Hello Charles, Thanks for commenting! Despite all justified criticism about German colonial guilt, unfortunately it doesn't get us any further by mixing up cause and effect regarding this tune. I don't think it makes any sense to blame the authors or musicians of this humorous and completely harmless tune (nor the listeners today) - we rather should be aware about the fact, that exactly the spirit of those brutal & reactionary forces, which were responsible for the terrible massacres in Namibia at that time, became the mainspring for a following murderous political system in Germany about 30 - 40 years later, to which the protagonists of this wonderful recording tragically fell victim: Efim Schachmeister had to flee Germany in 1938 and died six years later impoverished, with broken heart and far too young at age of 50 in his Argentine exile in Buenos Aires. The lyricist Fritz Löhner Beda was brutally beaten to death in the Auschwitz-extermination camp in December 1942, and Richard Fall ended his life horribly in Oktober 1944 in the gas chambers from Auschwitz... Here we have the true tragic story of this tune, which we should always be aware and never forget... Best regards!
@@grammophonics-78upm - Complete information is not necessarily critical. Thank you for this additional information concerning this recording and the artists. It's very interesting. All this information enriches our listening.
Für mich sind diese Aufnahmen herrlichen Geschenke. Meine Grosseltern hatten dieses Orchester einmal für ihr jährliches Sommerfest in ihrem Haus am Wannsee engagiert. Soll ein großartiges Spektakel gewesen sein. Das hätte ich gerne miterlebt ... 😊
Da wäre ich allerdings auch SO GERN dabeigewesen...!!! ❤ 😍 ❤ Wir haben mal im Baur au Lac Hotel in Zürich gespielt, wo ich originale Fotos vom Dajos Bela Orchester entdeckt habe, welches zu Beginn der 30er Jahre zu einem Auftritt am Zürcher Opernball engagiert gewesen war. Die Berliner Top Orchester hatten also offensichtlich noch jede Menge weitere (attraktive) Anfragen außerhalb ihrer festen Hotel-Engagement Verträge sowie den vielen Aufnahmesitzungen für diverse Plattenlabels.... Faszinierende Info, lieben Dank & herzliche Grüße! 🙂 P.S. Der Wannsee-Gig muß übrigens noch VOR 1933 gewesen sein - d.h., bevor Schachmeister erzwungenermaßen seine geliebte Berliner Existenz aufgeben mußte und nach Luxemburg emigrierte, von wo aus es etwas später nach Buenos Aires ging, wo er tragischerweise auch nicht mehr so richtig Fuß fassen konnte und viel zu früh, im Alter von 50 Jahren, depressiv an einem Herzleiden starb...
👏👌 Genau DIESE Mischung macht den einzigartigen 'Weimar'-Klang der Berliner Orchester der damaligen Zeit aus.... Danke für den schönen Kommentar & herzliche Grüße!
@@grammophonics-78upm , dieses Lied heute in der Form aufgeführt, wäre wohl ein handfester Medienskandal. Das alleine zeigt, unter welche Räuber und Kleingeister wir gefallen sind. Die " roaring twenties" waren eine Hochzeit der Toleranz und Freigeister, wie auch die "Happy nineties" . In beiden Fällen kamen danach düstere Zeiten, welche wir jetzt wieder durchleben müssen. Und dabei hilft diese zeitlose Musik enorm.
Wie ich schon an anderer Stelle geschrieben habe, wurden gerade ausgerechnet die (größtenteils Jüdischen) Musiker, Sänger, Texter, und Verleger dieses Schlagers 30 bis 40 Jahre später die Opfer der intoleranten, reaktionären & totalitären Kräfte, die Anfang des 20. Jahrhunderts ursprünglich für die echten Leiden der im Lied harmlos zitierten 'Hottentotten' verantwortlich gewesen waren und die nun über Deutschland regierten. Sie alle mußten Hals über Kopf als rechtlose Untermenschen aus Deutschland fliehen oder wurden brutal ermordet...
