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--- stories:pfsl:andrzej-swidzinski [2025/02/25 21:06] – AI people Wojtek
+++ stories:pfsl:andrzej-swidzinski [2025/02/25 21:41] (current) – Insights - dodane dwa spostrzeżenia Wojtek
@@ Line 387: / Line 387: @@
 | [[:start?do=search&q=Holland|Holland]] | Kraj (obecnie oficjalnie Niderlandy), gdzie rozmówca i znajomi jeździli na turnieje siatkarskie. Orientacyjne współrzędne: 52.1326°N, 5.2913°E | The land of windmills, bicycles, and six-foot-tall volleyball players. Add cheese to the equation and you’ve basically found paradise. |
 | [[:start?do=search&q=Belgium|Belgium]] | Kraj w Europie Zachodniej, także cel wyjazdów siatkarskich i towarzyskich. Orientacyjne współrzędne: 50.5039°N, 4.4699°E | Where beer is strong, waffles are delicious, and volleyball tournaments conveniently morph into weekend-long parties. Strictly cultural, of course. |
-<WRAP lo>
-++ LLM processing log | \\
-Taking a closer look at the text, I locate references to “Balham” and “Clapham,” along with the formation of the Polish White Eagle Club and the characters’ marriage and house purchase in Balham. \\
-Hmm, I’m noting the old people’s home behind the Polish White Eagle Club and the Polish parish in Balham, possibly the Church of Christ the King or Balham Polish Church, though no specific name is mentioned. \\
-Tracing Polish community origins in South West London, I identify locations like Nightingale Lane, Bursa, and the Polish White Eagle Club, which fostered social and cultural gatherings. \\
-I’m mapping out the venue’s history, focusing on the basement of the Polish White Eagle Club. No new addresses or locations have emerged; it’s all within this single building. \\
-I’m identifying significant music venues like the Polish Club, Clapham Junction, Two Brewers, Latchmere, and Dublin Castle. Additionally, I’m mapping out notable places such as Toruń, Tobruk, Jantar, and Hel. \\
-I’m piecing together places like Elmfield Road, Tunley Road, and international spots like Holland and Belgium, considering their potential inclusion in the list of locations. \\
-I’m identifying key gathering places like the parent’s meeting point, Balham pub, the Polish volleyball club, and the dance group “Orlęta,” as well as an estate in Poland’s Tatry mountains. \\
-I’m clarifying the focus on specific places like Christ the King church, Nightingale Lane preschool, and the White Eagle Club, ensuring they align with the established context. \\
-I’m gathering info about the Polish Church in Balham, possibly at 2 Harry Day Mews or 232 Balham High Rd, behind the White Eagle Club, to pinpoint its exact location. \\
-I’m noting South West London College, where the speaker studied, as a key location, along with Battersea Park Road for The Latchmere and Camden Town for The Dublin Castle. \\
-I’m verifying locations like Nightingale Lane, Balham High Road, and Elmfield Road against the text, while ensuring no confusion with unrelated references from different samples. \\
-I’m confirming that locations like “Christ the King Church, Tooting” are only included if they are explicitly mentioned in the actual text provided. \\
-I’m noting references to Holland, Belgium, Bursa, and the Tatra Mountains, ensuring they are included if they align with the geographical context desired. \\
-I’m ensuring geographical references like Holland, Belgium, Bursa, and the Tatra Mountains are included if they match the desired context, verifying they are mentioned in the actual text provided. \\
-I’m noting Lech’s love for the Tatra Mountains and references to Birmingham and Scotland, which are relevant geographical locations to include. \\
-I’m focusing on including references to Tobruk and Monte Cassino, while ensuring no extraneous details from sample texts are added, maintaining accuracy with the actual text’s content. \\
-I’m honing in on Andrzej S’s oral history recording, specifically noting mentions of Balham, Clapham, and the Polish White Eagle Club, while rejecting extraneous text. \\
-I’m identifying geographical names like Nightingale Lane and considering the Polish Church in Balham, while being mindful that some details may be too vague or obscure. \\
-I’m mapping out the “Church of Christ the King” at 232 Balham High Road, closely located across the street from the Polish Club, which is adjacent at 211 Balham High Road. \\
-I’m tracing the evolution of the Polish White Eagle Club, emphasizing its basement, dubbed “sala młodzieżowa,” and detailing how it fostered a rich community for Polish immigrants, including music practice space. \\
-I’m thinking about The Umbrellas of Cherbourg, gigs at various pubs, and composing ‘Headbanger’ to gauge the progress and places of interest in their musical development. \\
-Pinpointing notable locations such as volleyball tournaments in Holland and Belgium, Orlęta dance group performances in Poland, and property outside Balham for the Bogdanowicz family. \\
