[JPL] Nazi rules for jazz performers

Jim Eigo jim at jazzpromoservices.com
Tue Mar 13 06:32:27 EDT 2012


http://www.amazon.com/Swing-Under-Nazis-Metaphor-Freedom/dp/0815410751/ref=s
r_1_1?s=books&ie=UTF8&qid=1331634674&sr=1-1


Swing Under the Nazis: Jazz as a Metaphor for Freedom [Paperback]
Mike Zwerin 
<http://www.amazon.com/s/ref=ntt_athr_dp_sr_1?_encoding=UTF8&sort=relevancer
ank&search-alias=books&ie=UTF8&field-author=Mike%20Zwerin>  (Author)


Book Description
Publication Date: September 5, 2000
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 Theresienstadt; the Luftwaffe pilot who listened to
Glenn Miller while bombing London; Django Reinhardt, the brilliant guitarist
who refused to flee Nazi-controlled France; and many others.

On 3/12/12 12:09 PM, "McWilliams, Robert C" <radiobob at ku.edu> wrote:

> 
> As it happens, just last night I was reading the latest in the series of
> Bernie Gunther mysteries by Phillip Kerr; Gunther was a police detective in
> Berlin who is forced out of his job when the Nazis took over in 1933 and
> becomes a hotel detective and later a private detective. And the last chapter
> I read last night, set in 1934, had him at a night club in Berlin that had
> formerly been one of the most popular; he notes the orchestra struggling to
> play something resembling jazz while making sure not to sound "too Negro."
> 
> Bob McWilliams
> Kansas Public Radio
> ________________________________________
> From: jazzproglist-bounces at jazzweek.com [jazzproglist-bounces at jazzweek.com] on
> behalf of Dr. Jazz [drjazz at drjazz.com]
> Sent: Sunday, March 11, 2012 10:11 PM
> To: jazzproglist at jazzweek.com
> Subject: [JPL] Nazi rules for jazz performers
> 
> http://boingboing.net/2012/03/10/nazi-rules-for-jazz-performers.html
> 
> Nazi rules for jazz performers
> 
> By Cory Doctorow at 10:54 pm Saturday, Mar 10
> 
> Famed Czech radical Josef Skvorecky recently died at 87 in his adopted
> land of Canada. In the Atlantic, JJ Gould remembers Skvorecky through
> his memoirs, including a detailed list of the rules for jazz performers
> during the Nazi occupation. The Reich's Gauleiter for the Nazi
> Protectorate of Bohemia and Moravia issued a 10-point regulation that
> Gould calls "the single most remarkable example of 20th-century
> totalitarian invective against jazz."
> 
>      1 Pieces in foxtrot rhythm (so-called swing) are not to exceed 20%
> of the repertoires of light orchestras and dance bands;
>      2 in this so-called jazz type repertoire, preference is to be given
> to compositions in a major key and to lyrics expressing joy in life
> rather than Jewishly gloomy lyrics;
>      3 As to tempo, preference is also to be given to brisk compositions
> over slow ones so-called blues); however, the pace must not exceed a
> certain degree of allegro, commensurate with the Aryan sense of
> discipline and moderation. On no account will Negroid excesses in tempo
> (so-called hot jazz) or in solo performances (so-called breaks) be
> tolerated;
>      4 so-called jazz compositions may contain at most 10% syncopation;
> the remainder must consist of a natural legato movement devoid of the
> hysterical rhythmic reverses characteristic of the barbarian races and
> conductive to dark instincts alien to the German people (so-called riffs);
>      5 strictly prohibited is the use of instruments alien to the German
> spirit (so-called cowbells, flexatone, brushes, etc.) as well as all
> mutes which turn the noble sound of wind and brass instruments into a
> Jewish-Freemasonic yowl (so-called wa-wa, hat, etc.);
> 
>      6 also prohibited are so-called drum breaks longer than half a bar
> in four-quarter beat (except in stylized military marches);
>      7 the double bass must be played solely with the bow in so-called
> jazz compositions;
>      8 plucking of the strings is prohibited, since it is damaging to
> the instrument and detrimental to Aryan musicality; if a so-called
> pizzicato effect is absolutely desirable for the character of the
> composition, strict care must be taken lest the string be allowed to
> patter on the sordine, which is henceforth forbidden;
>      9 musicians are likewise forbidden to make vocal improvisations
> (so-called scat);
>      10 all light orchestras and dance bands are advised to restrict the
> use of saxophones of all keys and to substitute for them the
> violin-cello, the viola or possibly a suitable folk instrument.
> 
> Josef Skvorecky on the Nazis' Control-Freak Hatred of Jazz (via JWZ)
> 
> --
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