskly trader of the currency and Pewex vouchers, and beyond any doubt working
out the local cinkery (illegal money exchangers) and their clientele. And in
the evening ... In the evening our SB-star played a different, though very
similar in its essence role, namely the role of the head of the discotheque
'Melody'. It was probably the most "overworked" SB in Katowice
:-)))))
On a cold and frosty day at the end of 1974, probably two
weeks before 'Sylwester' - SB-star and 'manager' thanked me for cooperation,
leaving behind two disco clubs - Kumyś and Sokol. No wonder - after all, this red
necks / village-wedding style was the SB on the way to their goal, and such as
Deejay only bothered and annoyed their "clientele" with their
"Negro" (as pointed out by SB-manager) hits from America. Apparently
they did not like it ...
But what's wrong with me. It was not my 'Melody' anymore.
There was no longer any beautiful Sarah on the dance floor, who delighted with
her dance not one. In homage and in memory of Sarah, I also decided to stop
what I loved at the very beginning and was with me, namely, I stopped my dance
with UV and Strobo lamps and on the percussive recording of Cozy Powell.
A lot of cool gone away, and I moved from the pure life
necessity to the next disco,
but this is another story ...
1975 ...
KAPRYS - BYTOM
In the early winter of 1975, Czesław Gazda returned to me
after his personal defeat with 'Melody' Katowice and organized playing in the
'Kaprys' bar in Bytom in the center, near the PKP railway station. The
equipment was from Janek Bowdór, deejay from Bytom, and we both played there
alternately. 'Kaprys' bar in Bytom in the center, near the PKP railway station
was a smelly, stinking dive with super crappy food.
Dance shows (rather showing the sexy body in motion) were
performed by a female name Ewa from Sosnowiec. We always dressed in the back of
our outfits to perform. Once Ewa said that the door was closed and we are alone
and if I like it - at this point she stripped naked, hugged me tightly while
catching quickly, definitely and unexpectedly in the hand of my 'elvis' / penis.
Three seconds later, we "sinned" sharply on a pile of clothes. We
were interrupted by some employee of the pub whacking at the door with screams
that the audience is nervous and that I would finish the "break".
This Ewa was slightly coarse and had a tiny, disproportionate breasts, and I
liked then only in very slim dolls with big boobs and a super figure. But what
happened - it happened - another "accident at work" which dozens happened
in my long career deejay disco.
Behind this Ewa, other Silesian deejays - Jurek Kindla
and Kazik Jarząbek were crazy.
One day Kazik confessed her love after drunk in 'Melody'
in Katowice. Yes, yes, the same one that I promoted to the 1st class disco, and
what happened later to the dancing-crap-alcoholics-dive so much, that with
records played by 5-league deejays - such ‘prostitutes deejays’ ...
Another curiosity in this 'Kaprys' turned out to be a
Silesian anti—crap-deejay, a Reinhold Rolland from Chorzów, who passionately
came to my events in 'Kaprys' and recorded them with some manic fierceness and
stubbornness. At the time, Rolland was such an evident anti-deejay from which
he laughed widely and universally. He was a terribly ineffectual anti-deejay
(basically this gross abuse to describe him with this respectable word) and the
ridiculous of his activities was not the end.
I wrote about him while describing a documentary
from the deejay of verification in the times of the
Polish People's Republic.
The text below is a few other words about this Rolland:
____________________________________________________________
Reinhold
Rolland
sometimes
called by some
HOLDEK RUŁA
From how I remember Reinhold Rolland from Chorzów Batory,
it comes out to me that he was such a pseudo-deejay / presenter from whom all
the other deejays mocked and joked. Some (some Pieczonka or maybe even two
Pieczonki from Mysłowice) would say: "victim of fate", "deejay
crap / poor / anti-professional", "anti-presenter".
I knew him little - our contacts were negligible, I met
him only a few times in my life. However, I have the irresistible impression
that it is not normal for him ...
I remember playing in the Bytom 'Kaprys' pub near the PKP
railway station - engaged by Czesław Gazda - a famous bands name
Niebiesko-Czarni and ABC fromer manager and a few other famous rock bands at
the time. At that time I had (without false and unnecessary modesty) the
reputation of undoubtedly the best deejay in Silesia and the title / title of
the fourth deejay in Poland, obtained at the First National Tournament of
Deejay's Discotheques.
One day, Rolland came to the bar called 'Kaprys' and
recorded me on a portable cassette recorder. Then we came back after the party
with tram number 9 and let me record it - he wanted to discuss it, but I did
not hear any of his recordings - because the quality of the recording was
terribly bad, and the tram (old crap / item) made a lot of noise. Rolland asked
extremely stupid questions and posed some psychological problems ...
I changed, not wanting to talk to him - but he was like
him - he was following me on the streetcar and letting go of his snarling
recordings. I was praying finally to get to the place, get off and in this way
get rid of the company of this stinky person !!
Rolland had been interrupted in those days - because
times were hard anyway, and every manifestation of discrimination in the disco
environment was just another log underfoot. Such, however, were then deejays.
They liked nothing more than a blunt babe to gossip, disturb, criticize and
ridicule the guys. This is exactly how Polish competition is understood, how to
dig, bite, bite and get rid of a friend.
Rolland as a anti-deejay was very different from other
deejays in Silesia or Poland. His anti-deejay performances were just shadow and
embarrassment to the pain - in a word, full of amateurism and ignorance.
Besides, Rolland just had a heavy Silesian local language accent, which totally
discriminated against him as a anti-deejay who could not speak even one
sentence correctly in Polish. By the way, a bit of fun - Rolland writes about
himself that he comes from Lvov. I was brought up in Lower Silesia among such
people from around Lvov and I remember how they had an accent. At 100% bp at
2000% it was not the same heavy Silesian accent that Rolland characterized !!
Of course, it was called cream of deejays environment,
which coped better than others because of talent, skills, foreign records or
gift from God what was the voice and its sound. Well, but Rolland could not
belong to this cream! He did not have talent, skills, played with reels instead
of original foreign records. Rolland was just a real "anti-presenter"
...
Apparently he was playing in various places. He boasted
that he has full rooms at his parties. The full halls at Rolland's parties were
not God's weapon, he was his merit. Full rooms were not unusual at that time.
The disco was new and it was enough to open it somewhere, and immediately there
was a full room. There were few disco parties and they were always overcrowded.
So even if Rolland did not like some people, they had no other choice but to
sit at home or go to his parties - the only ones in the nearby area / in
Chorzów at that time.
Rolland's biggest success was the 'Redyna' disco in the
House of Culture, some mine there. Then - in a nasty techno age - in this
former House of Culture there was a famous disco (now deservedly bankrupt) -
'Pyramid'. He also played at the Zgoda Culture Center at ZUT 'Zgoda' in
Świętochłowice. He also played in Wisła. He also played in some tourist
canteens in Mielno on the coast and many other places. Finally, he set about
and fled to Germany to live there on benefits paid by German citizens' taxes.
He never returned to Poland from these Germans, because he knew that such a
"presenter's star :-)" as he has nothing to look for ...
All in all, this ''Kaprys - Bytom' was the max disco
disco and everything that was happening there is not worth much attention ...
1976 ...
In early summer, I returned to Dzierżoniów and Bielawa at
the invitation of Andrzej Janiszewski from the Bielbaw Culture Center to play a
series of regular, holiday events for a fixed price and a very good salary. In
DK 'Bielbaw' I played on Tuesday, Thursday and Saturday evenings.
In September I transported the equipment to Dzierżoniów
because I arranged for myself to play at the Hotel 'Polonia', in which 'career'
ended the so-called. danging-balanga-band, whose members fell into serious
alcoholism. It was a bit difficult to play in this 'Polonia' because it was
still the time when the former dancing-balang-men of the public came to it, who
did not catch the disco style. Inevitably, the disco in this hotel fell after
two months and I returned to Silesia.
Promotional
records from the USA and UK record companies
In late autumn, my writing letters for deejay, companies
and disco scripts from the USA and UK started to bring good results. The EMI UK
record company started mass mailing me promotional records. Every day, several
of them came. I also got a lot of records from the USA. It was so much that
selling some of them was enough for a comfortable life :-)))))
Here are the companies that massively and regularly sent
me records:
EMI UK, Salsoul USA, Casablanca USA, PIP USA, TK USA,
Dealt USA, Mercury USA, Epic USA, Columbia USA, Phonogram USA, Phonogram UK,
West End USA, Butterfly USA, Atlancic USA, Cotilion USA, RFC USA, Tamla Motown
USA, Gordy USA, Taboo USA, Philadelphia international USA, RSO USA, Solar USA,
Vanguard USA, Prelude USA, Arista USA, AVI USA, Westbound USA. It was much
more, but I forgot the name ...
Some small vinyls (7 ") and technical innovations of
those years, that is large (12") maxi single and so-called long-plays (LP)
bent in transport lying under some heavy packages, etc. I devised the method of
straightening them. I put them on a very smooth table and set a hot water
boiler on them. Temperature and pressure often very often straightened the
plates. The boiler had to stand on the plate until the water cooled. The water
temperature was also a problem. It had to be adequate for softening the vinyl.
It happened to me to heat the album too much and then its surface was slightly
drowned, and the album was not good enough for anything.
