Buch Different Drummers: Jazz In The Culture Of Nazi Germany
Beschreibung Different Drummers: Jazz In The Culture Of Nazi Germany
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When the African-American dancer Josephine Baker visited Berlin in 1925, she found it dazzling. "The city had a jewel-like sparkle," she said, "the vast caf?s reminded me of ocean liners powered by the rhythms of their orchestras. There was music everywhere." Eager to look ahead after the crushing defeat of World War I, Weimar Germany embraced the modernism that swept through Europe and was crazy over jazz. But with the rise of National Socialism came censorship and proscription: an art form born on foreign soil and presided over by Negroes and Jews could have no place in the culture of a "master race." In Different Drummers, Michael Kater--a distinguished historian and himself a jazz musician--explores the underground history of jazz in Hitler's Germany. He offers a frightening and fascinating look at life and popular culture during the Third Reich, showing that for the Nazis, jazz was an especially threatening form of expression. Not only were its creators at the very bottom of the Nazi racial hierarchy, but the very essence of jazz--spontaneity, improvisation, and, above all, individuality--represented a direct challenge to the repetitive, simple, uniform pulse of German march music and indeed everyday life. The fact that many of the most talented European jazz artists were Jewish only made the music more objectionable. In tracing the growth of what would become a bold and eloquent form of social protest, Kater mines a trove of previously untapped archival records and assembles interviews with surviving witnesses as he brings to life a little-known aspect of wartime Germany. He introduces us to groups such as the Weintraub Syncopators, Germany's best indigenous jazz band; the Harlem Club of Frankfurt, whose male members wore their hair long in defiance of Nazi conventions; and the Hamburg Swings--the most daring radicals of all--who openly challenged the Gestapo with a series of mass dance rallies. More than once these demonstrations turned violent, with the Swings and the Hitler Youth fighting it out in the streets. In the end we come to realize that jazz not only survived persecution, but became a powerful symbol of political disobedience--and even resistance--in wartime Germany. And as we witness the vacillations of the Nazi regime (while they worked toward its ultimate extinction, they used jazz for their own propaganda purposes), we see that the myth of Nazi social control was, to a large degree, just that--Hitler's dictatorship never became as pure and effective a form of totalitarianism as we are sometimes led to believe. With its vivid portraits of all the key figures, Different Drummers provides a unique glimpse of a counter-culture virtually unexamined until now. It is a provocative account that reminds us that, even in the face of the most unspeakable oppression, the human spirit endures.
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Different drummers : jazz in the culture of Nazi Germany ~ Get this from a library! Different drummers : jazz in the culture of Nazi Germany. [Michael H Kater] -- Michael Kater - a distinguished historian and himself a jazz musician - explores the underground history of jazz in Hitler's Germany. He offers a frightening and fascinating look at life and popular .
Different Drummers: Jazz in the Culture of Nazi Germany ~ In Different Drummers, Michael Kater--a distinguished historian and himself a jazz musician--explores the underground history of jazz in Hitler's Germany. He offers a frightening and fascinating.
Different Drummers: Jazz In The Culture Of Nazi Germany ~ In Different Drummers, Michael Katerâa distinguished historian and himself a jazz musicianâexplores the underground history of jazz in Hitler's Germany. He offers a frightening and fascinating look at life and popular culture during the Third Reich, showing that for the Nazis, jazz was an especially threatening form of expression. Not only were its creators at the very bottom of the Nazi .
Jazz in the Culture of Nazi Germany Essay - 1185 Words ~ "Different Drummers: Jazz in the Culture of Nazi Germany" by Michael Kater There has only been one moment in history when jazz was synonymous with popular music in the country of its origin. During the years of, and immediately prior to World War II, a subgenre of jazz commonly referred to as swing was playing on all American radio stations and attracting throngs of young people to dancehalls .
Culture in Nazi Germany by Michael H. Kater - Books on ~ Culture in Nazi Germany - Ebook written by Michael H. Kater. Read this book using Google Play Books app on your PC, android, iOS devices. Download for offline reading, highlight, bookmark or take notes while you read Culture in Nazi Germany.
