club locca weimar
club locca weimar dj battle
Berlin Jazz 1930: Mitja Nikisch Orch. - Steig ein, mein Liebchen, ins blaue Auto
Mitja NIKISCH und sein Orchester, Refrain: Paul Dorn - Steig ein, mein Liebchen, ins blaue Auto [Get Into This Blue Automobile, Baby] Foxtrot a.d. Tonfilm Der Hampelmann [The Jumping Jack] (R.Stolz – G.Beer) Electrola 1930 (Germany)
NOTE: Mitja NIKISCH (b. in Leipzig 1899- d. in Venice 1936) – German composer and dance bandleader of Austro-Hungarian / Beligian origin. He was the only son of the world famous Hungarian symphony conductor Arthur Nikisch and the Belgian soprano Amélie Heussner Nikisch. He remains one of the most mysterious jazz persona on the stunningly rich light music scene of Berlin in the Weimar years. Carefully educated by his parents at the Leipzig Conservatory from 1912 to 1919 to become the classical music performer, he made his debut as piano soloist with the Berlin Philharmonic Orchestra in April 1918; performed with luminaries such as Wilhelm Furtwängler and Sir Henry J. Wood. From 1919 he undertook concert tours as a pianist, and in 1923 he recorded works by Chopin on piano roles. Unexpectedly, in 1925, he ceased his well-developed career and went on his own way, joining the nightlife scene of Berlin of the Roaring Twenties. As leader of his own dance band, Mitja Nikisch – whose famous family name opened for him many doors – contracted a group of the most admired performers in Germany and started performing in the fashionable clubs of Berlin.
At the end of the Roaring Twenties, Mitja Nikisch Tanz-Orchester was an extraordinarily well staffed ensemble with top-class international soloists: George Hirst, Danny Polo, David Bee, Ady Rosner, the brothers Waldemar and Adalbert Luczkowski were among the soloists of the band, which the guitarist Otto Sachsenhauser, who was very busy in Berlin, judged as “the best dance band ever heard in Berlin”. In 1927 Mitja Nikisch started recording for Parlophon as Jazz-Symphony Orchestra” to switch later to His Master’s Voice and Electrola . In 1929 they had a “competition concert” with the most admired Berlin’s jazz band The Weintraub’s Syncopators. In 1931 he was contracted as resident dance band at the Casanova International Casino, yet in 1933 due to the NSDAP law he had to give up the band, which, in large part consisted of the Jews.
In 1934, in an attempt to pick up where he had left off with his career as a concert performer, Mitja Nikisch recorded Mozart's piano concerto (KV 466) with the Berliner Philharmoniker under Rudolf Schulz-Dornburg and devoted himself increasingly to composition. His Piano Concerto is considered his main compositional work; he completed it shortly before his suicide and dedicated it “to his wife”. In 1941 it was premiered under Charles Münch in Paris, the soloist was Nikisch's friend Kostia Konstantinoff; the German premiere did not take place until 1988 in Munich.. He divorced his first wife, the Austro-Hungarian actress Nora Gregor and was about to marry Russian soubrette actress Alexandra Mironova, whom he called “Barbara”. Unfortunately, in the meantime he was diagnosed lymphatic cancer and when Barbara was on a tour in UK, Mitja Nikisch committed suicide in August 1936 during his stay in Venice. See some more recordings of that remarkable dance band of the German Roaring Twenties:
Cabaret Girl (1956) | BFI National Archive
Submerge yourself in gleefully gaudy 50s kitsch with this flamboyant fly-on-the-wall documentary, which shows just what it took to become a glamorous nightclub hostess. Beak Street, Soho, was the lurid location of Murray's Cabaret Club, a steamy cellar bar where women in skimpy costumes sang and danced for the well-to-do. Notable patrons included Princess Margaret and the Kray twins.
Club owner Percival 'Pops' Murray - seen here lecturing would-be showgirls, inspecting their costumes and smoking endless cigarettes - hired Mandy Rice-Davies and Christine Keeler for his cabaret some years after this film was shot. Keeler was later at the heart of the Profumo affair, which effectively destabilised Macmillan's Conservative government.
This video is part of the Orphan Works collection. When the rights-holder for a film cannot be found, that film is classified as an Orphan Work. Find out more about Orphan Works: This is in line with the EU Orphan Works Directive of 2012. The results of our search for the rights holder of this film can be found in the EU Orphan Works Database:
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live @ club locca // weimar 29.09.07
pornbugs feat. mc pete la bomba
EHS - R.I.O.! - Tourupdate #6: Habana Club/Bamberg
Der Tourabschluss im Bamberger Habana Club! Wir sagen DANKE Bamberg für die unglaubliche Unterstützung bei unserem Heimspiel im Rahmen der R.I.O.! - Clubtour 2013!
Ihr seid eine Wucht! Ihr habt den Laden zerlegt! YEA!
