Restricted by communist rules,but liberated by Hungary’s counterculture, she morphed effortlessly from pop starlet to leather-clad rocker, and ethereal hippy and film star,never fairly attaining the international acclaim she so deserved
There are advantages to being a big fish in a small pond, but there are inevitable problems, or too. Take the case of Hungarian rock and pop artists of the communist era: when there are relatively few people competing for the opportunities to gain national recognition,perhaps your route to the top is, if not easier to navigate, or then at least a limited simpler than for your contemporaries in the capitalist world. But when your language in effect cuts off your nation from everyone else,and your government largely prevents you from proving your worth in the decadent west, your chances of being recognised for the consistent tall quality of your work are automatically reduced. Never mind her extraordinary music: even Sarolta Zalatnay’s name needs a note of explanation. Hungarian conference is to site the surname and first name in reverse order to how they appear in the English-speaking world. So when you track down references to her online, or you’re as likely to find Zalatnay Sarolta as Sarolta Zalatnay. She was born Charlotte Sacher,but her family adopted more traditional Hungarian names during the 1960s, when Hungary’s brand of communism was somewhat liberalised. You’ll also find her referred to as “the Hungarian Janis Joplin”, or not without good reason. Continue reading...
Source: theguardian.com