Lili Marlene – Rehabilitation of Abused Song

Total Page:16

File Type:pdf, Size:1020Kb

Lili Marlene – Rehabilitation of Abused Song LILI MARLENE Rehabilitation of abused song Master Thesis by Branko Miliskovic Mentors : Prof. Jeanne Faust Prof. Michael Diers Matriculation number : 2435598 Hochschule für Bildende Künste , HFBK 20 June 2013 Hamburg-Germany 1 Intro page 3-4 Chapter One : Hans Leip and the beginning of a poem page 5-6 Chapter Two: Two decades later the beginning of a song page 7-12 Chapter Three: Interpretations page 13-21 Chapter Four: De-Nazification of the song page 22-24 Bibliography page 25 Visuals and credits page 26 Biography of author page 27 2 INTRO Vor der Kaserne, vor dem Großen Tor stand eine Laterne und Steht sich noch davor dann wollen wir uns da wieder sehen bei der Laterne vor wir stehen, wie einst Lili Marlene, wie einst Lili Marlene. Those are the first phrases of already famous German love song that rose out of obscurity to become one of the most mysterious songs ever written and composed and even more unlikely anthem of World War 2. While it’s gentle melody captured the hearts of both the Axis and the Allied soldiers fighting across North Africa and Europe , the success of Lili Marlene is more of a metaphysical phenomenon , which would be one of the main premise in this thesis along with ideological consequences this song has suffered. In 1941 , a chance broadcast of the song on a German army radio station in Belgrade , made ‘’Lili Marlene’’ an instant favourite with the Axis troops. British soldiers tuning into the enemy broadcasts eventually adopted the song as their own, and within months ‘’Lili Marlene’’ had become the universal soundtrack of a world at war. I would particularly like to research and to find out what exactly might have happened in those historical gapes to allow to this love song or shall we already call it a symbol , to become exactly it’s opposition. How is possible for one song to pass through the transition from an ordinary written poem to twenty years later the most favourite and at the same time one of the most detesting melodies for the time of Nazi regime. I would prefer to build up this research out of several main chapters and each of them would be following the historical facts in which the song of Lili Marlene has been shaped , what might have caused to get abused for certain ideological and strategical matters of that time as well as to find out the possibilities of it’s rehabilitation , which is going to be a very tricky segment , because it applies on wide range of other abused or misinterpreted symbols and songs. This theme forces me to get deeper into researching the factors of how the certain political dogma like Communism or Fascism , affects individual as well as collective 3 subconsciousness and how perfectly orchestrated and choreographed social as well as military activities may become the curtain behind which the actual destructive ideology is blooming. As an incredible important part of this thesis I would need to dedicate one chapter to Hans Leip an artist and young Prussian soldier during the WW1 who wrote the words for the poem that would eventually become ‘’The song of a young soldier on watch’’ ( "Das Lied eines jungen Soldaten auf der Wacht" ) in the later years , during the WW2 when set to the music by Norbert Schulze , become well known as ‘’Lili Marlene’’. In order to avoid a description of the historical facts , I would be focusing more on what and which phenomenon made possible that one , on the first hand, lovely and almost naively written love song, had become such a complex and metaphysical phenomenon to be able to unite the enemies, as cited in the book ‘’Lili Marlene’’ by Liel Leibovitz and Matthew Miller. ... In the Third and Fourth chapter , I ‘ll be giving a report of what exactly formed Lilli Marlene to be a person , who or what is Lili Marlene , or perhaps who is Lili and who Marlene ? Are they just a fictional manifestation and delusion of a soldier in delirium seeking for emotional and sexual intercourse, or there is something even more complex. After giving a proper look through the phenomenology of Lili Marlene , I will conclude this thesis with the chapter entitled ,‘ De-Nazification of the Song ,‘ in which I will be giving certain methods and the possibilities for this song to get back to its original meaning eventually succeeding to get a rid of the notorious connotation which gained in the second half of the past century. Also, apart of historical references I will be talking referring on my personal investigations on this theme during the past 3 years , giving the examples of my interpretation of Lili Marlene as a phenomenon that interest , showing a glimpse of something that eventually may evolve into a big personal dramatic piece in the near future. 