Academic literature on the topic 'Kult music band'

Abstrak: lagu Sh-Boom karya Crew Cuts (musisi kulit hitam) yang awalnya bekemudian berubah menjadi genre pop oleh musisi kulit puith. Lagu Shorisinal dipublikasikan pada 19 Juni 1954 dan versi cover-nya munculPada 10 Juli 1954 lagu Sh-Boom masuk dalam daftar lagu-lagu pop hitahun kemudian versi cover ini direkam dan dipublikasikan sebagai lagoleh musisi kulit putih. Pada masa itu sudah menjadi hal yang lumrah musisi kulit hitam di-cover oleh musisi kulit putih. Sindrom cover versaja disebabkan oleh permasalahan rasisme, melainkan juga karena pantara label rekaman keduanya. Sementara itu, sejarah versi cover di Indonesia ditulis oleh Wa216) dalam Modern Noise, Fluid Genres: Popular Music in Indonesia, 1 Penelitian ini membahas perubahan identitas musik pop Indonesia yang dipublikasikan melalui situs YouTube. Lagu yang diteliti adalah Akad dari Payung Teduh yang di-cover oleh Mas Paijo dan Pamit dari Tulus yang di-cover oleh Sintesa Vocal Play. Penelitian ini menggunakan pendekatan transit dan transisi dengan kajian tekstual dan kontekstual pada identitas kedua lagu tersebut. Tujuan dari penelitian ini ialah untuk menemukan bagaimana identitas musik (lagu) beserta musisinya mengalami perubahan; dari versi orisinal menjadi versi cover. Dalam penelitian ini dipahami bahwa versi cover merupakan bentuk pembaruan musikal. Penjelasan mengenai perubahan identitas dalam kedua versi ini dibahas pada dua substansi. Pertama, narasi tentang peran teknologi dalam pembaruan musikal; kedua, uraian tentang perubahan identitas dalam narasi musikal yang meliputi lirik lagu, format lagu, instrumentasi, video musik berserta musisinya. Dengan demikian, perubahan identitas yang ditelaah dalam penelitian ini meliputi dua versi lagu: orisinal dan cover dengan dua narasi yang berbeda. Abstract: contohnya: Band Tor yang meng-cover lagu-lagu Jimi Hendrix, Rastafarlagu-lagu Bob Marley kemudian T-Five meng-cover lagu-lagu Korn and saat itu versi cover diciptakan bukan hanya dari segi komposisi musiknyjuga pada aksi panggungnya. Hingga kini versi cover semakin berkembangdiunggah melalui situs YouTube. Fenomena cover version yang tidak terlepas dari penggunaan tmengantarkan pada pembahasan bagaimana teknologi dan seni (musik)ini diuraikan oleh Yangni (2016: 4-5) bahwa kaitan antara seni dan teknolsejarah relasi keduanya tampak terpisah, namun secara esensial keduany Merunut mundur pada zaman Yunani, tidak ada pemisahan sama sekaliteknologi. Keduanya sama dan satu dilakukan oleh tiap individu dalam This research discusses changing identity of Indonesian pop music’s that was published on YouTube. Spesifically, there are two song’s (consist of original version and cover version) discussed here: firstly, Akad original version by Payung Teduh and cover version by Mas Paijo; secondly, Pamit original version by Tulus and cover version by Sintesa Vocal Play. This research applies transit and transition approach in which the signs in textual and contextual data are examined in their identity. The aim of this research is to find out how music and musician identity are represented in their song’s include in cover version. This research shows that cover version is defined as music renewal of the whole music and musician narration. Description about changing identity in both version (original and cover) was observed in two subject. Firstly, narration about technology involvement in music renewal and secondly, description about changing identity in musical narration (including in song lyrics, song forms, instrumentation, music video and the musician). It can also be said that changing identity refers to both version (original and cover) with two different descriptions.