Royals and the Reich: The Princes von Hessen in Nazi ~ His book is a pioneering contribution to the social history of the Third Reich." --Michael H. Kater, Distinguished Research Professor Emeritus of History at the Canadian Centre for German and European Studies, and author of Hitler Youth and Different Drummers: Jazz in the Culture of Nazi Germany
Jazz under the Nazis - Holocaust Music ~ This made the jazz scene increasingly dependent for its survival upon the loopholes of Nazi cultural policy. Such loopholes existed because the cultural politics of the Third Reich vis-a-vis jazz and jazz-related music was characterized by the coexistence of contradictory and ambivalent measures, for which no unified strategy existed. Depending on the inner dynamic of Nazi ideology and foreign .
Hitlerâs Very Own Hot Jazz Band / History / Smithsonian ~ Different Drummers: Jazz in the Culture of Nazi Germany. Oxford: Oxford University Press, 1992; Horst Heinz Lange. Jazz in Deutschland: die Deutsche Jazz-Chronik bis 1960. Hildesheim: Georg Olms .
Opposition in Nazi Germany - History Learning Site ~ They sang what were deemed to be âun-Germanâ songs such as banned blues and jazz tunes. Their basic approach was to take a stand against what Nazi Germany stood for. The most famous anti-Nazi youth movement was known as the White Rose(Weisse Rose) movement. It leaders were Sophie and Hans Scholl. However, such was the extent of control in Nazi Germany that both were caught, put on trial .
Michael H. Kater â Wikipedia ~ Different drummers. Jazz in the culture of Nazi Germany. Oxford University Press, New York, Oxford 1992. Deutsche Ăbersetzung: Gewagtes Spiel. Jazz im Nationalsozialismus. Kiepenheuer und Witsch, Köln 1995, ISBN 3-462-02409-4. The twisted muse. Musicians and their music in the Third Reich. Oxford University Press, New York 1997.
How the children of Nazi Germany remember World War Two ~ A new book has gathered the memories of âKriegskinderâ, next to portraits of them as they are now. Photographer Frederike Helwig reveals how they remember childhoods in Nazi Germany.
Music in Nazi Germany - Wikipedia ~ This article is about music in Nazi Germany.. The nineteenth century introduced a change in economic circumstances in Germany.The rise of industrialization and urban expansion introduced a new marketplace for music. Individuals were able to participate within the music culture as small social clubs and orchestras were easily able to purchase sheet music and instruments.
Charlie and His Orchestra â Wikipedia ~ Zur musikalischen Untermalung der Propaganda-Sendung Germany Calling des in deutschen Diensten stehenden "Lord Haw-Haw" wurde der . Different Drummers. Jazz in the Culture of Nazi Germany. New York, Oxford 1992 , ISBN 0195050096, S. 130â139, 167f. Michael H. Kater: Gewagtes Spiel. Jazz im Nationalsozialismus. Kiepenheuer & Witsch, Köln 1995, MĂŒnchen 1998, ISBN 3462024094, S. 246â254 .
Nazism and the Call of the Jitterbug / SpringerLink ~ Jazz â a music born out of what Ellington called the âwhite heat of our sorrowsâ (idid., p. 21) â provided a resource for self-expression and dissent amongst young Europeans both inside Nazi Germany and elsewhere in Europe. It was the age of jazz, the jitterbug and generic fascism.
The Twisted Muse: Musicians and Their Music in the Third ~ Buy eBook - $51.99 . Get this book in print . ii - The Nazi Party: A Social Profile of Members and Leaders, 1919-1945 (1983) Doctors Under Hitler (1989) Different Drummers: Jazz in the Culture of Nazi Germany (1992) The Twisted Muse: Musicians and Their Music in the Third Reich (1997) COMPOSERS of the NAZI ERA Eight Portraits Michael H. â Appears in 8 books from 1985-2008. References to .
