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Different Drummers : Jazz in the Culture of Nazi Germany by Michael H. Kater...
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Condition:
“ACCEPTABLE, NOTATIONS AND UNDERLINING, PAGE CREASES, LEGIBLE TEXT.”
Acceptable
A book with obvious wear. May have some damage to the cover but integrity still intact. The binding may be slightly damaged but integrity is still intact. Possible writing in margins, possible underlining and highlighting of text, but no missing pages or anything that would compromise the legibility or understanding of the text. See the seller’s listing for full details and description of any imperfections.
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Located in: Bishop, Georgia, United States
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eBay item number:235938803381
Item specifics
- Condition
- Acceptable
- Seller notes
- “ACCEPTABLE, NOTATIONS AND UNDERLINING, PAGE CREASES, LEGIBLE TEXT.”
- ISBN
- 9780195050097
About this product
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0195050096
ISBN-13
9780195050097
eBay Product ID (ePID)
1260362
Product Key Features
Book Title
Different Drummers : Jazz in the Culture of Nazi Germany
Number of Pages
320 Pages
Language
English
Topic
Europe / Germany, Genres & Styles / Jazz
Publication Year
1992
Illustrator
Yes
Genre
Music, History
Format
Hardcover
Dimensions
Item Height
1.1 in
Item Weight
25 oz
Item Length
9.6 in
Item Width
6.4 in
Additional Product Features
Intended Audience
Trade
LCCN
91-017866
Dewey Edition
22
Reviews
"In this admirable and well-researched study, Michael Kater explores the ambiguous relationship that jazz had to the National Socialist state and society, and in the process problematizes the liberating qualities that jazz supposedly possesses. Even more significantly, the manner of the new cultural hsitory, Kater uses his study to illuminate and investigage a number of social, political and cultural issues that engage the interests of specialists in the period."--German Studies Review "Outstanding....a fine mix of archival research with the collection of oral and written testimonies. It is virtually encyclopedic in its effort to convey the life stories of so many contributors to German jazz; to evaluate the sound of particular musicians; to analyze the audience--generally urban, young, middle-class--and the business; to identify the personal connections and the main locales."--American Historical Review "Most people would assume that jazz was completely stamped out at home by the fascist government in the 1930s. Michael Kater's remarkable book paints a very different picture and deals in great detail with a little-known chapter in jazz history....There is not a jazz fan, no matter how knowledgeable, who will fail to learn a great deal by reading this important book."--Scott Yanow, Jazziz "Kater's superbly researched story is fascinating and horrifying, yet in a sense rewarding, since it shows the lengths to which young Germans would go to keep the faith with a music that was their common link."--The Los Angeles Times "Richly rewarding, challenging, provocative, and eminently insightful."--The Jazz Report, "In this admirable and well-researched study, Michael Kater explores the ambiguous relationship that jazz had to the National Socialist state and society, and in the process problematizes the liberating qualities that jazz supposedly possesses. Even more significantly, the manner of the new cultural hsitory, Kater uses his study to illuminate and investigage a number of social, political and cultural issues that engage the interests of specialists in the period."--German Studies Review"Outstanding....a fine mix of archival research with the collection of oral and written testimonies. It is virtually encyclopedic in its effort to convey the life stories of so many contributors to German jazz; to evaluate the sound of particular musicians; to analyze the audience--generally urban, young, middle-class--and the business; to identify the personal connections and the main locales."--American Historical Review"Most people would assume that jazz was completely stamped out at home by the fascist government in the 1930s. Michael Kater's remarkable book paints a very different picture and deals in great detail with a little-known chapter in jazz history....There is not a jazz fan, no matter how knowledgeable, who will fail to learn a great deal by reading this important book."--Scott Yanow, Jazziz"Kater's superbly researched story is fascinating and horrifying, yet in a sense rewarding, since it shows the lengths to which young Germans would go to keep the faith with a music that was their common link."--The Los Angeles Times"Richly rewarding, challenging, provocative, and eminently insightful."--The Jazz Report, "In this admirable and well-researched study, Michael Kater explores the ambiguous relationship that jazz had to the National Socialist state and society, and in the process problematizes the liberating qualities that jazz supposedly possesses. Even more significantly, the manner of the new cultural hsitory, Kater uses his study to illuminate and investigage a number of social, political and cultural issues that engage the interests of specialists in the period."--German Studies Review "Outstanding....a fine mix of archival research with the collection of oral and written testimonies. It is virtually encyclopedic in its effort to convey the life stories of so many contributors to German jazz; to evaluate the sound of particular musicians; to analyze the audience--generally urban, young, middle-class--and the business; to identify the personal connections and the main locales."--American Historical Review "Most people would assume that jazz was completely stamped out at home by the fascist government in the 1930s. Michael Kater's remarkable book paints a very different picture and deals in great detail with a little-known chapter in jazz history....There is not a jazz fan, no matter how knowledgeable, who will fail to learn a great deal by reading this important book."--Scott Yanow,Jazziz "Kater's superbly researched story is fascinating and horrifying, yet in a sense rewarding, since it shows the lengths to which young Germans would go to keep the faith with a music that was their common link."--The Los Angeles Times "Richly rewarding, challenging, provocative, and eminently insightful."--The Jazz Report
