The ideological campaigns of 1948-49 against "formalists" in music were directly connected with the offensive against the so-called "rootless cosmopolitans", which formed a part of the state anti-Semitism in the Soviet Union that flourished after the Second World War in various forms: ideological resolutions, declarations by official writers and critics, offensive caricatures and vulgar anti-Semitic abuse in the satirical magazine "Krokodil" ("Crocodile"). Historians of state anti-Semitism in the USSR name Khrennikov among the most active fighters for "purity of Russian culture". In Soviet official policy both before and after Stalin's death, a clear distinction was drawn between "good Soviet Jews" and "Nazis-Zionists". True to this party line, the leadership of the Soviet Composers‘ Union branded composers as "zionist aggressors" or "agents of world imperialism", and made accusations of "ideologically vicious" and "hostile" phenomena in Soviet musical culture. An accusation of Zionism was often used as a weapon against people of different nationalities, faiths and opinions, such as Nikolai Roslavets. "Struggle against formalists" was pursued in other countries too: according to György Ligeti, after Khrennikov's official visit to Budapest in 1948, "The Miraculous Mandarin" by Béla Bartók was removed from the repertoire and paintings by French impressionists and others were removed from display in museums. In 1952 Ligeti was almost forbidden to teach after he had shown the score of the proscribed Symphony of Psalms by Igor Stravinsky to his students; Ligeti was saved only because of the personal protection of Zoltán Kodály.