Uses and Perceptions of English in Budapest's Rock

CEU eTD Collection

In partial fulfillment of partialfulfillment the In requirements U Supervisors: SES AND Department of Sociology and Social Anthropology Social and of Department Sociology B H UDAPEST UNGARIAN Central European University European Central P

ERCEPTIONS OF

Budapest, Hungary Budapest,

John Brezny M. Submitted to ’ Professor Professor Professor 2013 S Arts By R

OCK ARDCORE

for the degree of Master for of the degree of Jean Balazs Vedres

CENE - E Louis Fabiani NGLISH IN

CEU eTD Collection CEU eTD Collection Hungary, Rock Music,Autonomy, English, Cu Key what modernity. constitutes scene inwhichHungarian rockers havea adapted to isultimately way rock Budapest’s in English of presence the that idea nation the invokes thesis this of conclusion the of boundaries the by restricted being avoids citizenshi largely European cultural a producing of way a as English upon focuses recreate bands resistance of on put is emphasis In overall. scene rock Budapest’s in functions English rock standard and thee into it splits scene. rock contemporary Budapest’s Abstract

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. Above all, these divisions highlight the multitude of ways in which in ways of multitude the highlight divisions these all, Above . typological the practicality of using using of practicality

on within perceived and used is English that way the on segments

oe ad shows bands cover It ultimately portrays ultimately It , which are respectively punk rock, rock, punk respectively are which , English

ltural Exchange ltural

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in a way a in h primary The cover g ideologies ideologies g uk rock, punk

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CEU eTD Collection navigate and me with talk to time the taking for scene rock Budapest’s within opport the Brez Christine and Terrance parents, my thank daunting the out carry to necessary motivation the with girlfr my to thanks while ideas my organize me to like also be has particular in Fabiani Jean Professor from received I’ve feedback The paper. this of success intellectual the for necessary tools theoretical the with me providing for Department Anthropology Acknowledgements wud ie o thank to like would I

through what began asthrough an what began nt t cry u ti research. this out carry to unity extend my extend iend Boglárka E Boglárka iend thank en crucial for me, me, for crucial en s

they were still in a preliminary and delicate stage. stage. delicate and preliminary a in still were they

Professor Balazs Vedres for meeting with me and h and me with meeting for Vedres Balazs Professor

eta Erpa Uiest’ Scooy n Social and Sociology University’s European Central

unfamiliar maze.unfamiliar rdő s, whose “you can do it” attitude has provided me provided has attitude it” do can “you whose s,

Finally, I would like to thank my contacts contacts my thank to like would I Finally, and for this I thank him, as well as him, thank I this for and ny, without whom I would I whom without ny,

task of writing this thesis. I also I thesis. this writing of task for never have had had have never helping me me helping . I . - elping would I Louis give ii

CEU eTD Collection Fig. Fig. 3. Fig. Fig. Figures of List References 5. Conclusion 4. Analysis 3. Methodology 2. TheoreticalFramework 1. Introduction ofContents Table 4.4. Rock n’ Roll and Europea 4.3. Cover Bands and the Recreation of Internationalthe Rockstar 4.2. RockPunk Ideologies and the Practicality of English 4.1. RockPunk and Significancethe of Global Cultural Flows 2.3. Theoretical Approaches Analyzing to Contemporary Hungarian Rock 2.2. Historical Context of Hungarian Rock Music 2 .1. The ofPlace Hungarian Rock in Broader Post

4. 2. 1. Exterminating Angel

Mátyás performing his in band Think Again Dekadeth The Smash

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15 45 42 18 39 33 25 18 . . iii

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CEU eTD Collection CEU eTD Collection s language particular a of dominance perceived therefore: is analysis an such in itself poses respectively. rock, alternative and rock hard of categories and bands, cover rock, punk sub on different emphasis on focus will I this, do to order In a a as not them showing perceptions, and localities. unde perceptions Hungarian phenomenon English, place influence and exchange communities language among and between communication international for utilized most language “English out, points interaction. cultural facilitating in role vital a played latter. other? the reinforce mutually both do 1. reflection of the musical and ideological diversity present within Hungarianmusic. rock within present ideologicalanddiversity musical the of reflection Introduction sad o te lblzto o rc clue fet non affects culture rock of globalization the how rstand

Is practice predicated upon perception, is perception predicated upon practice, or practice, upon predicated perception is perception, upon predicated practice Is ihn h cnet f oa’ del roe goa cnetos Egih has English connections, global rooted deeply today’s of context the Within

At the same time, I will highlight will I time, same the At . ”

(2001: 685). 685). (2001: as a developing universal language universal developing a as ht utmtl am o o n hs hss is thesis this in do to aim ultimately I What has the widest distribution on the most continents most the on distribution widest the has

n ue o Egih n Budapes in English of uses and (Kruse 1993; Hall 1990; Bennett 2004; Grazian 2004), and the and 2004), Grazian 2004; Bennett 1990; Hall 1993; (Kruse Music, in particular, has seen an explosion of cross of explosion an seen has particular, in Music,

This thesis will work will thesis This homogeneous

“ In what ways, and to what extent, can the can extent, what to and ways, what In the ambivalence the standard , cannot be ignored in regards to this to regards in ignored be cannot , - hape sects of the music scene, putting putting scene, music the of sects

As post ”

rock, which includes both the the both includes which rock, ’ rc see s a t better to as so scene, rock t’s g - eographer heterogeneous heterogeneous socialist pattern, but rathe but pattern, socialist The question that ultimately that question The off of the assumption of the of assumption the of off inherent within these uses these within inherent - aie English native to

Chauncy D. Harris Harris D. Chauncy therefore ”

and is also “the also is and cross - speaking speaking - - examine cultural cultural cultural r as r 1

CEU eTD Collection manifestations to as so musicians, of agency ( society” a “posits which homology, of concept the account into takes one when possible completely E thes re a through or attempted actually Hungarians have however, have should or would it what become to strive must [Hungary] that been has consensus the (2002). normalized comparatively public domains,suchas small Hungary? exchanges gih n ok ui t d s. s Sociologist As so. do to music rock in nglish specific relationship between the structure of the musical universe and the structure of of structure the and universe musical the of structure the between relationship specific i s ultimately argues the latter, using the lens of Hungarian uses and perceptions of of perceptions and uses Hungarian of lens the using latter, the argues ultimately s en f t hsoy a floe a nra’ ore (02 31. 371). (2002: course” ‘normal’ a followed had history its if been increasingly become has culture Western 1989, since that seem would It She argues that, “With the removal of all apparent obstacles to rejoining Europe, Europe, rejoining to obstacles apparent all of removal the “With that, argues She 2004: 266). 2004: , and what are some of the most important consequences of such pressures for for pressures such of consequences important most the of some are what and , in

