A Short Story About "Warung Kopi"

        

                       

         
        Just like another common guy, I still love to hang out with my friends and have a cup of coffee as a good company during my responsibilities as a family guy. But the question that some of friends (even relatives) have is, “Why do people prefer to spend time for a cup of coffee with their friends outside when they can have the exact same cup of coffee at home?” My straight answer for that question is, “I don’t know.” But some of my friend ever told me, it was because having a coffee break outside is useful and important to broaden our knowledge about how far the external environment had developed. Does it sound overwhelming? Perhaps.

        What I’m trying to speak out here is about the significance of “warung kopi”, Indonesian words which can possibly be translated as coffee shop, or street café, especially for the underground scene in Surabaya. First of all, it’s better for me to reveal the short history of “warung kopi” in Indonesia. I browsed and found on http://www.kaskus.co.id/thread/52066836f7ca17e475000001/bangga-quotwarung-kopiquot-salah-satu--budaya-indonesia-yang-harus-kita-jaga/ that the first “warung kopi” was known in Yogjakarta, Central Java on 1950’s which was locally and familiarly known as “angkringan”. “Angkringan” itself comes from a Javanese word “nangkring” which means sit down conveniently. This “warung kopi” or “angkringan” is usually a two or three wheels cart covered by plastic tent, serving various traditional snacks and beverages known as “wedang” such as, “wedang jahe”, “wedang uwuh”, and off course, delicious local black coffee. It operates from afternoon until dawn. But nowadays, many of “warung kopi” operates 24 hours daily. 

          As a person who socialize and befriend with people of underground scene, I see that, “warung kopi” also contributes for the progress and development of the scene in Surabaya. I believe that people in the scene who spend their time at “warung kopi”, they unconsciously apply and attempt this old Indonesian culture of “togetherness” and, if it’s not too much, spirit of “brotherhood” which eventually takes them to collectively build their local underground scene. “Warung kopi” is one of the most convenient places where the underground scene’s activists can explore and share their responsive and progressive ideas about what is happening. This place is essential for them to expand their link and connection which lately they can use to promote their independent small business such as clothing, screen printing, worth-collected rare records, and many more.

           Besides as the capital city of East Java, Surabaya also becomes plural and it is inhabited with people from various different ethnicities, religions, and educational backgrounds. Similarly, such things also occur within its local underground scene. Therefore, proper communication is very essential to avoid unnecessary misunderstanding, and “warung kopi” is the place where people put aside those differences to have a cup of coffee and other foods and beverages to accompany their light, fun, and relax conversation. It is not only because the price of coffee is affordable, since you only have to pay IDR 2500 or IDR 3000 for a cup of coffee, but you will directly feel the friendly atmosphere as you sit and enjoy your coffee. Sometimes, strong coffee is also the important factor. Those who visit "warung kopi" can also enjoy another extra facilities provided there such as big screen flat television to watch soccer games and also free internet connection.

         However, people of the scene visit “warung kopi” mostly to share and explore their thoughts and creative ideas or works. Therefore, it is so common when some local Surabayan bands were formed there. There are many bands such as Fraud, XDilemaX, Speak Division, Wolfxfeet, Full Frontal, and many more, who were born by intensive social interaction and communication occurred in “warung kopi”. Those bands also use “warung kopi” as their strategic spot to discuss the material for their songs, demos, and they also use “warung kopi” as the place to organize underground gigs to facilitate and promote new independent and productive bands or musicians so their creativity can be significantly and globally listened and appreciated. One of legendary Surabayan punk band, Plester X writes a song entitled “Patua Youth Crew” which is dedicated to their friends who intensively visited “warung kopi” at Patua’s street. The song “Patua Youth Crew” is now immortalized as the annual gig with the same title, “Patua Youth Crew”.   

                             

          Usually, people who come and spend their time at “warung kopi” have a same excitement for certain things. However, it takes couple or more meetings and talks before a close conversation can be started. Sometimes, some close conversation at “warung kopi”can increasingly become a mutual respect which ends up in profitable business deal as well. Interesting.

          Nowadays, there are many spots of “warung kopi” in Surabaya which are also functioned as the home base for people of the scene such as, Joss Plus at Gubeng Kertajaya street, IX /18, Warung Kopi Dua Putra aka Warkop Merapi at Merapi street, and many more. So now, don’t worry when weekend comes. Don’t let being a single turns your whole life into an agony. Just come to one of those “warung kopi” that I recommend above, sip your cup of coffee, and be grateful for the life that you are gifted. :)

When Big Gigs of an Underground Scene are (still) Questionable

Actually I have to apologize to my friends who conducted Brotherground Festival 2015 on last December since I was so busy with my family concern and my article about that gig was never written. Even though my wife and I eventually came to Brotherground Festival altogether with my idea that an after show review might sound better, but still, the article had never been done.

