In the interview, you will read, among other things:
- Why did Karel Gott spread many false stories about himself?
- Did his father – a high-ranking communist – also help the singer’s career?
- How did the regime cope with Gott and the Staidl brothers during their training emigration to the West?
- Whether and why Gotta can be described as a normalization singer?
- How did Gott help artists who were banned by the regime?
- What was it like Gott’s moral offenses?
- Was performing in Las Vegas a success or a failure?
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Who is Karel Gott for the Czech nation?
At his funeral with state honors, it became clear that this is a personality that everyone really knows. The various honors beautifully illustrated how immensely strong people developed a relationship with him. No musical or socio-political criticism can deny this fact.
I am interested in music and I am glad to experience its current era. But the truth is that today’s music no longer produces stars that people know on such a massive scale and that would be common to a substantial portion of the population. Gott was such a star.
He became a great personality in Czechoslovakia and later in the Czech Republic, because practically everyone agreed on him. I do not mean the evaluation of his production, but the fact that everyone no doubt knew about it. And it is also true that if politicians in the Czech Republic wanted to protect his funeral, it was mainly because none of them ever achieved Gott’s popularity.
Did you like Gott’s production?
I didn’t write a book about Gott because of my musical taste. But I like his production from the 60’s. Apparently I’m not alone in considering the period around the making of The Thousand Clarinets of 1964 as its peak.
His youthful energy at the time he made his first record was incredible. At that time, Gott felt that he was doing well, but he had not yet won the title, so he tried very hard for him. I really liked this energetic mix.
My taste no longer matches Gott after 1970. The second thing is that then
