The story of the experimental zeitgeist in Eastern European art, seen through personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. Throughout the 1970s, a network of artists emerged to bridge the East-West divide, and the no less rigid divides between the countries of the Eastern bloc. Originating with a series of creative initiatives by artists, art historians, and critics and centered in places like Budapest, Poznań, and Prague, this experimental dialogue involved Western participation but is today largely forgotten in the West. In Networking the Bloc, Klara Kemp-Welch vividly recaptures this lost chapter of art history, documenting an elaborate web of artistic connectivity that came about through a series of personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. Countering the conventional Cold War narrative of Eastern bloc isolation, Kemp-Welch shows how artistic ideas were relayed among like-minded artists across ideological boundaries and national frontiers. Much of the work created was collaborative, and personal encounters were at its heart. Drawing on archival documents and interviews with participants, Kemp-Welch focuses on the exchanges and projects themselves rather than the personalities involved. Each of the projects she examines relied for its realization on a network of contributors. She looks first at the mobilization of the network, from 1964 to 1972, exploring five pioneering cases: a friendship between a Slovak artist and a French critic, an artistic credo, an exhibition, a conceptual proposition, and a book. She then charts a series of way stations for experimental art from the Soviet bloc between 1972 and 1976—points of distribution between studios, private homes, galleries, and certain cities. Finally, she investigates convergences—a succession of shared exhibitions and events in the second half of the 1970s in locations ranging from Prague to Milan to Moscow. Networking the Bloc, Kemp-Welch invites us to rethink the art of the late Cold War period from Eastern European perspectives.

The story of the experimental zeitgeist in Eastern European art, seen through personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. Throughout the 1970s, a network of artists emerged to bridge the East-West divide, and the no less rigid divides between the countries of the Eastern bloc. Originating with a series of creative initiatives by artists, art historians, and critics and centered in places like Budapest, Poznan, and Prague, this experimental dialogue involved Western participation but is today largely forgotten in the West. In Networking the Bloc , Klara Kemp-Welch vividly recaptures this lost chapter of art history, documenting an elaborate web of artistic connectivity that came about through a series of personal encounters, pioneering dialogues, collaborative projects, and cultural exchanges. Countering the conventional Cold War narrative of Eastern bloc isolation, Kemp-Welch shows how artistic ideas were relayed among like-minded artists across ideological boundaries and national frontiers. Much of the work created was collaborative, and personal encounters were at its heart. Drawing on archival documents and interviews with participants, Kemp-Welch focuses on the exchanges and projects themselves rather than the personalities involved. Each of the projects she examines relied for its realization on a network of contributors. She looks first at the mobilization of the network, from 1964 to 1972, exploring five pioneering cases: a friendship between a Slovak artist and a French critic, an artistic credo, an exhibition, a conceptual proposition, and a book. She then charts a series of way stations for experimental art from the Soviet bloc between 1972 and 1976--points of distribution between studios, private homes, galleries, and certain cities. Finally, she investigates convergences--a succession of shared exhibitions and events in the second half of the 1970s in locations ranging from Prague to Milan to Moscow. Networking the Bloc , Kemp-Welch invites us to rethink the art of the late Cold War period from Eastern European perspectives.

Desperate to escape South Texas, Stephanie Elizondo Griest dreamed of becoming a foreign correspondent. So she headed to Russia looking for some excitement—commencing what would become a four-year, twelve-nation Communist bloc tour that shattered her preconceived notions of the “Evil Empire.” In Around the Bloc, Griest relates her experiences as a volunteer at a children’s shelter in Moscow, a propaganda polisher at the office of the Chinese Communist Party’s English-language mouthpiece in Beijing, and a belly dancer among the rumba queens of Havana. She falls in love with an ex-soldier who narrowly avoided radiation cleanup duties at Chernobyl, hangs out with Cuban hip-hop artists, and comes to difficult realizations about the meaning of democracy. is the absorbing story of a young journalist driven by a desire to witness the effects of Communism. Along the way, she learns the Russian mathematical equation for buying dinner-party vodka (one bottle per guest, plus an extra), stumbles upon Beijing’s underground gay scene, marches with 100,000 mothers demanding Elián González’s return to Cuba, and gains a new appreciation for the Mexican culture she left behind.

This is the story of the International Rescue Committee (IRC), an organisation founded by democratic socialists in the 1930s to help the victims of Facism in the post-World War II years, and its connections with the US intelligence community.

