Contents
Introduction
A New Volume on Popular Music Adaptations
ÁdámIgnácz
Work, Authorship, and Originality in Popular Music
ÁdámIgnácz
/
EmíliaBarna
Case Studies from the History of Hungarian Popular Music
Operetta Adaptations in Hungary in the First Half of the 1940s
Ferenc JánosSzabó
I.
Introduction
II.
Rewriting – Franz Lehár:
Zigeunerliebe/Garabonciás (The Wandering Scholar [1910/1943])
III.
Change of Medium – Jenő Huszka:
Bob herceg (Prince Bob [1902/1941])
IV.
Interpretation – Franz Lehár:
Die lustige Witwe (The Merry Widow [1905/1942])
V.
Looking Ahead. After 1945
Dialogue with a Legend: Musical Engagements with the Songs of Katalin Karády
Barbara RoseLange
/
AnnaSzemere
I.
Introduction
II.
Framing Karády: Theory and Method
III.
The Karády Revival during Late Socialism
IV.
Tamás Cseh: An Ironic Tribute
V.
Gabi Jobba’s Karády: A Counter-Nostalgic Approach
VI.
Rediscovering Cabaret, Uncovering an Era: The Budapest Orfeum
VII.
Judit Hernádi: The Karády of the 1980s?
VII. 1.
Valahol Oroszországban (Somewhere in Russia)
VII. 2.
Sohase mondd (Never Say) and the Diva Figure of Late Socialism
VIII.
Underground Musical Politics:
Nincs kegyelem (No Mercy) a Retro Album by Ádám Dévényi and Juli Postásy
IX.
Conclusion
Self-Evocation and the Construction of the Past in the Songs of János Bródy
DánielSzabolcs Radnai
I.
Introduction
II.
Illés and Fonográf (1965–1980)
III.
Bródy’s Solo Albums until the Regime Change
IV.
Outlook: Bródy and the Memory of Hungarian Beat
Appropriation and Reinterpretation: Comments on P. Mobil’s Cover Album
És?
JózsefHavasréti
I.
Introduction
II.
What Is a Cover?
III.
The P. Mobil Trajectory: From Hard Rock to National Rock
IV.
Tracks from the Album
V.
Canon Formation
VI.
Summary: Affirmation and Parody
All Together Now: The Translatability of the Popular Song in Socialist Hungary
AndrásKappanyos
I.
Intro
II.
The Two Faces of
Speedy Gonzales: Questions of Genre, Authenticity, and Coolness
III.
In the Shadows: Things to Do Instead of Translations
IV.
Blown in the Wind: “Campfire Versions” and More
V.
Stairway to the Heaviside Layer: Two Genuine Triumphs
VI.
Epigraphs of
Christine: A Subjective Interjection
VII.
Under Their Thumb: The Question of Control
VIII.
Roll Over Zhdanov: A Triumph of Irony
What Is Pol-Beat? The Global Political and Local Intellectual Sources of the Hungarian Band Gerilla, 1965–1971
Zsolt K.Horváth
I.
Introduction
II.
A “Khrushchevist” Model State: Simulated Public Sphere and Sublimated Consumption
III.
Global Revolutionary Imagination – Imagined Local Revolution
IV.
Pol-Beat and Revolutionary Poetry
V.
Pol-Beat as Urban Folk Music: János Maróthy and the Critique of Kádár’s Hegemony
Authenticity and Hybridity in Roma Folk Music of Hungary
EszterGyörgy
I.
Huttyán
II.
Authenticity
III.
Čačipen – “Real” Roma Folk Music
IV.
Research on Roma Folk Music in Hungary
V.
Roma Folk Music under State Socialism
VI.
Roma Folk Movement
VII.
Entering World Music: The Hybridization of Roma Folk Music
VIII.
Conclusion
Beatles Adaptations in the Eastern Bloc: Case Studies for Czechoslovakia, the Soviet Union, the GDR, and Hungary
We Can Work It Out: Adaptations of The Beatles’ Songs in Communist Czechoslovakia
JanBlüml
I.
Introduction
II.
The First Recording and Olympic’s Image as the Czech Beatles
III.
The Beatles in the Repertoire of Professional Orchestras
IV.
The Beatles in the Context of the Cultural Politics of Normalization
V.
Conclusions
Back in the USSR: The Ephemerality of Soviet Beatles Covers
AlexandraGrabarchuk
I.
Introduction
II.
Vocal-instrumental Ensemble Arieľ
III.
Let It Be
IV.
Conclusion
Sharing All the World: The Beatles’ Reception in the GDR
MichaelRauhut
I.
The Beatles and the Party Line
II.
Media Resonance and Cover Versions
III.
Adapted for the GDR Stage: Brigade Feuerstein
IV.
Out Past All the Borders: Beatles Covers in the GDR
Music for the Old and the Young: Adaptations of The Beatles’ Songs in Socialist Hungary
ÁdámIgnácz
I.
Upbeat
II.
Preliminary Considerations
III.
Beatles Adaptations in Socialist Hungary: A General Overview
IV.
Imitations in the 1960s
V.
1970s: The Decade of Transition
VI.
Jazz, Disco, Pop: Tracks of Beatles Nostalgia in the Late 1970s and Early 1980s
VII.
The Beatles Go to the Theater: The Last Years
VIII.
Concluding Comments
About the Authors
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