Rudolf Kulka

* 1944

  • "Mirek Jirounek worked with Michal Kocáb, they knew each other from school in Mladá Boleslav, and once he brought his sheet music there because he was also a composer, he composed, rehearsed, played in the band, on the violin. And if I could take a picture of his sheet music. I said it was no problem. So I put it on the camera that I was working on and I took a picture of the notes and had it developed. He made copies of the negative. Or if I did, I don't know. And then a few days later, I'm supposed to go up to the director. So I go up there and I go to his office, and there's a lot of people. Well, they got into me. The worst was a certain engineer called Sejk. He was the head of first floor documentation. But he was a jazz fan. When I showed up there in 1974, he cheered that he had another jazz connoisseur. But then he found out that I knew more about jazz than he did, so he disliked me. And he started spouting off this bullshit about how the sheet music might contain encrypted anti-state information. Some kind of anti-state spy information. And I agreed to make this. I looked at him like a yo-yo. He totally grounded me. And there was the chairman of the Communist Party and the other heads of the surveying departments. And so they served me up there, saying it mustn't happen again. Otherwise I'd end up with them and so on."

  • "And there we arrived with another friend. At Špejčar we had some more sausages to keep us warm. And then we went to stand in line. We were the first ones there, already before one o'clock at night. We were the first ones there, and as time went on, more people came. It opened at eight o'clock and by then there were about thirty of us. So at that time, the price was about 450 crowns. Which [wasn't] a bargain then, because normal half-shoes were like 90, 120 crowns. Over four hundred shoes. But we had the coveted shoes like the Beatles had." - "That's roughly 4,000 crowns on today's conversion." - "Yes. They lasted me for years. I've still had them stitched up a few times and put new heels on and they've lasted an awful long time."

  • "But we were so sly that we always wrote off their hour-long connection tests as having passed and switched to Free Europe. It was lovely to hear Free Europe, especially the afternoon shift. We'd go in shifts, three shifts of eight hours. 6 to 14, 14 to 10, whatever it was, and then 22 to 6. It was like a work shift in the factories - we'd rotate after eight hours. And I liked the afternoon shift the best, because Free Europe was broadcasting three hours of music from the United States and Great Britain. Rozina Jadrná-Pokorná was the host. She was very nice. And she even played on request. I couldn't make a wish from the barracks, I couldn't, but apparently she had contacts all over Czechoslovakia, because she played on request. She had wonderful hits from the 50s to the 60s, for 3 hours, from 3 to 6 pm." - "What were the hits?" - "It was Western music, not our music, Western music. If Olympic started recording in 1965, the big beat didn't start here until later."

  • Full recordings
  • 1

    Praha, 26.01.1023

    (audio)
    duration: 02:31:03
    media recorded in project Stories of the 20th Century TV
  • 2

    Praha, 05.01.2023

    (audio)
    duration: 01:53:56
    media recorded in project Stories of the 20th Century TV
Full recordings are available only for logged users.

The Russians considered us ragtag. Human life had no value to them.

Rudolf Kulka in music club clothes, 1970
Rudolf Kulka in music club clothes, 1970
photo: Archive of the witness

Rudolf Kulka was born on 26 June 1944 in Prague into the family of photographer Rudolf Kulka and his wife Markéta, née Jarošová. He came from a mixed marriage, which helped the family survive the Holocaust, even though most of his relatives on his father’s side perished in the concentration camps. Rudolf Kulka grew up in Prague’s Smíchov district, where his father ran a successful photography studio, which he lost as a result of nationalisation and had to move to the Fotografia cooperative, where he worked as a supply clerk. In 1958, Rudolf Kulka enrolled at the Secondary General Education School and after graduation he applied to FAMU, where he was not accepted. He joined Jan Šverma’s factory in Jinonice, where he trained as a locksmith, and after the war he trained as a photographer with the radio workers. In 1967-1973 he worked with his father in the studio of the Central Union of Production Cooperatives, which was located in the Lucerna arcade. He witnessed important events of the Prague Spring and the August 1968 occupation. He and his wife Eva moved to Mladá Boleslav in 1974, where he worked as a photographer in the Geodesy Centre. They raised a son and a daughter. Rudolf Kulka was active not only as a photographer but also as a music enthusiast. He was a member of the HiFi Club, the Jazz Section and in 1984 he co-founded a film club in Mladá Boleslav. After November 1989, he participated in the start-up of Radio Jizera, where he worked for many years as a dramaturge and presenter. Later he worked as an editor at the Mladá Boleslav weekly and cooperated externally with Czech Radio. In 2024 he lived in Mladá Boleslav.