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This article argues that Hungarian Prime Minister Viktor Orban has established a monarch-like celebrity status and exploited it to systematically dismantle the checks and balances of democratic pol...

For decades, the state-run music industry in Hungary has artificially isolated musical worlds. The 2010 album I’ll Be Your Plaything is a concept album comprising at times drastically re-imagined cover versions of Hungary’s most popular hits from the socialist era. As such it is a testament to music as a medium’s aptness to reflect on public and personal pasts. The album moreover exemplifies how rich and appealing synthesis of sounds and traditions can be concocted when folk, classically trained, rock, and jazz musical artists collaborate. Along with this freedom to blend and synthesize, the album opens up some long overdue space for women; playing with personas, voices, and singing styles, Palya reflects on issues of femininity, maternity, sexuality, and coupledom across generations.

Richard Elliott. 2015. The Late Voice: Time, Age and Experience in Popular Music. New York and London: Bloomsbury Academic.

This paper focuses on some salient features of the Hungarian “long sixties” through the rear-view mirror of a highly-acclaimed popular musical album by Tamas Cseh and Geza Beremenyi entitled “A Letter to My Sister” (1977). The article argues that the “Letter” owes its enduring success to its unique chronological and narrative arch: the years of childhood set in the sombrest Stalinist 1950s, while the opening up of the country's political and cultural landscape in the 1960s shaped the freedom and hope intrinsic to modern teenage life. Finally, in the portrayal of the crisis-ridden young adulthood set in the 1970s, it is impossible to set apart the failure of the “great generation” from that of Hungarian society and, more broadly, east European socialism. Implied in this narrative arch is that this local version of the “long sixties” carried the unprocessed legacy of the “short fifties.”