-I’m piecing together the story of a father who served in the desert campaign and later worked as a structural engineer at Waterlow and Sons, noting significant contributions to printing. \\
-Piecing together fragmented details reveals my father, a structural engineer associated with the Polish White Eagle Club, involved my family in Polish heritage activities, yet conflicting accounts of his death persist. \\
-Adding Tobruk and Highgate Cemetery to key locations, including my grandfather’s death in Tobruk, my father’s engineering work behind an elderly home, and the moving cemetery scene in Hampstead. \\
-Including South West London College, Bursa, and Harcerstwo in key locations. Considering adding Ascension Church or Christ the King Church to the list for comprehensive context. \\
-Tracing notable mentions like Jantor, Stan Wojenny, and Birmingham, while addressing ambiguity about Ascension Church and its link to the Polish Parish Church in Balham. \\
-I’m following the family journey from the Polish Club to universities in Birmingham and Scotland, and noting Lech’s passion for mountaineering in the Tatra mountains and England. \\
-Including Tunley Road and South West London College to locations, emphasizing their relevance to the narrative and pinpointing approximate coordinates for context. \\
-I’m combining info from South West London College, Belgium, and Holland, aiming to identify locations like universities and addresses, and resolve ambiguities for a thorough analysis. \\
-Taking a closer look at Tunley Road addresses and locations like Birmingham and Scotland, while considering Belgium and Holland for a comprehensive list of pertinent places. \\
-Synthesizing insights on the Polish diaspora, the White Eagle Club’s survival, pandemic restrictions, and migration patterns to form a coherent understanding of these complex dynamics. \\
-Mapping my progress through music bands and early education, integrating Tunley Road, South West London College, and pivotal locations like Birmingham, Scotland, Holland, and Belgium. \\
-I’m noting the layout for capturing addresses using the DokuWiki format, considering Tunley Road, White Eagle Club, and the unidentified church in Balham. \\
-I’m working through the Polish Catholic Church in Balham, pinpointing South West London College’s campus near Wandsworth High Street, and identifying coordinates for Tunley Road near Tooting. \\
-Piecing together Tatra Mountains, Birmingham, Scotland, Netherlands, Belgium, South West London College, and the unidentified old people’s home behind the Polish Club, using approximate coordinates. \\
-Balham, Clapham, Polish White Eagle Club, Nightingale Lane, Bursa, Elmfield Road, The Two Brewers, The 101 Club, The Latchmere, The Dublin Castle, Brixton, Hampstead, Highgate Cemetery, Toruń, Jantar, Hel, Tobruk, Tunley Road, and the unidentified old people’s home behind the Polish Club are pinpointed. \\
-Ensuring Balham, Clapham, Polish White Eagle Club, Nightingale Lane, Bursa, Elmfield Road, The Two Brewers, The 101 Club, The Latchmere, The Dublin Castle, Brixton, Hampstead, Highgate Cemetery, Toruń, Jantar, Hel, Tobruk, Tunley Road, South West London College, the Tatra mountains, Birmingham, Scotland, Holland, and Belgium are accurately included and formatted. Double-checking for duplications. \\
-I’m adding Balham Polish Church, South West London College, Tunley Road, the Tatra Mountains, Birmingham, Scotland, Holland, and Belgium to the list, ensuring all significant places are included. \\
-Thinking through the user’s preference for thoroughness, I’m adding Birmingham, Scotland, Holland, and Belgium to the list, ensuring no duplicates. The final table will maintain the same stylistic approach. \\
-I’m adding Birmingham, Scotland, Holland, Belgium, and a Polish retirement home to the final table, ensuring clarity and consistency across all listings. No duplicates are included. \\
-Taking a closer look, I’m refining addresses, ensuring clarity like “211B Balham High Rd” and “Balham Polish Church at 232 Balham High Rd.” Also, I’m integrating Birmingham, Scotland, Holland, and Belgium without duplicates. \\
-I’m compiling all locations into a single table, ensuring each entry aligns with the established template, and sorting them alphabetically for consistency. \\
-I’m piecing together the locations in their conversation order and ensuring “Tobruk” is added, making sure all entries are included without repetition. \\
-I’m adding the new locations like the Polish retirement home, Tunley Road, South West London College, and the Tatra Mountains, without removing any existing entries, to the table. \\
-I’m finalizing the integration of new locations, including guess addresses and coordinates for clarity, while maintaining the original formatting and addressing the need for a sarcastic English translation for each.