Dewey Decimal
781.65094309043
Synopsis
In Different Drummers, Michael Kater explores the underground history of jazz in Hitler's Germany. He offers a frightening and fascinating look at life and popular culture during the Third Reich, showing that for the Nazis, jazz was an especially threatening form of expression. In tracing the growth of what would become a bold and eloquent form of social protest, Kater mines a trove of previously untapped archival records and assembles interviews with surviving witnesses as he brings to life a little-known aspect of wartime Germany. In the end we come to realize that jazz not only survived persecution, but became a powerful symbol of political disobedience, and even resistance, in wartime Germany. A provocative account of a counterculture virtually unexamined until now, Different Drummers is certain to revise previously held notions about the nature of resistance to the Third Reich within Germany itself., &>Building Java Programs: A Back to Basics Approach, Third Edition, introduces novice programmers to basic constructs and common pitfalls by emphasizing the essentials of procedural programming, problem solving, and algorithmic reasoning. By using objects early to solve interesting problems and defining objects later in the course, Building Java Programs develops programming knowledge for a broad audience. NEW! This edition is available with MyProgrammingLab, an innovative online homework and assessment tool. Through the power of practice and immediate personalized feedback, MyProgrammingLab helps students fully grasp the logic, semantics, and syntax of programming. Note: If you are purchasing the standalone text or electronic version, MyProgrammingLab does not come automatically packaged with the text. MyProgrammingLab is not a self-paced technology and should only be purchased when required by an instructor., When the African-American dancer Josephine Baker visited Berlin in 1925, she found it dazzling. "The city had a jewel-like sparkle," she said, "the vast cafes reminded me of ocean liners powered by the rhythms of their orchestras. There was music everywhere." Eager to look ahead after the crushing defeat of World War I, Weimar Germany embraced the modernism that swept through Europe and was crazy over jazz. But with the rise of National Socialism came censorship and proscription: an art form born on foreign soil and presided over by Negroes and Jews could have no place in the culture of a "master race." In Different Drummers, Michael Kater--a distinguished historian and himself a jazz musician--explores the underground history of jazz in Hitler's Germany. He offers a frightening and fascinating look at life and popular culture during the Third Reich, showing that for the Nazis, jazz was an especially threatening form of expression. Not only were its creators at the very bottom of the Nazi racial hierarchy, but the very essence of jazz--spontaneity, improvisation, and, above all, individuality--represented a direct challenge to the repetitive, simple, uniform pulse of German march music and indeed everyday life. The fact that many of the most talented European jazz artists were Jewish only made the music more objectionable. In tracing the growth of what would become a bold and eloquent form of social protest, Kater mines a trove of previously untapped archival records and assembles interviews with surviving witnesses as he brings to life a little-known aspect of wartime Germany. He introduces us to groups such as the Weintraub Syncopators, Germany's best indigenous jazz band; the Harlem Club of Frankfurt, whose male members wore their hair long in defiance of Nazi conventions; and the Hamburg Swings--the most daring radicals of all--who openly challenged the Gestapo with a series of mass dance rallies. More than once these demonstrations turned violent, with the Swings and the Hitler Youth fighting it out in the streets. In the end we come to realize that jazz not only survived persecution, but became a powerful symbol of political disobedience--and even resistance--in wartime Germany. And as we witness the vacillations of the Nazi regime (while they worked toward its ultimate extinction, they used jazz for their own propaganda purposes), we see that the myth of Nazi social control was, to a large degree, just that--Hitler's dictatorship never became as pure and effective a form of totalitarianism as we are sometimes led to believe. With its vivid portraits of all the key figures, Different Drummers provides a unique glimpse of a counter-culture virtually unexamined until now. It is a provocative account that reminds us that, even in the face of the most unspeakable oppression, the human spirit endures.", When the African-American dancer Josephine Baker visited Berlin in 1925, she found it dazzling. "The city had a jewel-like sparkle," she said, "the vast cafés reminded me of ocean liners powered by the rhythms of their orchestras. There was music everywhere." Eager to look ahead after the crushing defeat of World War I, Weimar Germany embraced the modernism that swept through Europe and was crazy over jazz. But with the rise of National Socialism came censorship and proscription: an art form born on foreign soil and presided over by Negroes and Jews could have no place in the culture of a "master race." In Different Drummers , Michael Kater--a distinguished historian and himself a jazz musician--explores the underground history of jazz in Hitler's Germany. He offers a frightening and fascinating look at life and popular culture during the Third Reich, showing that for the Nazis, jazz was an especially threatening form of expression. Not only were its