ABSTRAKKasus pelanggaran hak cipta musik atau lagu menjadi masalah dan mendapat perhatian serius oleh industri musik di Indonesia. Teknik audio watermarking merupakan salah satu solusi untuk melindungi hak cipta audio digital dari tindakan ilegal dengan cara menyembunyikan watermark berupa identitas pemilik ke dalam audio tersebut. Pada penelitian ini, audio host diubah menjadi matriks 1-dimensi untuk proses framing. Selanjutnya Stationary Wavelet Transform (SWT) digunakan untuk mendapatkan sub- band stasioner terpilih yang akan disisipkan watermark. Metode Statistical Mean Manipulation (SMM) akan menghitung rata-rata host audio dalam satu frame, dan dilakukan proses penyisipan bit. Optimasi dilakukan dengan melakukan evaluasi parameter yang menghasilkan BER paling tinggi setelah sistem diberikan serangan. Hasil dari optimasi diperoleh suatu sistem audio watermarking yang kuat dan tahan terhadap gangguan signal, dengan rata-rata BER 0.113, SNR 31 dB, ODG -0.6, dan MOS 4.6.Kata kunci: audio watermarking, SWT, SMM, optimasiABSTRACTThe case of copyright infringement of music or song becomes a serious problem in Indonesia. Audio watermarking technique is one solution to protect the music copyright of digital audio from illegal acts by hidding the watermark in the form owner's identity into the audio. The workings of audio watermarking is to embed the watermark in the form owner's identity into the audio. In this study, the audio host is converted into a 1-dimensional matrix for the framing process. Furthermore Stationary Wavelet Transform (SWT) used to obtain stationary sub-bands selected to be inserted watermark. Statistical methods Mean Manipulation (SMM) will calculate the average host audio in one frame, and do bits insertion process. Optimization is done by evaluating the parameters that produce the highest BER after the system is given an attack. The results of the optimization obtained an audio watermarking system that is robust and resistant to signal interference, with the average BER 0.113, SNR 31 dB, ODG -0.6, and MOS 4.6. Keywords: audio watermarking, SWT, SMM, optimization

Traditional music is one of the elements of culture keeping the continuity, dynamics, cultural identity and also becoming a vehicle for transmitting the cultural values inherited from generation to generation. This study aims to identify and describe the exploration of traditional music Lampung as an effort to preserve music culture by the Kulit Tipis community in Bandar Lampung. This research was conducted using qualitative methods. Data collection techniques used literature study, observation, interviews, and documentation studies. The results showed that there were efforts to preserve Lampung traditional music by Kulit Tipis community in Bandar Lampung, namely: (1) Collaborating traditional Lampung musical instruments with modern musical instruments or traditional musical instruments from other regions. (2) Making musical compositions from Lampung folk songs or modern pop songs today. (3) Performing musical exploration performances in various festivals, regular bands, and competitions in Lampung or outside the Lampung area. (4) Creating and uploading their video recordings of musical composition performances from the Kulit Tipis community through social media, such as YouTube.

AbstractThe composer Allison Cameron (b. 1963) lives in Toronto. Her music has been widely performed at festivals such as Emerging Voices in San Diego, Evenings of New Music in Bratislava, Festival SuperMicMac in Montréal, Newfoundland Sound Symposium, New Music across America, Bang on a Can Marathon in New York, New York, and Rumori Dagen in Amsterdam. A dedicated performer of experimental music in Toronto, Allison co-founded the Drystone Orchestra (1989) and the Arcana Ensemble (1992). She has been improvising since 2000 on banjo, ukulele, cassette tapes, radios, miscellaneous objects, mini amplifiers, crackle boxes, toys and keyboards, in collaboration with Éric Chenaux, the Draperies, Ryan Driver, Dan Friedman, Mike Gennaro, Kurt Newman, John Oswald, Stephen Parkinson and Mauro Savo, among other musicians. In that same year she became Artistic Director of Toronto's experimental ensemble Arraymusic, a position she held for five years. In 2007, she founded the Allison Cameron Band with Eric Chenaux and Stephen Parkinson, and in 2009, the trio c_RL with Nicole Rampersaud (trumpet) and Germaine Liu (drums). Allison has experimented with graphic and notational scores that will soon be gathered and published as a collection. Additionally, she is the winner of the 2018 KM Hunter Award for music in Ontario.

