Re[2]: Djembe - Scandinavian magazine for Cross Culture

[richard_wolpoe <richard_wolpoe...>]

Just as as totatl aside...

I was chatting with a fellow Yid who spoke fluent German.  He told me several 
Yiddish loan words thatt have made it into German

EG shiksa, Mius,

They even seem to have been in use during the Nazi (YS) era.  Until that 
conversation I didn't perceive that Jewish culture had any signifciant impact on
mainstream German culture at all.  Surprise!

Rich Wolpoe



______________________________ Reply Separator _________________________________
Subject: Re: Djembe - Scandinavian magazine for Cross Culture 
Author:  <jewish-music (at) shamash(dot)org> at Tcpgate
Date:    10/20/98 5:38 PM


Thanks very much for the overview, Ingemar!
     
WRT the popularity of Yiddish culture in Germany, of course, there is the 
advantage of actually understanding the lyrics.  But your point about 
rebellion, youthful and otherwise, is of course a factor.
     
I was in Spain earlier this year, and found a tremendous fascination with 
all things Sephardic in many circles. I was left to wonder about the human 
impulse to remove (or worse, exterminate) the "outsider" in one generation, 
and then venerate and study them in succeeding ones. 
     
Best, Joel
     
At 06:31 PM 10/16/98 +0100, you wrote:
>New issue of Djembe is out, a very well renowned Cross Culture/World 
>Music-mag in Scandinavia. produced in Copenhagen, Denmark. Some of the 
>stuff is in English, and although much of the recent issue ain't published 
>on line yet, you may find interesting reading at URL
>
>http://www.djembe.dk/index.html
>
>The new issue contains an article on Channe Nussbaum & Spielniks, which is 
>not an ordinary Klezmer-band but experimenting with some new sounds (more 
>or less successfully), They call it "Jidpop". Nussbaum is a well-known jazz 
>and entertainment singer in Denmark, but her singing in Yiddish seems 
>somewhat restrained at times. In this article one of the members of the 
>band relates how they were the head attraction at a "Festival for Yewish 
>Music" in Cottbus, ex East Germany, arranged by young communists (!). The 
>scenery was appropriate: "Back at the hotel (after a successful performance 
>- IJ) we toasted in Gin and Tonic with six wonderful cooling reservoirs at 
>the power plant nearby". The writer is a bit astonished that klezmer is so 
>appreciated in Germany ("more there than in any other European coúntry"), a 
>feeling I cannot share. For young and middle-age people protesting against 
>their ancestors - what could be more chic than worshipping the music of the 
>Jews, die Untermenschen par excellence? Of course there are many true 
>admirers of Klezmer in Germany, but there are also fans with almost 
>(homo)sexual overtones.
>
>In this latest issue of Djembe there is also a review of Wolf Krakowski's 
>CD "Transmigrations" (which has attrected much attention in Scandinavia), 
>getting five stars out of the mag's possible six.
>
>The theme of the issue is "Music and Censorship" with articles on Iran, 
>South Africa and Algeria ao. Very interesting.
>
>Ingemar 
>
>
     
     
Joel Bresler
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