, orrefutations, the sphere of sphere the - otxulzto o wa i mas o be to means it what of contextualization

T his thesis will thesis his Hungarian domestic life, as Krisztina Fehérváry point Fehérváry Krisztina as life, domestic Hungarian

of a larger socio undersc ore their creative processes creative their ore therefore - to do this? Has it been t been it Has this? do to cultural structurecultural put a strong emphasis on the conscious the on emphasis strong a put ila G Roy G. William

“modern” a at work in Hungary.at work in

and uses of English of uses and ons u, hs is this out, points European hrough imitation imitation hrough n ht ways, what In This ? s

out out

as as 2

CEU eTD Collection classical or music operas. state typically more other from distinct now and little held state und continuit cultural complex in blurred how of instance distinct rock today’s informed has stat a not was rock of analysis an which upon foundation a provide will it Instead, obsolete. as rock era socialist comprising norms eith of modern to rock era socialist juxtapose Especiallyin such. examples as viewed be can English of uses contemporary be could engagement such as indirect state socialist the with engagement political artists’ and context historical Hungary’s 2 2 .1. . Theoretical Framework . Theoretical erground, The Place of Hungarian Rock in Broader RockThe in Place Post ofHungarian er one. Therefore, this thesis this Therefore, one. er hl a eaiain f ugra rc music rock Hungarian of examination an While phase y here resides in the fact that that fact the in resides here y ae en ocd o eiiie themselves legitimize to forced been have

was was that is now detach now is that public h lns between lines the often ic cultur ic regard investment produced privately, as it it as privately, produced

. In this way this In . to music, it would be far too simple, and convenient, to simply to convenient,and farsimple, be too would it music, to al fixture, but rather but fixture, al present settings ed from socialist era rock, but rock, era socialist from ed . In this way, both the rock scenes of the socialist era era socialist the of scenes rock the both way, this In . - day

oils ad post and socialism wi -

day rock in order to define the cultural boundaries boundaries cultural the define to order in rock day .

ll not dismiss the ideologies, politics, and social social and politics, ideologies, the dismiss not ll rock can be built, built, be can rock , –

contemporary - Ultimately, the reason for introducing this this introducing for reason the Ultimately, hs y o en fre te ocuin that conclusion the forces means no by this pnoe gne o entertainment of genres sponsored oils ea ok especially rock, era socialist

in a perpetual state of transform of state perpetual a in is now, is - Socialist DebatesSocialist

and Hungarian Hungarian

- in a cultural realm cultural a in oils bcm increasingly become socialism highlighting how socialist era socialist how highlighting

s ned medd within embedded indeed is of post of have

instead hs remain thus - rock rock oils rcie as practices socialist

is not is function

in which the which in that of the the of that ed

, such as as such , ation seen s mostly

as a a as – that

an as as 3

CEU eTD Collection therefore and influence of terms in both internationalism to so doing Western of perceptions Hungarian of is socialism describe pre instead of rejectedbealtogether will terms socialist more fit post 13 of frameworks other whatever to attention pay but it, to on cling not should anthropologists the as reject we category, themselves people “If that, argues thus She 13). 2002: al. et (Hann label” disc to begun themselves have people many believes she that say to as 12 2002: Verdery and Humphrey, (Hann, unidirectional” and that recognize to important is “it that, notes nevertheless comparison,” of field broadest the maintain to order “in concept this embracing still although example, for Humphrey, Caroline music. rock of context the irrelevanci and inadequacies the avoids - ugr’ msc industry music Hungary’s 14). Following in the wake of this idea, I therefore intend to avo to intend therefore I idea, this of wake the in Following 14). - socialist explanatory theories explanatory socialist What will perhaps connect this thesis most directly to broader debates on post on debates broader to directly most thesis this connect perhaps will What of benefit The

, it will acknowledge how how acknowledge will it ,

usefully to the results of my fieldwork my of results the to usefully go beyond reducing its analysis to national boundaries and instead instead and boundaries national to analysis its reducing beyond go

the way in which it will be forced to take into account the neo the account into take to forced be will it which in way the analysis arise from these countries themselves” (Hann et al. 2002: al. et (Hann themselves” countries these from arise analysis blurring the lines between socialist and post and socialist between lines the blurring scribe

the subject matter under ard the concept, deeming it a “constricting, even insulting even “constricting, a it deeming concept, the ard (Szemere 2000) 2000) (Szemere

and instead aim to construct this thesis with terms that terms with thesis this construct to aim instead and popular Budapest’s rock scene has becom has scene rock Budapest’s changes in post in changes es that th that es , especially younger ones, younger especially ,

in this thesis this in culture more generally more culture . e concept of concept e n te osqecs hs a h has this consequences the and This is not to say to not is This actual participation. participation. actual

the microscope of , but rather that they will will they ratherthat but , - socialist countries are not simple simple not are countries socialist

- post 13). She even goes so far so goes even She 13).

- - in ex in

socialism brings up in up brings socialism socialist rock rock socialist (Fehérváry ,

e increasingly open open increasingly e post that however, id an emphasis on emphasis an id - analysis socialist regions, regions, socialist T his - liberalization focus upon upon focus thesis will thesis 2002) be used t used be .

is that it that is ad on on ad . . In In 4 o - -

CEU eTD Collection su financial state of bulk the received artists music light than rather of investigation her 131). (1983:apparatus” factors “financial by all of position subordinate the solidified to contributed further was politics and music rock 159). long the to response effective “an s how shows she time, same th criticizing tr to sought musicians that explains c art underground the in resistance of fr insulated is art that socialism on studies of meanings symbolic of of rock in relatively new n 2 emerging regional trans of issues .2 .