<p><strong>Abstract</strong></p><p><strong></strong><br />Logotype as a Graphic Image in the Major Label and Index Label Visual Identity Group Band Context. A logotype will interpret the context of visual identity. Seringai band is one example of an indie group that has a strong image through logotype as their visual identity. A good and appropriate logotype quality is how to create an appropriate identity in forming the characteristics of a band. The use of logotype as a misguided visual identity often occurs in Indonesia and the music industry as a facilitator of the withdrawal of a visual identity both image and artistically, especially for a band that is shaded by a major label. Data on observations conducted in the field show that many things that are less than ideal seem like imitation often occurs without us knowing it.<br />A good logotype is born from an in-depth research, and facts in the manufacturing process, the role of letters emotionally must be able to appreciate the atmosphere and taste. By using this type of qualitative research with a descriptive approach, it is concluded that the results of the analysis in this discussion can provide education to the<br />people of Indonesia.</p><p><br /><strong>Abstrak</strong><br />Logotype Sebagai Citra Grafis Dalam Konteks Identitas Visual Grup Band Major Label dan Indie Label. Sebuah logotype akan memaknai konteks dari identitas visual. Grup band Seringai menjadi salah satu contoh grup indie yang memiliki citra yang kuat lewat logotype sebagai identitas visual mereka. Kualitas logotype yang baik dan pantas adalah bagaimana menciptakan sebuah identitas yang tepat dalam pembentukan<br />karakteristik sebuah grup band. Penggunaan logotype sebagai identitas visual yang salah kaprah kerap terjadi di Indonesia dan industri musik sebagai fasilitator mundurnya sebuah identitas visual yang baik secara citra maupun secara artistik, khususnya untuk grup band yang dinaungi oleh major label. Data observasi yang dilakukan di lapangan<br />menunjukkan banyak hal yang kurang ideal seperti sering terjadinya peniruan tanpa kita sadari. Logotype yang baik lahir dari sebuah riset yang mendalam. Fakta dalam proses pembuatannya, peranan huruf secara emosionil harus dapat mengapresiasikan suasana dan rasa. Dengan menggunakan jenis penelitian kualitatif dengan pendekatan deskriptif disimpulkan hasil analisis dalam pembahasan ini dapat memberikan edukasi kepada masyarakat Indonesia.<br /><br /></p>

Lagu adalah sebuah alat komunikasi massa yang paling universal untuk menyampaikan pesan karena lagu dapat menggapai elemen kognitif dan emosi manusia. Di Indonesia musik digunakan pula sebagai sebuah instrumen kritik sosial. Salah satu musisi yang menyampaikan pesan kritik sosial melalui lagu-lagunya adalah band Efek Rumah Kaca, sebuah band indie asal Jakarta. Salah satu lagunya adalah Jingga, yang bercerita tentang bagaimana peserta Aksi Kamisan menuntut keadilan HAM terhadap penculikan aktivis pada 1997-1998. Karena sebuah lagu merupakan seni yang abstrak dan multimakna, maka penelitian ini bertujuan untuk menganalisis makna dibalik lirik tersebut dengan menggunakan metode analisis semiotika Saussure. Lirik dan chord dalam Lagu Jingga akan menjadi data primer dalam penelitian ini, sedangkan studi pustaka, wawancara dan observasi akan menjadi data sekunder dalam penelitian ini. Hasil dari penelitian ini adalah: Jingga merupakan wujud kepedulian dan kekaguman dari band Efek Rumah Kaca terhadap kegigihan peserta Aksi Kamisan yang selalu setia menuntut keadilan HAM selama 14 tahun. Lagu Jingga merepresentasikan semangat para peserta Aksi Kamisan untuk selalu membela hak asasi manusia pada kasus penculikan aktivis 1997-1998 lewat lirik dan chord yang ada di dalam lagu Jingga. Keterikatan antara lirik dan chrod pada lagu ini sangatlah kuat dan sangat membantu para pendengar lagu untuk memahami pesan dibalik lagu ini dengan baik.

