Category Archives: Jazz

Johnny & Jones—They Were Murdered…But Not Their Music

The one thing that always baffled me is the vehement hate the Nazis had for Jazz music. It was considered “Entartete Musik”—degenerate music, a label applied in the 1930s by the Nazis to Jazz and also other forms of music.

I wrote a piece about Johnny & Jones before, this is not so much a follow-up as it is more of an enhancement to the previous blog. I felt it was important to remember those who were murdered for their art and their religious background.

In the 1930s, the Amsterdam duo Nol (Arnold Siméon) van Wesel and Max (Salomon Meyer) Kannewasser, alias Johnny & Jones, were extremely popular— thanks, in part, to their first single hit, “Mister Dinges Weet Niet Wat Swing Is.” They were cousins and they accompanied themselves on the guitar. The musicians sang their swinging Jazz songs with smooth lyrics in a semi-American accent. Their careers come to an end when the two Jewish musicians were arrested by the Germans during World War II, and they were killed in the Bergen-Belsen Concentration Camp.

In 1934, The Bijko Rhythm Stompers performed in De Bijenkorf, the group consisted of Bob Beek, Max Kannewasser, Max Meents and Nol van Wesel. This was the first time that the collaboration between Max (Salomon Meijer) Kannewasser (24 September 1916/Jones) and Nol (Arnold Simeon) van Wesel (23 August 1918/Johnny) can be traced.

In 1936, Johnny & Jones started performing as a singing duo. They were discovered during a performance in the café/restaurant, Van Klaveren on the corner of Frederiksplein and Weteringschans. Shortly afterwards they quit their jobs at De Bijenkorf and entered the artistic profession. They became the first teenage idols soon after in the Netherlands.

They could be heard regularly in 1938 on VARA radio. They then performed as an interlude with “The Ramblers.” They recorded records for the record-label Decca, which was started in November 1938 with the song “Mister Dinges Does Not Know What Swing Is.” This song was their greatest success.

Initially, at the start of the war, Johnny & Jones were able to perform without much problem. For example, in February 1941 they performed at Amersfoort with “The Ramblers,” but by the end of 1941, this was forbidden for Jewish artists.

With growing pressure to go into hiding, their final performance was for a wedding reception of one of Arnold’s colleagues from de Bijenkorf (Dutch department store), Wim Duveen.

He was married to Betty Cohen at the main synagogue in Amsterdam in 1942. Salomon, in 1942, had married Suzanne Koster, a woman from the Dutch East Indies (Surabaya) and Arnold had married Gerda Lindenstaedt, also in 1942, a German refugee who had come to Holland in 1939.

The young men went into hiding with their wives at the Jewish nursing home Joodsche Invalide. The staff would hide them in an elevator between floors during inspections. When they were not hiding, they performed for staff and patients. Disaster struck on 29 September 1943 when the home was raided and its inhabitants sent to Westerbork.

Johnny & Jones were put to work there processing parts of crashed aircraft, including Plexiglas (source: Leo Cohen, a fellow prisoner in Westerbork). They found a place at the camp in the revue (consisting of excellent artists). Since only German-language performances were allowed, Johnny & Jones had to learn German and they had to have it well-mastered. Only then could they perform in March 1944 during a camp revue.

In August 1944, the two singers were allowed to leave the camp, with permission of the commandant, not only for their work disassembling parts but also to record songs in Amsterdam. In the NEKOS studios, they recorded six songs about their life in Westerbork, including “Westerbork Serenade.“

Ik geloof ik ben niet helemaal in orde
Ik ben met mijn gedachten er niet bij
Opeens ben ik een ander mens geworden
Mijn hart klopt als de vliegtuigsloperij
Ik zing mijn Westerbork serenade
Langs het spoorwegbaantje schijnt het zilveren maantje
Op de heide
Ik zing mijn Westerbork serenade
Mit einer schoene Dame, wandelend tezamen zij aan zijde
En mijn hart brandt als de ketel in het ketelhuis
Zo had ik het nooit te pakken bij mijn moeder thuis
Ik zing mijn Westerbork serenade
Tussen de barakken kreeg ik het te pakken op de hei
Dieser Westerbork liebelei

Dieser Westerbork liebelei
Daarna ging ik naar de saniteter
Die vent zei d’r is heus niets aan te doen
Maar je voelt je heel wat stukken beter
Na ‘t geven van de allereerste zoen (en dat moet je niet doen)

Ik zing mijn Westerbork serenade
Langs het spoorwegbaantje schijnt het zilveren maantje op de heide
Ik zing mijn Westerbork serenade
Mit einer schoene Dame
Wandelend tezamen zij aan zijde
En mijn hart brandt als de ketel in het ketelhuis
Zo had ik het nooit te pakken bij mijn mammie thuis
Ik zing mijn Westerbork serenade
Tussen de barakken kreeg ik het te pakken op de hei
Dieser Westerbork liebelei

Below is the translated text of the song.