Historical Context ofHistorical Hungarian Rock Music

In an article written in 1983, Szemere showed that that showed Szemere 1983, in written article an In In Hungary. analyzing the uses and perceptions of English in Hungarian rock music as a a as music rock Hungarian in English of perceptions and uses the analyzing e state e - locality ormative phenomenon, itis ormative

core Central in

into an aesthetically autonomous object of art of object autonomous aesthetically an into Hungarian Above all, Above om other societal institutions, especially politics politics especially institutions, societal other om , and it would thus be difficult to fit it into the fairly narrow scope scope narrow fairly the into it fit to difficult be thus would it and ,

. (Kalb

Musicologist Anna Szemere argues that, “The ‘high art’ paradigm art’ ‘high “The that, argues Szemere Anna

uch a move was political in and of itself, since it provided it since itself, of and in political was move a uch 2002) classical music since 1990. 1990. since music classical rock un - Eastern Europe sinceEastern 1989. -

in Budapest’s rock scene, thus framing the cit the framing thus scene, rock Budapest’s in tnig ooiain f utr b pltc” (2000: politics” by culture of colonization standing ommunity during state socialism” (2000: 158). (2000: socialism” state during ommunity nfr te statu the ansform Kati Ag Kati der state der

first light ócs socialism maintained ownmultiplicity its socialism necessary tosay something of (2006)

music (including jazz!) in the cu the in jazz!) (including music o rc a a a of way a as rock of s also the overt detachment between detachment overt the She explains that composers that explains She

shows this to be the casein the beto this shows

(2000: 158 (2000: –

pr drn the during pport served as a form form a as served ,

which have have which - 59

the – ). At the the At ).

the idea the

y as an as y history simply ltural ltural

She 5

CEU eTD Collection social of disjointedness spatial and temporal the theme, postmodern a with concern Szemere way. same the precisely or degree same the in not though rock, Hungarian contemporary in present still undoubtedly are which qualities socialism, state during qualities distinct (1983: 133). favor” fan’s their of condition the became position marginal their enough, Paradoxically attain to managed and seventies the pop of half second the in appeared which rock’ groups ‘hard the of “Some that, explains She rock. of types certain of success artistic t class. ruling the by from rock of category development” artistic to (Szemere 1983: 133). gone have might which energies consuming management very R 133). 1983: (Szemere expense” enormous at privately, e the of portion large light orpop musi zene’ ‘könnyű to redirected been has music concert new to went formerly that support that,“Composers out that the complain points theother era.socialist she Today, hand, on his lack of state validated prestige that ultimately contributed to the economic and and economic the to contributed ultimately that prestige validated state of lack his lrt i sie f iie mre ptnil oe ltl t te as media. mass the to little owed potential, market limited of spite in ularity costly what Given this disjuncture from the state, rock music in Hungary developed its its developed Hungary in music rock state, the from disjuncture this Given the includes which music, light of picture a paint thus authors two these Together point

Pierre enterprise that forced a significant porti significant a forced that enterprise

out

c but also goes beyond it beyond goes also but Bourdieu ( Bourdieu ” (2006: 6) ” (2006:

that quipment owned by [rock] by owned quipment In the case of rock, however, Szemere argues that it was precisely precisely was it that argues Szemere however, rock, of case the In

, “Back in the early 1980’s, underground rock song rock underground 1980’s, early the in “Back [1979] [1979] . Therefore, w Therefore, 1984) calls legitimate taste, or cultural taste validated taste cultural or taste, legitimate calls 1984) , as a as , ith minimal stat minimal ith form

groups [had] groups on of rock bands to fall back on “self on back fall to bands rock of on

of art and entertainment th entertainment and art of ock in Hungary was therefore was Hungary in ock e funding

been acquired from abroad, from acquired been

during socialism s had a unique unique a had s at was far was at own , “a , “a 6 – -

CEU eTD Collection ref only not were sentiments these was by followed sphere, political 80s late the time the bythat self certain a upon touches also and familiar nowset was disorder i stationarya seemed previously had “what changewhereinsocial impending perceptionof be” to used it what from differentIt’s / time songhint the of themes the while control, this of example excellent an reflect above described practices 40). (1996: time their spend they how over control citizens’ “etatization the of understanding Verdery’s Katherine to idea Szemere’s relate to possible becomes it ” grown!’ It’s / shrunk It’s / time watching‘We’re down: slowed simulta being time of perception paradoxical the in formulated conveyed by Habit” state under rock Hungarian in elements T particularly are lyrics underground the in that adding generally, Hung within lyrics of importance traditional the to points also Szemere late in existence he

inescapably miia apcs f her of aspects empirical n ojnto wt tee eprly n scal psmdr themes postmodern socially and temporally these with conjunction In

the rock band Sziámi band rock the woe e ad ifrn tmoa snain a aia cag o pace of change radical a sensation, temporal different and new whole a ”

f time of

- on its way to Hungary (2000: 1 (2000: Hungary to way its on oils Hungary socialist ,

which which at an awareness of it. it. awarenessof an at approached a general the feeling that a new period of political change political of period new a that feeling the general a s liaey understood ultimately is

- as a case in point in case a as ok hw numerous show work reflexivity within rock during this period. period. this during rock within reflexivity lected, but a but lected, n motion” n motion” ” 20: 163 (2000: -

socialism. socialism. there focus upon what Szemere sees as the artists’ the as sees Szemere what upon focus

(2 was a revitalization of public ac public of revitalization a was In lso adopted by rock musicians themselves musicians rock by adopted lso 0 ). ). 00: 162 particular, the lines “We’re watching the watching “We’re lines the particular, 62 , arguing that arguing ,

S - In her examination of these themes, themes, these of examination her In 63). Szemere goes on to argue to on goes Szemere 63). he cites the cites he

- instances 63). s h saes xrpito of expropriation state’s the as

“the music and the lyrics the and music “the emphasized (2000: 161) (2000: emphasized song “We’ve Kicked the the Kicked “We’ve song

neously accelerated and and accelerated neously (2000: 162 (2000:

h self The of these postmodern postmodern these of arian - ) She explains explains She management management .

tivity in the in tivity rock music music rock From this, this, From Szemere , lyrical lyrical

how 7 . .

CEU eTD Collection scene,rockBudapest’s of maze throughthe a themselvesagents which a as account into taken be can structure this Instead, scene. rock object this, which and music their produce analysis an for allows musicians. the both ultimately is English of lens the 2 forced 159). that sphere public burgeoning a producers cultural underground in resulted repression, societal party defined the of end “The states, she this On world. the to related they restrai without culture produce transformation era this during

.3 submissive .

