Popular Music in Eastern Europe: Breaking the Cold War Paradigm PDF
Preview Popular Music in Eastern Europe: Breaking the Cold War Paradigm
Pop Music, Culture and Identity Series Editors Steve Clark Graduate School Humanities and Sociology University of Tokyo, Bunkyo-ku, Tokyo, Japan Tristanne Connolly Department of English, St Jerome’s University Waterloo, Ontario, Canada Jason Whittaker School of English & Journalism, University of Lincoln Lincoln, Lincolnshire, United Kingdom Popmusiclasts.Aformalltoooftenassumedtobetransient,commercial and mass-cultural has proved itself durable, tenacious and continually evolving. As such, it has become a crucial component in defining various formsofidentity(individualandcollective)asinfluencedbynation,class, genderandhistoricalperiod.PopMusic,CultureandIdentityinvestigates howthisenhancedstatusshapestheiconographyofcelebrity,providesan ever-expanding archive for generational memory and accelerates the impactofnewtechnologiesonperforming,packagingandglobalmarket- ing. The series gives particular emphasis to interdisciplinary approaches that go beyond musicology and seeks to validate the informed testimony of thefan alongsideacademicmethodologies. More information aboutthisseries at http://www.springer.com/series/14537 EwaMazierska Editor Popular Music in Eastern Europe Breaking the Cold War Paradigm Editor EwaMazierska SchoolofHumanitiesandSocialSciences UniversityofCentralLancashire Preston,UK PopMusic,CultureandIdentity ISBN978-1-137-59272-9 ISBN978-1-137-59273-6(eBook) DOI10.1057/978-1-137-59273-6 LibraryofCongressControlNumber:2016948833 ©TheEditor(s)(ifapplicable)andTheAuthor(s)2016 Theauthor(s)has/haveassertedtheirright(s)tobeidentifiedastheauthor(s)ofthisworkin accordancewiththeCopyright,DesignsandPatentsAct1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher,whetherthewholeorpartofthematerialisconcerned,specificallytherightsof translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval,electronicadaptation,computersoftware,orbysimilarordissimilarmethodology nowknownorhereafterdeveloped. Theuseofgeneraldescriptivenames,registerednames,trademarks,servicemarks,etc.inthis publicationdoesnotimply,evenintheabsenceofaspecificstatement,thatsuchnamesare exemptfromtherelevantprotectivelawsandregulationsandthereforefreeforgeneraluse. Thepublisher,theauthorsandtheeditorsaresafetoassumethattheadviceandinformation in this book are believed to be true and accurate at the date of publication. Neither the publishernortheauthorsortheeditorsgiveawarranty,expressorimplied,withrespectto thematerialcontainedhereinorforanyerrorsoromissionsthatmayhavebeenmade. Coverillustration:©SplitdiscjockeyDomagojVeršićatworkinDiscoClubGusar,1969 ©SlovenMosettig2016 Printedonacid-freepaper ThisPalgraveMacmillanimprintispublishedbySpringerNature TheregisteredcompanyisMacmillanPublishersLtd. Theregisteredcompanyaddressis:TheCampus,4CrinanStreet,London,N19XW,United Kingdom A CKNOWLEDGEMENTS Thisbookwouldnotbepossiblewithoutthehelpofmanycolleaguesand friends, to whom I wish to express my gratitude. One of them is my previous research assistant, Lars Kristensen, who encouraged me to con- ductresearchonpopularmusic.IamalsogratefultoElżbietaOstrowska, Zsolt Gyori, Laszlo Strauss and Aimar Ventsel for their insightful com- ments on the introduction and some of the chapters included in this collection. Iamalsogratefultovariousindividualsandinstitutionswhograntedus interviews and allowed us to use the photos in specific chapters, and to Felicity Plester and Sophie Auld at Palgrave for making working on this bookaspleasant andefficientprocessasit can be. v C ONTENTS 1 Introduction 1 Ewa Mazierska PartI StatePolicies anditsInterpretation by Grassroots 2 Propagated,Permitted or Prohibited?StateStrategies to ControlMusical Entertainmentin the First Two Decadesof SocialistHungary 31 ÁdámIgnácz 3 Pop-Rock andPropaganda Duringthe Ceaușescu Regime inCommunist Romania 51 Doru Pop 4 Estonian Invasion asWesternErsatz-pop 69 Aimar Ventsel 5 The Eagle Rocks:Isolationand Cosmopolitanism in Albania’s Pop-Rock Scene 89 BruceWilliams vii viii CONTENTS PartII TheFunction of ‘Gatekeepers’ 6 Censorship, Dissentandthe Metaphorical Language of GDRRock 109 David Robb 7 Folk Musicasa FolkEnemy: MusicCensorship in SocialistYugoslavia 129 AnaHofman 8 ‘The Second GoldenAge’:Popular MusicJournalism during the LateSocialistEra ofHungary 149 Zsófia Réti 9 Youth UnderConstruction: TheGenerational Shifts in Popular MusicJournalism inthe Poland of the 1980s 171 Klaudia RachubińskaandXawery Stańczyk 10 The Birth ofSocialistDisc Jockey:BetweenMusic Guru, DIY EthosandMarket Socialism 195 MarkoZubak PartIII Eastern EuropeanStars 11 Karel Gott:The UltimateStar of Czechoslovak Pop Music 217 PetrA. Bílek 12 CzesławNiemen: BetweenEnigma andPolitical Pragmatism 243 Ewa Mazierska 13 Omega: Red Star fromHungary 265 Bence Csatári andBéla SzilárdJávorszky CONTENTS ix 14 Perverse Imperialism:Republika’sPhenomenon in the 1980s 283 Piotr Fortuna Index 303 L F IST OF IGURES Fig.4.1 FixinVanemuisetheatre,Tartu,Estonia,1983 82 Fig.5.1 Matura72 98 Fig.5.2 AleksandërGjokainconcert 102 Fig.6.1 Sillyinthe1980s 125 Fig.8.1 Thetotalnumberofpopularmusic-relatedarticles intheHungarianyouthpress,1964–1974 154 Fig.8.2 PopularmusiccontentinIfjúságiMagazin,1973–1989 156 Fig.10.1 PioneerdiscjockeyDomagojVeršićatworkin1969 inSplit’sGusarclub 201 Fig.10.2 A1975self-madepromotionalposterforZoranModli’s travellingdiscoshow 208 Fig.11.1 GottmaniaexplodesinPrague:KarelGottfacesthecrowd ofpeoplewhowelcomehimafterhisreturnfromLasVegas atthePragueairport 227 Fig.11.2 KarelGottposingasastarbeforehisdepartureforRiode Janierofestivalin1968 231 Fig.11.3 KarelGottreceivesthetitleofNationalArtistfrom presidentHusákin1985 236 Fig.12.1 FlamboyantNiemenatthepeakofhiscareer 246 Fig.12.2 NiemenperformingMournfulRhapsodyinMemoriam ofBem 256 Fig.13.1 Omegainitsheydayinthemid-1970s 275 Fig.13.2 Bandmemberscelebratingthe25thanniversaryofOmega in1987 278 Fig.14.1 GrzegorzCiechowskiperformingduringRockowisko festivalin1981 287 xi
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