<p><em>Popular music not only being understood as entertainment media. Through audiences, popular music can be used as social movement instrument. This qualitative research using ethnography study as its approach. The subject on this resrach is Navicula band. The result of this stusy show that, the Navicula’s habitus about Tri Hita Karana’s life as a Balinese: the harmony between God, human and nature.Navicula’s cutural capital about knowledge of music as media and strong awareness of environment problems, social capital show their collaboration with several social organization, economic capital comes form album sales, band’s accessories and their concerts. Symbolic capital depicted by the term that Navicula as green grunge gentlemen. Navicula’s New social movement through Navicula’s discography as their messages, Borneo Tour as new paradigm on collective action, cultural rebellion reflection through Navicula’s merchandise and hearing responses as movement’s impact. The finding on this research is relevant Bourdieu’s theory to depictedabout social praxis systematicly.New media movement theory can be alliance with other theory because its flexible nature to adjust with social dynamic society today.</em></p><p><strong><em>Keywords:</em></strong><em> <strong>New Social Movement, Music, Ethnography.</strong></em></p><p><strong> </strong></p><p><strong>Abstrak</strong></p><p>Musik popular tidak hanya dipahami sebagai media hiburan semata. Melalui khalayak ramai, music popular bias menjadi alat untuk gerakan sosial. Penelitian ini bersifat kualitatif dengan menggunakan studi etnografi. Subjek penelitian ini adalah band Navicula. Hasil penelitian menunjukkan bahwa habitus Navicula tentang kehidupan Tri Hita Karana sebagai orang Bali; hubungan harmoni antara Tuhan, manusia dan alam semesta. Modal budaya Navicula tentang pengetahuan tentang music sebagai media dan pengetahuan yang kuat tentang masalah lingkungan, modal sosial menunjukkan kerjasama dengan beberapa organisasi sosial, modal ekonomi berasal dari penjualan album, aksesoris band dan konser mereka. Modal simbolik digambarkan dengan istilah Navicula sebagai green grunge gentlemen. Ranah Navicula menjelaskan di ranah jejaring sosial. Gerakan sosial baru Navicula melalui diskografi Navicula sebagai pesan yang disampaikan, Borneo Tour sebagai paradigma baru aksi kolektif, refleksi pemberontakan kultural melalui merchandise Navicula dan responpen dengar sebagai efek gerakan. Temuan penelitian ini menyiratkan teori Bourdieu yang relevan untuk menggambarkan tentang praktik sosial secara sistematis. Teori Gerakan Sosial Baru bisa dielaborasi dengan teori lain karena fleksibel untuk menyesuaikan diri dengan dinamika sosial masyarakat hari ini.</p><h2>Kata Kunci: Gerakan Sosial Baru, Musik, Etnografi.</h2>

Lupus pannikulitis (LP), suatu variasi klinis kulit yang jarang pada lupus eritematosus kutan, jarang terjadi pada anak. Perjalanan penyakit lambat sehingga penegakan diagnosis sering terlambat.Anak laki-laki 13 tahun mengeluh area cekung pada wajah sejak usia 11 tahun diikuti cekung pada kepala. Benjolan sewarna kulit pada kedua lengan dirasakan selama 1 bulan. Terdapat atrofi pada kedua pipi dengan tepi lesi dikelilingi bercak merah keunguan. Pada skalp tampak alopesia dengan atrofi multipel, dikelilingi bercak eritematosa di tepinya. Pada kedua lengan atas terdapat nodul subkutan sewarna kulit, multipel, perabaan keras, dan tidak nyeri. Pemeriksaan histopatologis lesi wajah dan skalp dengan pewarnaan HE didapatkan ortokeratosis linear dengan sumbat keratotik pada epidermis. Pada dermis atas terdapat sebukan sel radang didominasi limfosit, dermis tengah kolagenisasi hingga jaringan subkutan, tampak sel radang pada jaringan subkutan septal-lobular dengan dominasi limfosit dan nekrosis lemak. Pewarnaan alcian blue ditemukan deposit musin pada dermis. Lupus band test ditemukan deposit IgG pada membran basalis.Lesi pada LP sulit dibedakan dengan pannikulitis lainnya, misalnya morfea profunda, karena keduanya menujukkan lesi lipoatrofi didahului nodus subkutan. Pannikulitis septal-lobular dan nekrosis lemak dengan deposit musin pada dermis merupakan gambaran histopatologis khas untuk LP. Lupus band test perlu dilakukan untuk membantu membedakan diagnosis LP dengan pannikulitis lainnya.Kata kunci: Lupus pannikulitis, lupus band test.

