German 78rpm Forum

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Odeon
Victor I
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German 78rpm Forum

Post by Odeon »

since 2009 we also have a 78rpm & Phonograph forum over the ocean :)

Deutsches Grammophon & Schellackplatten Forum

http://grammophon-platten.de
Forum engl.jpg
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Here´s the same site with the (crude) google translator

http://translate.google.com/translate?u ... 8&oe=utf-8

Roaring20s

Re: German 78rpm Forum

Post by Roaring20s »

I took a quick look and it lasted over 30 minutes. :)
Lots of information to look over!
I'll be back.

Thanks for pointing it out.

James.

PS:
A rebellious and edgy forum banner to celebrate a love for gramophones and records. I'll venture a guess that in using this type of propaganda image, it is an "in your face" for those whom would try to put down any group thought to be "less than." When I revisit the forum, I will search for an official description about it. Maybe it will also tell a little about that graphic's original usage.

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Odeon
Victor I
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Re: German 78rpm Forum

Post by Odeon »

Ok - give me a try :)
As I´m the main-admin (not the owner) of this forum I try to explain the banner.
Because my bavarian is better than my english, I hope I find the right words...

The saxophon player is from a 1938 exhibition in germany named "Entartete Musik - degenerated music".
Although there was never a "Jazz prohibition" in germany of the 30s/40s (only in broadcast was a jazz prohibition), the potentate´s disliked jazz and modern dance music.

From Wiki:
Degenerate music (German: Entartete Musik) was a label applied in the 1930s by the Nazi government in Germany to certain forms of music that it considered to be harmful or decadent. The Nazi government's concern for degenerate music was a part of its larger and more well-known campaign against degenerate art ('Entartete Kunst'). In both cases, the government attempted to isolate, discredit, discourage, or ban the works.

The Nazi government considered several types of music to be degenerate, for several different reasons. Any music that was opposed to the Nazi regime by virtue of its content or the political views of its composers and performers was considered degenerate. This included works by Jewish and Jewish-origin composers (such as Felix Mendelssohn, Arnold Schoenberg, Franz Schreker, Walter Braunfels, Erich Wolfgang Korngold, Kurt Weill, Gustav Mahler, David Nowakowsky and Berthold Goldschmidt); works that featured Jewish or African characters (such as those by Ernst Krenek); or works by composers of Marxist persuasion (e.g., Hanns Eisler). It also applied to artists that had shown sympathy for opponents of the Nazi Regime (such as Anton Webern, who had maintained a friendship with Schoenberg during his exile from Germany). Modernist music, such as works by Paul Hindemith, Alban Berg, Schoenberg, and Webern, was also considered degenerate. Modernist music was judged to be inferior to previous classical music, and it therefore offended the Nazis' sense of progress and civilization in general — and in particular their loyalty to Germany's many great classical composers. In addition, one might speculate that Modernist music's abandonment of structure and form presented a threat, albeit immaterial, to the culture of order and control that fascist regimes such as the Nazi party both developed and relied on. Finally, jazz music was considered degenerate because of its roots in and association with the African-American culture.

From the Nazi seizure of power onward, these composers found it increasingly difficult, and often impossible, to get work or have their music performed. Many went into exile (e.g., Schoenberg, Weill, Hindemith, Goldschmidt); or retreated into 'internal exile' (e.g., Karl Amadeus Hartmann, Boris Blacher); or ended up in the concentration camps (e.g., Viktor Ullmann, or Erwin Schulhoff).

Some works which were later enthusiastically adopted by the Nazi regime, such as the hugely popular Carmina Burana by Carl Orff (1937), were initially described as degenerate by local music critics.

Like degenerate art, examples of degenerate music were displayed in public exhibits in Germany beginning in 1938. One of the first of these was organized in Düsseldorf by Adolf Ziegler, at the time superintendent of the Weimar National Theatre, who explained in an opening speech that the decay of music was "due to the influence of Judaism and capitalism". Ziegler's exhibit was organized into seven sections, devoted to (1) the influence of Judaism, (2) Schoenberg, (3) Kurt Weill and Ernst Krenek, (4) "Minor Bolsheviks" (Schreker, Berg, Ernst Toch, etc.), (5) Leo Kestenberg, director of musical education before 1933, (6) Hindemith's operas and oratorios, and (7) Igor Stravinsky (anon. 1938, 629).