Da würde ich mir mal gar keine Sorgen machen.... Dieses Lied setzt nämlich einen IQ voraus, den man vergeblich - weder am Ballermann noch auf dem Oktoberfest - antreffen dürfte...
I find it really interesting (sehr interessant) how there also existed German Dance Bands (like the British and American ones). Mein Deutsch ist sehr schlecht, but I would appreciate learning more about this rarity! Oh, and also, do you know who Hans Rehmstedt was? I accidentally discovered him one time. Tschüss!
There were lots of great bands in Berlin in the 20s and 30s - often with Jewish bandleaders and musicians. Many of them - such as Marek Weber, Dajos Bela, Paul Godwin, Ilja Livschakoff or Efim Schachmeister - had come to Berlin from Eastern Europe. There were also individual American and British musicians who gave important impetus to the emerging musical style of jazz in Germany, such as Billy Barton, Howard McFarlane, Arthur Briggs, Billy Bartholomew, Lud Gluskin and others. It was precisely this unique mixture of Jewish, Anglo-American, German and Eastern European input, that resulted in an incomparable music-melange, just in the moment, when emerging rhythms of foxtrot and jazz reached Europe from America in the early/mid 1920s. This is the secret about the unique music of the 20's & early 30's in Berlin. Hans Rehmstedt was a fine musician - his time as bandleader though was a complete different - in a totalitarian, criminal & racist Regime, which in 1939 already had built up concentration camps, killed or drew most of all Jewish musicians out of Germany, and which also had expelled a huge number of intellectual & regime critical artists, writers, actors, directors and many others from the country... (Not to think about all the unbelievably terrible things and crimes that were to happen in the following years...) Good bye!
@@grammophonics-78upm So basically, all the good bandleaders were in the 20’s and early 30’s, and by the time people like Hans Rehmstedt came around, all the others were driven out by you-know-who, correct? And why, may I ask, were people like Hans able to perform, even though his music was very much so like the British Dance Bands of the time? Was that not considered “bad” music by the ruling party? Danke schön!
. @piggyman-st8iu What I primarily wanted to say, is that Hans Rehmstedt was active as a bandleader in a period of German history in which the unique era of the Weimar Republic with its artistic freedom and all the wonderful craziness like the nonsense hits etc. no longer existed . Of course, there were now other dance orchestras that were based on modern swing. The magic of intelligent Jewish art with its wit, biting self-irony, tasteful punchlines, etc. had meanwhile been brutally destroyed by the Nazis. The swing period that has now followed, with numerous very good orchestras in Germany, certainly can & should not be downgraded in terms of quality - I would only like to deny that it can hold a candle to the era of dance orchestras of the Weimar Republic in terms of uniqueness or exceptional appearance. (Which is just my private opinion...) Referring to Your question - on the one hand, swing was now officially frowned upon by the Nazis (as 'degenerate, racially charged' music) and on the other hand, the Nazis because of opportune reasons still did not want to do without dance music from several Berlin dance bands, which of course were still excellent. (To be honest, the criminal Nazi-gang was never consequent in what they officially proclaimed to the outside world anyway - e.g. if something officially 'forbidden' was in any way useful or beneficial to a Nazi, all prohibitions were immediately repealed in order per 'Exception' to achieve the respective advantage as quickly as possible) For example, there was a - quite ridiculous - commission in the Reich Chamber of Culture 'to avoid syncopations in German dance music' (because in the eyes of the Nazis these came from 'subhuman negro music'). On the other hand, and that was ironically, the chair of this commission was held by Oscar Joost, a bandleader of one of the then most famous Berlin dance orchestras, which played exactly that syncopated type of dance music... What does that tell us? Simply just that Oscar Joost only served the Nazis in order to gain personal benefits.The commission to achieve syncopation-free 'German' new dance music turned out to be a paper-tiger. De facto, the Nazis were primarily concerned with eliminating opponents of the regime - in case an opponent of the regime was openly a fan of swing (such as the swing kids in Hamburg, - of whom some were executed as teenagers) - , swing was demonized. On the other hand, If it was about swing dance-music played by bandleaders (more or less) loyal to the regime, which served the population as 'opium' (=distraction in times of war), the nazis deliberately ignored all previous criticism... So, thats it. Best regards!
