The Hungarian city of Sztalinvaros, or "Stalin-City," was intended to be the paradigmatic urban community of the new communist society in the 1950s. In Stalinism Reloaded, Sandor Horvath explores how Stalin-City and the socialist regime were built and stabilized not only by the state but also by the people who came there with hope for a better future. By focusing on the everyday experiences of citizens, Horvath considers the contradictions in the Stalinist policies and the strategies these bricklayers, bureaucrats, shop girls, and even children put in place in order to cope with and shape the expectations of the state. Stalinism Reloaded reveals how the state influenced marriage patterns, family structure, and gender relations. While the devastating effects of this regime are considered, a convincing case is made that ordinary citizens had significant agency in shaping the political policies that governed them.

The Hungarian city of Sztalinvaros, or "Stalin-City," was intended to be the paradigmatic urban community of the new communist society in the 1950s. In Stalinism Reloaded, Sandor Horvath explores how Stalin-City and the socialist regime were built and stabilized not only by the state but also by the people who came there with hope for a better future. By focusing on the everyday experiences of citizens, Horvath considers the contradictions in the Stalinist policies and the strategies these bricklayers, bureaucrats, shop girls, and even children put in place in order to cope with and shape the expectations of the state. Stalinism Reloaded reveals how the state influenced marriage patterns, family structure, and gender relations. While the devastating effects of this regime are considered, a convincing case is made that ordinary citizens had significant agency in shaping the political policies that governed them.

As the sun set on June 8, 1969, a group of teenagers gathered near a massive tree in a main square of Budapest to mourn the untimely death of Rolling Stones guitarist Brian Jones. By the end of the evening, sirens blared, teens were interrogated, and the myth of the most notorious juvenile gang in Budapest was born. The origin of the Great Tree Gang became an elaborately cultivated morality tale of the dangers posed by allegedly rebellious youths to the conformity of communist communities. In time, governments across Cold War Europe manufactured similar stories about the threats posed by groups of unruly adolescents. In Children of Communism, Sandor Horvath explores this youth counterculture in the Eastern Bloc, how young people there imagined the West, and why this generation proved so crucial to communist identity politics. He not only reveals how communism shaped youth culture, but also how young people shaped official policy. A fascinating read on the power of youth protest, Children of Communism shows what life was like for the first generation to have been born under communism and how one evening spent grieving rock and roll under a tree forever changed lives.

As the sun set on June 8, 1969, a group of teenagers gathered near a massive tree in a main square of Budapest to mourn the untimely death of Rolling Stones guitarist Brian Jones. By the end of the evening, sirens blared, teens were interrogated, and the myth of the most notorious juvenile gang in Budapest was born. The origin of the Great Tree Gang became an elaborately cultivated morality tale of the dangers posed by allegedly rebellious youths to the conformity of communist communities. In time, governments across Cold War Europe manufactured similar stories about the threats posed by groups of unruly adolescents. In Children of Communism, Sandor Horvath explores this youth counterculture in the Eastern Bloc, how young people there imagined the West, and why this generation proved so crucial to communist identity politics. He not only reveals how communism shaped youth culture, but also how young people shaped official policy. A fascinating read on the power of youth protest, Children of Communism shows what life was like for the first generation to have been born under communism and how one evening spent grieving rock and roll under a tree forever changed lives.

Youth and Rock in the Soviet Bloc explores the rise of youth as consumers of popular culture and the globalization of popular music in Russia and Eastern Europe. This collection of essays challenges assumptions that Communist leaders and Western-influenced youth cultures were inimically hostile to one another. While initially banning Western cultural trends like jazz and rock-and-roll, Communist leaders accommodated elements of rock and pop music to develop their own socialist popular music. They promoted organized forms of leisure to turn young people away from excesses of style perceived to be Western. Popular song and officially sponsored rock and pop bands formed a socialist beat that young people listened and danced to. Young people attracted to the music and subcultures of the capitalist West still shared the values and behaviors of their peers in Communist youth organizations. Despite problems providing youth with consumer goods, leaders of Soviet bloc states fostered a socialist alternative to the modernity the capitalist West promised. Underground rock musicians thus shared assumptions about culture that Communist leaders had instilled. Still, competing with influences from the capitalist West had its limits. State-sponsored rock festivals and rock bands encouraged a spirit of rebellion among young people. Official perceptions of what constituted culture limited options for accommodating rock and pop music and Western youth cultures. Youth countercultures that originated in the capitalist West, like hippies and punks, challenged the legitimacy of Communist youth organizations and their sponsors. Government media and police organs wound up creating oppositional identities among youth gangs. Failing to provide enough Western cultural goods to provincial cities helped fuel resentment over the Soviet Union's capital, Moscow, and encourage support for breakaway nationalist movements that led to the Soviet Union's collapse in 1991. Despite the Cold War, in both the Soviet bloc and in the capitalist West, political elites responded to perceived threats posed by youth cultures and music in similar manners. Young people participated in a global youth culture while expressing their own local views of the world.