I was so stuck to decide the next topic that I wanted to write until I read an article from www.altpress.com with its questioning title, “Is Youtube Replacing The Live Music Scene?” written by Caitlyn Ralph. Well, apparently, her question is not contextually different with mine after all. I guess. But again, I think it’s important for me to underline that in terms of live music scene, I choose to dig specifically about the role and significance of gigs for the development of a local underground scene. Ralph’s article is like enlightening me to eventually imagine that people nowadays rather choose to sit or lay down in their cool and comfortable bedroom, watching Nirvana’s “Smells Like Teen Spirit” metal cover version by Leo Moracchioli much better than sweating after having jumps and screams for enjoying Antiflag’s show at The Prophet Bar. Is that too much? Perhaps. Considering that so called efficient accessibility (in my own term) has become more preferable. Personally, I can’t blame them who prefer watching live music by video streaming, because I believe that they may have their own version of many reasonable excuses and explanations. Furthermore, it’s because, I copy from what Don Corleone’s says to Virgil Solozzo on The Godfather, since their interests don’t conflict with mine. Hahahaha,…

Okay, back again to the issue. I kept thinking about this question in my head all along, “Does frequent gig reflect big and progressive scene?” Just like most of questions started with “does”, the answer can be yes or no. Me? I prefer saying, “No, not always.” I will simply state that, underground gig is made for bands to promote their music, isn’t it? What I’m trying to say is, the word ‘promote’ doesn’t always certainly mean ‘to earn money’ but, more importantly, underground gig is what musicians and bands really need to ensure that their creative work can be listened, appreciated, discussed, and so on. Therefore, eventually, the most important result is what bands promote, what they want to share with the audience, and since we talk about underground, I believe that it’s fair enough to find out whether bands have messages or agenda regarding how to protest or solve certain significant issue and represent those whose voice can’t be heard. And it is totally amazing if the message or another different and (perhaps) radical perspective that they spread behind their songs and creative works can help and contribute to progressively change the situation. If a certain small town in the middle of nowhere has a local underground scene that attempts such thing, personally, I will undoubtedly claim that, it is a significant and big scene.

However, it’s my very subjective opinion (so, pardon me), another important thing is not always about the outcome or the final result. I believe it is also about how responsive people, musicians, bands, artist of the underground scene can be, when it comes to certain issues like politics, injustice, and environment. There are people like, Yoyon Sukaryono (Klepto Opera, Ballerina Killer), Heri “Ucok” Sutresna (Homicide, Morgue Vanguard), Arian 13 (Puppen, Seringai), and Gede Robi (Navicula) or those people like, Zacharias De La Rocha (Rage Against The Machine, One Day As A Lion), Karl Buechner (Earth Crisis, Freya), and Greg Graffin (Bad Religion) who at least have been so responsive to straightly speak out their ideas of disagreement against certain distasteful problems around them. Even though, the outcome is unlike the expectation.

When I state that frequent gig doesn’t always reflect big and progressive scene, I don’t mean to offend or disrespect other people who have spent most of their life to organize gigs with their sincere hope that it can help enlarging their scene because I understand it may be unfair for them. I also realize that it is still acceptable when some people think that they have a big and influential underground scene even though the facts show differently.

         Let me come out with an example. In my hometown, Surabaya, some of my friends organize underground gigs by having local and foreign bands’ performance, which is not an easy job to do. There are many obstacles that they must overcome and there are many times that some of them end up disappointed for so many reasons.

             First, in a third world country like Indonesia, underground scene is still alienated as a part of western culture’s invasion by some conservative Indonesian people. They believe that it promotes nothing but overwhelming freedom and indecent lifestyles which are against the noble and religious eastern culture. Second, and I believe it is the worst, those conservative groups of people are usually linked and connected to the hands of the authority. Therefore, it is so common when some of underground gigs are cancelled or banned for so called “security concern” and “crowd permit” (call me retarded for not knowing the proper English terms) reasons. Third, some of those who are so active in the underground scene have uncertain incomes. It means, they have to work collectively to organize, even though it is just, a small street gig, which is still, costly. They have to pay for the venue, musical instruments, sound system, and not to mention security fee for certain people.

          Well, some people within the scene are not always financially troubled. Fortunately, there are other people, whom we can call wealthy, who also care and work hard for the development of the underground scene. What they contribute to the scene is so useful, but sometimes, there is still a stone left in the shoes. It had happened many times that some frequent big gigs were disappointing since the organizer accidentally (or maybe purposely) change the function of the gigs as the opportunity to obtain popularity, and the worse, profit. These people are sometimes so recklessly forgetful about an important fact that an underground scene may look tiny, but each scene of a certain place is globally connected to other scenes, which means, reputation also matters. Therefore, it may be acceptable when our scene is considered as a little scene, but it is shameful when it is labeled as an unrespectable scene.

          There is a fun fact about some people who prefer attending small gigs with less crowd of audience, small venue, rather than attending big gigs with expensive musical instruments and lighting, it is just because they can mingle with other people at the show that they are familiar with. I came to one of that show, and I think the reason quite makes sense.

         The conclusion is, it is hard for me to reach an objective opinion that a big and progressive underground scene is represented by frequent and big gigs, since the intention, purpose, and the outcome of the gig itself may vary. Another thing that I realize, it is a difficult responsibility when some underground scene is well known as a big and  reputable scene, since opinion and judgment also come externally from those who don’t understand, don't work, and don’t get involved within the scene. Pardon me for being too shallow, folks.