@@grammophonics-78upm Wow. This was fascinating! Thanks for the history lesson, this has provided me some light onto German Dance Bands of the time. Speaking of, what other German dance bands from the 20’s/30’s/40’s would you recommend for me to check out, as a newcomer to the German Dance Bands? I’m a fan of both the American and British Dance Bands, so getting another country on the list around those genres would certainly make for a jolly good time. Danke schön!
@piggyman-st8iu My personal taste (as you have probably already noticed) when it comes to German dance music, lies in the years of the Weimar Republic. Here I would very much like to recommend to You Marek Weber, Weintraub Syncopators, Efim Schachmeister, Dajos Bela, Paul Godwin, Bernhard Ette, Barnabas v. Geczy, Theo Mackeben & Ilja Livschakoff. (Just a few - there's a lot of it on this channel)) For the later period (mid-30s-40's) especially James Kok, also Erhard Bauschke, Kurt Hohenberger, Heinz Wehner, Goldene Sieben and some others (but to be honest - that's no longer my specialty - You will find not much/almost nothing of it on this channel...) Best regards & I wish You much fun!
fr.wikipedia.org/wiki/G%C3%A9nocide_des_H%C3%A9r%C3%A9ros_et_des_Namas
Hello Charles, Thanks for commenting! Despite all justified criticism about German colonial guilt, unfortunately it doesn't get us any further by mixing up cause and effect regarding this tune.
I don't think it makes any sense to blame the authors or musicians of this humorous and completely harmless tune (nor the listeners today) - we rather should be aware about the fact, that exactly the spirit of those brutal & reactionary forces, which were responsible for the terrible massacres in Namibia at that time, became the mainspring for a following murderous political system in Germany about 30 - 40 years later, to which the protagonists of this wonderful recording tragically fell victim: Efim Schachmeister had to flee Germany in 1938 and died six years later impoverished, with broken heart and far too young at age of 50 in his Argentine exile in Buenos Aires. The lyricist Fritz Löhner Beda was brutally beaten to death in the Auschwitz-extermination camp in December 1942, and Richard Fall ended his life horribly in Oktober 1944 in the gas chambers from Auschwitz...
Here we have the true tragic story of this tune, which we should always be aware and never forget... Best regards!
@@grammophonics-78upm - Complete information is not necessarily critical. Thank you for this additional information concerning this recording and the artists. It's very interesting. All this information enriches our listening.
Für mich sind diese Aufnahmen herrlichen Geschenke. Meine Grosseltern hatten dieses Orchester einmal für ihr jährliches Sommerfest in ihrem Haus am Wannsee engagiert. Soll ein großartiges Spektakel gewesen sein. Das hätte ich gerne miterlebt ... 😊
Da wäre ich allerdings auch SO GERN dabeigewesen...!!! ❤ 😍 ❤
Wir haben mal im Baur au Lac Hotel in Zürich gespielt, wo ich originale Fotos vom Dajos Bela Orchester entdeckt habe, welches zu Beginn der 30er Jahre zu einem Auftritt am Zürcher Opernball engagiert gewesen war. Die Berliner Top Orchester hatten also offensichtlich noch jede Menge weitere (attraktive) Anfragen außerhalb ihrer festen Hotel-Engagement Verträge sowie den vielen Aufnahmesitzungen für diverse Plattenlabels.... Faszinierende Info, lieben Dank & herzliche Grüße! 🙂
P.S. Der Wannsee-Gig muß übrigens noch VOR 1933 gewesen sein - d.h., bevor Schachmeister erzwungenermaßen seine geliebte Berliner Existenz aufgeben mußte und nach Luxemburg emigrierte, von wo aus es etwas später nach Buenos Aires ging, wo er tragischerweise auch nicht mehr so richtig Fuß fassen konnte und viel zu früh, im Alter von 50 Jahren, depressiv an einem Herzleiden starb...
