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Preface

Published online by Cambridge University Press:  20 February 2024

Rafal Zaborowski
Affiliation:
King's College London
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Summary

‘Mum, what’s that song that goes “Am-beh, am-beh?”’

It was Poland in the mid-1980s and I was three, maybe four. My mother didn’t know. It took, probably, a few weeks before the song was on one of the two television channels again (or was it on the radio?), and my father and I happened to listen to it together.

This is my first music-related memory. The second must have happened not long after that. I was in a music store, in a long queue, lifted up by my mother to a tall man behind the register, so I could proudly ask: ‘Can I have Michael Jackson’s album, please?’

‘Am-beh, am-beh’, as readers might have guessed by now, had been, of course, ‘I’m bad, I’m bad’, the chorus line from Jackson’s bestseller hit song ‘Bad’. It was the title song of his 1987 legendary album, and apart from the US, it charted in Canada, UK, New Zealand, and several European countries. I didn’t know anything about that at the time, naturally. I was just happy we were able to get the album (a vinyl record) and I could sing along to the tune at home. This was the first meaning-making through music that I can recall. Whereas the line ‘I’m bad’ has been interpreted by music experts as Jackson’s attempt at ‘roughing up’ his image and departing from his gentler pop style, for me, ‘am-beh, am-beh’ meant something cool, flashy and exotic. It also marked the beginning of my burgeoning music collection.

By the time I was ten, indulged by my parents I had amassed a collection of albums (now on cassette tapes). At the time, popular music (largely from the US, UK and Western Europe) was starting to become widely available in Poland, and it was cheap too, as in the absence of copyright law, the cassette tapes were usually pirated and sold unofficially at markets and fairs. There was rarely a period of silence; when a cassette ended, I would just flip it to the other side and push ‘play’ again. Unsurprisingly, the songs stuck in my head and, since I could not understand English, the foreign songs spurred a myriad of original interpretations of what I thought they meant.

As the music accompanied my everyday activities, I sang and I listened, recorded and dubbed.

Type
Chapter
Information
Music Generations in the Digital Age
Social Practices of Listening and Idols in Japan
, pp. 9 - 12
Publisher: Amsterdam University Press
Print publication year: 2023

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  • Preface
  • Rafal Zaborowski, King's College London
  • Book: Music Generations in the Digital Age
  • Online publication: 20 February 2024
  • Chapter DOI: https://doi.org/10.1017/9789048536740.001
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  • Preface
  • Rafal Zaborowski, King's College London
  • Book: Music Generations in the Digital Age
  • Online publication: 20 February 2024
  • Chapter DOI: https://doi.org/10.1017/9789048536740.001
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Preface
  • Rafal Zaborowski, King's College London
  • Book: Music Generations in the Digital Age
  • Online publication: 20 February 2024
  • Chapter DOI: https://doi.org/10.1017/9789048536740.001
Available formats
×