Pop-Rock and Propaganda During the Ceaușescu Regime in Communist Romania

Pop, Doru

doi:10.1057/978-1-137-59273-6_3

Cited by 3 publications

(2 citation statements)

References 1 publication

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“…The clandestine ways teenagers went about trying to get a glimpse of the Capitalist West tie in with suspicions about the role played by pop-rock culture in the fall of Communism (Ramet, 1994). Explicitly, youngsters enmeshed themselves in “an informal culture of sharing and distributing rock music, which in turn created a subculture of consumption, supplied by a black market of trade in the latest musical productions of Anglo-American music industry” (Pop, 2016: 53).…”

Section: Romanian Children’s Televisionmentioning

confidence: 99%

Romanian childhood: Performative identities on and off television

Colăcel

2020

Childhood

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Recreation and repetition of what Romanian children are expected to be, as well as their acts of individual agency, accomplish a sense of identity reconstructed in public narratives of childhood. Being a child is increasingly constituted by addressing notions of economic opportunities. TV performance is viewed as a process steeped in discursive and visual practices to be understood and continued in daily life. Performative stereotypes give new meanings to competition-style shows and news featuring underage characters. They are a major conduit for the consumption of identity-based narratives inextricably tied to children as driven individuals. Ultimately, Romanian children’s television advertises changing ideas about the future of the nation as related to the performance of childhood. This has consequences on and off-screen.

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Section: Romanian Children’s Televisionmentioning

confidence: 99%

Romanian childhood: Performative identities on and off television

Colăcel

2020

Childhood

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“…In a country where in 1991 electric guitars were still 'scarce,' (Negus 1992, p. 108) rock-mania provided a necessary escapism, while translating lyrics into Romanian was perhaps a result of the introversion and insularity of the Romanian hippie movement (Fichter 2011, p. 578), in that they might have been the expression of a self-referential counterculture rather than arduous political activism. Also, while the existing literature generally links folklore-infused Romanian rock to a nationalism that was accepted by the Communist regime (Pop 2016, Dobrescu 2011, one also needs to acknowledge the fact that it may have been a response to Mircea Eliade's impact as a historian of religions (Oișteanu 2006) 8 and a symbol of the alternative ways of approaching Romanian culture. I would argue here that, for example, Cornel Chiriac's choice to translate Jesus Christ Superstar in its entirety may have been the result of an Eliadesque mode of perceiving and promoting music and that translation was his very personal way of understanding it.…”

Section: Back Translation Choir Of Moneylenders and Merchantsmentioning

confidence: 99%

The Network Effect and Rock Lyric Translation: The Case of Romanian Radio Producers and Musicians During Communism

Tanasescu¹

2019

TradRev

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“It Was All that I Could Think of.” Migration, Youth, and Folkloric Entertainment in Rural Romania

Cosma¹

2022

Studia UBB Dramatica

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"A hybrid that originated in the traditional peasant music, Romanian popular music (muzică populară), as it is known from radio broadcasts, TV shows or live performances from all around the country, was developed by mixing the village music of the twentieth century with techniques and principles borrowed from the classical repertoire and other light genres. Muzica populară emerged in the interwar years, but was perfected and regulated by the communist regime, becoming one of the favorite genres of the rural and urban working class and, nowadays, it continues to have a great appeal among all age categories. Our aim was to discover the motivations that lead the village youth of Romania to involve themselves in activities dealing with muzica populară, in particular, or with folklore and traditions, in general. To accomplish this, we conducted several interviews with young people from Sălaj county, from which a few patterns emerged: the rapid familiarization with the genre due to specific TV channels; the acquired taste due to grandparents raising their grandchildren in the absence of the parents who migrated in the 2000s; the expressed devotion to the local culture and their willingness and duty to preserve and promote it. We can also explain the success of muzică populară among young people by structural factors that are at work in the whole society, namely the lack of interest of post-communist authorities in building and/or maintaining a cultural and educational infrastructure in the rural areas. Thus, this paper aims to explore contemporary rural pop culture by considering the connection between the deterioration of the cultural infrastructure in rural areas, transnational migration and the exponential development of an industry devoted to the recent muzică populară. Keywords: muzică populară, folklore music, folk traditions, rural youth, cultural infrastructure, transnational migration, niche TV channels. "

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Pop-Rock and Propaganda During the Ceaușescu Regime in Communist Romania

Cited by 3 publications

References 1 publication

Romanian childhood: Performative identities on and off television

Romanian childhood: Performative identities on and off television

The Network Effect and Rock Lyric Translation: The Case of Romanian Radio Producers and Musicians During Communism

“It Was All that I Could Think of.” Migration, Youth, and Folkloric Entertainment in Rural Romania

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