Popular Music and the Secret Service in Hungary, 1945–1990

Tamás Szőnyei (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.

"This is a fine contribution to popular music studies. It is a report back from a journey through the archives of Hungary’s state security services and valuable for its insights into the problems that faced Hungary’s communist cultural policy makers as they sought to control young people’s music making. But it also reads, exhilaratingly, like a hallucinatory version of a pop story I thought I already knew, as it chronicles what happened to the flow of sounds, ideas and images across an iron curtain that was, in fact, always permeable."Simon Frith, Emeritus Professor of Music, University of Edinburgh"More so than any of its Warsaw Pact neighbours, Hungary developed an extraordinarily rich postwar popular culture – not for want of the state’s attempts to control or undermine it. Through his exhaustive readings of the secret police’s extensive archives, Tamás Szőnyei has pieced together a well-informed examination of the many ways security officials coercively romanced, bullied and threatened the scene’s insiders, be they musicians, organisers or fans, into informing on their comrades, and how some resisted. Regardless of the state’s attempts to shape the music and minds of its people, not withstanding a few imprisoned neo-fascist punks in the 1980s, musicians came through and the culture was beginning to thrive by the time Hungary threw open its doors to the West."Chris Bohn, Editor-in-Chief, The Wire, formerly of the NME, for which he wrote about the Budapest scene in 1980: Hungarian Rhapsody And Other Magyar Melodies (NME, 17 January 1981)"Tamás Szőnyei’s book on popular music and the suppression of it in Hungary from the 40’s through the 90’s is a huge endeavor. His in depth research and stories tell of the power of rock n’ roll and how it existed under oppression and censorship. Rock n’ roll is an expression of freedom and the world’s connection to it is undeniable. Tamas’s extensive work to preserve and present this daunting history is so terribly important and needed in today’s world of hatred and conflict. We should all be grateful to his dedication and perseverance to put this book together. Peace and rock n’ roll!"Joanna Stingray, first producer of Russian underground rock released in the United States; author of the book Red Wave: An American in the Soviet Music Underground (2020)"Tamás Szőnyei’s study on popular music and the Secret Service in Hungary, 1945–1990, is truly exceptional, not only in its erudition. It is the most extensive scholarly study so far on the intricate entanglement between secret police, their covert informers, musicians, fans, and audiences, accompagnied by rich visual material. Beyond that, it is a highly readable and personally touching account – a rewarding tour through the younger Hungarian cultural history that holds initriguing insights and lessons for students of similiar constellations in further Central and Eastern European countries."Alfrun Kliems, Department of Slavic and Hungarian Studies, Humboldt-University of Berlin

• 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 LawBefore 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 Words5.2 Fear of the Folk Dance Houses5.3 Fear of the DiscoCHAPTER 6: The 1980s6.1 Policing the Crowd and Hunting for the Black Sheep of Hard Rock6.2 New Waves of Dissent6.3 Punks and Skinheads on Trial6.4 Foreign Guests are Welcome and WatchedCHAPTER 7: Hungarian Musicians under Observation in Other Socialist Countries until 19897.1 Survival and Surveillance in the Socialist Bloc7.2 Concluding RemarksCHAPTER 8: Appendix8.1 Archival Sources8.2 Abbreviations8.3 Index of Names8.4 Acknowledgements