Ghetto Swingers - Wikipedia ~ The Ghetto Swingers were a jazz band organised in the Nazi concentration camp Theresienstadt.. The original amateur Czech band playing in the Café of the Ghetto was led by Eric Vogel and Pavel Libensky. Vogel petitioned the Kommandant on January 8, 1943. The personnel of The Ghetto Swingers would be: Dr. Brammer (piano), Dr. Kurt Bauer (percussion), Fr. Goldschmidt (guitar), Fasal (bass), Ing.
Swing Under the Nazis: Jazz as a Metaphor for Freedom ~ For a brief time in a Europe threatened and then occupied by Nazi Germany, jazz was heard as ubiquitously as rock ' n' roll is today. In a personal search for the story of that time, Mike Zwerin spent two years traveling across Europe talking with individuals who performed and enjoyed jazz in Hitler's dark shadow, including the Ghetto Swingers, a Jewish jazz band that "toured" Auschwitz and .
Eric Vogel - Wikipedia ~ Eric T. Vogel (1896 â 1980) was a Czech jazz trumpeter. In 1938, Vogel played trumpet in a dixieland combo. After being arrested at Brno in 1939 he was made to organize a jazz school in the Jewish ghetto of that city. In Theresienstadt concentration camp he played with Martin Roman's Ghetto Swingers and Fritz Weiss's Jazz-Quintet-Weiss. He escaped while being transferred to Dachau .
Michael Hans Kater - Wikipedia ~ Michael Hans Kater (born 1937) is a German historian of Nazism. He is a Distinguished Research Professor Emeritus of history at York University, Toronto, and a fellow of the Royal Society of Canada.. Selected publications "Das "Ahnenerbe" der SS 1935-1945. Ein Beitrag zur Kulturpolitik des Dritten Reiches".
Ernst Weiland â Wikipedia ~ Ernst âBimboâ Weiland (* um 1910; â 1943 oder 1944) war ein deutscher Schlagzeuger und Bandleader der Jazz- und Unterhaltungsmusik, der durch seine Auftritte als âBimbo der Tricktrommlerâ sowie âDer Tricktrommler Ernst Weilandâ in Revuen wie Etwas verrĂŒckt in der Berliner Scala bekannt war.. Leben und Wirken. Weiland spielte ab 1936 im Orchester der âScalaâ unter Leitung von .
Meg Tevelian â Wikipedia ~ Leben und Wirken. Meg Tevelian, der staatenloser Armenier war, spielte in den spĂ€ten 1930er-Jahren in Berlin bei Oskar Joost, mit dem 1937 erste Aufnahmen fĂŒr Grammophon entstanden; 1939 arbeitete er bei Willy Berking und seinen Solisten, auĂerdem in den Orchestern von Michael Jary und Hans Georg Schultz.In den frĂŒhen 1940er-Jahren spielte er u. a. bei Charlie and His Orchestra, Corny .
Women in Nazi Germany - 1st Edition - Jill Stephenson ~ From images of jubilant mothers offering the Nazi salute, to Eva Braun and Magda Goebbels, women in Hitlerâs Germany and their role as supporters and guarantors of the Third Reich continue to exert a particular fascination. This account moves away from the stereotypes to provide a more complete picture of how they experienced Nazism in peacetime and at war. What was the status and role of .
Moringen concentration camp - Wikipedia ~ Three concentration camps operated in succession in Moringen, Lower Saxony, from April 1933 to April 1945. KZ Moringen, established in the centre of the town on site of former 19th century workhouses (German: LandeswerkhÀuser), originally housed mostly male political inmates.In November 1933 - March 1938 Moringen housed a women's concentration camp; in June 1940 - April 1945 a juvenile prison.
Coco Schumann, German jazz guitarist who survived ~ Coco Schumann, a German jazz guitarist who performed alongside Ella Fitzgerald and Marlene Dietrich during a decades-long musical career, but who gave his most consequential performances as an .
The Twisted Muse: ebook jetzt bei Weltbild als Download ~ Michael H. Kater is Distinguished Research Professor of History at the Canadian Centre for German and European Studies at York University, Toronto, and a Fellow of the Royal Society of Canada. He is also the author of Different Drummers: Jazz in the Culture of Nazi Germany (OUP, 1992).