-++
-</WRAP>
@@ Line 542: / Line 443: @@
 |Żona rozmówcy (Agnieszka)|Małżonka Andrzeja, Polka z Polski, dzięki której Andrzej poprawił swój język ojczysty.|Andrzej’s wife from the old country—her demand for Polish conversation presumably whipped his grammar into shape.|
 |[[:start?do=search&q=Zawisza%20Czarna|Zawisza Czarna]]|Nazwa gazety harcerskiej i jednocześnie grupa, w której działał Andrzej, powiązana z lokalnym harcerstwem.|A scout newsletter and crew named for a medieval Polish hero—journalistic pursuits meet teenage zeal. Because why not?|
-<WRAP lo>
-++ LLM processing log | \\
-I’m tasked with sourcing names and contextual summaries from an interview, focusing on relationships and social connections, and presenting them in a table format. \\
-I’m organizing entries alphabetically, ensuring each is unique, and excluding national references or large groups. The name “Piotr” will not be included due to an apparent mismatch in the instructions. \\
-I’m adapting the instructions to replace “Piotr” with “Andrzej,” ensuring accurate family relationships are described in plain text without brackets, like “Tata rozmówcy” for father and “Mama rozmówcy” for mother. \\
-I’m excluding “Andrzej Świdziński” from the list since he’s the speaker. The focus is on other persons or groups mentioned by the speaker, excluding the speaker himself. \\
-I’m compiling a list of various individuals and groups mentioned, such as siblings, parents, friends, and colleagues, ensuring clarity and completeness by excluding any duplicate or irrelevant entries. \\
-I’m finalizing a clear, tabled list of notable relationships, carefully refining entries to exclude duplicates, irrelevant groups, and any placeholder like “Piotr,” ensuring a focused and concise presentation. \\
-I’m arranging named individuals, small groups, and specific bands alphabetically, while carefully omitting large groups and countries to maintain a concise and focused list. \\
-I’m refining the list by categorizing roles, such as specifying “Żona rozmówcy” for the wife and “Szwagierka rozmówcy” for Michael’s fiancée, ensuring clarity without bracket formatting. \\
-I’m clarifying Basia Świdzińska as the mother and Basia Klimas as a dance group leader, ensuring careful distinction without using brackets. \\
-I’m distinguishing between various entries: Basia Szkutnicka as a former girlfriend, Bajm as a large band, and Bogdan as a friend, ensuring each is categorized correctly without using brackets. \\
-I’m figuring out how to represent the Bławat family and considering whether to list the Bogdanowicz family as individuals or collectively. This approach helps clarify familial relationships. \\
-I’m thinking through how to list the Bogdanowicz family members alphabetically by last name in the left column. This ensures each name is distinct and well-organized. \\
-Thinking through how to alphabetically sort names by last name or group, ensuring clarity and distinction for a well-structured list. This approach keeps the document organized and professional. \\
-I’m pulling together names, noting non-relatives like “Michael Smith” and preferred uses like “Michael Smith,” and sidelining prominent bands and large groups. \\
-I’m thinking through listing key family members separately on individual lines for clarity, using descriptors like “Brat rozmówcy” for brothers and “Siostra rozmówcy” for sisters. \\
-Listing family members by title and name, in alphabetical order, helps maintain clarity. Essential details like “Siostra rozmówcy” for the sister are included. \\
-I’m gathering details on listing family members under specific labels like “Mama rozmówcy,” “Tata rozmówcy,” and “Brat rozmówcy.” Alphabetizing these by label ensures clarity and consistency. \\
-I’m organizing relationships like “MAMA rozmówcy” and “TATA rozmówcy” in alphabetical order, ensuring clarity for both family and non-family members. \\