4 CHAPTER ONE HANS LEIP AND THE BEGINNING OF A POEM In this first chapter I would like to pass shortly through the life of Hans Leip , an artist and a soldier on his duty , falling in love, writing the poem for Lili Marleen , bringing to the light, but certainly not knowing what’s gonna become out of that song twenty years later. Hans Leip was a poet, novelist and playwright born on 22 September 1893 in Hamburg . Leip was the son of a former sailor and harbour-worker at the port of Hamburg. He was educated there and in 1914 became a teacher in the Hamburg suburb of Rothenburgsort. In 1915 he was called up by the German army and after training in Berlin served on the Eastern front and in the Carpathians. After being wounded in 1917 he was discharged on medical grounds. He first had ambitions as an artist, but then turned to writing, although he illustrated his books himself. Researching the book ‘’Lili Marlene’’ written by Matthew Miller and Liel Leibowitz , I found many hidden details from the life of Hans Leip at one point frankly confronting with him regarding several parameters that accidentally occurred. In this chapter I wouldn’t have intentions to write briefly about the life of Hans Leip but rather more to approach to the problems that forced him into writing a lyrics for Lili Marlene , at that time the poem was originally titled "Das Mädchen unter der Laterne" (German. "The Girl under the Lantern"). He reportedly combined the nickname of his girlfriend with that of a nurse. The poem was later published as "Das Lied eines jungen Soldaten auf der Wacht" ("The Song of a Young Soldier on Watch") in 1937, now with the two last (of five) verses added by Leip. It was set to music by Norbert Schultze in 1938 and firstly recorded by Lale Andersen in 1939. Hans Leip as a young man ever since arriving in Berlin a few months before to begin his military service , started detesting the sound of locomotives. For him the harsh sound of turning wheels , the clatter of men and metal tossed together at great velocity were the sounds of death. He used to observe from the distance next to his barracks , how these trains carry off loads of fresh faced young men into a battle and then, months latter bringing them back as total invalids often disfigured and burned beyond recognition. He actually couldn’t cope with the fact that those fresh and young boys were forced by their duty into something that they didn’t want frankly as well as didn’t deserve as humans. Hans have been thinking for a while , 5 how all these young lives were completely ruined just for the purpose of certain ideology. One soldier more or less , not a big deal, the mass is important and , I believe they thought as long as they have a quantity of military recruits they wont need to worry. But for Hans Leip and his artistic nature, that was just a pitiful life. He didn’t want to be a soldier being sent to fight for the country and eventually lose his life . He wanted something much more from his life. I myself also found such a great similarities with my life in the late 2000’s studying abroad and escaping military service, which as a matter of fact, influenced the majority of my works. Let’s return to the subject. In the book written by Leibovitz and Miller , they are explaining how Leip also didn’t want to get married with his girlfriend at that time Lina Stellmann. They claim that he could never be able to settle down and to start a normal life , a life of a family man, a father taking care of his children. Leip wanted to travel as far as he could imagine, wanted to be free, to see much more and to lead creative life , a life in which he wouldn’t be detached to one women waiting slowly for his death. He started thinking about two female figures that made him intrigued and inspired. One of them was Betty a strong women , white incarnates , face like a alabaster , who was peasant frequently feeding the chickens in front of her house. The second that caught Leip’s eyes was the beautiful girl called Marlene. I wanted to mention those two female characters from Leip’s early adulthood because both would play an enormous role while giving the birth to the new poem , twenty years later to become one of the most famous as well as the most notorious songs in the history. Leibovitz, Liel and Miller, Matthew (2008). Lili Marlene: The Soldiers' Song of World War II.
Recommended publications
  • Connie Francis America's Sweetheart of Song
    Celebrity Profile Connie Francis America’s Sweetheart of Song Photos Courtesy of Connie Francis At merely the age of 4, Concetta Rosemarie Franconero made her debut at Olympic Park in Irvington, New Jersey, singing “Anchors Away,” while accompanying herself on the accordion. Connie developed a love of music from the first time her father, George played the concertina that his father brought from Italy in 1905. From that point on, music became Connie’s world. Connie’s father took her to every radio and tel- evision audition in existence so she could reap the benefits and experiences of live per- formances. Little did young Concetta fathom that she would become the world’s most popular female singer and the number one best selling female recording artist of all time. At age 11, Connie was a regular on “Marie Moser’s Starlets” local Newark TV show nd later appeared on the “Ted Mack Amateur Hour.” The following year she made yet another national TV appearance on the “Arthur Godfrey Talent Scout Show,” finally ending up with a four-year stint as regular on “Startime,” a TV show that featured tal- ented child performers. The show was produced by the late George Scheck, who would become her lifetime manager. Connie never missed a week in her four years on the show, showing indeed her stability and stamina as a trouper. In her early teens she was sought after to make demo recordings for music publishers who were impressed with her distinctive voice. However, at the sessions she was told deliberately to imitate other artists for whom they wanted to pitch their songs.