I traded these plates with the help of my friend, deejay
from Siemianowice, Andrzej Matuszek. We have played thousands of them every
year in a crowd of Polish deejayas and music lovers. Once a week early in the
morning I rode to Andrzej trams with bags full of records. The one-way trip
lasted over an hour and it was quite a fact considering that I was transporting
this product through three Silesian cities where I could always put on a
policeman, expose myself to control and a slip-up. In those days, a man with a
bag full of foreign records was something unprecedented, and it would certainly
be a reason to be stopped by the 'civic militia' (MO) / commie Police.
ORIM DISCO
In 1976, I played with Józek Sochowski in a disco
"at the Jew" (Jew club) in the center of Katowice. We played on the
so-called 'Józek's old equipment made by Konrad Wrona. It was one of the first
disco equipment in Poland.
Then Konrad Wrona built Sochowski so-called new equipment
that worked in the 'Melodia' disco in Katowice. 'Melody', however, fell in
1976, and we took the equipment and moved it to the 'Jew'. We laughed that
'Melody' fell because the whole audience passed to us to the 'Jew' - some 400 m further on ul. Wawelska
in Katowice.
Something of the truth is in it. Kumys and Sokół - two
miserable deejays from Gliwice played in this drunken 'Melody' red necks / village-dancing
muck, and we modern hits. We had a great style - the audience loved us. There
were always people in front of the door who did not get to the party. There were about 200 people inside, and in front of the
entrance door there were so many people that counted on some wonderful entrance
:-). The manager was Adam Koszycki
In 1977, Sochowski left the "at the Jew"
discotheque, and Marek Hanke - a new manager from the agency of Orim from
Katowice organized a deejay contest for the discotheque.
A few appeared: Jarząbek, Matuszek, Kindla, Matejko and
me. I won and became the sole deejay of ORIM DISCO - as now posters glued all
over the city. Marek also bought new equipment from the Fonika company because
the one who was in the disco - the property of Sochowski and Konrad Wrona had
to go somewhere for a better rental money.
In ORIM DISCO I played for a long time, until the winter
of 1979. They gave me a full-time job as part of which I also had to do other
work. For example, disassemble posters in the city for our events or sell
tickets for various companies. One day Marek co-opted for gluing posters of a
thin, long-haired hippie, (see his photo from 1979). We were a good team of
poster designers in the city. Both slim, tall and long-haired - no matter the
stars of an English band, with glue buckets, brushes and posters under their
armpits. We had to look bizarre on the workers' streets of Katowice during the
deep communist / PRL period.
My new guy from work did not really want to stick these
posters and still sat on a cigarette, and I had to blame for him. We've been
sticking posters around Katowice together for a week, and then he flipped off
such an ungrateful job, and that was all my friendship with him :-) he
disappeared from view. It was only after a few weeks that I saw him, together
with the then unknown band 'JAM', as they practiced in the same as I - the
barracks belonging to the Orim agency, at the back of Hala Parkowa at ul. Kościuszki
in Katowice. The guy later became the icon of Polish rock, the name was Rysiek Riedel, and this band 'JAM' is
later Dżem (the same name only in
Polish :-)))).
A Jew from Katowice, a certain Bogdan Neuman, tried to
bite me with ORIM DISCO by knowing his mummy among Katowice Jews. It failed,
because the agency Orim only rented the room of the Jewish club on ul. Wawelska
in Katowice (today there is no entry - it is new from street 3-maja). So the
head of a Jewish club named Sapir had no influence on who plays in the disco.
The head of the discotheque was the director of the Orim agency, Józef
Wiszniowski, and the manager representing him. The first was Adam Koszycki, the
second was Marek Hanke. Nevertheless, I sometimes let this Neuman on the
console to play. However, he was doing poorly and the public did not like him
anything - for which I got away from the manager.
On the opposite side on ul. May 3 was the seat of the
voivodship ZMS (young commies), which was headed by a certain Laskiewicz.
He called me on the so-called "Rug" and from
the entrance he attacked sharply with the words - "Pawul you nasty and
poor crook - do you think that we do not know what you are doing? You derail
the minds of socialist youth! You are pulling them away from learning and
working! We know very well what these discos are - it's a clever trick of US
imperialists to distort / destroy the minds of our youth. We'll end up with
your disco and you. Besides, honest deejays have told us that you get
mass-produced records and magazines and that you trade them and that you get
letters and press from the US and UK. What are you getting for? - Are you
spying for them? We will notify the appropriate cells to examine you. Now fuck
it out because it makes you close the traitor of socialist ideals. "
And they notified SB, which stopped my records and
relayed to Polish Radio as they told me, but
I knew that they mostly shared it themselves or gave it
to Laskiewicz, and he gave out his presenters. I have seen these records often
on record markets in the Katowice club 'Akant' or in Gliwice 'Gwarek'.
Laskiewicz then once again enjoyed my misfortune as the
National Council of Presenter / deejays forbade me to work in Polish discos.
After a few years, I learned that they closed this
Laskiewicz for financial scandals and corruption. He sat for a few years behind
bars ...
I played events at Orim Disco at the so-called 'Jew',
that is in the Katowice Jewish Club on Wawelska Street from 1976 to 1979 -
always on Wednesdays and Saturdays from 18.00 - 22.00. In those days, there
were no nightclubs. We were finally dug out of this place, doing the 'one
actor's theater' there - I was joking that 'one spectator's theater'. Such long
work in one disco and such successes was probably the greatest achievement in
my deejay career - comparable to getting to the 16 final deejays at the First
National Tournament of Discoteque presenters / deejays - Wrocław 1973 - that is
the best Polish deejay at that time.
TipTop - Ruda
Śląska
After a few years of work for 'Orim Disco' in Katowice in
the early 1980s, I began to play regularly in the ZPR TipTop in Ruda Śląska -
the place where I lived. It was convenient because I did not have to go
anywhere and roam around at night. I wanted to have such a system, that's why I
made a solid effort to play it in this particular place - and it came out ...
Out of many TipTops of those years in Poland, I promoted
this disco for one of the most popular and most profitable disco.
It came to the fact that I had problems with entering the
club, to work - such crowds were standing in front of the door and no one
wanted to move to not lose their place in the queue and the chance to enter. So
I walked several times through the basement windows of the building in which
this TipTop was located.
An interesting fact from this period is that the 'prohibition
of labor' issued by the communist party of the Polish People's Party was still
in force. It was the only such 'ban' in the entire history of Polish discos and
deejays !!
We have therefore decided to head the TipTop, a former
local ZMS commie activist (a union of socialist youth commie - an annex of the
PZPR created for young people, whose head was then a young man - Aleksander
Kwaśniewski – future President of Poland for 10 years) that I would play the
"pad" / instead. I mean commie verified DJ on papers but Me in fact
secretly at console :-)))))))
In papers, the data of some verified deejays were
recorded, with which we agreed to scam for a few pennies and instead played it.
One of these deejays even lived well. He sat at home and the money was flying
by himself.
In communist Poland, the money was paid to the left. In
discos, the official rates were so miserable that it was not worth even leaving
the house for such money. In practice, however, earned on the so-called
'Sides', that is for the public's dedication to the microphone, for which, of
course, the audience had to pay to the deejay. They paid straight to the paw
outside of any control and supervision of tax offices or whatever else.
As the disco and its deejay enjoyed popularity, the
turnout was huge - people came from distant places even by 200km (!?), which
was visible after the registration of parked cars. The money from dedication in
such a situation flowed very wide stream. I earned a lot of left cash in this
TipTop. I fired the plot with the manager and everything was fine - as in
communism ...
In TipTop in Ruda Śląska, I was so popular that it was
difficult to live and work with manifestations of it. At each party, my console
was full of drinks and looked like a bar. Well, I could not drink too much
because who would play then - although sometimes it happened that I sailed away
and then the party was completed by a befriended teenager. Hardly anyone
noticed it because at this time of the party everyone was so flooded that even
a highlander band from the Tirol could play and nobody would notice the
difference?
In the city, every 15 seconds someone greeted me,
harrassed, talked, etc., etc. People often asked me to record cassette tapes
with the music that I play at the disco. I did it for a sufficiently high
salary and I made a leftist money on this a lot, a looooot.
To this day, some people remember me at least the time
and barrels of beer poured into me changed my appearance :-))))))))
Fatigue ...
I got tired very much but it was very intense playing in
discos for over 15 years non-stop and in the mid-1980s I withdrew slightly to
trade in records, which I received "whole tons" from record companies
from the USA and UK.
I also focused on a definitive trip of Poland. In the
winter of 1985, I went to England for a month to my good deejay friend Tony
Hadland.
Then in the winter of 1986 I flew to New York.
I went to New York again in 1989 in March.
The '80s was almost a total crap music in disco. The
first half of the 80s still looked somehow but then began to happen with some
Depeche Mode shit or other U2, Sex Pistols, a whole wave of italo disco or
other euro disco, etc. max crap! The heads also picked up their unsuccessful no
talent from the world of rock (because the true talents of the disco era did
nothing wrong). To the sound came no talent / anti-musicians from the Punk
trend, playing on two un-stringed strings from the guitar and successes both
here and there - with us in Jarocin at the total crap / poor / no music but
noise / punk festival.