DKI Jakarta merupakan daerah yang terkenal dengan bencana banjir pada musim hujan setiap tahun. Salah satu informasi mendasar yang dibutuhkan terkait bencana banjir adalah daerah tergenang banjir. Informasi genangan banjir digunakan untuk melakukan pemetaan dan perhitungan luas genangan, sehingga dapat diketahui daerah yang memiliki potensi banjir. Perhitungan informasi genangan banjir menjadi ide dasar dibentuknya penginderaan jauh pemrosesan data satelit Landsat 8 untuk deteksi genangan. Landsat 8 dimanfaatkan sebagai parameter utama dalam melakukan identifikasi genangan pada penelitian ini. Metode GSWIR (Green-Short Wave Infrared) diaplikasikan pada citra Landsat 8 menggunakan Band 3 (Green) dan Band 6 (SWIR). Metode GSWIR merupakan filter edge detection yang digunakan untuk memisahkan antara air dan non air. Hasil perhitungan metode GSWIR menunjukkan obyek permukaan mempunyai respon spektral dan luas yang bervariasi saat banjir (tergenang air) dan tidak banjir (tidak tergenang air). Metode GSWIR yang diaplikasikan membuktikan metode ini dapat digunakan untuk mendeteksi genangan dengan memisahkan antara air (genangan) dan non air (tidak tergenang air) dikarenakan Band Green memiliki kegunaan untuk memperbesar nilai reflektan dari air, dan badan air memiliki daya serap lebih kuat pada band SWIR. Kata kunci: DKI Jakarta, Genangan, Landsat 8 , GSWIR.

Introduction – Polish GrungeThe main objective of this article is to examine the grunge scene of the 1990s in Poland in the context of acculturation and assimilation processes. Polish grunge was, on the one hand, the expression of trends that were observable in music industry since the late 1980s. On the other hand, it was symptomatic of a rapid systemic transformation. Youth culture was open for the diffusion of cultural patterns and was ready to adopt certain patterns from the West.Thus, we suggest that the local grunge scene was completely modelled on the American one: the flow of cultural practices and subcultural fashion were the manifestations of the assimilation processes in Poland, observable not only in art (i.e. rock music), but also in the domains of politics and economy, as well as in the broader social sphere. We explore how young people were ready to adopt only the surface level of the phenomenon as they were familiar with it through the media coverage it received. Young people in Poland circa the early ‘90s primarily wanted to gain access to an imaginary Western lifestyle rather than learn about real living conditions in capitalist societies, and they could do this through their involvement in grunge culture.Grunge as a Cultural PhenomenonGrunge as a popular music trend arose in the USA during the late 1980s and early 1990s, in the work of bands such as Nirvana, Pearl Jam, Stone Temple Pilots, Soundgarden, and Alice in Chains. Grunge was initially opposed to consumerism and capitalist values. Nevertheless, A&R scouts recognised the commercial potential of this music: for example, Nirvana’s Nevermind was released by Geffen Company, and Pearl Jam’s Ten by Epic. As Grzegorz Brzozowicz and Filip Łobodziński put it (313),the success of Nirvana was a post-mort triumph of punk rock and, more importantly, it indicated the potential of alternative music, which suddenly stepped outside an aesthetic ghetto and became a hot stuff. This influence was also visible as regards fashion and customs – Dr. Martens’ shoes, flannel shirts, frayed jeans, and wool caps became an outfit common for the young (…). Grunge influenced visual art, film and photography.In Poland, grunge as a subculture and sub-genre of rock music emerged in the early 1990s following the international commercial success of bands such as those listed above, and it entailed the assimilation of the Western cultural patterns. Although assimilation processes were typical primarily for youth culture, they were observed in the wider context of the changes and adaptations that Polish system underwent after the fall of the centrally planned economy and subjugation to the communist party power after the Yalta agreements (1945-1989/1990).In this context, the concept Centre/Periphery (Gopinathan, Saravanan and Altbach; Hannerz; Langholm; Pisciotta) appears as the field for the dissemination of popular culture. Popular culture is a battlefield for creating and negotiating the meanings that are inherent within cultural practices (Barker). Cultural practices play a double role in the dissemination of ideas or objects. Firstly, they come as a result of adaptation in a defined culture, and secondly, they make new cultural patterns stabile, visible, and easy to practice by people as flexible patterns of behaviour. This point is clearly visible in the context of the East European states that underwent rapid acculturation processes in which new patterns of economic and social solutions were established in centre-planned economies: the tensions of the “old” and the “new” patterns dominating in the political and social systems of those countries (e.g. Poland, the Czech Republic, Latvia, Lithuania, etc.) were visible and affected societies to a considerable