The familiar story of Soviet power in Cold War Eastern Europe focuses on political repression and military force. But in Empire of Friends, Rachel Applebaum shows how the Soviet Union simultaneously promoted a policy of transnational friendship with its Eastern Bloc satellites to create a cohesive socialist world. This friendship project resulted in a new type of imperial control based on cross-border contacts between ordinary citizens. In a new and fascinating story of cultural diplomacy, interpersonal relations, and the trade of consumer-goods, Applebaum tracks the rise and fall of the friendship project in Czechoslovakia, as the country evolved after World War II from the Soviet Union's most loyal satellite to its most rebellious. Throughout Eastern Europe, the friendship project shaped the most intimate aspects of people's lives, influencing everything from what they wore to where they traveled to whom they married. Applebaum argues that in Czechoslovakia, socialist friendship was surprisingly durable, capable of surviving the ravages of Stalinism and the Soviet invasion that crushed the 1968 Prague Spring. Eventually, the project became so successful that it undermined the very alliance it was designed to support: as Soviets and Czechoslovaks got to know one another, they discovered important cultural and political differences that contradicted propaganda about a cohesive socialist world. Empire of Friends reveals that the sphere of everyday life was central to the construction of the transnational socialist system in Eastern Europe—and, ultimately, its collapse.

The Détente Deception examines the competition between the U.S.-led Western bloc and the Soviet bloc in the less developed world during the final years of Détente. Rivero assesses whether or not the Soviet bloc pushed for strategic gains in the Third World and whether this contributed to the U.S. decision to abandon Détente in 1979. This view is articulated by many acclaimed scholars such as Stephen Walt (1992), John Gaddis (1997), and Vladislav Zubok (2007). They make the case that during the final years of Détente and throughout the 1980s, U.S. policy in places such as Nicaragua and Angola was a calculated response to Soviet aggression in the less-developed world. This book challenges this position as the quantitative evidence points to U.S. aggression. Not only did the Western bloc push to maintain dominance over the Third World, archival evidence also suggests the US made significant efforts in Eastern Europe and Afghanistan during the final years of Détente to dismantle the Soviet bloc.

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.

This inter-disciplinary and wide-ranging study unravels the social processes of decision-making at the interface of central banks and financial market participants, and thereby raises important questions about responsible central bank governance and its obligations to stakeholders in society. The book challenges commonly held assumptions on how central banking works and critically assesses unconventional monetary policy and its underlying theoretical tenets. Drawing from rich, multi-sited fieldwork and data collection, this research monograph offers an in-depth look into the financial market practices around the quantitative easing programmes of the European Central Bank and focuses on the uneasy role of modern central banks as active market participants. The author introduces concepts from social network theory and develops a novel method to study organisational networks in the context of financial markets. An analysis of the European Central Bank’s social, organisational and financial networks is sketched over the course of multiple chapters. The concluding chapters dive into documentary analysis and the extensive material from qualitative interviews with senior investment professionals about the strategies and adaptive processes around the lived experience of quantitative easing. The winner of the British Sociological Association’s prestigious Philip Abrams Memorial Prize, this book is a vital resource for social scientists researching organisations in financial markets, providing theory, concepts, empirical data and practical implications. It will be of interest to academics and graduate students in economics, sociology and management/organisation studies, as well as practitioners at central banks and in asset management.

'Epic... Wilson writes captivatingly with humour...anyone with an interest in eastern European sport will be consulting this book for years to come' FINANCIAL TIMES 'This fascinating and perceptive travelogue includes a fine collection of anecdotes too colourful for fiction' SUNDAY TIMES 'A blissful book, lovingly and stylishly written' DAILY TELEGRAPH From the war-ravaged streets of Sarajevo, where turning up for training involved dodging snipers' bullets, to the crumbling splendour of Budapest's Bozsik Stadium, where the likes of Puskás and Kocsis masterminded the fall of England, the landscape of Eastern Europe has changed immeasurably since the fall of communism. Jonathan Wilson has travelled extensively behind the old Iron Curtain, viewing life beyond the fall of the Berlin Wall through the lens of football. Where once the state-controlled teams of the Eastern bloc passed their way with crisp efficiency - a sort of communist version of total football - to considerable success on the European and international stages, today the beautiful game in the East has been opened up to the free market, and throughout the region a sense of chaos pervades. The threat of totalitarian interference no longer remains; but in its place mafia control is generally accompanied with a crippling lack of funds. In BEHIND THE CURTAIN Jonathan Wilson goes in search of the spirit of Hungary's 'Golden Squad' of the early fifties, charts the disintegration of the footballing superpower that was the former Yugoslavia, follows a sorry tale of corruption, mismanagement and Armenian cognac through the Caucasuses, reopens the case of Russia's greatest footballer, Eduard Streltsov, and talks to Jan Tomaszewski about an autumn night at Wembley in 1973...

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