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Popular Music in Communist and Post-Communist Europe

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Edited By Jan Blüml, Yvetta Kajanová and Rüdiger Ritter

Through selected topics, the book presents an up-to-date and comprehensive view of the popular music of communist and post-communist Europe. The studies introduce new sources, discuss transformations of the institutional background of popular music of the given geopolitical sphere, its social, cultural-political, or artistic conditions. Thanks to the time span of nearly thirty years since the fall of the Iron Curtain, the authors have in many ways revised or supplemented traditional post-communist perceptions of the issues in question. This is being done with respect to the genres such as jazz, rock, pop, singer-songwriters, hip-hop, or White Power Music, as well as across the whole region from the former Yugoslavia through Central European states to the countries of the former Soviet Union.

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Music Magazines in Poland after 1989

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Abstract: More than 10 music magazines are published regularly in Poland at present. When one compares, however, the previous period, both before and after the collapse of communism in Poland in 1989, a much greater potential for this part of the press market is apparent. With a solid foundation in journalism, and great publishing enthusiasm, music magazines evolved on several fields. The main goal of this chapter is to show in what direction, both the music press and journalism, was developing and which elements were the most influential on these fields of the Polish music market.

Keywords: music magazines; press in Poland; music journalism; Polish magazines; music media

Introduction. Immediately after the social and political changes of 1989, the press in Poland began to operate on market terms, although its development still provides media researchers with examples of the wrong direction of changes, based on a specific market ‘colonization’ model rather than its evolutionary changes. The reasons for such developments were, first and foremost, the open, excessive expansion, even ‘invasion’ of foreign capital,1 setting the tone for ownership transformations of old titles or the creation of new publications—from dailies to exclusive magazines. The music press, however, was one of the segments that the Western capital was not interested in. This could have been due to several reasons.

Firstly, despite their high circulation and respect among readers, they never seemed to be a commercially attractive product. Secondly, the group targeted by...

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