A 90-year-old WWII vet recounts a remarkable experience. (SLYT)
posted by gman on Sep 5, 2010 - 27 comments

"Imagine, amid the grey serge of wartime France, a tribe of youngsters with all the colourful decadence of punks or teddy boys. Wearing zoot suits cut off at the knee (the better to show off their brightly coloured socks), with hair sculpted into grand quiffs, and shoes with triple-height soles - looking like glam-rock footwear 30 years early - these were the kids who would lay the foundations of nightclubbing. Ladies and gentlemen, les Zazous." [more inside]
posted by Paragon on Feb 8, 2010 - 15 comments

Just the other day I was thinking about World War 2-era propaganda songs, so of course I gave a listen to Smoke On the Water. Say what? You didn't know it was about kickin' Hitler's ass? Or Hirohito's? Guess you weren't listening well enough when ol' Red Foley sang: "...there'll be nothing left but vultures to inhabit all that land, when our modern ships and bombers make a graveyard of Japan..." I tell you, they just don't write songs like that anymore, friends. Anyway, by 1951 Red was looking forward to Peace in the Valley. [more inside]
posted by flapjax at midnite on Apr 9, 2008 - 20 comments

Today's post of tenuously related audio brings you ten historic radio broadcasts, 529 eternal questions in popular music, and one mildly amusing black metal band prank call.
posted by goodnewsfortheinsane on Aug 29, 2007 - 11 comments

Know who else liked tunes by "subhuman" Jewish and Russian musicians? That's right.
posted by mr_crash_davis on Aug 7, 2007 - 36 comments

Mahler performances were rare in Vienna in those days because Mahler's city had already been contaminated by the acolytes of Adolf Hitler. By their reckoning, Mahler's music was loathsome — a product of "Jewish decadence." To put Mahler's music on the program was therefore a political act. It was to protest and deny the hateful faith that blazed across the border from Germany. That much I understood quite clearly, even as a boy.
The New Yorker's Alex Ross reprints Hans Fantel's New York Times 1989 essay on Bruno Walter's 1938 performance of Mahler's Ninth Symphony -- the last performance of the Vienna Philharmonic before Hitler invaded Austria.
posted by matteo on Apr 10, 2006 - 7 comments

Miracle on 57th Street.
Thomas Wolfe said that America is not only the place where miracles happen, but where they happen all the time. This is the story of a miracle, a true-life fairy tale, and appropriately enough it begins with the intervention of the Almighty.
Artur Rodzinski, music director of the New York Philharmonic from 1943 to 1947, was an eccentric, a health nut who drank only milk from goats he raised himself and who kept a loaded revolver in his back pocket whenever he conducted. Rodzinski said that God told him to hire 24 year old Leonard Bernstein, to be his assistant conductor. In the fall of 1943 Rodzinski decided to take a vacation, spend a little time with his goats, and called in Bruno Walter to conduct seven concerts in ten days. Only hours before one of those concerts (in the program, works by Schumann, Rosza, Strauss and Wagner) Walter fell ill. Rodzinski was only four hours away, in his farm. But he declined to come back to Carnegie Hall: "Call Bernstein. That's why we hired him." The concert was broadcast over radio and a review appeared on page 1 of The New York Times the next day: "Young Aide Leads Philharmonic; Steps in When Bruno Walter is Ill". In the same size type as another that read, "Japanese Plane Transport Sunk." More inside.
posted by matteo on Dec 28, 2005 - 48 comments

The Wartime Ninth. "Berlin. October 7, 1944. In the Beethovensaal a concert is about to begin, but the theater is empty, relieved of its usual audience studded with Nazi elite. The Berlin Philharmonic Orchestra is on stage, awaiting its cue. Conductor Wilhelm Furtwängler stands awkwardly on the podium. The vague meandering of his baton summons the first shadowy note of Bruckner's Ninth Symphony. A Radio Berlin engineer starts his Magnetophon. The most extraordinary orchestral recording of the century has just begun". More inside.
posted by matteo on Oct 5, 2005 - 21 comments

you'll then have a grave in the clouds where you won't lie too cramped
"No, no, I never met Paul Celan. This poem is too CLASSIC, too cold, and too difficult to follow. It does nothing to me".
Singing, Painting and the Holocaust: Interview with Leon Greenman, Auschwitz Survivor 98288
posted by matteo on Aug 29, 2005 - 9 comments

DooWop Nation Not to get all Pepsi Blue on your collective ass, but I have been luxuriating in the Proper box sets The Dawn Of Doo-Wop (tracklist) and Doo Wop Delights (tracklist and discography) and thought to construct a post around the topic of the original postwar--as World War II--black harmony singing style, of which, as Greil Marcus notes in his Lipstick Traces, there were 15,000 records recorded after World War II--a DIY phenomenom which he compares to rise of punk... (more inside, naturally)
posted by y2karl on Nov 11, 2004 - 16 comments