Herrlich, und das von einer Kombo, die bunt war. Deutsche, Juden und Farbige, alles dabei.
👏👌 Genau DIESE Mischung macht den einzigartigen 'Weimar'-Klang der Berliner Orchester der damaligen Zeit aus.... Danke für den schönen Kommentar & herzliche Grüße!
@@grammophonics-78upm , dieses Lied heute in der Form aufgeführt, wäre wohl ein handfester Medienskandal. Das alleine zeigt, unter welche Räuber und Kleingeister wir gefallen sind. Die " roaring twenties" waren eine Hochzeit der Toleranz und Freigeister, wie auch die "Happy nineties" . In beiden Fällen kamen danach düstere Zeiten, welche wir jetzt wieder durchleben müssen. Und dabei hilft diese zeitlose Musik enorm.
Wie ich schon an anderer Stelle geschrieben habe, wurden gerade ausgerechnet die (größtenteils Jüdischen) Musiker, Sänger, Texter, und Verleger dieses Schlagers 30 bis 40 Jahre später die Opfer der intoleranten, reaktionären & totalitären Kräfte, die Anfang des 20. Jahrhunderts ursprünglich für die echten Leiden der im Lied harmlos zitierten 'Hottentotten' verantwortlich gewesen waren und die nun über Deutschland regierten. Sie alle mußten Hals über Kopf als rechtlose Untermenschen aus Deutschland fliehen oder wurden brutal ermordet...
@@grammophonics-78upm Waere gern dabei gewesen in den 20ern!!! Gruss aus Lisboa.
@@yuppi356 Na, und ich erst......!!!! Herzliche Grüße zurück in eine der schönsten Städte in Europa! 😊👋
Einfach nur geil diese damalige Zeit,heute ein Skandal.....
Das sollte man mal auf dem Ballermann oder Oktoberfest spielen. Dann wäre der Skandal echt😉
Da würde ich mir mal gar keine Sorgen machen.... Dieses Lied setzt nämlich einen IQ voraus, den man vergeblich - weder am Ballermann noch auf dem Oktoberfest - antreffen dürfte...
Simplemente genial esta melodía germana clásica. Toda una joya musical de una era dorada en poder disfrutar.
Lo que escribes solo puede ser confirmado! Gracias por el lindo comentario y saludos cordiales!
@@grammophonics-78upm A usted por hacernos llegar estas joyas de la buena música. Saludos y bendiciones por siempre desde Venezuela.
@@juanmanuelparadacontreras9565 Muchas gracias y les deseo todo lo mejor en Venezuela!
Super Rythmus
Köstlich
✌
I find it really interesting (sehr interessant) how there also existed German Dance Bands (like the British and American ones). Mein Deutsch ist sehr schlecht, but I would appreciate learning more about this rarity! Oh, and also, do you know who Hans Rehmstedt was? I accidentally discovered him one time. Tschüss!
There were lots of great bands in Berlin in the 20s and 30s - often with Jewish bandleaders and musicians. Many of them - such as Marek Weber, Dajos Bela, Paul Godwin, Ilja Livschakoff or Efim Schachmeister - had come to Berlin from Eastern Europe. There were also individual American and British musicians who gave important impetus to the emerging musical style of jazz in Germany, such as Billy Barton, Howard McFarlane, Arthur Briggs, Billy Bartholomew, Lud Gluskin and others.
It was precisely this unique mixture of Jewish, Anglo-American, German and Eastern European input, that resulted in an incomparable music-melange, just in the moment, when emerging rhythms of foxtrot and jazz reached Europe from America in the early/mid 1920s. This is the secret about the unique music of the 20's & early 30's in Berlin.