In the '80s I played not much because what, how and where
to play, when the production of real hits, real muse ended. I consider the
1980s a period of total crap in music, and it was not until the end of the
1990s that techno era broke this crap by entering the European market (the US
did not succumb to techno-denies) even worse than the unimaginable size !!
As a deejay, I was not very active in the '80s and
switched to record trade, which went to me from the USA with a wide stream -
promotional records straight at record labels. I founded a legal company and
traded for almost 10 years, thus earning a lot of good things - also for future
retirement.
In disco (as deejay), retirement was not going to make a
living. System and state treated us like rubbish. This verified illusion was
created that in their case everything is legal. Today we know that all of their
system: verifications, KRPD - shit gave and cheated deejays. They do not have
pensions for their career / deejays years !!! Well, like me from the beginning
standing in opposition to the verification, KRPD, etc. were only marginalized
and losers.
I have always worked in discos for some money, but it was
always cheating the system or total illegal! Such was the fucking PRL and all
this fucking commie - nothing could be done normally ... Degeneration and
Pathology !! Years of work in discos never, but never gave me and other deejays
a penny for future retirement. From the perspective of years, it looks like the
very eyesore because a man once gets old, makes himself incapable of work and
realizes that the years of honest work have gone into the mud - a heap of lost
years of life for nothing!
I earned a lot of money on records sell from the USA and
put aside my dream - leaving Poland from to America forever. I collected about
$ 5,000 - cleverly, I smuggled it to the USA and in the winter of 1986 I left
for the first time. However, it was a badly missed trip and in March 1989 I
flew the second time. This time everything was fine. I hooked up with a friend
in NYC and then I went to LA where I was like in paradise. I asked for
political asylum and almost got it. I was disturbed by political changes in
Poland, that is, the commendation of power by communists Lech Wałęsa and
Solidarity. In such a situation, the US authorities had a reason to refuse me
political asylum - because in theory, there was no communist power in Poland,
which I was afraid of ...
Trips to the
UK and the USA
Wife and children slept, and I was scared, I
was sitting at 1.00 am and I was thinking - what will it be now ?! In the
morning I was already on the plane and I was flying to NYC ...
first ...
London / Reading - 1985
Earlier, I was leaving with the intention of escaping
from PRL-communist Poland twice, but it did not work out. In 1985, I went to
the UK at the invitation of my friend's deejay, whose name is Tony Hadland. I
was sitting in a village near Reading and I could not do much there without
having money to settle in, for example, London.
I visited London 4 times. I was even in their immigration
office, but when I was waiting for a reception by an official I left. Otherwise
it all looked like home when a young and sexy wife and little children were
near me. Well, but in London there were various other thoughts, above all that
I can not quickly see my young family see how I will officially take off after
political asylum - and at that moment my heart was knocking mercilessly. What
to plan, think and what else to do.
I tried to find a job and even found a Greek pub near
Trafalgar Square. However, I did not take up work because I did not have
anywhere and how to live in London, and access from the village of Reading was
excluded. In total, as I recall this today, I see clearly that it was all
chaotic, poorly organized
I also visited London, namely the square in front of the
queen's palace - Buckingham Palace, Piccadilly Circus, Carnaby Street and side
streets, some boulevard on the Thames leading to London Bridge or to the
neighborhood of Parliament.
Having cleanliness in papers, I returned to Poland and
planned another escape because in the PRL it was incredibly bad for me.
second ...
New York -
1986
In 1986, at the invitation of a guy named Al Margolis, I
flew to New York for the first time. I flew with horror not only about what I
will meet there but also because LOT Polish Airlines was flying to NYC by
Russian airplanes, which were already crashed short time ago by killing all
passengers.
I remember exactly how the water dripped on my knees from
the plane's ceiling, or landing in Montreal to refuel, which due to the
excessive icing of the plane burned out earlier than planned.
The first days showed me that with max backward land I
came / come. It was very difficult for me to understand New York - how it works
/ functions city, its equipment, etc. I had a lot of problems, for example,
moving around the subway or mastering payphones, etc.
During this stay, I also worked for a few days at the
demolition of an old apartment at a guy from Siemianowice Śląskie - Kazik
Jarząbek - deejay, who was flying / emigrate from Poland in the late '70s via a
camp in Italy. Kazik happily got a nice business in NYC. He had there a
well-reveling records warehouse from Europe called Musicrama and he made a lot
of money. However, he was not willing to help. He changed his life in the USA -
he became indifferent to many things. He also changed his name to Charles, and
his name was now pronounced Yarzabek.
It did not look good, except it was winter, a period in
which it was harder to find a job. So I decided (while the papers were clean)
that I would come back to Poland and that I would try again after some time,
but I would be better prepared for that. For this better preparation I gave
myself almost three years.
third ...
New York / Los Angeles / Seattle - 1989
New York / Los Angeles / Seattle - 1989
It was cool in March 1989. Poland lay almost in tumors
brought by commies to a total economic and cultural ruin. This time I was
flying at the invitation of a new guy who is called Albert Garzon and with whom
I keep in touch until today. I was well prepared (for a Pole). I did not fly with
LOT airlines whose Russian planes were dilapidated and deadly. I flew on Pan-Am
lines.
After landing in NYC, the huge JFK airport was picked up
by Albert and we took a bus to Mahattan where Al lived in a poor-looking Lower
East Side.
The moment when the bus traveled through the Manhattan
Bridge made a huge impression on me.
It was early evening and the setting sun reflected the
reddish-golden glow of the skyscraper windows - on the left I saw the famous
WTC and Brooklyn Bridge, and on the right the Empire State Building - a wide and gloomy evening looking East River. I
remember this picture the most from all foreign expeditions. The bus ended the
route at the famous Grand Central Station - from where we drove one of no less
famous, New York yellow taxis.
This passage from midtown Manhattan to its east-south
promontory - everything that we passed along the way also made a big impression
on me. All this huge and complicated movement - a mass of people with different
looks and a mass of various vehicles pushed between these huge and beautiful
skyscrapers - created in my eyes a unique, unique image, nowhere else - an
image as if enchanted.
In New York, I had cash smugly cleverly from Poland -
over 5,000 bucks.
Therefore, I could look around calmly and do not hurry
with making any decisions.
So I visited various places, wondering whether to stay in
NYC or fly to Los Angeles what my second buddy from that time and from the USA
urged me to - one Dennis White. Dennis's proposal was very tempting, especially
since he funded me with an air ticket back and forth. He had money / a lot of
cash from the trade of some records and cooperation with the author of the
script for the movie "The Doors", which was called - Randall Johnson.
In the end, I gave in to convince and flew to Los
Angeles. At the airport, I was picked up by a curly fat guy, Dennis. After
leaving the airport, I was struck by a warm and unusual smell that accompanied
me until the end of my visit to California. I remember it the most like this
sunset view in Manhattan from behind the bus window.
I barely packed my two super heavy suitcases into a tiny,
two-man Pontiac Fiero (owned by Dennis's girl-friend named Mary) and we went on
a kilometers-long road which in Los Angeles means "close neighborhood,"
a small distance.
Along the way, for the first time in my life I saw huge
palms standing here, there, and my nose constantly stuck to me this
unprecedented and unusual smell - it's warm and fragrant air.
Upon arrival, my eyes showed a beautiful, flower-covered
condominium built in the '20 or '30s, in which (as I soon learned) in the early
1960s there were important people working in the film industry near Hollywood.
One of those people even lived there. He was almost 80 years old and was once a
screenwriter in the 'Paramount' film studio. In the neighborhood (10 min on
foot) there was a famous district of Hollywood stars from '40 and '50, or
'Silverlake' and a hotel where once (two or more) 'Oscars' were awarded, namely
the Park Plaza Hotel standing between Wilshire Bld. and 6 down the street - in
front of McArthur Park.
The place was beautiful and very charming, and more and
more often in my mind was the thought that I would "park" here, that
I would stay here forever.
Dennis occupied a two-room flat on the ground floor of a
condominium called "condo" by the locals. The neighborhood was
inhabited mainly by young people from the artistic world. A lovely Becky, a
waitress who aspired to become an actress in Hollywood, lived next to us.
Musicians lived on the first floor, next to writer / screenwriter and painter
and husband.
One day a group of rockers from Seattle collapsed into
our little apartment. They were called 'Sundgarden' - they were not known to
anyone at the time and came to sign a contract with the A & M record
company. They slept on the floor with our herring and only their manager Suzan
(beautiful doll) got my bed at this time - but without me :-))))))) They signed
the contract and drove away.
Dennis, on the other hand, suggested that we would jump
to Seattle for some time (where he came from). OK - why I did not answer and in
a week we were already in his newly purchased car, covering over 3,000km on
highway No. 5 to the north.
Seattle was known to me only from the fact that a
brilliant guitarist Jimi Hendrix was born and raised here. Now, however (1989)
new music was born here called "grunge", which soon would take over
the world of rock for a short time. So far, however, they were poor and unknown
guys ...
