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This book is a result of decades-long research into declassified files, offering a unique perspective for writing post-World War Two cultural history through the lens of the political police.
Tamás Sz-nyei (1957) is a journalist and archivist, recently retired from the Historical Archives of the Hungarian State Security. He is the author of monographs on new wave music (1989, 1992) and, based on research into declassified documents, on the interaction of state security with rock music and literature, respectively (2005, 2012). He published an illustrated catalogue of his Hungarian new wave poster collection, along with that of a fellow collector, featuring studies by multiple authors (2017). He lives in Budapest, Hungary.
CHAPTER 1: A Short History of Hungary, its Secret Services and Music Industry in the Cold War 1.1 Preface1.2 Historical Background1.3 The Goals, Methods and Means of the State Security Service1.4 The Institutional System of Popular MusicCHAPTER 2: The 1940s and 1950s2.1 The Sovietisation of Sounds2.2 Singers Seeking Refuge in ExileCHAPTER 3: The 1960s3.1 Sorrowful Songsmiths under Surveillance3.2 The Lure of the West3.3 Beat Bands, Youth Gangs and the Long Arm of Law Before and after 19684.1 Lefties, Hippies and Religious Rockers in the Crosshairs4.2 Attempts at Disrupting Three Top BandsCHAPTER 5: The 1970s5.1 The Consequences of March Riots and Careless Words 5.2 Fear of the Folk Dance Houses 5.3 Fear of the Disco CHAPTER 6: The 1980s 6.1 Policing the Crowd and Hunting for the Black Sheep of Hard Rock 6.2 New Waves of Dissent 6.3 Punks and Skinheads on Trial 6.4 Foreign Guests are Welcome and Watched CHAPTER 7: Hungarian Musicians under Observation in Other Socialist Countries until 19897.1 Survival and Surveillance in the Socialist Bloc 7.2 Concluding Remarks CHAPTER 8: Appendix8.1 Archival Sources 8.2 Abbreviations 8.3 Index of Names 8.4 Acknowledgements
