Made in Hungary: Studies in Popular Music

Cover -- Title -- Copyright -- Contents -- Acknowledgments -- List of Illustrations -- Series Foreword -- Introduction: The Study of Popular Music in Hungary -- Part I: Scenes, Cultures and Identities -- 1 Setting Up a Tent in the "New Europe:" The Sziget Festival of Budapest -- 2 Taming the Extreme: Hungarian Black Metal in the Mainstream Publicity -- 3 Learned Helplessness of a Cultural Scene: The Hungarian Contemporary Jazz Scene through the Eyes of Its Participants -- 4 A Translocal Music Room of One's Own: Female Musicians within the Budapest Lo-Fi Music Scene -- Part II: History, Politics and Remembering -- 5 The Songs Remain the Same: Structures of Cultural Politics of Retro in Hungarian Pop Music -- 6 "Hungarian in Form, Socialist in Content:" The Concept of National Dance Music in Stalinist Hungary (1949-56) -- 7 Paper Mohawk: On a Missing Hungarian Punk Monograph -- 8 "Nothing But the Music ... :" The History of Hungarian Funk Music -- Part III: Artists, Receptions and Audiences -- 9 The Insecure Village Girl Who Found Success, and Her Gentle Deconstructions: Bea Palya -- 10 "Gloomy Sunday:" The Hungarian "Suicide Hymn" between the Myths and Interpretations -- 11 "This Kind of Music Informs You about the Present State of the World:" DJ Palotai's Position within the Contemporary Hungarian Underground Culture -- 12 The Way They Were: Subcultural Experiences of Emo Fans from a Retrospective Aspect -- 13 The Growth of the Hungarian Popular Music Repertoire: Who Creates It and How does It Find an Audience? -- 14 Coda: "My Genes in My Suitcase, My Forehead in the Atmosphere:" Perceptions of Hungarian Popular Music and Its Research Abroad -- Afterword: "A Dozen Songs Put in the Right Order:" A Conversation with Yonderboi -- Select Bibliography of Hungarian Popular Music -- Notes on Contributors -- Index