Petr Choura

* 1967

  • "The early 1990s were open, people were hungry for anything. You'd bring in an unknown artist and people would go see them just because that wasn't possible before. Around the mid-1990s, people started to pick and choose, it stopped being so easy. There were more pubs and people started to realise they didn't need music so much - guys needed girls and girls needed guys. Pubs and clubs came up, and some of the audience went to those places. The situation was no longer as simple for a music producer as it was in the early 1990s."

  • "In 1987, a concert was held in Lochotín as part of the European Peace March to commemorate the murder of Swedish Prime Minister Olof Palme. It marched via several countries; I don't know which ones because we were interested in the concert. There were to be three East German bands, three West German bands and some Czech bands. The German ones were Einstürzende Neubauten, Die Toten Hosen and NO 55. Of the Czech ones, Cop was there, Žbirka was supposed to be there, Michal David was there instead, and then Stromboli were there. The commies had no idea what was coming. The Einstürzende Neubauten were at the absolute peak of their creativity and world-class representatives of the industrial genre that was hard to get in Eastern Europe. Toten Hosen was one of the leading punk bands on the German scene. It ended up with the Einstürzende Neubauten never performing because they were put on a bus together with the Toten Hosen and expelled. Cop played first, then Toten Hosen, and a lot of people from Poland, East Germany and the whole Bohemia came to see them. I experienced the Toten Hosen in great euphoria, it was a huge gig. Lochotín stood up, the band radiated such energy that even people who didn't know it suddenly felt it. Then some East German band played, people calmed down, nobody cared. Then Michal David came and started his 'disco story'. Lochotín stood up again and Michal David was run off the stage, stoned, booed off. He walked backstage, the cops came in with dogs and surrounded the stage. Michal David returned after some time and finished the concert under police protection. It was absurd."

  • "I used to go to Prague to record swap meets and cops would scatter us into the woods. You got on the train at four in the morning to arrive in Prague at seven. The way it usually worked was that you went to the subway and observed people. Records have a typical shape, so you could tell who was carrying them. Also, we knew each other already. You didn't know where the swap was going to be. It was fun. People started chatting, then somebody came and said, 'We're going to such and such today.' We rode to the outskirts of Prague, walked to a forest, and put the records on the ground. It was in one location two or three times. Then word spread, the cops came, people dispersed, cops picked up somebody, and then we did it again the next week, only we went somewhere else. It wasn't until the late 1980s that exchanges became more official, under the SSM, and there were a couple of swaps here in Pilsen too. You talked to people at the swap and learned about concerts. We used to go to illegal concerts. It was commonplace if they didn't take place, or they started but ended with the arrival of the police who put an end to it, more or less dramatically."

  • Full recordings
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    Plzeň, 25.06.2024

    (audio)
    duration: 02:10:03
    media recorded in project Příběhy regionu - PLZ REG ED
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I’m glad I experienced the 90s, the freedom and responsibility

Petr Choura in 2024
Petr Choura in 2024
photo: Pilsen studio

Petr Choura was born in Plzeň on 13 April 1967. His parents met while studying at the Leningrad Institute of Technology; they both worked at Škoda. Father Josef was a turbine designer and mother Tatiana designed nuclear power plants. The mother (née Gondji) was from Russia; her mother was an opera singer and her father had witnessed the siege of Leningrad. Both parents condemned the Warsaw Pact troops invasion in August 1968. The father was expelled from the Communist Party and, unlike his colleagues, was not allowed to travel abroad on business. Petr Choura graduated from a mechanical high school, then from a tech college in the field of forming machines and machining. He wanted to explore material properties, was supposed to join a research institute, but there were no vacancies after the Velvet Revolution. He started working at the Divadlo pod lampou music club right after it was founded in the autumn of 1990, first as a part-time bartender while still in college, then the bar manager, and finally as the director and music dramaturge from 1995 on. Ever since his youth he was interested in alternative music, went to Prague to illegal record swaps and concerts of punk, electronic and industrial music bands.