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h reaso The

naal o nvgtn truh h all the through navigating of incapable structural aspects comprising Budapest’s rock scene and the agency of particular particular of agency the and scene rock Budapest’s comprising aspects structural h sgiiac o adopting of significance The , indistinguishable collective indistinguishable ,

fetd h atnm o rc musicians rock of autonomy the affected (2000: 163). (2000: ta ti thesis this that n

of agents’ pe agents’ of operate based on their statuses their on operate based

Most notably, she expl she notably, Most simultaneously t ie u te oil dniis f rit ad h ways the and artists of identities social the up mixed nt Analyzing to reappraise the nature and relevance of their art” (2000: art” their of relevance and nature the reappraise to twofold.

rceptions of the socio the of rceptions analyze . In short, t short, In .

Contemporary s First, it First,

uh n prah eie i te at that fact the in resides approach an such all of all

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as thinking individuals instead of of instead individuals thinking as regulate their perceptions. perceptions. their regulate s - ead to different ends and differentends to ead

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Hungarian Rock , arguing that the freedom to to freedom the that arguing , for an overlapping an for this feeling of impending of feeling this - day rock scene through through scene rock day framework through through framework - tt, hc had which state,

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o t rather intending to highlight the idea of idea the highlight intendingto rather t while at the at while their own own their sue ht gns r cmltl ucncos f h sca structure social the of unconscious completely are agents that assume my fieldwork has partially determined the theoretical framework of this this of framework theoretical the determined partially has fieldwork my fi

e b te ae itself maze the by ned to be one such method. In a In method. such one be to adopting methods of appealing of methods adopting hs hoeia aagmto o srcue n agency and structure of amalgamation theoretical this emphasizes s walls

the theme of ambivalent identity construction. identity ambivalent of theme the local manifestations of manifestations local

same time musicians with a with musicians time same ”

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to wider audiences, and audiences, wider to sr t ati ti ga. f course, Of goal. this attain to ssary ujcs anan h atnm to autonomy the maintain subjects (I am not promoting rational choice rational promoting not am (I

like this like agency as a structurally a asagency

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, Given the significant lack lack significant the Given

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[ 1986 focus uestion of conversion a step further, Andy Blunden criticizes Bourdieu on on Bourdieu criticizes Blunden Andy further, step a conversion of uestion examinations of examinations

Blunden ] 2004 ] es lne’ raoig o ti rsds n i nto that notion his in resides this for reasoning Blunden’s

n h conversi the on :

15 cery oig rm Mrit perspective, Marxist a from coming clearly , t hs eoe ncsay o take to necessary becomes thus it ). ). Of these Of a set of of set a structure understanding n ta tk pae ewe te om o capital of forms the between place take that ons

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In order to avoid reducing ca reducing avoid to order In

(2004). He therefore He (2004). aia ta Egih rvds m provides English that capital nevertheless

ations that determine how much of one one of much how determine that ations of capital, for “it is in fact impossible to impossible fact in is “it for capital, of

present ” (Blunden 2004). (Blunden ” lne’ udrtnig of understanding Blunden’s

in this thesis, it becomes it thesis, this in

goes on to explain that explain to on goes

pital to pital rus that argues scas in usicians

(Rikowski (Rikowski a In tracing tracing In “ s and use singular singular these iety, iety, 10 . ,

CEU eTD Collection society time, segmen other these with overlap undoubtedly scene the within agents of enclosed in context cultural subculture concepts scene and style between relationship fixed relatively a “implies subculture analy for useful more are concepts these trans and t local tools theoretical the of concepts the propagates Bennett Andy style, (2004: nations periphery or core within occurring are they not or note geograp cultural the impact capital and immigrants of flows international that argue globalization of studies unidirectional of product a rather but form, cultural isolated an not is rock Hungarian nowcomes thesis thepicture.this into not or based power

that these flows f flows these that however,

. This is because is This . no con, s el s the as well as account, into h ue f nls i Bdps’ rc see s tsaet o h nto that notion the to testament a is scene rock Budapest’s in English of use The

from other from music with the class background of those who appropriate it” (2004: 225 (2004: it” appropriate who those of background class the with music . . In this thesis, the concept of scene of concept the thesis, In this . With this mind, the mind, this With .

global influence global

it therefore function as function therefore

the scene scene the hrough which music culture can be analyzed (2004). He argues that that argues He (2004). analyzed be can culture music which hrough hy of local spaces and places” (2004: 205) (2004: places” and spaces local of hy hc aet at Te scene The act. agents which segments unction differently within the world system depending on whether on depending system world the within differently unction

the scene the also

s of society, of . is to be to is

As David Grazian Grazian David As second way that the lens of English w English of lens the that way second

is source

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understood as having as understood

regarded as regarded sis than sis

since the morality, ideologies, and perceptions and ideologies, morality, the since

of this power, whether it be explicitly class class explicitly be it whether power, this of is to be to is s

the concept the to the fairly reductionist concept of the the of concept reductionist fairly the to

dis il o b considered be not will broadly

understood in structur in understood tinct from these other segments other these from tinct pcfcapcs of aspects specific

the capability to produce to capability the of of points out, “Contemporary out, points .

the subculture, since the since subculture, the G 204 razian is also keen to to keen also is razian - 205). 205). both mutual and mutual both ts. - oa see as scene local ill be useful to to useful be ill

al terms as a as terms al At the same the At In a similar similar a In completely pos ). The ). t - war 11 of of a

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iven is

are ultimately ofhumanagency.products to act ing

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in particular ways.

r than define a culturally bounded social class social bounded culturally a define than r of

that s major as English

e in turn in , he , - , however, concepts of scene themselves can differ greatly greatly differ can themselves scene of concepts however, , locality

points to points perceived ividuals and groups in other communities” ( communities” other in groups and ividuals hoeia to truh which through tool theoretical akrp for backdrop

encourage Hly Kruse Holly ,

nry ht pls cos einl boundaries, regional across spills that energy

ticating it” (qtd. in Bennet 2004: 229). 2004: Bennet in (qtd. it” ticating This Mark Slobin’s idea of trans of idea Slobin’s Mark in rock music are affected by affected are music rock in agents

allow

nlzn those analyzing the concept of the trans the of concept the

the s funct rus that argues

for cultural ioning within the scene the within ioning dee aayi o how of analysis deeper a that cross through cross that

, the c the ,

power relations between relations power uses and perceptions of of perceptions and uses cn sals a broad a establish can I ay oa musicians local many .