-I’m categorizing individuals and families alphabetically, like the Bławat and Bujwid groups, ensuring clarity and avoiding repetition. \\
-Listing various individuals and groups like Banasiaki, Basia Klimas, and Eddie Djya, keeping them organized alphabetically by name or affiliation, maintaining clarity and coherence. \\
-Considering the inclusion of small groups like Hysteria Ward and Koło Pań, noting their potential significance despite their ambiguous size. The instructions don’t specify excluding such groups. \\
-Considering small groups like Knops and Kondziela, as well as individuals with localized nicknames, to ensure a comprehensive and personalized list. \\
-I’m mapping out small dance groups like Orlęta and artists like Tom Bailey, ensuring a comprehensive and diverse array of local and personalized options. \\
-I’m working through listing individuals and groups alphabetically, ensuring clarity and cohesion. Family members like “Brat rozmówcy (Michael)” will be placed after related connections. \\
-I’m arranging family members alphabetically by their relationship to the speaker. For example, “Mama rozmówcy” is placed under M, “Brat rozmówcy (Richard)” under B, and so forth. \\
-OK, let me see. I’m organizing people and groups alphabetically, ensuring detailed and clear steps. For instance, listing “Tony” under T and “Basia Klimas” under B. \\
-I’m eliminating extensive lists like “lots and lots of Polish cousins” and “my father was the structural engineer.” Now, I’m focusing on smaller groups and personal connections. \\
-I’m arranging by last names and noting relationships like “Konrad Kądziela” and “Wiczling, pan.” This helps maintain a clear, structured list. \\
-I’m discerning direct family connections like “Bratowa rozmówcy” and “Basia Żarkow.” Using brackets for “Basia Żarkow” and skipping “Basia Klimas” as per guidelines. \\
-“Bratowa rozmówcy” defines “Basia Żarkow” succinctly. Since “Żarkow, Basia” doesn’t fit this label, we’ll exclude it. \\
-I’m listing family members alphabetically, like “Mama rozmówcy” and “Tata rozmówcy.” Then, I’ll format each row with the family name and related details. \\
-I’m aligning each family member’s summary in Polish and English, highlighting their links to Andrzej. These concise summaries will form a single fenced code block. \\
-I’m linking family members to Andrzej, like Ewa Błaszczak, who married Adam Kondziela, and Chris Bławat, Bogdan’s brother and a rock band drummer. \\
-My focus is Piotr Bławat, a versatile musician and founder of Helsinki That Way. His skill set spans keys, drums, and guitar, highlighting his broad musical expertise. \\
-Lech Bogdanowicz’s journey intrigued me. Tackling lead vocals with Andrzej, he carved out new wave anthems, simultaneously nurturing deep musical and life adventures from their suburban Polish clubhouse. \\
-Wojtek Bogdanowicz’s path as an amateur filmmaker unfolds through projects like ‘Backlash’. Working hard in London while nurturing his creative dreams adds intriguing layers to his narrative. \\
-I’m working through Mickey Dalton’s early band days, Eddie Djya’s pantomime scripts, and Krzyś Gepart’s newsletter editorship. familiar names pop up repeatedly in various community activities and projects. \\
-Tom Bailey’s pre-stardom interview with Staś Matelski hints at the raw edge of talent before fame, while Hania Walszowska’s contributions to pantomime scenes highlight the local theater’s vibrant community. \\
-Painting pantomime sets, Hania truly captured the essence of community theater with her dedication and imaginative spirit. \\
-Piecing together the enigmatic name and vibrant jams, it’s clear this 80s punk band left an indelible mark on London’s Polish community. \\
-I’m mapping the trajectory of three musical groups: Hysteria Ward’s periodic reappearances and fans, the local Polish family Knops, and the Orlęta dance troupe led by Basia Klimas. \\