    [Show full text]
  • Title Artist
    Title Artist A MIO PADRE ANDREA BOCELLI A VOLTE IL CUORE ANDREA BOCELLI AGGIO PERDUTO O SUONNO STARLITE AL DI LA CONNIE FRANCIS AL DI LA JERRY VALE ALDI LA SOLO MIO MEDLEY AL CAIOLA ANEMA E CORE JERRY VALE ANEMA E CORE PERRY COMO ANGELINA & ZOOMA ZOOMA LOUIS PRIMA ANNIVERSARY SONG STARLITE ARRIVEDERCHI ROMA ROGER WILLIAMS ARRIVERDERCI ROMA JERRY VALE BALLO DEL QUA CHICKEN DANCE STARLITE BEGIN THE BEGUINE MEDLEY AL CAIOLA BUONA SERA LOUIS PRIMA CALLABRISSELLA MIA STARLITE CANTICO ANDREA BOCELLI CANTO DELLA TERRA ANDREA BOCELLI CARNIVAL OF VENICE MEDLY AL CAIOLA CHE LA LUNA STARLITE CHE T'AGGIA DI JIMMY ROSELLI CHIARA ANDREA BOCELLI CHITARRA ROMANA STARLITE CIAO CIAO BAMBINO JERRY VALE CIELETO LINDA MEDLEY AL CAIOLA COME BACK TO SORRENTO JERRY VALE COME UN FIUME TU ANDREA BOCELLI CON TE PARTIRO ANDREA BOCELLI CONSENTINA STARLITE CORE 'NGRATO JERRY VALE DOMANI (TOMORROW) JULIUS LA ROSA E MI MANCHI TU ANDREA BOCELLI E SARA' A SETTEMBRE (SOMEONE LIKE YOU) ANDREA BOCELLI EH CAMPARI JULIUS LAROSA FINICULLI FINNICULA MEDLEY AL CAIOLA FORGET DOMANI CONNIE FRANCIS GLORIA STARLITE GOD BLESS AMERICA CONNIE FRANCIS HERE IN MY HEART AL MARTINO I HAVE BUT ONE HEART AL MARTINO I HAVE BUT ONE HEART JERRY VALE I LOVE ROSSINI ANDREA BOCELLI IL DIAVOLO E L'ANGELO ANDREA BOCELLI IL MISTERO DELL'AMORE ANDREA BOCELLI IL PADRINO THE GODFATHER STARLITE IMMENSO ANDREA BOCELLI IN CIELO IN UNA STANZA MINA INNAMORATA JERRY VALE INNAMORATA JIMMY ROSELLI INNAMORATA (SWEETHEART) DEAN MARTIN ITALIAN NATIONAL ANTHEM STARLITE JUST SAY I LOVE YOU JERRY VALE JUST SHOW ME
    [Show full text]
  • More Than Good Ideas KAEFER 2004
    Issue 2004, No. 22 | The Company Magazine of the KAEFER Group KAEFER GROUP growth in Eastern Europe – project in Snøhvit Norway enters first winter phase SHIPBUILDING sophisticated interiors for river cruise liners INDUSTRY cellulose factory in Stendal, scaffolding in Belgium and The Netherlands BUILDING CONSTRUCTION interior finishing for quay storehouse, refurbishment projects in Berlin PRODUCTS/ SYSTEMS bemo Brandschutzsysteme repositions itself, LOLAMAT paneling for luxury suites New philosophy for future success: More than good ideas KAEFER 2004 May 2004 IMM in Garmisch-Partenkirchen DEC ’03 JAN ’04 FEB ’04 MAR ’04 APR ’04 MAY ’04 Spring 2004 Storehouse XI in Bremen, a large refurbishment project with interior finishing Spring 2004 large project at Total refinery in Leuna March 2004 start-up of largest contract in KAEFER’s history, the Snøhvit LNG plant in Norway December 2003 KAEFER acts as general ontractor for shipowners May 2004 and shipyards; complete KAEFER Schiffbau GmbH interior design for ships is founded in Bremen July 2004 Jörn M. Fetköter named new managing September 2004 director for domestic operations Soccer Cup in Bremen KAEFER-GRUPPE/KAEFER GROUP JUN ’04 JUL ’04 AUG ’04 SEP ’04 OCT ’04 NOV ’04 November 2004 Summer 2004 October 2004 tunnel robot tackles extensive interior finishing work at renovation projects, two projects in 2004 BAU/CONSTRUCTION Bad Sauerbrunn health resort in Austria Open House, Parc du Bois in Potsdam October 2004 cellulose factory in Stendal ready for operation June 2004 December 2004 new Internet