During a 30-day visit to Seattle, I visited Dennis with
all the clubs and concerts of his old guys, Nirvana, Pearl Jam, Soundgarden,
Badmotorfinger, Alice in Chains, Stone Temple Pilots, and above all the band
who was already a Seattle star at the time - 'Mother Love Bone '. This band
made the biggest impression on me and thanks to him I liked this new style and
the sound of rock. It was all very easy that time because no one of them big
rock star – what happend a few years later :-))))))
'Mother Love Bone' broke up in 1990 before 'grunge'
became very popular. The reason for the breakup was the sudden and shocking
death of their charismatic and extremely talented vocalist with great sound and
technique of singing, whose name was Andrew Wood. Andrew died of drug abuse.
I remember that when I saw it for the first time, the
pictures remembered from photography as if similar to the hippie era,
Woodstock, Hendrix, etc., made Andrew appear to be the younger brother of Janis
Joplin - only at this meeting in a popular pub at the main street of old
Seattle, right next to the fish market - he did not want to drink beer. He
refused so decisively - urging and encouraging Chris Cornell of Soundgarden
that I remembered it to this day.
The month passed (me + Dennis) to meet in local pubs
during the day and sipping cheap beer poured from large jugs into glasses (such
a custom in Seattle). In the evenings and nights we were dancing in concerts at
the above-mentioned bands. Beer has it to himself that you can not bake it like
a drink, that's why I remember everything and quite accurately.
I remember this visit in Seattle wonderfully. Dennis even
decided to leave Los Angeles and return to Seattle forever. So we came back to
LA. Dennis closed all his affairs, closed the apartment, returned the keys to
the owner and drove off. He lives in Seattle today and we have poor contact.
Instead, I lived next to him with his ex-girl Mary, who
worked as a cool money at the Hollywood City office and dealt with the affairs
of local gays.
However, she was maximal and the effects of living in the
same place by two people like us did not have to wait long. I think we drank
the beer on the second evening, they relaxed and very quickly (as if in jokes)
they hugged each other until I felt her big and beautiful tits. We started
kissing, dropping clothes in a hurry. We were both really horny at each other -
I especially. Totally naked, we quickly moved from the living room to the
waterbed in her bedroom. Mary had a beautiful and generous body with a
well-preserved line of a female figure. From here, we have always slept
together and moved sharply / did great sex every day, and sometimes twice a
day. I remembered Mary as one of the most beautiful women of my life, with
which sex was like in dreams becoming the real of real.
With time, however I recognised a painful knowledge of
Mary's addiction, namely the regularly drawn lines of cocaine. Too often and
too much of a drug that created bizarre situations such as running naked at
night in front of the house with which I had to quickly and efficiently advise
that no one called the police. Her behavior was annoying and it seemed quite
dangerous in the long run. I decided to parting / leave with her. It was not
easy considering how beautiful she was - and this sex. Oh, Christ! - how much I
"suffered" to overcome the attraction to this doll - the more that I
lived in the neighborhood and saw her every day waving these miracle-tits and
spreading hips. It's all water over the dam ...
I moved to neigbour apartment with an immigrant from
Spain called Jimmy Villanova, but we called him Jimmy California. Previously,
he lived with a beautiful girl but she left him and returned to Madrid. As an
official and owner-owned roommate, I paid Jimmy half the cost of renting a
flat, or 700 bucks a month, and I was entitled to one private room, shared
kitchen and bathroom.
Our fenced and closed, condominium on Coronado Street was
like an oasis in the area where mainly immigrants from South America lived and
where crime and all pathology spread. More than once one could hear the night
shots of pistols in the area and the sirens of police cars. Looking at all
this, I came to the conclusion that the first impression was great, but how it
came to know from close and exactly it came out clearly that the center of Los
Angeles turned out to be a cesspool and that I would not be able to stay long
at this place, that you will have to run away from Hispanics for which was
followed by dirt, stench and a detective story!
With this confidence, I submitted documents, prepared in
NYC with the help of Albert, to the INS of LA (Immigration and Naturalisation
Service - Los Angeles). I have asked the US authorities for political asylum
and I had too much strong papers for it - a lot of papers. I got a temporary
work permit and the Social Security Card, famous and desired by all immigrants,
with a personal identification number.
So equipped I could move in search of legal work. I found
her in an over two-hour drive two Glendale buses - a town that was built a long
time ago at the time of the famous gold rush in California.
I was hired by Gary Novotny - son of Czech immigrants -
owner of a company repairing hardwood floors and furniture. Work was sometimes
quite hard but tolerable - and gave regularly, every week a nice payday.
At Novotny's Refinishing, I worked with two rock
musicians from the then unrecognized 'Tattoo Rodeo' band. They were bass guitarist,
vocalist and composer Dennis Churchill - Dries and excellent guitarist Rick
Chadock (RIP), who he once got the offer to play the legendary Kiss. In 1989,
they just recorded their first album. Then, after my departure in 1990, they
had a hit on top and became quite popular.
Work at Gary’s also gave so-called 'max-surprises'. One
hot and very dry afternoon (as it usually is in southern California in the
middle of summer) when I had to go home after the day's work, I was suddenly
called by the head of the company where I worked for Gary Novotny and asked if
I wanted to work anymore the so-called. overtime or overtime for 100% higher
hourly rate.
Sure! - I shouted with joy and quickly enough for fear
that nothing would change. I had nothing better to do, and every dollar earned
was a gold for a poor emigrant from Poland. At the time, Novotny's Refinishing
was the most famous and highly valued company in the San Fernando Valley, which
dealt with repairs and renovations of everything that someone had ever done
with wood. We have been called to urgently repair the wooden wainscot damaged
during the removal of the failure of the broken water pipe. The boss usually
did not go to such calls, which is why I was surprised that this time, for
example, he did not postpone the matter for the next day, he was going
personally. I did not ask him about it because there was not even time.
In a hurry, we loaded the equipment, materials and then
we ran after a beautiful eight-lane highway called California called simply by
the natives ("5") five. Soon we left the "5", we walked
around the beautiful and very neat streets, and finally we drove up to a large
iron gate in white, behind which was seen a part of a large (just as white as
the gate) home.
OK, Yahu, "the boss said silently all the way,
"you're in famous Beverly Hills" - as if he knew it was my first ever
visit on this earth full of wealth and fame. We entered the huge and shaded
square with some fragrant trees and bushes in front of this beautiful house. We
parked a truck with equipment and tools. Gary, being a born Californian,
meaning a sky that speaks English better than me, first knocked on the door.
These doors looked like some heavy, carved palace gates. Above our heads
discreetly the camera twirled in our direction. A male voice from a tiny
loudspeaker next to him asked kindly - in what case we came to and whom? Gary
efficiently explained something and after a while the door began to shirk. An
elderly, black woman opened them. It turned out later that it was the chief
housekeeper in this estate. She led us to a large room, which looked like a
kitchen combined in a design with a dining room - it was all together with 70
sq m. She showed the destroyed paneling, asked what our favorite drinks are and
how much we want, and then she left, probably for these drinks.
I, however, wanted to visit the toilet. So I left the
kitchen and dining room for so-called hall - also 80m2 and I started to look
for a place that has been my dream for several minutes. I opened some doors,
which, however, turned out to be a door to another room, not to the coveted
toilet. I already had the sound behind me, when suddenly a dark, tiny and
familiar figure imitated my old gramophone. I opened the door again - Christ! -
this is the truest and famous GRAMMY AWARD statuette for the entire civilized
world.
There were two on a small commode, and on the wall they
were suspended symmetrically GOLDEN and PLATINE RECORDS symmetrically. There
were different sizes of both singles and longplays. There was a huge! -
counting seemed to me a Sisyphean work. I was impressed with how I began to
read the subtitles on these records and statuettes, namely the recurring name
and surname - BARRY WHITE !!!
I stood there for a long while, recognizing titles among
the titles that I had not heard in Polish discos some time ago, when the exact
location of pressure reminded me again that it was time to look for this
toilet. When I returned to the kitchen - dining room to share my discovery with
Gary - he was completely unperturbed - I know who and where he was calling me
to work. It seemed to look like it does not move at all because it is in Barry
White's estate.
For Gary, who has been living in the USA since his birth,
Mr. White is just a famous and rich guy like many in Southern California, a guy
singing songs that in addition, Gary does not like because he is a fan of hard
rock. However, for me, a discjockey from Poland fascinated by R & B /
Disco, Barry White was an icon, guru, true sanctity. If I associate pleasant
moments in the history of Polish discos with something (and disco and deejay
work is my whole life), Barry White's albums / hits, which were and are adored
by me and thousands of my countrymen, are beyond doubt.
We did our work with Gary - we cut out the wood, they got
married in dyes, glues and chemicals to match the new part of the paneling to
the color / texture of the old original supposedly from the twenties. The house
once built one of the bosses of the Hollywood cinema. Our work was coming to an
end and always in such moments we were getting a check / payment for the work
done. For a moment, we were visited by the housekeeper mentioned earlier in
this story, and after seeing that the work is finished she left. After a long
moment the door to the kitchen - dining room opened quite wide and appeared in
them a black man of a powerful posture in a purple, probably silk, because of a
rather shiny bathrobe and unbuttoned sandals.
We expected the check to be brought by the housekeeper -
and after the job. It did not come to our minds that the owner of the house
would personally check how we also patched (in an artistic way) his paneling.