degree (Pisciotta). Thus, the practices generated in cultural Centres tend to disseminate easily and to “conquer” other cultural systems, especially in the Periphery.In the case of popular culture, the flow of influences usually takes a one-dimensional form and is disseminated from the Centre to the Periphery. As Marek Jeziński (162-163) argues, both Centre and Periphery are functional systems. These systems have generated their own mythology, which separates one from another. However, as in the case of mythological systems in general, Centre and Periphery tales overlap frequently, and there are evidence that the bands that originated in the Periphery were assimilated by the Centre. For example, Nirvana and Pearl Jam were both successful in market terms and both built their own status based on the Peripheral components that were skilfully overtaken by the Centre narrative. While the Peripheral narratives are concentrated mainly on the undermining of the definition of situation and present dysfunctional character towards cultural system as such, the Centre narratives aim to maintain the definition of situation supporting mainstream values and their prevailing position in a system (Jeziński 164). Grunge is the epitome of such an implementation of cultural patterns. That is, grunge started as a fringe peripheral cultural phenomenon. The major records companies, however, recognised its potential and provided the space in the music market to support the new bands. Most of the groups in the US started as independent local acts related to independent record companies that built their status.In relation to the assimilation of grunge culture in Poland, we can distinguish two key phenomena. The first is concerned with the adaptation of general subcultural components, e.g. fashion and group identification. Here, the acculturation processes run as a primary form of mimicry, as the Polish grunge scene adopted elements typical of the grunge subculture, such as oversize sweaters, flannel shirts, Dr. Martens shoes or Converse trainers, long hair, and beanies. A newly formed subculture was different from the others popular in the 1990s. For example, punk and metal subcultures implied strong group identity, style homogeneity, rigid group limitations, and firm membership rules. Conversely, it seems that the grunge subculture was based more on a level of liquid and fragmented patchwork identity than on very inflexible group values and internal ideology or political attitudes (cf. Muggleton). Such patchwork identity formation was a result of a rapid clash between the adaptation of grunge cultural patterns from the West and the Polish economic transformation of the early 1990s.Poland underwent rapid changes that were also visible in the politics, culture and social domain, joining liberal democracies and liberal free market economies of the West. These changes resulted from a transformation of the system as a whole: from a central planned system to decentralisation of the power at both local and state levels (Sarnecki). Equally important were the changes in the political culture of Poles and their value system: they accepted the democratic changes but simultaneously, the mentality of Poles remained traditionalist (which is visible in surveys— the most important values for them were “family” and “work”), and their attitude towards the processes of cultural and institutional changes was impermanent (Garlicki; Jasińska-Kania).During the transformation, the changes were visible in the everyday lives of Polish citizens: examples include the shortages in the market that were evident after the socialist regime ended, and the easy availability of Western clothes such as jeans, shirts, denim jackets in ordinary stores. Consequently, the economic rates in the 1990s were higher in comparison to the previous decade (Bałtowski and Miszewski). Those changes resulted in a phase shift in the modernisation process, where patterns of economic and cultural development and were faster than the enculturation and socialisation processes.On the one hand, the free market allowed for almost unlimited commodification with unprecedented access to goods and services. On the other hand, the low cultural capital and economic possibilities of the citizens evolved rapidly. The communist-shaped social division fell apart, and the new class designations based of consumption/commodification patterns were established (Jeziński; Wojtkowski). Those factors resulted in high cross-generational mobility, lower entrance barriers, and higher openness indicators (cf. Polska klasa średnia; O ruchliwości społecznej w polsce).Hence, in cultural conditions based on capitalist consumption practices, the grunge subculture evolved with a commodified sense of style rather than with a firm identity. Yet, in the case of grunge style, relatively high costs of subculture commodities (e.g. Dr. Martens shoes, Converse trainers, or band t-shirts) led to DIY practices such as buying cheaper no-name shoes, and sewing badges with the names of bands and albums on jackets or backpacks.The second phenomenon encompasses the