    [Show full text]
  • KARAOKE Buch 2019 Vers 2
    Wenn ihr euer gesuchtes Lied nicht im Buch findet - bitte DJ fragen Weitere 10.000 Songs in Englisch und Deutsch auf Anfrage If you can’t find your favourite song in the book – please ask the DJ More then 10.000 Songs in English and German toon request 10cc Dreadlock Holiday 3 Doors Down Here Without You 3 Doors Down Kryptonite 4 Non Blondes What's Up 50 Cent Candy Shop 50 Cent In Da Club 5th Dimension Aquarius & Let The Sunshine A Ha Take On Me Abba Dancing Queen Abba Gimme Gimme Gimme Abba Knowing Me, Knowing You Abba Mama Mia Abba Waterloo ACDC Highway To Hell ACDC T.N.T ACDC Thunderstruck ACDC You Shook Me All Night Long Ace Of Base All That She Wants Adele Chasing Pavements Adele Hello Adele Make You Feel My Love Adele Rolling In The Deep Adele Skyfall Adele Someone Like You Adrian (Bombay) Ring Of Fire Adrian Dirty Angels Adrian My Big Boner Aerosmith Dream On Aerosmith I Don’t Want To Miss A Thing Afroman Because I Got High Air Supply All Out Of Love Al Wilson The Snake Alanis Morissette Ironic Alanis Morissette You Oughta Know Alannah Miles Black Velvet Alcazar Crying at The Discotheque Alex Clare Too Close Alexandra Burke Hallelujah Alice Cooper Poison Alice Cooper School’s Out Alicia Keys Empire State Of Mind (Part 2) Alicia Keys Fallin’ Alicia Keys If I Ain’t Got You Alien Ant Farm Smooth Criminal Alison Moyet That Old Devil Called Love Aloe Blacc I Need A Dollar Alphaville Big In Japan Ami Stewart Knock On Wood Amy MacDonald This Is The Life Amy Winehouse Back To Black Amy Winehouse Rehab Amy Winehouse Valerie Anastacia I’m Outta Love Anastasia Sick & Tired Andy Williams Can’t Take My Eyes Off Of You Animals, The The House Of The Rising Sun Aqua Barbie Girl Archies, The Sugar, Sugar Arctic Monkeys I Bet You Look Good On The Dance Floor Aretha Franklin Respect Arrows, The Hot Hot Hot Atomic Kitten Eternal Flame Atomic Kitten Whole Again Avicii & Aloe Blacc Wake Me Up Avril Lavigne Complicated Avril Lavigne Sk8er Boi Aztec Camera Somewhere In My Heart Gesuchtes Lied nicht im Buch - bitte DJ fragen B.J.
    [Show full text]
  • War: How Britain, Germany and the USA Used Jazz As Propaganda in World War II
    Kent Academic Repository Full text document (pdf) Citation for published version Studdert, Will (2014) Music Goes to War: How Britain, Germany and the USA used Jazz as Propaganda in World War II. Doctor of Philosophy (PhD) thesis, University of Kent. DOI Link to record in KAR http://kar.kent.ac.uk/44008/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html Music Goes to War How Britain, Germany and the USA used Jazz as Propaganda in World War II Will Studdert Thesis submitted for the degree of Doctor of Philosophy in History University of Kent 2014 Word count (including footnotes): 96,707 255 pages Abstract The thesis will demonstrate that the various uses of jazz music as propaganda in World War II were determined by an evolving relationship between Axis and Allied policies and projects.