-The Fingerprints include pan Wiczling’s son and delve into local musical realms. Zawisza Czarna merges medieval Polish heroism with teenage scout spirit, while Andrzej’s grandma opens her home to noisy band rehearsals. \\
-Michael, the oldest brother, shares vinyl and supports musically young Andrzej. Richard, the middle brother, plays volleyball and attends folk dance practices with Orlęta. Bania, Michael’s wife, helps navigate life in their Balham home. Andrzej’s mother, basia Świdzińska, remains actively connected to the Polish community, living in the family house in Balham. \\
-In Balham’s cozy haven, Andrzej’s mother masterfully blends perpetual tea with steadfast community spirit. His father’s architectural genius created both a club and a laborious hall. \\
-I’m figuring out how to set up the final code block, ensuring each table row is in alphabetical order, starting with bracketed names from A to Z, then integrating family labels. \\
-OK, let me see. I’m arranging family labels alphabetically, from “Babcia rozmówcy” to “Brat” and “Bratówa,” while maintaining the sequence of previous bracketed names. \\
-I’m meticulously organizing family labels alphabetically, starting with “Babcia rozmówcy” and progressing to “Pan Wiczling,” maintaining a clear and consistent sequence throughout. \\
-I’m piecing together the final order, taking care to keep “Wiczling, pan” near the end, and merging “Lou” to fit seamlessly into the alphabetical order. \\
-I’m integrating family labels, ensuring each is alphabetized by ignoring diacritics. Organizing Tony and John Piwowarski, Michael Smith, and others, while preserving previous sequences. \\
-I’m dividing family traits into two categories: individuals bringing happiness and those seeking meaningful experiences. This highlights each person’s unique contribution to the family dynamic. \\
-I’m organizing the family names alphabetically, ensuring a seamless flow. Fixing the order by alphabetizing inclusively, including Tony and John Piwowarski, Michael Smith, and Lou fronting Hysteria Ward. \\
-I’m adjusting the sequence by comparing ASCII values, ensuring “Kądziela” precedes “Klimas.” This careful arrangement maintains alphabetical consistency throughout the list. \\
-I’m verifying the alphabetical order, ensuring “Ge”, “He”, “Hy”, “Ka”, “Kl”, “Kn”, “Ko”, and “Kon” are arranged correctly, from “Gepart, Krzyś” to “Kondziela, Adam”.
-++
-</WRAP>
@@ Line 666: / Line 454: @@
 ^What?^🇵🇱 Opis^🇬🇧 Description^
+|[[:start?do=search&q=Backlash|Backlash]]|Tytuł amatorskiego filmu z lat 70., który Wojtek Bogdanowicz nakręcił z przyjaciółmi, przenosząc sceny westernowe na londyńskie ulice i cmentarze.|An amateur ‘70s flick by Wojtek Bogdanowicz and friends, complete with a coffin ride on the Tube—because filming a cowboy story in Hampstead is obviously the pinnacle of indie cinema.|
+|[[:start?do=search&q=Headbanger|Headbanger]]|Fanzine stworzony przez Stasia Matelskiego, skupiający się na muzyce rockowej/punkowej, w którym przeprowadzano wywiady i publikowano ciekawostki muzyczne.|A scrappy little zine born from Staś Matelski’s passion for punk and rock, featuring interviews and “did-you-know” gems—like the DIY Wikipedia of sweaty guitar riffs.|
+|[[:start?do=search&q=Helsinki%20That%20Way|Helsinki That Way]]|Nazwa jednego z zespołów muzycznych działających w polonijnym środowisku; założony m.in. przez Piotra Bławata, eksplorował brzmienia alternatywne.|A local Polish-Brit alt band formed by Piotr Bławat, presumably titled after someone pointed vaguely north and said, “Yeah, Helsinki’s that way.”|
+|[[:start?do=search&q=Hysteria%20Ward|Hysteria Ward]]|Zespół muzyczny, który Andrzej współtworzył w różnych okresach; łączył post-punkowe i gotyckie klimaty, reaktywując się co jakiś czas.|Andrzej’s on-and-off post-punk outfit, mixing gloomy basslines and gothic vibes. They broke up, reformed, broke up again—like a dramatic musical soap opera.|