adaptation of music patterns. The Polish grunge scene was not as diversified in terms of genre variations as its US counterpart. In the beginning, the Polish grunge scene was more distressed geographically, with no specific Centre-Periphery relations. However, one of the most important bands, Hey, was established in the Northwest. When one looks at Polish grunge evolution as a ‘clash’ of American genre and the specific character of a time and place where Polish bands were recording, she or he will notice multiple similarities with the US scene.Firstly, we could name two approaches to grunge music among Polish performers: ‘intellectual’ and ‘rebel’. The ‘intellectual’ approach encompasses the group Hey. This band was established in Szczecin (the Northwest Poland), but after the success of their first album – Fire (1993), they moved to Warsaw. Hey released 11 studio records, but only the first three could be classified as “grunge” (cf. Sankowski). On the level of musical references, Fire sounds like a mixture of early Pearl Jam combined with Alice in Chains. With English lyrics and song topics that were typical for grunge— e.g., The Choice (“You’ve got a gun/You can use it now”)—similarities with Pearl Jam, in particular, are striking. The band evolved, and on their second album, Ho! (1994), Hey mixed equally Polish and English lyrics with the dynamic and specific Seattle sound (cf. Prato). Hey’s most distinctive feature comparing with other Polish grunge bands is its highly developed melodic approach to music and the poetic, sensual style of its lyrics. The third record, ? (1995), closes the band’s early stage. The next album, Karma (1997), opens the period when the amalgamation of electronics, hard rock and grunge dominated Hey’s music, with the album [sic!] (2001) representing the turning point in the group’s music style. The band suspended their work in 2017 and will probably never reunite.Over time, Hey gained one of the most dedicated audiences in Polish rock music. The music industry and critics have acknowledged Hey as one of the best Polish groups in the post-communist period. Hey has received the most nominations in the history of Fryderyki, the key Polish music awards. The group and Nosowska have won twenty-three times in multiple categories. As the longest-operating grunge-origin band in the country, Hey could be considered as a most important trend setting and scene-forming group.The more “rebellious” approach to grunge encompasses bands such as Illusion (1992-1999, 2014-present) and Houk. The former was based on the grunge and hardcore mixture of influences from Alice in Chains, Soundgarden, and Rage Against the Machine (especially in terms of rap-oriented lyrics). With the preservation of certain consistency, the band named first three albums: Illusion (1993), Illusion II (1994), and Illusion III (1995). Illusion marks the band’s aggressive style and lyrics simplicity but the studio production flattens the whole and gives an impression of a post-punk DIY venture rather than a coherent composition. The second record, however, is entirely conceptualised and thought out in terms of music and lyrics. Sharp riffs, hard rock tuning of instruments and aggressive lyrics that were focused on Polish life gave the album a needed consistency. The band’s third record is the most varied stylistically and politically engaged in their history. The harder-edged tunes from previous releases are accompanied by more psychedelic compositions (Wrona) that recall Alice in Chains’ slow songs and Layne Staley’s voice.Houk’s music similarly to other Polish grunge bands was the amalgamation of various genres and their style evolved in time. Initially, the band was regarded as an example of alternative rock music. The first album Soul Ammunition (1992) was named by music monthly Tylko Rock as a debut of the year (polskirock.art.pl). The combination of grunge, hardcore, hard rock, reggae and socio-politically engaged lyrics helped the group to establish a strong fan base. The band’s unique style was recognised internationally and Houk supported New Model Army and Bad Brains during the performances in the mid-1990’s (polskirock.art.pl). The band’s second studio release Generation X (1995) was recorded prior the multiple membership reorganizations that finally ended the grunge-orientation period of Houk’s history. One of the songs, Sleep, was dedicated to Kurt Cobain and reflected Nirvana’s approach to songwriting, which can be heard in songs such as “Lithium” (1991). Such a commemoration of Cobain’s figure is characteristic of Polish grunge culture’s establishment of strong ties with the American equivalent. Here and in many similar cases, Cobain serves not only as a grunge hero (or even a martyr) but also as a commodified pop culture figure (cf. Strong). Concerning both spheres - that is, the adaptation of grunge subculture and a development of the music scene -Polish grunge follows a different pattern to the US genre. Grunge was introduced to Poland after it was popularised and commodified by the major labels and media industry in the USA, so the adopted