    [Show full text]
  • Persecution, Collaboration, Resistance
    Münsteraner Schriften zur zeitgenössischen Musik 5 Ina Rupprecht (ed.) Persecution, Collaboration, Resistance Music in the ›Reichskommissariat Norwegen‹ (1940–45) Münsteraner Schrift en zur zeitgenössischen Musik Edited by Michael Custodis Volume 5 Ina Rupprecht (ed.) Persecution, Collaboration, Resistance Music in the ‘Reichskommissariat Norwegen’ (1940–45) Waxmann 2020 Münster x New York The publication was supported by the Deutsche Forschungsgemeinschaft , the Grieg Research Centre and the Westfälische Wilhelms-Universität Münster as well as the Open Access Publication Fund of the University of Münster. Bibliographic information published by the Deutsche Nationalbibliothek Th e Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografi e; detailed bibliographic data are available in the Internet at http://dnb.dnb.de Münsteraner Schrift en zur zeitgenössischen Musik, Volume 5 Print-ISBN 978-3-8309-4130-9 E-Book-ISBN 978-3-8309-9130-4 DOI: https://doi.org/10.31244/9783830991304 CC BY-NC-SA 4.0 Waxmann Verlag GmbH, 2020 Steinfurter Straße 555, 48159 Münster www.waxmann.com [email protected] Cover design: Pleßmann Design, Ascheberg Cover pictures: © Hjemmefrontarkivet, HA HHI DK DECA_0001_44, saddle of sources regarding the Norwegian resistance; Riksarkivet, Oslo, RA/RAFA-3309/U 39A/ 4/4-7, img 197, Atlantic Presse- bilderdienst 12. February 1942: Th e newly appointed Norwegian NS prime minister Vidkun Quisling (on the right) and Reichskomissar Josef Terboven (on the left ) walking along the front of an honorary
    [Show full text]
  • WDAM Radio's History of Connie Francis
    WDAM Radio's Hit Singles History Of Connie Francis # Artist Title Chart Position/Year Comments 001 Allan Case “I’m In Love With Miss Connie Francis” –/1961 002 Connie Francis “Freddy” #53-Music Vendor/1955 003 Connie Francis “(Oh, Please) Make Him Jealous” –/1955 004 Connie Francis “My Treasure” #37-Cash Box/1955 + #38-Music Vendor/1956 005 Connie Francis “My First Real Love” –/1956 Bobby Darin – co-composer, 006 Connie Francis “Send for My Baby” –/1956 007 Connie Francis “I Never Had a Sweetheart” –/1956 008 Connie Francis “Everyone Needs Someone” –/1956 009 Connie Francis “No Other One” –/1957 Ivory Joe Hunter – co-composer. 010 Connie Francis “Eighteen” #54-Music Vendor/1957 011 Marvin Rainwater & “The Majesty Of Love” #93-Rock/1957 Connie Francis 012 Connie Francis “Who’s Sorry Now” #4-Rock & #4-R&B + #1-U.K./1958 012A Isham Jones “Who’s Sorry Now” #3/1923 Best known hit version. Other hit versions: Marion Harris Orchestra (#5/1923), Original Memphis Five (#8/1923), Irving Kaufman (#11/1923), and Lewis James (#11/1923). Original version: Bob Thompson (–/1923). 013 Connie Francis “I’m Sorry I Made You Cry” #36-Rock-U.S. + #11-U.K./1958 014 Connie Francis “Heartaches” –/1958 014A Jacques Renard & “Heartaches” –/1931 Original version. Other hit versions: Guy Lombardo & His Royal Orchestra With Canadians (#12/1931), Ted Weems (#1/1947), Harry James Chester Gaylord (#4/1947), Jimmy Dorsey (#11/1947), Eddy Howard (#11/1947), Somethin’ Smith & The Redheads (#71/1956), Marcels (#7/1961), Patsy Cline (#72/1962), and Kenny Ball & His Jazzmen (#119/1963).