Weimar Berlin: Marek Weber Orch. - Erst trink' mit mir ein bischen Alkohol, 1929
Marek Weber und sein Orchester – Erst trink mit Mir ein bischen Alkohol, mein Schatz [First Have a Little Drink With Me, Baby] Foxtrot a.d. Revue “Donnerwetter 1000 Frauen!” (Egen & Doelle), HMV 1929 (Germany)
NOTE: There’s a nice Weimar Republic foxtrot - for a nice Carnival night! It’s played by Marek Weber’s orchestra - one of Top 5 German Roaring Twenties’ dance bands. Born in 1888 in Lwów, Poland, where he received his first education in a class of violin, Marek Weber in age of 20 traveled to Berlin, where he became leader of one the most popular dance bands in the German capital, during the “1920s mad years”. Considered the top dance bandleader in Berlin ex aequo with such moguls of Jazz Age, as Dajos Béla, Efim Schachmeister, Ben Berlin, Paul Godwin or Julian Fuhs, Marek Weber however was one of the few who managed to continue the successful career abroad, when in late 1932 he decided to emigrate via London to the United States. Billed as the Radio Waltz King, he became a fixture of the NBC Red Network, with a star billing on the Carnation Condensed Milk program and frequent guest appearances on other shows.
Roaring Twenties: Mein Berlin - Tiller Girls, 1926
Original Lawrence Tiller Girls (Tanz-Orchester mit Refraingesang in Deutsch) - Mein Berlin (W.Kollo) aus der Revue “An und Aus” [On And Off], HMV 1926 (Germany)
NOTE: In 1926, Hermann Haller, the great revue director in the Admiralspalast in Berlin, released the revue “An und Aus” which was opened by the British dance troupe Tiller Girls accompanied by the grand chorus and orchestra performing the ravishing Walter Kollo’s march-foxtrot “Mein Berlin”:
Mein Berlin
In deinen Laubenkolonien
Da blühn die Veilchen und Geranien.
Mein Berlin in deinen Straßen blühn
Die Linden und die leuchtenden Kastanien.
Mein Berlin
Auf den Balkons da glühn
Tomaten zehnmal schöner als in Spanien.
Auf der ganzen Welt gibt es nichts
Was mir wie mein Berlin gefällt.
[My Berlin
All in your pergolas of leaves
Where the violets and geraniums are blooming.
My Berlin
in your streets the linden trees are in bloom
and the chestnuts are glowing.
My Berlin
On the balconies
The ripe tomatoes ten times more beautiful than in Spain.
There is nothing in the whole world
What I love so much like my Berlin.]
Tiller Girls were founded in 1889 in Manchester, UK by the musical theatre director John Tiller, who had been for years the organizer and the leader of several amateurish dance groups consisting of talented children in the area. The most talented ones were selected as Tiller Girls where the dancers were matched very precisely by height and weight. They were taught a strict group discipline and ethics which also resulted in extreme precision of their group movements on stage, when they danced linking arms so the dancers could dance as one. The Tiller Girls performances soon became a sensation and they started touring in England and Europe, to become soon the popular performers in the London Palladium (as the Palace Girls or Sunshine Girls), the Blackpool Winter Gardens, at the Folies Bergère in Paris, in Admiralpalast in Berlin and finally on New York's Broadway, where John Tiller founded a dance school and later many other theatres throughout Europe and the United States. After John Tiller's death in 1925, the Tiller schools in the U.K. were kept alive first by his wife Jennie Tiller, then by some of the head girls. The U.S. Tiller school in New York City was continued under the leadership of Mary Read until 1935. After that, the Tiller Girls ensemble continued to exist in various forms of all girls’ ballet through the 1950s and 60s.
bär von weimar
selbst erklärend oder?
Old German foxtrot: Bimbambulla - Karkoff-Orchester, 1929
Bimbambulla, Foxtrot (K.M.May - Ch.Amberg) – Karkoff-Orchester, Derby 1929 (Germany)
NOTE: In last years of the Roaring Twenties, the “novelty-foxtrot” Bimbambulla composed by Hans May became one of the biggest hits of a day. It’s text - belonging to tradition of the comic “jungle-songs” - describes in a caricaturized way how the Congo boys express their love to the Congo girls (…by saying “hoola-hoola”…) and recalls pre-war European colonial resentments, when for most of the Europeans, “the Blacks” were still the “comical”, “jungle” figures. In later post-war years (after 1918) that old stereotype was, alas, brought back into Europe and enforced also by such international revue stars like Josephine Baker, who during her sensational tour in Germany and Austria in 1926 with the Revue Negre, presented by her in Nelson Theatre in Berlin, in Johann-Strauss Theatre in Wien and in many other prestigeous venues in both capital cities - personified that sort of Blacks’ caricature in her numerous comical numbers of stage buffoonery as well as her notorious “banana dance”.
In general, those were days, when thanks to the triumphant march of American Black-jazz musicians across Europe and both Americas – who, during the 1920s almost entirely conquered music-halls and dance floors of the most of the world - the Blacks and their culture became top interest for the European elites. In Berlin, series of “Black” shows given in 1926 by American bandleader Sam Wooding and his Chocolate Kiddies became a sensation and were followed by his repeated visits to Berlin and to other European cities through all the 1920s. Also the first talkies with Al Jolson singing his Minstrel-hits, added to the growth of those cultural fascinations, which eventually saturated not only the minds of average consumers of pop-culture, but also the cream of the European artists. The prominent Weimar Republic cabaret singer Blandine Ebinger recalls in her memoirs, that obediently to those trends, even Friedrich Hollaender created his Jonny figure on basis of Sarotti-Moor - a small Black boy used to advertise chocolate and pralines.