That was too much for me for one day. Tears of emotion flooded my eyes and for
God I did not know why, and even worse, I did not control it at all. Mr. White
talked to Gary for a while, then he looked at me briefly, noticed that
something was wrong, that I was wiping my mouth and asking Gary - what about
this guy? Gary after a moment of consternation gave a few honest words about me
- and the fact that the political immigrant from the then communist Poland, and
that the deejay who played American records in Polish discos, and that probably
never saw a big / famous one up close star.
This probably interested Mr. White because he talked to
Gary something longer, and what was too difficult for me to understand English.
After a moment of this conversation, he turned to me slightly smiling and made
(for me) the best performance / art what he could do, something that nothing
and nobody will ever erase from my memory, namely - he gave me his hand,
thanked me for a good job, wished good luck and said in a calm, rather quiet
voice, not at all similar to that of recordings known to me, that - "if
you always work as solidly as with my wainscoting, you probably did the decent
release of American records in Polish discos."
That day I came home late in the evening and thought
about what happened to me for a long time at night. It was a shame to wash (in
the evening bath) a hand hugged by Barry White a few hours ago.
Mr. BARRY
WHITE (1944 - 2003 RIP)
Good fortune has allowed me to live and work for a year
in Earth's paradise (as I recall this place), i.e. in Los Angeles. Thanks to
this place, people living there and the work that I did (legally!)
I experienced experiences that were beyond doubt in my
memory as the best days my previous life. First of all, I managed to meet in
various places and circumstances precisely those famous and rich who live in
Hollywood or Beverly Hills and thanks to whom this place gained its good
reputation and unique, perceptible in every place, a specific mood, climate or specific
charm.
February 1990
- last days in LA ...
In February 1990, I received a reply from the INS of LA
that due to the collapse of communism in Poland, they can not give me political
asylum and that I have a month to leave the US. So I put together all my
affairs and had a few days of slack before going. So I sat in the garden with a
can of beer and thought about what I am losing and what will happen in Poland.
One evening, the beautiful Mary, mentioned earlier and
living next door, joined me. She looked deadly sexy this evening in the miny
and a T-shirt on thin straps under which this miracle-bust swayed.
She already knew that I was leaving and in the style
typical of a free American behavior, she proposed that I spend the last days
and nights with her. I was light-hearted, so I immediately took care of her
breasts while kissing her fragrant lips. After a while, we were lying naked on
her waterbed, starting (as it soon turned out) a few days and several nights -
max-sex-madness.
We promised ourselves different things in this mad and
very real sex. I had to quickly straighten my affairs in Poland and return to
it. She promised that she will go to rehab and he will never touch drugs, she
will do it for himself but also for me, that he wants to be with me forever and
let me divorce in Poland, she will be able to marry me and as her spouse I will
have the full legal right stay in the US forever.
It was very, but it was very tempting and I was flying
back to Poland with such a decision that I would come back to it so that I do
not know what ...
Poland 1990
I came back to the country. I came back from paradise on
earth to shit and hell with shelves full of vinegar or full of nothing ... In
addition - my wife then fell into alcoholism and what is connected with it - sex
betrayal - because as the old folk saying goes "drunken woman pussy
sold" .
Another reason for the return were two of my kids, who
had been in phone calls before, when I called them from California, reported on
my mother's madness, hunger, coldness, filth, some strangers, mother's bedding
and neglect.
So the beginning of the '90s began with unimaginable life
problems for me. My mother after years told me that "she was afraid that I
would not have fallen from all this and that I had survived and recognized the
incredible strength of life inherent in me."
I tried to get out my wife of alcohol addiction for about 3 years, save my
wife, or rather my mother for my children - because as a wife / a woman I did
not care much about and remember who is waiting for me in Los Angeles. Well,
but as I do not want alcoholic, nobody will force her out of it - I have
experienced this obviousness and truth in person. I filed for divorce and I
finally got it. I freed myself from my wife and chased me something – woman notoriously
smelling of the booze from home.
I stayed alone with my daughter and my son. I struggled
with enormous life problems, lack of money, work and everything else. Suddenly
overnight I had to be able to do what I had not dealt with until now due to the
division of duties in my family life. I had to learn to cook, wash and what
else.
Years passed, and I could not keep up the promise given
to Mary. Eventually, the girl got involved with some guy and left Los Angeles
for Arizona - where he supposedly lives with his family today. However, we have
lost contact ...
I, however, remained out of necessity in Poland, dealing
completely alone with the upbringing of two growing up kids while they were
completely blown by their mother. I grabbed all sorts of things (always legal)
to survive / survive ...
Silverton 1996
...
In 1996, I got a job in a pirate cassette record company
in Piekary Śląskie called Silverton. I imported phonographic licenses for them
from abroad and I encouraged them to legal activities. They, however, did not
get it drunk and after a year of torment I left them. The only good thing that
happened to me there was my second wife, Sonia. We worked there together and be
friended the max.
The owners of Silverton made money on pirate cassettes.
To this day, I am astounded by the fact - why I did not do it. Well, after all,
I was the first, before them all, when in 1987 or '87 I sold max to the
cassettes with foreign music, which I recorded myself, I copied somehow from
the hundreds of records I had. At that time, it was still legal, it was not
piracy but the possibility of moving within the scope of the leaky commie-PRL-Poland
law. However, piracy in the early '90s and on a large scale has always
frightened me. I was discouraged by the thought that I could find a crime
novel. I could not afford it - because I had these kids on my head.
At the beginning of the 1990s, in freedom-free Poland,
freedom and pseudo-freedom spilled over the country. The law was still the most
holes, mostly old and communist ones. Before it was changed, a few crooks
managed to put on an illegal or quarter of their legal activity.
I remember how the makers of pirate casettes grew rich,
how quickly they bought expensive piracy machines, cars, built small factories
and their villas.
In the mid-'90s, a new Copyright Law prohibiting
phonographic piracy was launched. Then all the pirate fortunes turned into a
legal path. In this way, all large record companies came to us from the so-called 'West' - EMI, Phonogram / Universal,
Warner Brothers, Sony, BMG.
I also remember with the huge resistance that the then
max pirate radio station adopted / fought with the provisions of the new law.
Today, all this has grown stronger, it has become a total legal, but I remember
what it was built on, namely piracy, thievery and crime !! I could have been
one of those great ones today, but innate righteousness always forbade me to
transgress the limits of the law and crush a crime novel. So I was who I was
and I am - a poor but always honest deejay who did his ...
In those bizarre times Silverton appeared to me as a
company with chances to build a phonographic giant much bigger than their
previous, pirate fortune.
I started energetic activities, mass correspondence,
telephone conversations with foreign companies. Well, I got a lot out of it,
considering that I had competition that had previously seized the market. I
remember how the then dance music giant Snake's Music grabbed (under the nose)
a great producer of disco music from Italy, namely the company S.A.I.F.A.M, or
a little later, the company Toco - supplier of sensational licenses at that
time. After a few months of work, I had access to most of the dance hits of
those times.
The problem with Silverton, however, consisted in the
fact that it was difficult to change the mentality of the owners who were in
the pirate era and poorly understood the necessity of a different form of
promotion or advertising of the recordings I am importing. At the beginning of
the 1990s, in the exploding epoch of piracy, it was enough to produce
something, take it to the street table or bazaar and it went right away. In the
second half of the '90s it was completely different. We had great licensed
recordings in Silverton making up records and cassettes, which, however,
without massive and costly advertising and professional promotion, were sold
poorly on the market, where others, similar to us, also operated. The fruits of
my hard work were therefore wasted every day, unknown on the storage shelves.
After a year in Silverton, I knew that I would not get anywhere with them and
started looking for a new job.
Accord - 1997
I moved from Silverton to a knowledgeable wise guy and a
very good man, Arek Boczkowski and his company Accord from Katowice. He seemed
a lot more rational than those at Silverton, and we went to the max with the
job. Arek bought me a Panasonic fax-phone (which at that time in the
pre-computing era, was a very important and valuable step, he paid regularly
every month, and I downloaded licenses for him.) Not much of it we spent.
The best thing we did was to leave for the first
Amsterdam Dance Event in 1997, where we met a lot of interesting people from
the music business and made arch-interesting contacts. Arek, however, did not
have enough money to withstand the first period of investing in legal
phonography. He was also gripped by the continuous piracy on the market, with
which the authorities were very unhappy and lazy "fought".
At the end he managed to publish my book 'handbook for
models', written in 1993/94 when I had a small modeling agency. We both
believed that this is how the book, the first guide for models in Poland, will
save our fines financially. Nothing of that ! The Polish fashion and modeling
world at that time was closer to prostitution than a professional approach to
the subject. Nothing has given my numerous TV interviews or super positive
press reviews. A wise book, based largely on the license fragments of the best
model guide in the US published in the US - it was lying on shelves, and Polish
girls were still doing bizarre and twisted, semi-enslaved pseudo "careers"
in modeling through beds of all cheaters and frauds.
I left the Accord in 1998. Both the work at Silverton and
at Accord were employed as levies and I did not earn anything for my future
retirement years.
That's how it was then. The man was happy that he could
make money for cheap food and keep kids.
Pyramid -
Chorzów - 1998
At the end of the '90s, I returned to the discotheques.