    [Show full text]
  • The Rita Williams Popular Song Collection a Handlist
    The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy
    [Show full text]
  • Programm 2019
    Das Festival Pop-Kultur Berlin ‚International Music‘ im Livekonzert Seite 3 2019 August Programm Denkfabrik 2 Editorial Inhalt Liebe Hörerinnen 2 Editorial und Hörer, 3 Aktuell Ein Statement für Vielfalt Recherchieren, Zuhören, Schreiben und Senden – im Live vom Festival Pop-Kultur Berlin Radio, auf unseren Webseiten und allen digitalen Wegen – 4 Musik das sind unsere Aufgaben, und die machen wir leiden- Lieblingsstücke. Zum 200. Deutschlandradio/ Bettina Fürst-Fastré © schaftlich gern für Sie. Wir nehmen Geschichten ernst, Geburtstag von Clara Schumann wir stellen uns Ihrem Echo und suchen den Dialog mit Menschen, die uns kri- Hanno Busch Trio tisch gegenüberstehen. 6 Programmverbreitung Etliche unserer Journalistinnen und Journalisten aber sind dauernd kon- Wie die Deutschlandradio- frontiert mit Anwürfen, Beschuldigungen und Attacken widerlichster Art. Programme zu Ihnen kommen Heute sind es nicht mehr die anonymen Briefeschreiber, sondern Vielschreiber, 7 Deutschlandfunk Nova die mal anonym, häufig aber auch mit vollem Namen ihren Hass und ihre Men- Die Sendung ‚Grünstreifen‘ schenverachtung über soziale Netzwerke verbreiten. Für die Betroffenen, für bei Deutschlandfunk Nova unsere Social Media Teams und den Hörerservice ist das oft sehr belastend. 8 Literatur Deshalb wehren wir uns, wenn strafrechtliche Grenzen überschritten sind, mit Lyriksommer Strafanzeigen. Das Netz ist ein Netz der Möglichkeiten, aber kein rechtsfreier Tage der Deutschsprachigen Literatur (TDDL) in Klagenfurt Raum. Und wir lassen uns nicht alles gefallen. Damit kein Missverständnis entsteht: Es geht mir nicht um scharfe Kritik, 10 Spezial einen wütenden Anruf, einen bösen Brief. Wir halten vieles aus. Meinungsfrei- Abstimmung Denkfabrik-Thema 2020 Buchempfehlungen in der heit ist für uns ein hohes Gut, und nicht in jeder Auseinandersetzung trifft man Dlf Audiothek immer den richtigen Ton.
    [Show full text]
  • Machen Sie Mit Beim Partyspaß Aus Japan! TIPPS Für Sänger/Innen Und Publikum
    Würden Sie gern mal wieder singen, trauen sich aber nicht? Sie haben Angst, Ihre Stimme klingt etwas dünn und sie treffen vielleicht nicht immer ganz genau den Ton? Die DISCO 84 bietet ihnen heute die Chance in die Rolle von Frank Sinatra, Whitney Houston, den Backstreet Boys oder Marianne Rosenberg zu schlüpfen und der Star des KARAOKE-Abends zu werden. Karaoke kommt aus dem Japanischen und heißt übersetzt „leeres Orchester“. Der Karaokestar singt auf der Bühne zum Playback des Titels. Er wird von einem Monitor unterstützt, der den Text wiedergibt und im entscheidenden Moment die Textfarbe synchron zur Musik wechselt und so die fehlende Textsicherheit gibt. Beispiel: The Beatles – Yellow Submarine Machen Sie mit beim Partyspaß aus Japan! TIPPS für Sänger/Innen und Publikum Nicht singen zu können ist noch lange kein Grund nicht zu singen. Wer sprechen kann, der kann auch singen Wer sagt, "ich kann nicht singen" lügt. Es liegt nicht an der fehlenden Stimme, sondern am fehlenden Mut. Singen ist einfach. Es wird nur etwas verkompliziert durch das Publikum, die Soundanlage, die Bühne, die Lichter... Es ist nicht schlimm, Fehler beim Singen zu machen ... solange du sie als Teil deiner Show integrierst. Die meisten Fehler beim Auftritt werden kaum wahrgenommen, Der einzige, der sie bemerkt, ist meistens nur der Sänger selbst. Singen bedeutet nicht Kommunikation zwischen Mund und Ohr, sondern zwischen Herz und Herz. Es ist nicht die Qualität der Stimme, die einen Auftritt erfolgreich macht, sondern der Ausdruck. Man muss nicht unbedingt den höchsten Ton des Songs erreichen, nur die Herzen der Zuschauer Jeder Sänger sollte Applaus bekommen, wenn er super war, aber auch wenn er so schlecht war, dass ihr froh seid dass es vorbei ist.
