Petr Novák

"We were given a list of the Jazz Section members and they printed it at our work. On this crazy printer that was about 130 dB. The whole list of members with addresses was printed out and it went out to the regions. We used to go around with the list. We rang the bells at the addresses and asked people if they would be willing to sign a petition for the release of the detained Jazz Section members." - "Which had a great response?" - "I guess so. We had it split so that I had Ústí and Děčín. You can get around here after Ústí by bus or trolley, right. In Děčín I had two friends help me. One of them had a car and a license, the other one was looking for addresses on the map, so we found it together. I went in the back, got a signature card, rang the doorbell at six o'clock in the evening, when it was assumed that someone would be home, and presented them with the request. Some people sort of avoided it, a number of people signed it. In Děčín I happened to be, unfortunately I don't remember the name of the gentleman who asked for my ID - he was the only one. Nobody else asked for it. I came in, said I was Petr Novák. The gentleman asked for an ID card, so I gave it to him. He told me, okay. That I should come back in a week, that he would get more signatures. And he did."

"It meant having something, either an article that you got somewhere, which thanks to Borek Holeček was successful, bringing something from Prague, or we wrote it ourselves. We went to a concert, so we described the concert. Or a review of a band, we wrote that down. Basically a review or a feature, you could say. I don't know, I had no idea about the division of ways of writing. I wrote something, so I put it in. You wrote it like that, it was uncensored, nobody interfered. Of course you had some censorship in the sense that you weren't vulgar. But there was no censorship in the sense that we said, we're not going to put this in because it's going to be trouble, that didn't exist. It was just that you either got some pictures, it was copied somewhere, at my work, mostly. So either we had a part of it where they took photographs on a document, which was plain paper, and then we had part of the magazine copied at my work. We'd make some kind of cover, staple it together, give it to our mates, and take the rest of it to the Jazz Section."