Foxtrot Bimbambulla was widely recorded by the Comedian Harmonists, the Two Jazzers, the Saxophon-Orchester Dobbri with Harry Steier, by Luigi Bernauer and by Walter Jurmann, among others. Unfortunately, in the presented recording the true name of the band remains anonymous, hidden under the nick “Karkoff-Orchester” (which was Derby Records label name for various German dance bands of the Goldene Zwanziger Jahre).
Gay 1920's and early 1930's. Homosexuality Pansy Clubs
I will organize this more later. For now, some notes:
The 1920's and early 1930's were quite liberal when it came to homosexuality. Pansy Clubs were all the rage in New York and other big cities and newspapers speak of a Pansy Craze in 1930. Mae West came out with a play The Drag that was about homosexuality in 1927 and it was a huge box office success.
Williams Haines, who was one of the most popular actors of the 1920's, openly lived with his boyfriend/lover in the 1920's and there relationship was widely known and accepted. But after the religious revival which followed the beginning of the Great Depression, late in 1930, the religious nuts began to mount a campaign against gays. Pansy Clubs were shut down and popular actors like William Haines and Ramon Navarro (another famous actor from the 1920's) were forced to retire because they refused to make sham marriages with women.
In 1934, the religious right succeeded in forcing the movie studios to censor their films (e.g. Betty Boop has to wear a long skirt, no sexual jokes, no portrayals of gays, etc.) Swing music, which became popular in 1935, replaced the gay music of the 1920's and the tenor voice was declared obsolete because men were not supposed to be brutes and women second class citizens.
It was all over by 1935, the film code was in full force to protect society's morals, women were once again relegated to second-class, minorities were again maltreated (and many were deported) and the USA would be basically homophobic and religious and conservative until the re-awakening in the late 1960's.
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The song you are listening to is:
Masculine Women, Feminine Men
(1926) Fox-Trot
Played by the Savoy Havana Band
Klassenfahrt Berlin Disco 18.05.2017
Die Disco hat mega Spaß gemacht und war richtig geil
Die war von 20:00 Bis 23:45 Uhr
Erste-Hilfe-Heini Weimar
Erste-Hilfe Heine vom Lückhoff Institut macht sich voll zum Obst....99423 Weimar Marienstraße 8, Komedy pur!
Terry Jokes In Action No. 2
Locca on Tour natürlich mit Terry Jokes und er rockt ohne Ende
2BE CLUB Erfurt with DJ Demo
DJ Demo on the set
Marburg Photo-Party Mix
Kommune9 and Friends
Gay Paris in the 1920s
Gay Paris in the 1920s,
Roaring Twenties: Gene Rodemich's Orch. - Hot Notes, 1926
Gene Rodemich’s Orchestra – Hot Notes, Fox-Trot (Rodemich-Satterfield), Brunswick 1926 (USA)
NOTE: Eugene (Gene) Rodemich (b. 1890, St. Louis, Missouri, d. 1934, New York) American dance band leader & pianist, during the Jazz Age. Born to family of a dentist, early in his life he started the pianist career in his home town. In 1920 he was the leader of his own dance orchestra which recorded for Brunswick and his renditions were well sold as popular records for dancing. In 1926 Gene Rodemich became master of ceremonies at Metropolitan Theatre, Boston, he also worked for Van Buren Studios writing music for animated cartoons and many other shorts, including Chaplin comedies. In 1929 he started in NBC in New York where he led dance orchestra on weekend nights. During one of his radio performances he felt ill, taken to the hospital, he was diagnosed pneumonia and died three days later.
This really hot dance number is labeled as a “foxtrot” although its syncopated tempo is a typical 4/4 charleston. The piano solos by Gene Rodemich are really great! The slideshow for such hot clip can’t be anthing else than a short panorama of crazy charlestion days in USA.
PORNBUGS live @ Locca Openair 2008
PORNBUGS live @ Locca Openair 2008
Club Vaudeville - Whispering
CLUB VAUDEVILLE
Tango Extremo duikt in de muzikale smeltkroes van de nachtclubs uit de jaren ’20 en ’30, in Berlijn, New York en Parijs waar na WOI, jazz, folklore en klassieke muziek zich virtuoos vermengen met variëté en amusement. Dit alles komt samen in Club Vaudeville, daar waar nachtbrakers en extravaganten elkaar ontmoeten.
CLUB VAUDEVILLE
With ‘Club Vaudeville’, Tango Extremo presents to you their 8th theatre show. A musical ode to the strength of people to hold on and continue their lives, even if they’re ‘just a gigolo’..
30 minutos con el mejor jazz de Alemania
Todos los miércoles en el Coton club se presente este gran grupo comenta que te parece son muy profesionales