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, . cn ge b te ae f xemntn Angel. Exterminating of name the by goes scene as a sub a as thus ihti bigsi, o said, being this With on the and section this both In T

Benedek, he punk scene punk he

bourgeois party bourgeois highlighting -

sect of Budapest’s rock scene rock Budapest’s of sect f as n hc Egih s ecie ad tlzd n Budapest’ in utilized and perceived is English which in ways of

and theand Significance

h fc ta m itriw ae agl cnend ih h con the with concerned largely are interviews my that fact the

sinc s eie bt fo a og y h Aeia hrcr pn group punk hardcore American the by song a from both derived is Mexican e

the diversity inherent within it. diversitythe inherentwithin

will not will hr ae tl many still are there - goers eo h eet ad t aesrn pi Budapest’s in up sprung have to bands newest the of ne surrealist film involving the psychological entrapment of entrapment psychological the involving film surrealist , however, ,

( personal communication, May 20, 2013). 20, May communication, personal

differ differ

of Global ie hs one this like floig t m analysis my it, following e

rm hs o Budap of those from

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e considered e omnlte i mscl nlecs t influences musical in commonalities

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this blurry distinction distinction blurry this

est’s ne f oh f these of both of ance

treat

more general rock rock general more separate s

the its says me,

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from the the from s rock rock s scious hat hat are 18

CEU eTD Collection in present just not are influences of ranges large such that clear become later will (It musica soun of variety Angel, Exterminating in guitar plays Fig. 1.Exterminating Angel facewith aname like itself. band the of music the beyond goes with band the connect also references the while large, at society references l influences and tastes extending tastes and influences l It eae la i m itriw with interview my in clear became

eie i t in resides ds into its music, while at the same time time same the at while music, its into ds

that” (personalcommunication,that” May 20,2013). er c heir

onscious critiques of conformity, capitalism, and consumer consumer and capitalism, conformity, of critiques onscious that

far beyond the fairly limited realm of punk rock. punk of realm limited fairly the beyond far

As Benedek put Benedek As the band indeed strives to integrate a wide wide a integrate to strives indeed band the eee ad áys te atr f whom of latter the Mátyás, and Benedek its members themselves have have themselves members its s

it, “You have to have a big big a have to have “You it, n ritc cp that scope artistic an

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much of the music that he still listens to. to. listens still he that music the of much . at about age 13, he got heavily into the into heavily got he 13, age about at

dek , “Best of the Beast,” by Iron Maiden Iron by Beast,” the of “Best , dn H sy tha says He ndon. , and a large assortment of classic rock groups rock classic of assortment large a and , What therefore presents itself in the story of Benedek’s of story the in itself presents therefore What b ack

notes that during his childhood his during that notes –

mostly n ugr, oee, etr msc a virtually was music Western however, Hungary, in - way –

rn Maiden Iron s case s international t it ’ , ihr e r h British the or he either d enjoyed d

a tee ht he that there was there was little opportunity to delve into the music the into delve to opportunity little was there his musical his

of hislife

(esnl omncto My 0 2013) 20, May communication (personal ” directionality

many different many and adolescence, he and his and he adolescence, and taste, and taste,

, , most of the music he found endedfound musiche ofthe , most black metal black “And basically for like a year I year a like for basically “And Gi ven his geographical and cultural and geographical his ven

ere t sek nls and English speak to learned

Benede

. In his adolescence, Benedik adolescence, his In . ato Benede of part of cultural of

he pur he

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musica exchange.

rock

that before he’d he’d before that k’s

The Beatles, The

family were were family l musicians I musicians

childhood. childhood. , but notes but , influe accessible accessible ,

largely This is is This

nces nces was was 20 up .

CEU eTD Collection Ibut a general propagates UK” the in “Anarchy member, party socialist unknown relatively forefront. “ Pistols, whore”). a repeats that chorus personal Benedik, to according socialist Hungary’s of which EP, demo a released CPG people. and problems local very to related often hand in matter exclusivel almost performed most the only by underground except unknown but all were Revue Marina and Auróra, CPG, as punk music level global a on known widely were Pistols Sex scene 1990 difficulties of the to due ignored largely went it that rather but rock, Hungarian devalued necessarily s know how to get it / I toget / want it destroyknow how to thepasserby”) . .

when English English when

T While While image of punk (“I am an antiam an punk(“I of image

hese difficulties correlate with Benedek’s statement that it was not until the late late the until not was it that statement Benedek’s with correlate difficulties hese Anarchy in the UK,” the extreme specificity of CPG’s music stands out in the in out stands music CPG’s of specificity extreme the UK,” the in Anarchy song in which in song

Whereas CPG’ , Comparing this to this Comparing

the bigges as I te ae f ah f hs Hnain groups, Hungarian these of each of case the In fans. actually British and American and British , “Erd , really began to flourish in Hungarian rock Hungarian in flourish to began really obta t Hungarian punk bands of the late socialist era and early 90s, such early era and thelateHungarian bands90s,such socialist of t punk Mátyás at, a be atmtn t cno te band the censor to attempting been had party, they proclaim they ő s song is focused upon the band’s animosity a band’s towards focuseduponthe s songis s ining it.

Péter a kurva anyá kurva a Péter i Hungarian. in y , and several others several and , what is perhaps one of the well the of one perhaps is what included a song called “Erd called song a included

- punk punk Christ / I / am Christ

they’d like to poke out his eyes, his out poke to like they’d bands like The Ramones, Ramones, The like bands

d ” t h sm tm, h pltcl subject political the time, same the At (translated, . CPG had thus retaliated with a with retaliated thus had CPG . an

vn y epe h dd’ lse to listen didn’t who people by even

anarchist / Don’t know what I whatwant, know anarchist /Don’t .

