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Popular Music and the Schlager.docx

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Department
German
Course
GER 100
Professor
Paul Malone
Semester
Fall

Description
31 October 2012 Popular Music and the Schlager Radio as a Propaganda Tool  “The radio will be to the twentieth century what the press was to the nineteenth.” Josef Goebbels, 1933  The Nazis used the Volksempfänger VE301  It was meant to be affordable for all so that their messages would get across; radios were too expensive for common folk. o Otto Gressen invented it.  It was ironic that though Hitler hated women in the workforce, yet they were the main manufacturers.  It was made by 28 different domestic manufacturers, not by the government.  The second, smaller model was The Deutscher Kleinempfänger DKE38: “Goebbels’s mouth” o It also provided Austrian news o Price went down to 35 marcs o Has Nazi eagle stamped on it  For workers to listen to the Fuhrer even during working hours, they created the The Deutscher Kleinempfänger DKE38: “Goebbels’s mouth” o Every time people heard Fuhrer they had to salute to his speech. o Had a huge swastika in the center  Paul Mathias Padua, Der Volksempfänger / Der Führer spricht (1939) art displaying people listening to the radio. o Also, Leda und der Schwan/ Leda and the Swan (1939) o There are others rendering Leda, The Swan (aka Zeus) and their offspring which may be by Leonardo da Vinci or Cesare de Sesto (ca. 1505 – 1510)  The tag found on the models would say: “Think about this: Listening to foreign broadcasts is a crime against the national security of our people. This is a Führer Order, punishable by hard labour in prison.”  The only people that were allowed to listen to foreign news were the SS and the Stasi.  A popular concert was a way to find out the situation with family members in the front lines. Wunschkonzert (Request Concert), 1940  The Nazis were the ones who invented record devices. The allies took the patent way from Germans and gave it to the Dutch as reparations. They eventually sold the technology to the Japanese. “During no previous war had the civilian population been so saturated with information, misinformation, and propaganda as in World War II. Life without radio was now unthinkable; the family radio set, often outdated or out of order, was carefully guarded among the most precious household possessions, and the streams of refugees moving across the defeated Reich and the people of the ruined cities clung to their receivers, and haggled among themselves for spare parts, valves, and batteries.” Postwar Schlager  After the war, people wanted indulge in classical/high culture again. One such example was Rudi Schuricke: “Capri-Fischer” (1943) 31 October 2012  Many people used music as an escape, probably in the tropics to forget all their worries.  An argument presented in one of the articles is that by appropriating the desire to going to exotic places like Italy, its German’s attempt to colonialize or conquer the area.  Another folk singer was Freddy Quinn:”Heimweh” (1956)  “Astonishingly enough, in the public image, a fondness for Schlager has always been attributed to a lack of intellect, a lack of class (both in socioeconomic and aesthetic terms), or to an escapist substitution for unreachable goals, material values, and emotions, which it shared with an accepted understanding of mass-culture consumption in general. Rarely has an enjoyment of Schlager been ascribed to a desire for individual, community, and a coherent national identity, a desire that was practically taboo after 1945.” o Essentially, Schlager has a bad reputation as having bad taste or kitchy.  But for Germans who have left home, this music brings about nostalgia. “Degenerate Music”  “The vehement reactions of most everyone I told about this paper [were] that the Schlager consists of nothing but ‘criminal dumbing of the population’ (verbrecherische Volksverdummung), featuring ‘a miserable fabric of shitty texts’ (ein mieses Gefrecht beschissener Texte). This has been the only stu
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