+|[[:start?do=search&q=milk%20stout|milk stout]]|Słodkie piwo (zwane też “piwo mleczne”), którego Andrzej spróbował w młodości w Polsce — zaskakujące, lecz niezbyt pasujące do gustu nastolatków.|A sweet ‘milk beer’ that teenage Andrzej sampled in Poland. Because, obviously, nothing screams “cool teen rebel” like sipping sugary stout on the beach.|
-<WRAP lo>
+|[[:start?do=search&q=pota%C5%84c%C3%B3wka%20przy%20p%C5%82ytach|potańcówka przy płytach]]|Określenie polonijnych dyskotek w Klubie, w których nie można było oficjalnie używać słowa „disco”; stanowiły ważną okazję do prezentacji nowych zespołów.|A not-quite-“disco” dance party where you spin records and keep the bouncers happy by calling it something fancy in Polish. Genius loophole for weekend fun.|
-++ LLM processing log | \\
+|[[:start?do=search&q=%C5%9Bmigus%20dyngus|śmingus dyngus]]|Polska wielkanocna tradycja polegająca na oblewaniu się wodą, którą rozmówca i znajomi praktykowali w Anglii, ku przerażeniu babci.|That joyous Polish Easter Monday ritual of soaking everyone in sight. Perfect for terrorizing grannies and turning staircases into waterfalls.|
-[log content]
+|[[:start?do=search&q=Snow%20White%20and%20the%20Seven%20Dwarves|Snow White and the Seven Dwarves]]|Tytuł pantomimy (panto) wystawianej przez młodzież parafialną, w której Andrzej grał smoka, a całość reżyserowano i finansowano oddolnie.|A parish panto classic, featuring Andrzej as the “dragon.” Because when you can’t afford Disney, you paint your own backdrops and hope no one notices the improvised costumes.|
-++
+|[[:start?do=search&q=Stan%20wojenny|Stan wojenny]]|Okres stanu wojennego w Polsce (1981–1983), wspomniany przez Andrzeja w kontekście punkowych singli i muzyki przywożonej z kraju.|Martial law in Poland, or as teenage punks saw it: a backdrop for smuggling edgy 7-inch records back to London. Rock ‘n’ roll triumphs over tanks, apparently.|
-</WRAP>
+|[[:start?do=search&q=The%20Fingerprints|The Fingerprints]]|Zespół, w którym grał syn pana Wiczlinga, jeden z managerów Polish Club; przykład młodzieżowych kapel pojawiających się na scenie klubu.|A local band helmed by the club manager’s son—because nepotism isn’t so bad if it means free rehearsal space and the occasional round of applause.|
+|[[:start?do=search&q=The%20Umbrellas%20of%20Cherbourg|The Umbrellas of Cherbourg]]|Nowofalowy zespół założony przez Andrzeja i przyjaciół w latach 70., inspirowany brzmieniami Joy Division czy The Cure.|Andrzej’s short-lived new wave ensemble, because referencing a French musical film for your band name clearly spells “artistic integrity.”|
+|[[:start?do=search&q=Uber%20Alles|Uber Alles]]|Kolejny fanzine, który pojawił się w środowisku polonijnych fanów punka, obok „Headbanger”.|Another homemade punk zine, stepping in alongside Headbanger to declare, “DIY or die!”—or at least scribble about it in black marker.|
+|[[:start?do=search&q=Zawisza|Zawisza]]|Nazwa harcerskiej gazetki, do której Andrzej tworzył ilustracje; inicjatywa mająca zachęcić młodzież do pisania i dzielenia się pomysłami.|A scout newsletter with hand-drawn cartoons by Andrzej, hoping to lure the local youth into reading something besides comic books and album sleeves.|
+|[[:start?do=search&q=Zawisza%20Czarna|Zawisza Czarna]]|Nazwa polonijnej gromady harcerskiej (wspomniana też jako „Czarna Zawisza”), stanowiąca nawiązanie do legendarnej postaci polskiego rycerza.|The local scout troop name (a nod to a medieval Polish knight), proof that even suburban London teenagers can channel 15th-century chivalry—on weekends, at least.|
@@ Line 687: / Line 479: @@
 ^When?^🇵🇱 Opis^🇬🇧 Description^
+|approx. early 1940s|**Zgon**: Mój dziadek zginął w Tobruku podczas walk w Afryce Północnej.|**Death**: My grandfather died in Tobruk, caught up in that dusty desert campaign nobody asked for.|