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, must appeal to a larger group of people, thus becoming increasingly generalized increasingly becoming thus people, of group larger a to appeal must , In many In Western generalityof the and rock punk Hungarian older specificityof the of Part mrcd h ge the embraced e s ie tdl ae appears wave tidal a like is ve

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and politics and a ifraie matter informative, an ,

of Exterminating Angel’s songs, as with the band the with as songs, Angel’s Exterminating of reflect a more general political concern that would make just as much much as just make would that concern political general more a reflect the song’s lyrics song’s the lacks lacks

neralized o any of the lyrical lyrical the of any f the song into his or her or his into song the f rock scene, however, however, scene, rock al works. works. al in, say, UnitedStates. orthe Russia - Gay Marriage Song,” serves as a case in point. Even Even point. in case a as serves Song,” Marriage Gay yia qaiy f well of quality lyrical . In addition, the lyrics the addition, In .

case, the music, like any like music, the case, , -

in “Self Redemption/Survival,” ar Redemption/Survival,” “Self in of In the song, “Self song, Inthe ” - ht etr bns had bands Western that

at ttmn that statement fact appears, “ poetry . In “Lack of Interest is Fascism,” is Interest of “Lack In .

Ritual,” comes Ritual,” , to be focused upon focused be to , it has become noticeable that lyrics lyrics that noticeable become has it ”

own life. With the rise of English in English of rise the With life. own

eeecn a iia ln fo Pat from line similar a referencing seen in other genres of music. music. of genres other in seen

Redemption/Survival,” the line the Redemption/Survival,” - nw Western known

don’t appear, as was the case case the was as appear, don’t

many other forms of mass of forms other many es tagt o h point. the to straight gets the line, “My love “My line, the

adopt the adopt ’ s name, one may also may one name, s –

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for life for bands. punk punk It is, is, It 22

CEU eTD Collection yoursand laugh at intentional. An Exterminating in fragmented contradic non and unitary as subjectivities [their] “experience to scene rock the of participants the Instead, songs values. own his expressing of way a as them utilizes actively 236). 1990: disarticulatin them, master the from elements appropriates critically which dynamic ‘syncretic’ a is there forms cultural of range whole a “Across convey. to isolated T of terms in itself expresses in capital symbolic therefore capital cultural of form a as ability speaking bands. revered other by produced meaning the com are out, Benedek’ of one by name same the of song a referencing side,” his in thorn the with boy The / be to hard e symbolic he

xenl rm Budapest’s from external It is interesting to note that there was yet another reference to Western rock music rock Western to reference yetanother was there that note to interesting is It , but rather build rather but , tory

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y As Kobena As pletely intentional, connecting the symbolic meanin symbolic the connecting intentional, pletely Implicitly, Benedek thus claims the meanings of these songs for himself and himself for songs these of meanings the claims thus Benedek Implicitly, This is in is This

– eoe pr o Budapest’ of part a become

significance to see [themselves] as whole individuals whole as [themselves] see to s favorite bands, The Smiths. Smiths. The bands, favorite s elf / And your elf /And mindless hate. g given signs and re and signsgiven g the integration of these references in references these of integration the e’ lrc, u oe that one but lyrics, gel’s “Pro

Mercer points out, this is not at all uncommon. He says that, that, says He uncommon. all at not is this out, points Mercer off of Benedek’s perception of what these oth these what of perception Benedek’s of off

adoption of Western culture s - Gay Marriage Song Marriage Gay f these of r c see n smtig to something and scene ock

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in more covert ways. During a ro a During ways. covert more in

that With the English language thus being used to used being thus language English the With ” nae with engages

- (a song by the band Gang Green Gang band the by song (a known songs known the use the

maintain partially dictates dictates partially hardcore punk rock, having be having rock, punk hardcore

of English in Budapest’s rock scene rock Budapest’s in English of

the the also and Threat, Minor band nk . on the song list were simply were list song the on ad ,

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d far nds

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untitled song untitled

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CEU eTD Collection apathy regarding it. and Iraq with war States’ United the condemns metal own their in adding Subhumans, not well the of singer the Lucas, Dick by monologue minute two roughly a with begins Fascism,” is Interest of definit only not ideology? such aspect stylistic punk. of sphere ideological the ch must it produce that people band the after 20 2013). r like good, really a be still would they 2002, or 2001 like in up broke Filth of Cradle if that I think band. cool pretty a still were n ta Etriaig nes oes h sn “iky Mouse “Mickey song the covers Angels Exterminating that ing iv o u ter ukn SV i odr o mk… oe money. more… make… to… order in SUVs fucking their run to the what so that, got already you’ve shit, nope, But States. United the of President be could you want, you power the all have You money. be can’t it So that. got already you dollars, of billions and billions yourself print You want? you money it Is O from respect lost somehow Filth of Cradle that idea The elyglobal phenomenon. n n em o nt ny tlsi ifune, u as i ideology, in also but influences, stylistic only not of terms in

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CEU eTD Collection no for least at plays, band his if English in perform would he why Benedek asked explicitly I idea. rock scene the beyond far goes that movement power. of injustices the against fights itse defining factions, social of mentality Lucas’s adopted has band the that apparent becomes it First, things. important two shows thus album their to introduction 34). “S alone possible been have would what than scale larger a on difference be to perceived control ofthei be that powers the oppose who people the are there Then justice. and p struggle power a as described be only can what upon Lucas’ In owers of evil, which evil, of owers enses of shared identity are alliances formed out of oppositional stances” (Krus stances” oppositional of out formed alliances are identity shared of enses

T The actual Angel’s ofExterminating lyrics are thing. thesame sortof thinking yourown of control take and over left are rights little what for up stand to have you why is Which make. to have you complete sor some or devil, the with league in they’re think I want. they what me beats it so money, the got already they’ve e at ht xemntn Agl eie t ad Lucas’ add to decided Angel Exterminating that fact he s monologue s .