creators at the very bottom of the Nazi racial hierarchy, but the very essence of jazz--spontaneity, improvisation, and, above all, individuality--represented a direct challenge to the repetitive, simple, uniform pulse of German march music and indeed everyday life. The fact that many of the most talented European jazz artists were Jewish only made the music more objectionable. In tracing the growth of what would become a bold and eloquent form of social protest, Kater mines a trove of previously untapped archival records and assembles interviews with surviving witnesses as he brings to life a little-known aspect of wartime Germany. He introduces us to groups such as the Weintraub Syncopators, Germany's best indigenous jazz band; the Harlem Club of Frankfurt, whose male members wore their hair long in defiance of Nazi conventions; and the Hamburg Swings--the most daring radicals of all--who openly challenged the Gestapo with a series of mass dance rallies. More than once these demonstrations turned violent, with the Swings and the Hitler Youth fighting it out in the streets. In the end we come to realize that jazz not only survived persecution, but became a powerful symbol of political disobedience--and even resistance--in wartime Germany. And as we witness the vacillations of the Nazi regime (while they worked toward its ultimate extinction, they used jazz for their own propaganda purposes), we see that the myth of Nazi social control was, to a large degree, just that--Hitler's dictatorship never became as pure and effective a form of totalitarianism as we are sometimes led to believe. With its vivid portraits of all the key figures, Different Drummers provides a unique glimpse of a counter-culture virtually unexamined until now. It is a provocative account that reminds us that, even in the face of the most unspeakable oppression, the human spirit endures., When the African-American dancer Josephine Baker visited Berlin in 1925, she found it dazzling. "The city had a jewel-like sparkle," she said, "the vast cafés reminded me of ocean liners powered by the rhythms of their orchestras. There was music everywhere." Eager to look ahead after the crushing defeat of World War I, Weimar Germany embraced the modernism that swept through Europe and was crazy over jazz. But with the rise of National Socialism came censorship and proscription: an art form born on foreign soil and presided over by Negroes and Jews could have no place in the culture of a "master race." In Different Drummers, Michael Kater--a distinguished historian and himself a jazz musician--explores the underground history of jazz in Hitler's Germany. He offers a frightening and fascinating look at life and popular culture during the Third Reich, showing that for the Nazis, jazz was an especially threatening form of expression. Not only were its creators at the very bottom of the Nazi racial hierarchy, but the very essence of jazz--spontaneity, improvisation, and, above all, individuality--represented a direct challenge to the repetitive, simple, uniform pulse of German march music and indeed everyday life. The fact that many of the most talented European jazz artists were Jewish only made the music more objectionable. In tracing the growth of what would become a bold and eloquent form of social protest, Kater mines a trove of previously untapped archival records and assembles interviews with surviving witnesses as he brings to life a little-known aspect of wartime Germany. He introduces us to groups such as the Weintraub Syncopators, Germany's best indigenous jazz band; the Harlem Club of Frankfurt, whose male members wore their hair long in defiance of Nazi conventions; and the Hamburg Swings--the most daring radicals of all--who openly challenged the Gestapo with a series of mass dance rallies. More than once these demonstrations turned violent, with the Swings and the Hitler Youth fighting it out in the streets. In the end we come to realize that jazz not only survived persecution, but became a powerful symbol of political disobedience--and even resistance--in wartime Germany. And as we witness the vacillations of the Nazi regime (while they worked toward its ultimate extinction, they used jazz for their own propaganda purposes), we see that the myth of Nazi social control was, to a large degree, just that--Hitler's dictatorship never became as pure and effective a form of totalitarianism as we are sometimes led to believe. With its vivid portraits of all the key figures, Different Drummers provides a unique glimpse of a counter-culture virtually unexamined until now. It is a provocative account that reminds us that, even in the face of the most unspeakable oppression, the human spirit endures.
LC Classification Number
ML3509.G3K37 1992
Item description from the seller
Seller feedback (3,150)
- 7***3 (86)- Feedback left by buyer.Past 6 monthsVerified purchaseA very trustworthy and communicative seller! The price of the books he sold me was so incredible, that I couldn't believe it until I received them. Books arrived in amazing condition (better than the photos conveyed) and the price and speed of shipping was the best I think I've had on eBay -- books arrived over 20 days before they were supposed to! Will buy from this seller again if I see an item I would like.
- 3***- (171)- Feedback left by buyer.Past 6 monthsVerified purchaseOne of the best sellers on eBay! Great description/pictures of the item, great price, lightning fast shipping with excellent packaging and great communication. It was a pleasure & will be purchasing from again! A++
- 4***c (136)- Feedback left by buyer.Past 6 monthsVerified purchaseExactly as advertised, sealed in plastic, brand new, no complaints. Arrived on time, fairly quickly, decently packaged. Good value for an item for a book no longer in print. Looks great, and good quality item from Barnes and Noble children's classics series. A+++ SellerSwiss Family Robinson (Barnes and Noble Collectible Classics: Children's...NEW (#235891445445)
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