base for screenplay ... polish DJ life and risk of life in '70 communist regime

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.

... 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.


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!

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.

"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


* 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 -  (no longer exists)

Max and total amateur Walicki and his team of amateur-guys verified the amateurs ??! 



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 ?!

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.


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 !!

These (the following) emails received from Walicki
mainly concern the verification of deejays:

1.) ----- Original Message -----
From: Franciszek Walicki
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
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.


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.

- 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

- 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 ...


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


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

- 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.


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.


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.

- these questions were bullying ...

- 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 ...

- 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 ...

- 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 ...


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 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 ??




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)

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.

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.


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"
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"
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.
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.


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  (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:  and

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
Sent: Wednesday, December 19, 2012 10:19 AM
Subject: Bury axes

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".

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 :-)))

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
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 -----
It's: walicki
Sent: November 27, 2008 3:46 PM
Subject: historical lie !!  (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


Walicki wrote back to my letter like this:

----- Original Message -----
From: Franciszek Walicki
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 -----
To: Franciszek Walicki
Sent: November 29, 2008 2:38 PM
Subject: Re: historical lie !!

… read below


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 ...


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

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.


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

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

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 :-)))))


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 !!!!

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! :-)


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:

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.


- - - or (!!) - special offer of Disco Era stars from the '70s and' 80s:

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.

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 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 -----
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?


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.


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).


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


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 :-)


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

... 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 !!


You can read about me under these links also:

Embargo / ban for deejay work !!
I am the only Polish disco deejay which was banned from work in Polish discos


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 ...

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