First to the legend of those years that is the Silesian discotheque 'Pyramid'
from Chorzów where I played the so-called dance on the second, upper dance
floor. I have only nasty memories of the 'Pyramid' because there was a hideous
atmosphere created by bad and heavily inflated people. The success of the
discotheque put a lot of soda bulbs into stupid and stoned heads, which prevented
normal and human contact with them and their work. Despite the fact that the
parquet was always full and satisfied, envious worms, that is, other deejaye
from this' Pyramid '+ their enthralled surroundings constantly teased, mocked,
treated as trash - me an authentic pioneer deejay who built Polish discos in
the early' 70s and then - when they were all still in diapers. Zero respect and
recognition for professional authority. Well, this is what characterized the
techno era - backwardness, darkness and stupidity of boundless, random people.
They thought (this was their knowledge, or rather its lack), that disco and
deejay is their invention and that there was nothing like it before. Many of
these puppets and techno mutants still think so :-)))))))))
I remember how I carried my vinyls at night, tearing my
hands and going to work and back with the trams waiting for the cold stops in
the morning. With great joy I left the 'Pyramid'. This nasty and dark disco and
these people were the worst experience in my entire 40-year deejay career.
Planet - Bytom
- 1999
I left the 'Pyramid' when Tomek Zdebik, the program
manager, left them. He dragged me behind to the newly opened discotheque in
Bytom called 'Planeta'. This disco was located in a circus tent, heated with
large oil blowers. I played in this 'Planet' on the main and only dance floor
with Mirek Palka, whom I had known for years and whom I followed with the
'Pyramid'.
'Planeta' was however a mafia bizz and interest only for
laundering dirty and illegal money - and it fell after some time. In any case,
a minimum of 90% of Polish discos of that period was mafia, pathology and crime
tolerated by the authorities.
Later we went with Miras to the village disco ‘Las Vegas’
near Tarnowskie Góry, but this crap also fell down and there was no work.
Today, from the perspective of the whole disco business
in Poland and my "career" deejay I consider a loss of life for
nothing and nothing. Years of anguish, stress and misery. Unfortunately, in
such times and circumstances, it worked and lived for me.
***
In 2002, I was called by Marek Goczoł - a paid cinkciator
/ illegal money exchanger from Katowice and offered supervision and preparation
of the program in the disco built by him in Bielsko-Biała – simply program
manager for giant (3000-4000 audience – 2-dancefloors) discotheques for best
known deejays and stage artists bookings. It looked like a big hallo and hallo
– back then !!
2002 - 2004
SilverClub
Story
A FULL AND
TRUE LEGENDARY STORY
DISCOUNT -
WRITTEN BY HIS MANAGER !!
There was such a disco in Bielsko Biała. It probably cost
$ 1,000,000, but it went bankrupt as many before and after it.
WHY ?! The answer is complex, but also simple. The most
important thing is that in today's times, to open and run a disco (eny - large
or small) you need to know it well or hire and respect a professional manager
or expert on the subject.
A repeated - mistake is that the owners believe that they
are familiar with the case or employing or listening to people who are
effectively pretending to be experts. Life however avenges you for mistakes.
SilverClub's biggest mistake was a very shaky program
policy. I started this disco and tried to keep it at the highest world level
for as long as it was possible. Every day I fought for the survival of the
disco and I managed to do it effectively for about 2 years.
I knew that in order to spin such a huge (3000-4000
people) discotheque, I have to do a lot of unconventional and pioneering moves
- as discotheques of this size were excess in the area. I knew that I had to
distract something from existing discos and attract her to SilverClub.
I have established that there is only one way, namely
very frequent and expensive performances of the most outstanding and highly
attractive FOREIGN stars of the stage and deejay. I also decided that the disco
must play very commercial music, loved by the vast majority of the audience and
run as far away from difficult, boring underground techno, clubbing or house
crap associated with drugs and dealers.
We also established and built (which was not in the original
plans) the second dancefloor designed only for the R & B style. It was a
small dancefloor / room (max 100 people), always filled to the brim and limits
of its abilities - mainly by beautiful girls who love such music as with its
slow rhythms they can - in dance and movement show the natural and exciting
advantages of the female body. The good reputation of this dance floor was
enormous. It is enough to mention that the success of the radio transmission
'Planeta' from the R & B dancefloor initiated by me has caused program
changes in this radio station which previously played techno-like sounds only.
Thanks to me they started (program director) just to be interested in R &
B.
On the large dance floor (as a result of incredible
perturbations) the resident was accidentally, no one at the time known to the
deejay from Bielsko Biała, Dino. When the kid found out, he almost peed. He
swore that he would be faithful to me like a dog and grateful for the rest of
his life and that he would play as I told him. Soon it turned out to be
something completely different. Dino with the consent of the owner began to
organize events with inferior, in my opinion, Polish deejays (I will not give them
"names" because this text is not a garbage), which did not burn out
and brought only losses and harmful changes to the stylistics. Dino did
nothing, but he did not gain anything from skipping the manager, and finally he
was fired from Silverclub (probably even disciplinary) for bad and
inappropriate playing / audience loose.
Initially, the resident was to be sensational (as for
those times) DJ Hazel.
DJ Hazel had a contract with SilverClub from Bielsko
Biała to play the role of a resident (to this day I keep his as a souvenir -
how little in Poland is worth the contract). As he talked about this work, he
drooled with joy.
Why and how did it happen that Hazel resigned from the
deejay No. 1 residence in the best disco in Poland at that time, full-time,
(future) pension and medical insurance in the Social Insurance Institution and
a thick cash register? Well - it's quite a long and complicated story and
sincerely writing is not worth it to deal with :-)))))
TURNING ON THE
GIANT DISCOTHEQUE ...
When the owner of SilverClub contacted me and showed me
what he was building for the first time - my hands dropped and my legs buckled
in terror. It was just a copy of some village crap-dance-club, which was
located near the Silverclub. As if it was not me, it would not be Silverclub -
there would be only another village and shoddy disco, no style and climate -
what advantage in this country. Such a thing would have fallen one month after
the opening! Most of the disco clubs currently in Poland are just such village no
style crap. SilverClub simply looked like a hangar for an airplane or a
warehouse of empty jars. Only I contacted the owner with professionals who
saved what they could and built a decent disco. They did what they could in the
conditions they found.
It was evident that the owner had no idea about disco,
deejay and music business. It was just another guy in the industry who managed
to make a bigger cash there somehow. He made one of his temporary whims for
this money (as it turned out soon) - he built a disco. Similar to him,
discoteque owners, we unfortunately have 95% in Poland. That is why we Poles -
unlike other countries - do not have discos that have existed for more than a
few years.
I built all organizational foundations of SilverClub. I
invented the name, logo and led to signing a contract with a company that
protects such things. I came up with the SilverClub website! I led to signing
contracts with copyright organisations (3). I kept all conversations and
correspondence for this disco. Everything rested on my head. Most often, I
signed the contract myself. I store them all in remembrance.
As for the SilverClub program - this - where it was
possible, I made sure that it would be okay - well, it was good during my term
- it was even very good. There were great foreign stars, there was a huge
turnout, money, etc. As I left everything it started to hit and finally it
fell.
It is also worth mentioning the attendance at the disco
for the so-called my term. Once on Fridays there were 1500 - 1800 people, on
Saturdays over 2,000 people and on Sundays around 500-600 people. 3000-4000
audience when big stars on stage or console – what I organised twice a month. As the owner stopped listening to his old and wise
manager, everything changed. Sunday events were liquidated, on Fridays
liquidated, and on Saturdays, 300 stray and stoned folks / junkies.
SilverClub ended its existence in July 2006. It is a
pity, because I worked a lot there and in highly nasty conditions and
circumstances, and for dog money. The plan was to make it the best disco in
Poland and Europe. I knew exactly how to do it.
Employed as a manager, I tried as much as I could to
promote this gigantic discotheque. I also invented 'live' / 'live' radio
broadcasts from events with foreign stars that I brought to the club. I remember how the program director of the radio
'Planeta' Jacek Pluta was delighted that I planned to implement this idea with
his station. Besides, I always guaranteed him an interview with a star who came
to Poland. It was a three-way beneficial undertaking. Both 'Planeta' and SilverClub
were promoting each other and advertising + promotion in Poland for a foreign
star.
At the time, the biggest disco stars I had ordered for
six months before the show. I paid in advance fees (2 - 6 thousand euros +
flights, hotels, limousines, food, drinks, security, because these were the
requirements of managements.
I also had an idea for television broadcasts of concerts
by artists and deejays sets straight from SilverClub. Polish televisions (even
the so-called musical VIVA, MTV) have horrifiedly failed to take such a super
attractive theme !! I do not think I need to convince anyone today that my idea
would bring considerable income today. Well, because you can imagine such
performances preserved in TV archives:
* the first Polish performance by Kate Ryan or In-Grid
(I brought these stars for the first time to Poland !!)
* or other concerts from the SilverClub scene: 666, Ian
Van Dahl, Noemi, DJ ASTRID, WOODY VAN EYDEN + ALEX MORPH, unique and
sensational showmen - discovery by me - BONITO & TROOPER, CABA KROLL, DJ
666, JENS with 4 CLUBBERS, AFRICA ISLAM / MR X, STEVE MURANO, KOSMONOVA,
REELOOP / KAYLAB, BEATFACTORY, DJ TOM & YANOU DJ TEAM, SHAUN BAKER, DJ
NOVUS with Groove Coverage, VOODOO & SERANO, JAN WAYNE, LUTRICIA McNEAL -
many of them brought to Poland for the first time because of me - to SilverClub
!!