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In comes it apparentmove turn, that the scope of the of scope

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e told me, “Because English is the new Latin” new the is English “Because me, told e - idd ees a gte and gather can rebels minded

have waged a waged have

life and get together with other people who people other with together get and life band’s actual music actual band’s songs, all inEng songs, . On the one hand, there are the the are there hand, one the On .

global

mnlge into monologue s lish, only reaffirm thisreaffirm onlylish, war against war ment or even Budapest’s Budapest’s even or

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CEU eTD Collection of language some for need urgent is “There that, out points nevertheless Benedek, like but communication, of means a as role increased English’s of danger a is homogeneity 2013). 20, May communication, thing positive a already that’s it, about think somebody make just can I if it, lyrics the read and it to listen and band, my something, goodthat “ explains possible. as places many as to disseminate to like would Ange Exterminating o transmission as functions thus English rock punk serve friends”communication, May (personal 20,2013). my to songs send I feedback, of lot a get IAnd […] place my at sleeping bands two be to world the over all from no that and sceneinternational on them friend a with discussions ongoing Germany. and France, Italy, Denmark, in play will ten a have even They soon. country the of outside 2013). 20, May communication, (personal it’s not good if everything ends up being the s the being up ends everything goodif not it’s s Ben s to his small record label. record small his to Benedek, is simply the simply is Benedek, some kid, maybe in Russia or China or Japan or China or Russia in maybe kid, some edek and Exterminating Angel Exterminating and edek lv n uaet and Budapest in alive pn ideologies punk f l, since l, ,” he says, “Bands sleep at my place, like tomorrow there’s going there’s tomorrow like place, my at sleep “Bands says, he ,” ,

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scene is really isolated from another. “I have friend have “I another. from isolated really is scene egahr huc D Hri cnus t concurs Harris D. Chauncy Geographer en o cmuiain that communication of means

as a way of keeping the keeping of way a as He said that the band plans on playing shows shows playing on plans band the that said He ame, that’s the bad side bad the that’s ame, - ,

day tour set up for this fall when they when fall this for up set tour day In that English isapparent it way, this they to do this. “Of course, “Of this. do to

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the use of the use of

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especially regarding authors 30 :

CEU eTD Collection music. their for exclusively English saving Hungarian, using members audience with engage English, in perform they not or whether band the of members the with Mudpie or Off, bands these with that fact the is this about members audience a perform bands international When vocalists. the at back shout to members audience for uncommon AgainFig. 2.Mátyás bandThink performinginhis ewe sns vclss yial sek o h adec ad t s o a all at not is it and audience the to speak typically vocalists songs, Between

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on a personal level. level. personal a on . When a local band like Exterminating Angel Exterminating like band local a When . ce members are usually are members ce hn nls i used is English When

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of maintaining global punk global maintaining of .

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CEU eTD Collection bands roll n’ English. to mostlylistened ends desired their affect that differences difference to connected culture to Hungarian lead has use its that becomes also it music, rock of sphere the in authority symbolic most the maintaining language the as valued is English 2013). 4, May communication, (personal stupid” band, When is “English that, posits pop the of singer lead the Attila, by statement a in reflected of production the for precondition a seen the diff The language. universal new the as perceived is scene, 4 post that .3. Cover

fact that English is seen to seen is English that fact - the cultural linkages between Hungary and the West the and Hungary between linkages cultural the socialist context (Fehé context socialist he I asked Attila asked I In the realm of cover bands, it is apparent that English, like in the punk rock rock punk the in like English, that apparent is it bands, cover of realm the In

He explains that the sounds the that explains He od e ht n ugra te name the Hungarian in that me told between B ands and the and ands Recreation ofthe ” the

ht ae nlecd h mscl tls f h Smash The of styles musical the influenced have that English songs, and so when h when so andsongs, English I trs f agency of terms In . idea idea the musical capabilities musical the

why the language of rock” (personal communication, May 4, 2013). 2013). 4, May communication, (personal rock” of language the ht some that

the English name The Smash Smash The name English the r váry 2002).

possess a form of form a possess Hungarian rock musicians perceive perceive musicians rock Hungarian of English of

t , Attila says Attila

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are considered norma considered are cer a erence, however, arises from arises however, erence, - similar to those famous rock famous those to similar zá rock band The Smash, who Smash, The band rock kstar s “u ta wud sound would that “but , an self tain

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CEU eTD Collection wit music are which 2013). 4, May communication, (personal covers actually are show each at perform they songs in bass plays whom of latter the H., Balázs Fig. 3 members enjoy movement international an connect to not is this however, scene, punk the to opposed As English 2013). 4, May communication, . The Smash To be fair, The Smash is only partially a cover band. According to Attila and and Attila to According band. cover a partially only is Smash The fair, be To in his lyrics his in O h the songs of well of songs the h verall, verall, written in English in written

so much. t

e lk t pt h wih o ter musi their of weight the put to like hey connects The Smash to a rock scene that goe that scene rock a to Smash The connects

bt ahr to rather but , - . Attila explains that the reason they intersperse their own own their intersperse they reason the that explains Attila . known

n hs a, t eoe aprn that apparent becomes it way, this In bands is because is bands erae h Wsen music Western the recreate The Smash, anywhere from 1/4 from anywhere Smash, The , “If people come to our show our to come people “If , o oiia pieces original on c Attila, or The Smash The or Attila, s far beyond Budapest. beyond far s ht h band’s the that tias s of use Attila’s - 1/3 , most of of most ,

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with who 34

CEU eTD Collection audience their with engaging and song celebrated globally and recognized a playing simply By well. as enterprise, transformed a as band audience its and band In interact. would members the which in way the restructuring of effect the had perform along sing for gesturing coversongs, of performance the during hands his clap to begin often would Attila fieldwork, my during well of admiration the in participate to audiences lack. they that performed (persona ” this?’ in o in these Hungary play would we “If Attila. says mainstream,” “too be just would Quimby or Tankcsapda, Depresszió, like groups rock Hungarian famous by songs cover To UK. the the cases other all in that but Tankcsapda, called band Hungarian a by song one covered they’ve that out pointed Balázs and Attila others. many amongst Roses, n’ Guns and Benjamin, Sist Twisted Sour, Stone Metallica, D, Tenacious Queen, Pantera, Slipknot, Down, Doors covers Smash The that songs d on’t kn on’t er, Bon Jovi, AC/DC, Alice in Chains, Pink Floyd, Black Sabbath, Breaking Breaking Sabbath, Black Floyd, Pink Chains, in Alice AC/DC, Jovi, Bon er,

n hs playing thus In ow us, they couldn’t sing along sing couldn’t they us, ow poss bands they cover are Western are cover they bands . In this way, the symbolic prestige fueling the songs that The Smash would Smash The that songs the fueling prestige symbolic the way, this In . by ne of our gigs or concerts, it would be ‘Oh, c’mon, why are you playing playing you are why c’mon, ‘Oh, be would it concerts, or gigs our of ne ess a certain fo certain a ess The Smash Smash The l

communication, May 4, 2013). Thus, a Thus, 2013). 4, May communication, Western Western are

turn, it becomes possible to look at the social position of the of position social the at look to possible becomes it turn, reign and exotic quality that Hungarian songs are thought to thought are songs Hungarian that quality exotic and reign t

he audience to do the same, while also encouraging also while same, the do to audiencehe to Hungarian audiences Hungarian to include songs by a large variety of groups, such as Three Three as such groups, of variety large a by songs include songs that people know, The Smash encourages their their encourages Smash The know, people that songs - ” based, coming from either the United States or or States United the either from coming based,