Hans Rehmstedt was a fine musician - his time as bandleader though was a complete different - in a totalitarian, criminal & racist Regime, which in 1939 already had built up concentration camps, killed or drew most of all Jewish musicians out of Germany, and which also had expelled a huge number of intellectual & regime critical artists, writers, actors, directors and many others from the country... (Not to think about all the unbelievably terrible things and crimes that were to happen in the following years...) Good bye!
@@grammophonics-78upm So basically, all the good bandleaders were in the 20’s and early 30’s, and by the time people like Hans Rehmstedt came around, all the others were driven out by you-know-who, correct? And why, may I ask, were people like Hans able to perform, even though his music was very much so like the British Dance Bands of the time? Was that not considered “bad” music by the ruling party? Danke schön!
. @piggyman-st8iu
What I primarily wanted to say, is that Hans Rehmstedt was active as a bandleader in a period of German history in which the unique era of the Weimar Republic with its artistic freedom and all the wonderful craziness like the nonsense hits etc. no longer existed .
Of course, there were now other dance orchestras that were based on modern swing. The magic of intelligent Jewish art with its wit, biting self-irony, tasteful punchlines, etc. had meanwhile been brutally destroyed by the Nazis. The swing period that has now followed, with numerous very good orchestras in Germany, certainly can & should not be downgraded in terms of quality - I would only like to deny that it can hold a candle to the era of dance orchestras of the Weimar Republic in terms of uniqueness or exceptional appearance. (Which is just my private opinion...)
Referring to Your question - on the one hand, swing was now officially frowned upon by the Nazis (as 'degenerate, racially charged' music) and on the other hand, the Nazis because of opportune reasons still did not want to do without dance music from several Berlin dance bands, which of course were still excellent.
(To be honest, the criminal Nazi-gang was never consequent in what they officially proclaimed to the outside world anyway - e.g. if something officially 'forbidden' was in any way useful or beneficial to a Nazi, all prohibitions were immediately repealed in order per 'Exception' to achieve the respective advantage as quickly as possible)
For example, there was a - quite ridiculous - commission in the Reich Chamber of Culture 'to avoid syncopations in German dance music' (because in the eyes of the Nazis these came from 'subhuman negro music'). On the other hand, and that was ironically, the chair of this commission was held by Oscar Joost, a bandleader of one of the then most famous Berlin dance orchestras, which played exactly that syncopated type of dance music...
What does that tell us? Simply just that Oscar Joost only served the Nazis in order to gain personal benefits.The commission to achieve syncopation-free 'German' new dance music turned out to be a paper-tiger.
De facto, the Nazis were primarily concerned with eliminating opponents of the regime - in case an opponent of the regime was openly a fan of swing (such as the swing kids in Hamburg, - of whom some were executed as teenagers) - , swing was demonized.
On the other hand, If it was about swing dance-music played by bandleaders (more or less) loyal to the regime, which served the population as 'opium' (=distraction in times of war), the nazis deliberately ignored all previous criticism... So, thats it. Best regards!
@@grammophonics-78upm Wow. This was fascinating! Thanks for the history lesson, this has provided me some light onto German Dance Bands of the time. Speaking of, what other German dance bands from the 20’s/30’s/40’s would you recommend for me to check out, as a newcomer to the German Dance Bands? I’m a fan of both the American and British Dance Bands, so getting another country on the list around those genres would certainly make for a jolly good time. Danke schön!
@piggyman-st8iu My personal taste (as you have probably already noticed) when it comes to German dance music, lies in the years of the Weimar Republic.
Here I would very much like to recommend to You Marek Weber, Weintraub Syncopators, Efim Schachmeister, Dajos Bela, Paul Godwin, Bernhard Ette, Barnabas v. Geczy, Theo Mackeben & Ilja Livschakoff. (Just a few - there's a lot of it on this channel))
For the later period (mid-30s-40's) especially James Kok, also Erhard Bauschke, Kurt Hohenberger, Heinz Wehner, Goldene Sieben and some others (but to be honest - that's no longer my specialty - You will find not much/almost nothing of it on this channel...) Best regards & I wish You much fun!