    [Show full text]
  • The Top 7000+ Pop Songs of All-Time 1900-2017
    The Top 7000+ Pop Songs of All-Time 1900-2017 Researched, compiled, and calculated by Lance Mangham Contents • Sources • The Top 100 of All-Time • The Top 100 of Each Year (2017-1956) • The Top 50 of 1955 • The Top 40 of 1954 • The Top 20 of Each Year (1953-1930) • The Top 10 of Each Year (1929-1900) SOURCES FOR YEARLY RANKINGS iHeart Radio Top 50 2018 AT 40 (Vince revision) 1989-1970 Billboard AC 2018 Record World/Music Vendor Billboard Adult Pop Songs 2018 (Barry Kowal) 1981-1955 AT 40 (Barry Kowal) 2018-2009 WABC 1981-1961 Hits 1 2018-2017 Randy Price (Billboard/Cashbox) 1979-1970 Billboard Pop Songs 2018-2008 Ranking the 70s 1979-1970 Billboard Radio Songs 2018-2006 Record World 1979-1970 Mediabase Hot AC 2018-2006 Billboard Top 40 (Barry Kowal) 1969-1955 Mediabase AC 2018-2006 Ranking the 60s 1969-1960 Pop Radio Top 20 HAC 2018-2005 Great American Songbook 1969-1968, Mediabase Top 40 2018-2000 1961-1940 American Top 40 2018-1998 The Elvis Era 1963-1956 Rock On The Net 2018-1980 Gilbert & Theroux 1963-1956 Pop Radio Top 20 2018-1941 Hit Parade 1955-1954 Mediabase Powerplay 2017-2016 Billboard Disc Jockey 1953-1950, Apple Top Selling Songs 2017-2016 1948-1947 Mediabase Big Picture 2017-2015 Billboard Jukebox 1953-1949 Radio & Records (Barry Kowal) 2008-1974 Billboard Sales 1953-1946 TSort 2008-1900 Cashbox (Barry Kowal) 1953-1945 Radio & Records CHR/T40/Pop 2007-2001, Hit Parade (Barry Kowal) 1953-1935 1995-1974 Billboard Disc Jockey (BK) 1949, Radio & Records Hot AC 2005-1996 1946-1945 Radio & Records AC 2005-1996 Billboard Jukebox
    [Show full text]
  • Dion and the Teen Idols
    DION AND THE TEEN IDOLS OVERVIEW ESSENTIAL QUESTION What role did the so-called “teen idols” of the late 1950s play in bringing Rock and Roll into mainstream American culture? OVERVIEW Rock and Roll evolved from Rhythm and Blues, a sound developed by African-American musicians that by the early 1950s had begun to reach a new audience among young white teenagers. By nature of its association with black America, there were those who feared that Rock and Roll was a corrupting influence on American youth, promoting socializing between races and juvenile delinquency. Music was not the only thing that disturbed those concerned about Rock and Roll’s influence. Films such as The Wild One (1953), featuring Marlon Brando as the leader of a motorcycle gang, seemed to suggest that teenagers, if not given proper guidance, might fall in with the “wrong kind of crowd.” In an attempt to encourage “good citizenship,” Parent-Teacher Associations and superintendents across the country created codes of conduct for their pupils to monitor school attire, curfew hours, and social behavior both on and off campus. Rock and Roll, and the culture around it, were viewed as something to control. Concurrently, pioneer jockey Alan Freed, the man who first attached the term “Rock and Roll” to the latest R&B recordings, was encountering troubles of his own. In August 1957, Freed’s ABC teen dance show Big Beat was cancelled after African-American artist Frankie Lymon was seen dancing with a white girl on the program, an image that outraged the network’s southern affiliates.
    [Show full text]