(personal communication, May 4, 2013). 4, May communication, (personal - known Western rock bands. As I saw saw I As bands. rock Western known

n different a in , it ,

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them t them

The 35 o

CEU eTD Collection used was 213 that time and Hanneman, to song a birth and death members Slayer. band the of member founding a Hanneman, possible respectively they that interestingin quite of perceived the prestige of is itself band the which t ac have that rockstars the from distinguished way this in is it and does, audience their than anymore cover they that songs produced. audience, that notthe through theband, stage,” “center no often therefore pu the in performers and members audience between seen interchangeability Attila, especially herefore 213 implicitly , a Slayer tribute band, and band, tribute Slayer a , Similar instancesSimilar oft .

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, a very particular way here way particular very a

and so attempt to distance themselves from the original bands as much as much as bands original the from themselves distance to attempt so and spoke in Englin spoke established themselves as his inferiors. inferiors. his as themselves established –

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mash d printed onthem

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Dekadeth

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t , he originality that that originality he

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often seen in Hungarian music. Hungarian in seen often ys. “ ys. f eaeh a sil rsn i Dekadeth’s in present still was Megadeth of .

When I asked him why he left, he told me that the band the that me told he left, he why him asked I When ’d composed any original pieces of music, he told me told he music, of pieces original any composed ’d and You write some lyrics that everyone understand everyone that lyrics some write You usic ( usic ation, May 2013). 19, Dekadeth e a a omr utrs i Te Smash The in guitarist former a was he the the , it it , personal communication, May 19, 2013). When When 2013). 19, May communication, personal .

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CEU eTD Collection as nationalism co Hungarian? in sing could you if English in sing you would ‘Why says, that part nationalist that is This English. in sing very a “ states, He rock. Hungarian in English of refutation a as nationalism Hungarian of idea the up brought Robert when began evolution This Union. European the about Hungari European and Cultural Roll 4.4. Rock n’ Citizenship (personal May communication, 20,2013). rock to go people that and solos improvise experience. chance rock complete more a with audience the provide the therefore him giving also while possible, as perfect to close István allows It minimalism. En in performed is music a In them. with harmony in works rather but band, the in instruments the of rest the overtake not does which lyrics, performing 2013). 19, somethin some just something, write or to riffs complicated music the into effort much as putting not are [bands] so based, lyrics mmunication, May 3, 2013). mmunication, May 3, , very thin layer of the population of the audience who wouldn’t really like that you that like reallywouldn’t who audience the of population the layerof thin very , Perhaps it was for the best that my interview with Robert, the lead guitarist of the of guitarist lead the Robert, with interview my that best the for was it Perhaps n ad ok ad rnl, evolved Krinkle, band rock hard an English, on the other hand, is seen to function as a more balanced means of of means balanced more a as function to seen is hand, other the on English, eprly backward temporally

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n this way,n this Fehérvá

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poe ntoaitc etlte o cmlt cultural complete of mentalities nationalistic opposes

English way of reconnecting Hungary with the rest of rest the with Hungary reconnecting of way , perhaps decades, for [Hungary] to ‘catch up’ up’ ‘catch to [Hungary] for decades, perhaps , enlightened , or at least accept least at or , 378) With English no longer banned, but rather rather but banned, longer no English With in post in .

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European states” (2002: 374). 374). (2002: states” European about preto o Egih s a as English of perception s has become th

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believe n h cniun rlvne f h Hungarian the of relevance continuing the on and the questions regarding artistic autonomy that are raised by raised are that autonomy artistic regarding questions the and

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is and watching his song his watching and

that writing Hungarian lyrics entails a entails lyrics Hungarian writing that largely contradicts the internationality of the the internationalityof the largelycontradicts e because the band is not looking at an an at looking not is band the because e T o te use the how o ei, wl offer will I begin, To he Smash thus takes on a very very a on takes thus Smash he

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more short 42

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examining cultural, social, and symbolic capital, it is clear that there is little overlap little is there that clear is it capital, symbolic and social, cultural,

that are present in Budapest’s tribute bands. bands. tribute Budapest’s in present are that puts emphasis on the fact that the bands members are proud of of proud are members bands the that fact the on emphasis puts

structural conditions produced by produced conditions structural by

Cseh Tamá Cseh , since their since ,

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CEU eTD Collection Bourdieu, Pierre. Bourdieu, Pierre.( Blunden, Andy Bennett,“Consolidating(2004). theMusicScenes Andy. Perspective.” Agócs, “The Mechanics Kati. (2006). ofCulture: References Budapest’s successfully rock managed tom scene has arelargely uni West other. each and that notion the Routele Reader in published 1979. (RichardCambridge: Nice, Trans.). University Original work Harvard Press. solidarity available online.Retrieved from 32, No.3,223 http://www.jstor.org/stable/25434400 The Musical Times . (2004). . (2004). dgeFalmer Hungarian works of art are from homogenous in respect to both the West the both to respect in homogenous from are art of works Hungarian

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Stuart. (1990). Keynes: Open University Press.Keynes:University Open Music Chris Retrieved DevelopmentLimitations.” and London:Hann (ed.). Routledge. 1 as aPostsocialism Topicof Anthro Difference Poetics %20(2002).pdf http://socasis.ubbcluj.ro/seminarii/urbana/Upload/SyllabusS06/20.%20Fehervary Retrieved Lifea ‘Normal’ inPosts Trans.). Hann (ed.).London: Routledge. 317 , Vol.12,No.1.33 , Vol. 32.197 Cambridge: from http://www.jstor.org/stable/3594725 from .

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