I am sorry that everything that I worked with was
destroyed and wasted. Since the summer of 2006, SilverClub has stood empty for
many years, only dust and wind blew after it. After all, somebody bought it
after many years, but not to continue the disco activity here.
After my departure from SilverClub they shouted -
"change of style on progressive / underground techno and no
commercialism" - and you did not have to wait long - they had to quickly
bake, give way and play commercially as people wanted because no one went to
techno badziewie in the edition of some Matys, Van Linden, Ziggy, Niels Van
Gogh, Pedro Del Mar, Pusedriver, Radi or Kroma etc. !!!
The disco also got into unstable performances (excesses)
with "stars" on which for a long time it was known that they happen
to collapse deadlines. If they were so famous, why work with them? Why was
there a party with such ATB and losing a lot of cash and leftovers of good
opinion ??
21.01.2006 - SUPR valid - news !!!!
ATB CONCERT AT SilverClub WAS CANCELED!
That is why I never wanted to bring to SilverClub any
uncertain deejays, who were known for collapsing deadlines / gigs. In
particular, I did not agree to bring in a "superstar" about ATB,
which was the number one on my black list.
SilverClub invested money in advertising, people were
notified, and then the "celebrity" did not show up at the advertised
event. He certainly did not pay SilverClub for losses - I know their contracts. For the declining SilverClub it was the proverbial 'nail
to the coffin'. I would never let it happen! From me, such ATB would get a compulsory point to the
contract, that if he does not come to the date specified in the contract, he
will pay a high (20,000 euros) penalty. Well, but class D managers do not care
about such things and then it is as it is - pays a raspberry, naive disco.
My role was to professionally organize events and a disco
program for the owner's cash register.
By the way, I also built (what is obvious and normal) my
position in the industry. This is what the intelligent "art" is - to
do it for someone else, not your money. This is just one of the manifestations
of the highest class of professionalism.
***
The first star I brought was (then very much on top)
Belgian Ian Van Dahl. She appeared at the opening of SilverClub on January 25,
2003. There were 4,000 people inside the disco, and 2,000 people in the cold
outside who had no chance to enter.
My assumption was to bring in a very expensive way once a
month, a big star on stage - a top-notch star in disco music. Once a month, on
the other hand, I was to bring a star of a smaller caliber, ie a known, foreign
deejays. It was a venture so expensive that it guaranteed that the competition
would not cope with such a high bar and would not copy my grip. As I planned
and anticipated - that's how it happened. People were pounding at SilverClub
with proverbial doors and windows. We had a turnout of 2,000-3,000 people a
week, and the competition was chewing on teeth.
It should also be remembered that the prices of tickets
for events with foreign stars were twice as high as in the other discotheques.
This guaranteed a quick return on funds invested in the fees of foreign stars
and the ability to book / order more. I then turned around 10,000 euros for
this purpose. Of course, this was the owner's money.
Everything sensationally flew until July 10, 2004, when
the event was hosted by a mega star from USA, Lutricia McNeal. She had never
been persuaded to perform in a disco before - this performance was the first. I
negotiated with her European manager from Sweden for almost a year. Finally,
she agreed. The best concert in the history of the disco took place at the
SilverClub in Bielsko-Biała.
For a year and a half since the date of the opening of
SilverClub - that's how much I was abused and abused that I decided not to
leave my job.
Soon it turned out (horror of horrors) that no one who
could bring my success further was found. Attendance was falling, the public
was leaving, from SilverClub, and the former style, class and finally the
legend of the disco were destroyed. All my work has been wasted.
In July 2006, SilverClub ceased to exist and extinguished
its website. Despite the evil that happened to me on the part of this disco, I
felt very sad. It's as if something close to me died with what I was
emotionally connected with. Great is a pity and a great loss for Polish discos,
deejayów - finally for foreign artists and deejays, which (if I was listened to
and respected) probably hundreds more would appear on the stage or behind the
console the legendary disco today. If I was listened to and respected, then
SilverClub would be a total and undisputed discotheque no. 1 in Poland and one of the
most important in the world (!) - we would all have a good channel to this day.
PLANNED EVENTS
* StarsManager *
that have
never been implemented
Bonito (Gambas) & Trooper - - These two sensational
deejaye were my discovery
and incredible professional success. I brought them to
SilverClub several times and the room was always full to the limit !! They
played great and made a unique show ... The audience loved them - I ALSO! :-)
ACCORDING TO MY PLAN - I DEEJAYs HAD TO BECOME
PERMANENT SILVERCLUB RESIDENTS AND PLAY THAT A WEEK !!
I have negotiated with many stars about their arrival in
Poland - to SilverClub. Here is a list of these stars that may have appeared in
Bielsko-Biała in SilverClub, but because of my departure from the manager's
function, these events have never been and will not be realized. Many of these
stars were then at the very top and their performances would make the audience
happy, huge turnout, high tide and media attention. Look at these names and
surnames - how great is the damage and loss. Notice how it was supposed to be a
club, a disco.
ARTISTS on the
stage:
Sylver, Lasgo, Safri-Duo, Brooklyn Bounce, Beyonce,
Usher, R. Kelly, TQ, JLO, LAMAR, DOWN LOW, GEORGE MICHAEL, DJ BOBO,
SOUNDFLOWERS, A-TEENS, ANTIQUE, S-CLUB-7, EN VOGUE , ETERNAL, SNAP, SHAGGY,
JAMELIA, KELIS, MARY J BLIGE, MARIAH CAREY, CHRISTINA AGUILER, ALICIA KEYS,
TONI BRAXTON, SARAH CONNOR, JANET JACKSON, SEAN PAUL, BRANDY and a few others
...
DEEJAYs for
the console:
Paul Oakenfold, Roger Sanchez, Paul Van Dyk, Klubbheads,
Mark 'Oh, Special D, DJ Rocco, Aquagen, Clubbingman, Sash, Barthez, Central
Seven, DaHool, T-Kay, Tom Wax, Master Blaster, Tiesto, Shog, Pusedriver , ATB,
Rocco, Starsplash, Floorfilla, Cosmic Gate, Nature One, Mark Oh, Bass T, DJ
Tonka, Benny Benasi, Westbam, Mario Lopez, The Disco-Boys, Quicksilver, Mauro
Picotto, Timo Mass, Blank & Jones, Kai Tracid, Fat Boy Slim, Moby, Dr
Motte, Tomcraft, DJ Tonka, Moguai, Danny Tenaglia, Basement Jaxx, DJ Jean, Pete
Tong, Armand Van Helden, John Digweed, Judge Jules, Masters at Work (!!!)
+ AND ABSOLUTELY REVELATION AS that time (and even today
!!) is a special and exclusive contract with DMC guaranteeing performances of
the sensational Deejay demons from the DMC team - the winners of the 'Deejay
World Championships': DJ Cheese, Chad Jackson, Cash Money, Cutmaster Swift, DJ
David , Rocksteady DJ's, Dreamteam, Roc Raida, DJ Noize, A - Track, DJ Craze,
Plus One, Kentaro, Dopey, I - Emerge and many more.
+ special offer in cooperation with Italian management,
guaranteeing the performances of the biggest disco stars from the 80s: BONEY M,
ERUPTION, KIM WILDE, RADIORAMA, TWINS, SAVAGE, CULTURE CLUB / BOY GEORGE,
SILENT CIRCLE, MIKE MAREEN, ALBERT ONE, FRED VENTURA, BALTIMORA, DEN HARROW,
GAZEBO, KEN LASZLO, FR DAVID, FANCY, KAJAGOOGOO, LIMAHL, MODERN TALKING, BLUE
SYSTEM, C.C. CATCH, RICK ASTLEY, SAMANTHA FOX, ROXETTE, SANDRA, DR. ALBAN,
SWEETBOX, YAZOO, SABRINA, GOOMBAY DANCE BAND, SARAGOSSA BAND and a few others
...
- - - or (!!) - special offer of Disco Era stars from the
'70s and' 80s:
deejays:
David Mancuso, Nicky Hay, Ray 'Pinky' Velazquez, Charlie
Anzalone, Delmar Browne, Glenn Rivera, Ralph D'Agostino, Yahudeejay, John Ceglia,
Robbie Leslie, Charlie Cimino, Al Magliano, John Luongo, David DePino, Tony
Prince, John Hedges, John Bisci, Rene Hewitt, Giant Gene, Eddie Cruz, Bobby
Viteritti, Phil Waterman, John 'jellybean'Benitez, Tom Molton.
ARTISTS:
Kool & The Gang, Earth Wind & Fire, Hot
Chocolate, Gloria Gaynor, Linda Sharon Brown, Pamala Stanley, Carol Williams,
The Ritchie Family, Geraldine Hunt, Fonda Rae, Taana Gardner, George McCrae,
Gwen McCrae, Heatwave, Jimmy 'Bo 'Horne, Jesse Green, Odyssey, Ottawan, Patrick
Hernandez, Precious Wilson, Real Thing, Rose Royce, Sister Sledge, Three
Degrees, Tavares, The Trammps, Viola Wills, Fred Payne, Peaches & Herb,
Thelma Houston, KC & The Sunshine Band, Ohio Express, Spinners, Evelyn
"Champagne" King, Musique, Atlanta Rhthym Section, Hues Corporation,
Bill Withers, Al Wilson, Alisha, Average White Band, Peaches And Herb, Gap
Band, Carl Douglas, France Joli, Chi-Lites , Claudia Barry, Clifford, Loleatta
Holloway, Miguel Brown, Tina Charles.