+|approx. 1964|**Podróż**: Pierwsza wizyta w Polsce, miałem wtedy ok. 5 lat.|**Journey**: My first trip to Poland at about age five—where I discovered that bumpy roads and inquisitive relatives come as standard.|
+|approx. 1968|**Podróż**: Druga wyprawa do Polski w dzieciństwie, ponowne spotkanie z dalszą rodziną.|**Journey**: Another trek across to see the extended clan—couldn’t dodge the family gatherings even if I tried.|
+|[[:start?do=search&q=1974|1974]]|**Podróż**: Tym razem męska eskapada nad morze, w okolice Helu.|**Journey**: A boys-only seaside adventure near Hel—where questionable cigarettes and milk stout made for some “memorable” teenage moments.|
+|approx. 1976|**Film**: Tworzenie amatorskiego „Backlash”, w którym młodzież paradowała z trumną w metrze.|**Movie**: The DIY flick “Backlash,” complete with coffin-lugging through the Tube—because clearly, we had a flair for grand entrances.|
-<WRAP lo>
+|[[:start?do=search&q=1977|1977]]|**Ślub**: Mój brat Michael się ożenił, co spowodowało małą rewolucję w naszym domu.|**Wedding**: My brother Michael got hitched, triggering a chain reaction of moving boxes and “who’s sleeping where?”|
-++ LLM processing log | \\
+|[[:start?do=search&q=1977|1977]]|**Przeprowadzka**: Po ślubie brata przeprowadziłem się do domu babci na Elmfield Road.|**Move**: With my brother off to married life, I commandeered Granny’s place, setting the stage for boisterous band rehearsals.|
-[log content]
+|[[:start?do=search&q=late%201981|late 1981]]|**Opieka**: Babcia wyprowadziła się do rodziców, bo nie mogła już samodzielnie mieszkać na Elmfield Road.|**Care**: Grandma moved in with my folks—sharing a house with rowdy twenty-somethings wasn’t her cup of tea, apparently.|
-++
+|[[:start?do=search&q=1982|1982]]|**Decyzja**: Rodzice uznali, że babcia nie da rady już sama, co zakończyło nasz beztroski okres na Elmfield Road.|**Decision**: My parents decided Granny couldn’t cope alone anymore, ending our carefree stretch in that Balham madhouse.|
-</WRAP>
+|[[:start?do=search&q=1983-84|1983-84]]|**Powstanie**: Założyliśmy zespół Hysteria Ward, eksperymentując z gotycko-punkowymi brzmieniami.|**Formation**: We spawned Hysteria Ward, dabbling in goth-punk tunes that surely delighted the neighbors.|
+|[[:start?do=search&q=1990|1990]]|**Reaktywacja**: Pierwszy powrót Hysteria Ward na koncert charytatywny.|**Revival**: Our band’s first Lazarus moment—nothing like a good cause to justify dusting off the amps.|
+|approx. 1992-93|**Reaktywacja**: Kolejne wskrzeszenie zespołu z nowymi utworami i występami.|**Revival**: Another band reunion—apparently we loved splitting up just to feel triumphant about getting back together.|
+|[[:start?do=search&q=2014|2014]]|**Koncert**: Występ Hysteria Ward w Paryżu – międzynarodowe marzenie spełnione.|**Gig**: We finally performed in Paris and confirmed that gloomy tunes can sound quite fancy in French.|
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 ^ ^🇵🇱 Opis^🇬🇧 Description^
+|[00:06:33]|**Sprzeciw** W tym fragmencie Andrzej opisuje swoje odczucia wobec konserwatywnej starszyzny w polskiej społeczności. Mówi, że "//we didn't want to be involved with any of that//" i nazywa siebie i swoich rówieśników „nonconformist”. Zaznacza, że to starcie postaw i wartości spowodowało odsunięcie się części młodych od dotychczasowych wzorców.|**Resistance** Here, Andrzej shares his view on the conservative old guard within the Polish community, noting "//we didn't want to be involved with any of that//" and calling his group “nonconformist.” Apparently, they gave traditional norms a firm shrug and sauntered off to rock out instead.|
