Hughes / Cox - Weimar & Back - COMPACT DISCS [CD]
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There's the view that cabaret started off in the 19th century as Inchthe salon of petty criminals and prostitutesInch. In place of gilded drawing rooms were smoky dives and rather than offering a venue for artistic transcendence, it offered shaky boards on upturned crates or beer barrels. These boards, in German InchBretteInch were further parodied in the diminutive as InchBrettelInch - or Inchlittle boardsInch, offering a name to the songs performed on such makeshift stages. It soon became fashionable for urban bohemians to frequent such low-life dives bringing a certain gentrification in their wake. In Berlin, Paris, Vienna and Barcelona, the bawdy songs that would have been more typical of English sea-side music halls were replaced by social satire, often pulling heavy political punches. Yet if there's a single difficulty about Cabaret, it would be it's inability to transcend locality, time and place. Cabaret like operetta, is essentially local, and rarely even survives into the following week or year. It's pre-war material was the equivalent of the satirical television programs of today - enormously entertaining while being Inchto the minuteInch relevant, making references to issues or people everyone recognized. Less entertaining is returning to the same material a year or a decade later. Events, politicians and social mores have moved on. Yet some elements survived either because the music and text were timeless in themselves, or emerged decades - or indeed, a century later, as provocatively contemporary. Struggles for social justice such as InchMe TooInch or InchBlack Lives MatterInch are embryonically echoed in songs such as InchChuck all of the Men out of the ReichstagInch or InchDas Lila LiedInch. Even today, we return to music to poke fun at society while making serious political points as a viable tool of passive resistance. True geniuses such as Hollaende
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- GenreJazzDescriptionThere's the view that cabaret started off in the 19th century as Inchthe salon of petty criminals and prostitutesInch. In place of gilded drawing rooms were smoky dives and rather than offering a venue for artistic transcendence, it offered shaky boards on upturned crates or beer barrels. These boards, in German InchBretteInch were further parodied in the diminutive as InchBrettelInch - or Inchlittle boardsInch, offering a name to the songs performed on such makeshift stages. It soon became fashionable for urban bohemians to frequent such low-life dives bringing a certain gentrification in their wake. In Berlin, Paris, Vienna and Barcelona, the bawdy songs that would have been more typical of English sea-side music halls were replaced by social satire, often pulling heavy political punches. Yet if there's a single difficulty about Cabaret, it would be it's inability to transcend locality, time and place. Cabaret like operetta, is essentially local, and rarely even survives into the following week or year. It's pre-war material was the equivalent of the satirical television programs of today - enormously entertaining while being Inchto the minuteInch relevant, making references to issues or people everyone recognized. Less entertaining is returning to the same material a year or a decade later. Events, politicians and social mores have moved on. Yet some elements survived either because the music and text were timeless in themselves, or emerged decades - or indeed, a century later, as provocatively contemporary. Struggles for social justice such as InchMe TooInch or InchBlack Lives MatterInch are embryonically echoed in songs such as InchChuck all of the Men out of the ReichstagInch or InchDas Lila LiedInch. Even today, we return to music to poke fun at society while making serious political points as a viable tool of passive resistance. True geniuses such as HollaendeArtistHUGHES / COXTitleWeimar & BackFormatCDLabelNimbus Alliance
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There's the view that cabaret started off in the 19th century as Inchthe salon of petty criminals and prostitutesInch. In place of gilded drawing rooms were smoky dives and rather than offering a venue for artistic transcendence, it offered shaky boards on upturned crates or beer barrels. These boards, in German InchBretteInch were further parodied in the diminutive as InchBrettelInch - or Inchlittle boardsInch, offering a name to the songs performed on such makeshift stages. It soon became fashionable for urban bohemians to frequent such low-life dives bringing a certain gentrification in their wake. In Berlin, Paris, Vienna and Barcelona, the bawdy songs that would have been more typical of English sea-side music halls were replaced by social satire, often pulling heavy political punches. Yet if there's a single difficulty about Cabaret, it would be it's inability to transcend locality, time and place. Cabaret like operetta, is essentially local, and rarely even survives into the following week or year. It's pre-war material was the equivalent of the satirical television programs of today - enormously entertaining while being Inchto the minuteInch relevant, making references to issues or people everyone recognized. Less entertaining is returning to the same material a year or a decade later. Events, politicians and social mores have moved on. Yet some elements survived either because the music and text were timeless in themselves, or emerged decades - or indeed, a century later, as provocatively contemporary. Struggles for social justice such as InchMe TooInch or InchBlack Lives MatterInch are embryonically echoed in songs such as InchChuck all of the Men out of the ReichstagInch or InchDas Lila LiedInch. Even today, we return to music to poke fun at society while making serious political points as a viable tool of passive resistance. True geniuses such as Hollaende
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