THIS EVERYTHING WAS POSSIBLE TO EXECUTE - I will write
more
- THIS IS STILL CAN BE PERFORMED ... - but you need
intelligent and modern people and solid capital. It is beyond any doubt that
village villagers who do not know how to manage such big discos as SilverClub
!!!
Life and fate vengeance for my wrongs and misery in the
best possible way. SilverClub without me, my knowledge, 40 years of experience
in the industry and international contacts went bankrupt and collapsed !! The
dream and desire of many people, i.e. the position of A & R exclusive
manager of SilverClub created by me, was destroyed and wasted - it ceased to
exist. The owner - he lost a highly profitable and once popular disco, which he
supposedly built for a million bucks. He also lost income from the discotheque.
I calculate approximately and estimated that it is about 5-7 million per year -
counted by many years of discotheque activity - in my opinion - it would still
work today !!! :-))))))))
I mean that if I was listened to, SilverClub would work
today, give work and satisfaction to many people, goods and services for many
companies, huge taxes for the Treasury and for the development of Bielsko Biała
and invaluable pleasure for the club's regulars !!
2005 ...
I was unexpectedly asked by the STOART association (main
copyright organisation for Artists) to become an inspector for compliance with
the Copyright Act. They knew that Polish discos are places where copyright is
ignored to the max and broken and that someone who knows this environment can
change the situation.
I realized that such an inspector would become an enemy
of many people from discotheques soaked in pathology or related to criminal
groups. Well, but the sympathy of just such folk, but it did not matter to me -
on the contrary ...
So I started to work vigorously. The whole "mafia
disco" also got to work. There were materials on the Internet that
slandered me to discredit and harm me. STOART, however, was immune to kicking
holes by a disco criminal element and supported me to the max. Besides, after a
few months, the effects of my work were visible. Until recently, the resilient
discotheques / their owners in their teeth brought cash / royalties owed to
artists for the public exploitation of their music.
To work in STOART, I also pulled in a long-known
deejay-friend Mirek Palka, deejay whom I gave in SilverClub a nickname - Sir
Mag. He just got out of Silverclub after quarrels with a raging owner. So we traveled through dozens of Silesian and Opole
discos and urged us to respect copyright - to turn back on the path of legality.
Miras had a lot of financial problems then and
co-operated with some scrappers who stole (horribly !!) railway tracks. As
usual in such matters - sooner or later the Police hits the trail of such
charges and closes to the helm. Unfortunately it happened to Miras. He was
arrested and held in custody for nine months.
Knowing when it comes out, I got a nice work in Bielsko-Biała
for the discotheque 'Klimat'. It was not unusual - just an ordinary crap / poor
disco at the bowling alley - which is a mistake with a tangled up - but the
natives already have that, that they are wondering the idea of disco from the very beginning till today.
We created the duo Sir Mag & Yahudeejay and we played
only R & B, Soul and Funky parties. It went well, but as usual in Poland there will be nasty
digging holes and spoiling what can be done. After some more than a year of
regular playing, we had to leave the 'Klimat'.
In 2006, I found a guy in Bielsko who was ready to invest
in a ruined club and build an R & B disco. As we have determined, so it
happened. After a few months L'SD disco was ready and we moved. R & B, however, did not really like the local grooms,
and as long as they occupied the club, decent people did not go there. Oh and
this is a dilemma. The owner, on the other hand, did not have the money to
survive and change the public. So he went along the slightest resistance line
and ordered to play the way the public wants it to. Well, and this is a basic
mistake because everywhere in the world it has always been and is so that
deejay "rule" musically and no one is forced to do it. The audience comes
to a discotheque on this, not another deejay and his style of playing. Nobody
ever sprinkled it in Poland because everything went a different way here. Here,
communist-era communists have created a Polish mutation of disco and deejay
profession, with verifications, etc. - all this far from being true.
So I decided to leave L'SD and end up going to disco
clubs. I've had my years, almost 40 years of deejay work behind me, bad health
and aversion to all this darkness and pathology in Polish discos.
Sopot Festival
2007 - Disco Night
In 2007, people from main television name TVN wrote to me
and asked for help in the undertaking they had just carried out, namely DISCO
NIHGT at the International Sopot Festival. They planned to invite some of the
group of the greatest stars of the DISCO era to perform on the Sopot stage -
namely: Groria Gaynor, Sister Sledge, Hot Chocolate and Kool & Gang.
Here is this letter + my answer;
----- Original Message -----
From: J.Szanska@tvn.pl
To: yahu70@stk.net.pl
Sent: Tuesday, May 08, 2007 12:05 PM
Subject: FW: Disco
Mr. Janek, we need this kind of information: (below) and
is there any literature about disco in Poland?
yahu:
Hello :-)
Unfortunately, in Poland there is no such literature -
not a single book, newspaper, article. Without false modesty, even you - except
me - he will not find another Pole who could decipher this subject -
unfortunately. We were then behind the iron curtain and it now makes itself
felt.
We have to do 5 materials about the disco history that
are to come after the performance of the stars. I have divided the disco story
into five elements, that is, five materials.
yahu:
HOW BOMB AND GREAT FOR ME !!!
Material 1. Where did it come from? When was it founded?
Who was the first star, stars?
When it came to Poland.
Material 2. Disco boom; or the end of the seventies. The
greatest stars, hits and foreign and Polish idols.
Material 3. Disco is not just music; that's the whole
style of disco; on who was modeled, what they were dressed in, how they were
combed, where they went, etc. (foreign and Polish)
Material 4. Interesting facts? In which year the disco
stars from the west came for the first time
to Poland. Who of celebrities known in Poland and abroad
today - associated with something else
- had an episode with disco music? e.g. Madonna. the
Rolling Stones etc.
Material 5. The evolution of disco; that is, disco music
has changed abroad in italo disco or new romantic, and in Poland in Disco Polo.
(foreign and Polish idols, who and when invented new romantic, and who disco
polo).
yahu:
A LOT OF WRITER WORK - IF YOU SHOULD LIKE / WRITE YOU
ABOUT THE ABOVE THIS FORWARD AND PROFESSIONAL TEXT!
TVN:
It's so in a telegraphic short. So, what I would need is a historical outline of disco -
as a genre - where did it come from? when was it created? the biggest stars and
their hits with dates in Poland and abroad.
I care about something like a skeleton, that in the end
of the '70s, Bee Gees and Abba celebrated triumphs, and in Poland Iza
Trojanowska and Franek Kimono etc.
And in this way flew the whole story of the genre. I
would also like to swallow all sorts of dictionaries, curiosities etc. I would
also like to know in which year which band came to Poland. And what I wrote
about various foreign and Polish characters who had some disco episodes.
Very happy to have some interviews with them, anecdotes
and if they were in Poland.
Best wishes
Joanna Szańska
yahu:
THERE IS A LITTLE TIME TO UNDERSTAND THIS THEME.
I AM READY TO ACT AND I DO NOT SEE ANY PROBLEMS FOR YOU.
THAT'S WHAT I ASK I KNOW, I HAVE ACCESS TO MANY UNIQUE
MATERIALS {but foreign - books, internet, PEOPLE (!) - I have a lot of music
mixed by a dj star from those years} AND WITHOUT A FALL I CAN THEM (in total
large) WORK EXCELLENT. THAT I CAN ALWAYS PROVIDE USING 4 INFORMATION MATERIALS
:-)
YAHU PAWUL
***
It pleased me and the fact that they turn to me for help.
It's true that it's too late for over 30 years - because it was not possible in
communist Poland of the 70's - but it's better than ever!
I provided TVN people with various video materials on
DVDs and wrote a few texts extending their knowledge about the invited stars.
the end
... and let me go to heaven an hour before
how the devil will know that I have died ...
-----------------------------------------------------------
© Copyright - Jan Yahu Pawul - 2015 - all rights
reserved!
ALL RIGHTS RESERVED Any reproduction, distribution,
rental, sale of all or parts, presentation or public performance, broadcasting,
television, film, distribution, export, etc. without the author's consent is
prohibited by the Copyright Law.
contact with the author
Jan 'YAHU' Pawul (discjockey / historian of discos and
deejay)
41 - 709 Ruda Śląska, POB 2, Poland,
tel: +48 32 7716678
mobile: 609789507
mobile: 609789507
... and let everything be clear - everyone who stole my
work
I will be fucking chasing mercilessly to the end of the
world and 4 days longer !!
I WILL NOT LET IT GO !!!
-----------------------------------------------------------------
You can read about me under these links also:
Movie idea: http://yahu-deejay.blogspot.com/
I am the only Polish disco deejay which was banned from work in Polish discos
*StarsManager*
There are some
people / friends in USA whose can tell you about me also.
I can send
contacts to them if you interested and ofcourse much more materials for screenplay write ...
Brak komentarzy:
Prześlij komentarz