version was the mainstream one rather than the underground movement. Hence, the simplistic dichotomy between “underground” and “mainstream” culture does not function in terms of the Polish grunge culture, and probably is misstated even when it comes to the American phenomenon. Grunge could be perceived in Poland as both the first and the last “true” subcultural trend. At the same time, though, it was an affirmation not of ‘the rebel’ and ‘the underground’ but of capitalism and the cultural values of the West. Indeed, the Polish grunge culture couldn’t be fully aware of what grunge was warning us against while Polish society faced the rapid market and cultural transformation that allowed for its opening to Western trends.Conclusion – Is Grunge Really Dead?Although the popularity of grunge phenomenon in Poland was relatively short, the most important groups of this sub-genre - Illusion, Hey, Ahimsa, Houk, and Kr’shna Brothers - widely contributed to the emergence of the new wave of fashion for rock and hard-rock music in Poland in the mid-1990s. The most successful group of the era, Hey epitomises the transformation of grunge in Poland. Starting as a typical grunge band (modelled heavily on the US groups), they underwent a serious transition, substantially changing their music into more mainstream-oriented rock (that is, as music that was considered acceptable by rock music and AOR-focused radio stations). At the same time, grunge as a rock sub-genre underwent the contrary changes: it broke into the mainstream relatively quickly in the first half of the 1990s, establishing new rock stars of the scene (Illusion, Houk, Ahimsa, Hey), but in the late 1990s it went back to being a rock niche again. It seems that today grunge serves as a point of reference (in fact, it was an important period of rock history) for the new bands that intentionally use this sub-genre as a form of commodified, media-friendly nostalgia.ReferencesBałtowski, Maciej, Miszewski, Maciej. Transformacja gospodarcza w Polsce. Warszawa: PWN, 2006.Biografia Houk. 25 Nov. 2018 <https://www.polskirock.art.pl/houk,z346,biografia.html>.Brzozowicz, Grzegorz, and Filip Łobodziński. Sto płyt, które wstrząsnęły światem: Kronika czasów popkultury. Warszawa: Iskry, 2000.Domański, Henryk. Polska klasa średnia. Wrocław: FNP i W. Wrocławskie, 2002.Domański, Henryk. O ruchliwości społecznej w Polsce. Warszawa: IFiS PAN, 2004.Garlicki, Jan. “Tradycje i dynamika kultury politycznej społeczeństwa polskiego.” Dylematy polskiej transformacji. Ed. Jan Błuszkowski. Warszawa: DW Elipsa, 2007. 155-174.Gopinathan, Saravanan, and Philip G. Altbach. “Rethinking Centre–Periphery.” Asia Pacific Journal of Education 25.2 (2005): 117-123.Hannerz, Ulf. “Culture between Center and Periphery: Toward a Macroanthropology.” Ethnos: Journal of Anthropology 54.3-4 (1989): 200-216.Houk. Soul Ammunition. 23 Nov. 2018 <https://www.polskirock.art.pl/soul-ammunition,houk,3051,plyta.html>.Jasińska-Kania, Aleksandra. “Dynamika zmian wartości Polaków na tle europejskim: EVS 1990-1999-2008.” Polska po 20 latach wolności. Eds. Marta Bucholc, Sławomir Mandes, Tadeusz Szawiel and Joanna Wawrzyniak. Warszawa: Wydawnictwo Uniwersytetu Warszawskiego, 2011. 225-239.Jeziński, Marek. Mitologie muzyki popularnej. Toruń: WN Uniwersytetu Mikołaja Kopernika, 2014.Jeziński, Marek, and Łukasz Wojtkowski. “Nostalgia Commodified: Towards the Marketization of the Post-Communist Past through the New Media.” Medien und Zeit 4 (2016): 96–104.Langholm, Sivert. “On the Concepts of Center and Periphery.” Journal of Peace Research 8.3-4 (1971): 273-278.Muggleton, David. Inside Subculture. The Postmodern Meaning of Style. Oxford: Oxford UP, 2000.Pisciotta, Barbara. “The Center-Periphery Cleavage Revisited: East and Central Europe from Postcommunism to Euroscepticism.” Nationalism and Ethnic Politics 22.2 (2016): 193-219.Sankowski, Robert. “Hey, czyli któtka historia polskiego popu.” Wyborcza.pl, 3 Nov. 2012. 1 Aug. 2018 <http://wyborcza.pl/1,75410,12788097,Hey__czyli_krotka_historia_polskiego_popu.html>. Sarnecki, Paweł. “Od kumulacji do podziału władzy.” Transformacja ustrojowa w Polsce 1989-2009. Eds. Maria Kruk and Jan Wawrzyniak. Warszawa: Wydawnictwo Naukowe Scholar, 2011. 37-58.Strong, Catherine. Grunge and the Memory. London: Routledge, 2016.

The beginnings of Weill’s career coincided with the early days of the Weimar Republic, a period in which Germany experienced remarkable political and cultural changes. Jazz, or at least the idea of jazz, came to symbolize both the good and the bad aspects of America and, more importantly, the “Americanization” of German culture. Weill was ambivalent about jazz. He spoke of it as a source of renewal for German culture, yet the idea of America and the urban alienation it could represent also allowed him critique to that culture. Weill also saw in the United States a potential market, particularly beginning in 1933. However, several factors made it difficult for him to gain a foothold in the United States, including trends in contemporary U.S. modern music circles and the increasing political tension with Germany.