Table Of ContentPop 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
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Coverillustration:©SplitdiscjockeyDomagojVeršićatworkinDiscoClubGusar,1969
©SlovenMosettig2016
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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