From the mid-1990s the Decca Record Company released a series of recordings under the title 'Entartete Musik: Music Suppressed by the Third Reich', covering lesser-known works by several of the above-named composers.


also from this link: http://germanhistorydocs.ghi-dc.org/sub ... ge_id=2082

"Degenerate Music": Title Page of the Exhibition Guide (1938)

As with the visual arts, the Nazis aimed to demonstrate the difference between good “German“ music and “degenerate“ music by staging major cultural events. To this end, they organized the Reichsmusiktage [Reich Music Days] in Düsseldorf from May 22-29, 1938. This week-long event included concerts and lectures that presented ideologically and ethnically “pure” music. It was accompanied by the “Degenerate Music” exhibition, which opened on May 24. The show was similar in concept to the “Degenerate Art” exhibition – its main purpose was to document the work of artists who had been defamed by the Nazi regime since 1933. The Reichsmusikprüfstelle [Reich Music Inspection Office], which was part of the Reich Propaganda Ministry, had drawn up a list of “degenerate” artists and their works for this purpose. The exhibition covered all areas of music, from composition, performance and criticism to musicology and promotion. Examples of “degeneracy” were found in classical music in composers such as Alban Berg, Paul Hindemith, or Igor Stravinsky, and in the genres of jazz and swing in general. The exhibit’s main organizer was Privy Councilor Dr. Hans Severus Ziegler, who was director of the Weimar National Theater. Ziegler was also head of the Cultural Office in the Gau of Thuringia, and had carried out “cleansings against cultural Bolshevism” in Thuringia even before 1933. The visual component of the exhibition consisted of photographs, portraits, paintings, caricatures, and posters intended to illustrate the “subhuman” character of the featured musicians and the inferiority of their works. One such example appeared on the cover of the exhibition guide (below). The image was based on the cover sheet of Ernst Krenek’s opera “Jonny spielt auf” [“Jonny Strikes up the Band”] (1925-26), but replaced the carnation on the African-American saxophonist’s lapel with a Star of David. The opera had been banned in 1933, and Krenek, an Austrian, had emigrated to the U.S. after the annexation of his country [Anschluss] in 1938.

The exhibition remained on view in Düsseldorf until June and subsequently traveled to other cities along with the “Degenerate Art” exhibit. As of 1938, the Reich Music Days were supposed to take place annually, but they were canceled after the beginning of the war in 1939.

Image



Our banner is from the cover of the exhibition catalog of the 1938 exhibition.
In the errant thoughts by the makers of the exhibition, the saxophonplayer shows all the "dangerousness" and "degenerated" associated with modern dance, swing and jazz music.
So far, so bad...

With the 1938 exhibition there had been a lot of "music examples" - jazz music records!
This was a welcomed chance for visitors to listen to fine hot records...


Almost every collector of hot dance and jazz music on 78rpm in germany know this "logo".
Many people here in germany (even if they didn´t collect 78´s) when seeing the logo know "Oh, this is about jazz music in germany".
The saxophone player is very well known here...

But we had another thought in mind by choosing this logo - we wanted to show, that this propaganda by a inhuman system doesn´t worked - till today jazz, swing and hot dance music has a lot of lovers in germany.

But you´re right, to choose this logo has some "nasty" sarcasm, if not cynicism.

Roaring20s

Re: German 78rpm Forum

Post by Roaring20s »

You've found the right words.
Hippies would say... Let your freak flag fly!

It is very interesting to understand how our collecting interests have lived across the decades.

Here are two posts that I put together about records and topics that help to make the connection to times in which they were released.

http://victrolagramophones.proboards.co ... =20&page=3

http://forum.talkingmachine.info/viewto ... f=3&t=6636

Thanks for the detailed information!

James.

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Odeon
Victor I
Posts: 192
Joined: Sun May 03, 2009 3:38 am
Personal Text: Stomp off, let´s go !
Location: Germany
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Re: German 78rpm Forum

Post by Odeon »

We put together some informations about Ragtime in Germany and europe:

Ragtime in the Imperial and Royal Monarchy
http://grammophon-platten.de/page.php?203

End of the waltz century - Syncope DANCES
http://grammophon-platten.de/page.php?211.0

Last but not least, you can now listen in our

Ragtime Book
http://grammophon-platten.de/page.php?206

to a lot of Ragtime & Cakewalk recordings made oversea.

Have fun ;)

PS: Click this banner for a translation of the side...
Translation.jpg
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