+|[00:19:00]|**Muzyczne lata 70.** Andrzej zauważa, że "//one of the wonderful things about the ‘70s was that lots and lots of pubs had band nights//". Podkreśla, że sprzyjało to rozwojowi młodych zespołów i było idealną okazją do wypróbowania swoich sił na scenie, niemal każdego wieczoru w innej knajpie. Dla niego osobiście stało się to świetnym poligonem muzycznym i szansą na zaprezentowanie się przed nową publicznością.|**Seventies Music Scene** Andrzej points out "//one of the wonderful things about the ‘70s was that lots and lots of pubs had band nights//." It was a dreamy playground for budding rock stars, letting them shuffle from one pub stage to another in a glorious haze of feedback and sticky carpets.|
+|[00:26:02]|**Luz** Andrzej żartobliwie komentuje śmigus dyngus, mówiąc, że "//we don’t consider ourselves to be Polish or anything, but it's so much fun wicking people//". Podkreśla, że w Anglii dalej cieszył się tą wielkanocną zabawą, choć nie zawsze rozumiałą ją starsze pokolenie. Wspomina przy tym oburzenie babci na wodne psoty.|**Ease** Andrzej humorously remarks on the śmigus dyngus tradition, saying "//we don’t consider ourselves to be Polish or anything, but it’s so much fun wicking people//." He kept at this splashy Easter habit in England, much to his grandma’s chagrin—because what’s a holiday without drenching your relatives?|
+|[00:36:12]|**Lekceważenie** Podkreśla, że "//there wasn't a huge amount of support... we were not taken very seriously by our friends//" odnośnie ich muzycznych poczynań. Zwraca uwagę, że część lokalnej polskiej społeczności traktowała ich nowe brzmienia z przymrużeniem oka, co nie zniechęciło ich do dalszego grania. Odbierał to jako brak zrozumienia dla ambitniejszej twórczości wśród rówieśników.|**Dismissal** He observes that "//there wasn't a huge amount of support... we were not taken very seriously by our friends//" about their music efforts. Apparently, half the local crowd rolled their eyes at the new-wave racket, but that hardly stopped them from trudging on with those blistering riffs.|
+|[00:45:12]|**Konserwatyzm** Andrzej zauważa, że "//the parafia was very, very... very conservative//" w tamtym okresie. Podkreśla, że rodzice i starsi zachęcali młodych do aktywnego uczestnictwa w życiu parafii, ale zachowawczość zasad hamowała większą wolność wyrazu. Czuje, że ten brak elastyczności wpłynął na dalsze losy klubu i części młodzieży.|**Conservatism** Andrzej points out that "//the parafia was very, very... very conservative//" back then. The older generation pressed the youth to join in, but that rigid climate left little room for bohemian guitar solos. Inevitably, the stifling atmosphere shaped the club’s destiny—and the fate of its free-spirited teens.|
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+|[00:53:42]|**Nowa imigracja** Mówi wprost, że "//if it wasn't for this new młode pokolenie... they’ve rebuilt the Polish parish//". Podkreśla, że świeża fala Polaków podtrzymała życie klubu oraz parafii, wnosząc nową energię i podtrzymując tradycje z poprzednich dekad. Bez ich wsparcia, jego zdaniem, kluczowe ośrodki polonijne w okolicy mogłyby upaść.|**New Immigration** He flatly states "//if it wasn't for this new młode pokolenie... they’ve rebuilt the Polish parish//," crediting the latest influx of Poles with injecting fresh blood into the club and parish. Honestly, without them reviving these old-school traditions, the place might have gone the way of flared trousers—lost to time.|
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+|[01:04:29]|**Dystans** Mówi o swoich wrażeniach z Polski: "//it did not feel like the West in any way... Did I feel at home in Poland? No//". Podkreśla, że na początku nie miał tam poczucia przynależności i bardziej utożsamiał się z brytyjskimi realiami. Ten dystans do kraju przodków zmniejszył się dopiero w kolejnych dekadach, choć pozostały pewne rezerwy.|**Detachment** He reflects on his experience of Poland, "//it did not feel like the West in any way... Did I feel at home in Poland? No//." He felt he belonged more to UK life at first, eyeing his ancestral homeland with mild reservation. Over time, that gap narrowed, but a bit of wariness lingered.|
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