I think I’m not quite right
I’m not there with my mind
Suddenly I became a different person
My heart beats like an aeroplane junkyard

Chorus
I sing my Westerbork serenade
The silver moon shines along the railway track
On the heath
I sing my Westerbork serenade
With a pretty lady, walking together cheek to cheek
And my heart burns like the boiler in the boiler house
I never hit me quite like this at Mother’s place
I sing my Westerbork serenade
Between the barracks, I threw my arms around her
Over there
This Westerbork love affair.

And so I went over to the medic,
The guy said there’s nothing you can do about it
But you feel a lot better
After giving the very first kiss (and you shouldn’t)

Chorus repeats

A fellow artist who met them at the time wondered how Jews were allowed to walk freely in Amsterdam, without a yellow star. They told him about their temporary freedom. He suggested that they go into hiding but they refused. It was a camp rule, “Those who escaped risked the lives of their families,” who would face deportation. So they returned.

In September 1944, they were deported with their wives to the Theresienstadt Ghetto. They did not stay long. On a transport from the ghetto, the duo were separated from their wives. Salomon and Arnold were deported from camp to camp: Auschwitz, Sachsenhausen, Ohrdruf, Buchenwald and finally, after a 10-day train journey, they wound up in Bergen-Belsen Concentration Camp, where they died of exhaustion shortly before its liberation. Nol van Wesel died on 20 March 1945 at the age of 26 and Max Kannewasser died on 15 April 1945 at the age of 28.

Salomon’s mother-in-law, Marie Louise Koster, recalled seeing their bodies dragged out of the sick barracks onto a van, to be cremated. She was in the so-called Stern Lager (Star Camp) with her husband Willem and her daughter Sonja. Salomon’s wife Suzanne survived Mauthausen and Auschwitz and lived in the United States until 2018. Gerda was killed in Auschwitz in 1944. Neither had children. Arnold’s parents were killed in Auschwitz in 1942. Salomon’s parents had died before the war. Their cousin Barend Beek went via Westerbork to Auschwitz and was killed in a subcamp of Stutthof on 11 December 1944.

They may have been murdered—but their music lives on.

Johnny & Jones, playing for the union crowd of NVV, Breda, 1938.

sources

https://holocaustmusic.ort.org/places/camps/western-europe/westerbork/johnny-jones/

Johnny en Jones
https://beeldbankwo2.nl/nl/beelden/?mode=gallery&view=horizontal&q=Johnny%20en%20Jones&rows=1&page=1

Café Alcazar Amsterdam

On 9 February 1941, members of the Dutch Nazi party, NSB, assisted by German soldiers, forced their way into the café-cabaret ‘Alcazar’ on Thorbeckeplein because Jewish artists were still performing there. This led to a brawl in which 23 people were injured.

Clara de Vries was a jazz trumpet player. Her performance at Cabaret Alcazar was one of the reasons that prompted the Nazis to raid Alcazar. A law had passed previously, forbidding all Jewish musicians and artists to perform in Non-Jewish clubs.

Clara was a well-accomplished Jazz trumpeter and by all accounts an exceptionally talented one. Louis Armstrong once said of her “That Louis de Vries, he had a sister Clara with a ladies-band. Oh boy, she could play that horn!” Her brother Louis, another Trumpetist, was often referred to as the Dutch Louis Armstrong. Clara was murdered in Auschwitz on 22 October 1942.

The February 9 incident led to the riots of 11 February in which the Dutch Nazi, Hendrik Koot, was severely injured, which led to his death a few days later on 14 February 1941.

The response was immediate. The Nazi authoritie sealed off the Jewish neighbourhood, technically beginning the Amsterdam ghetto, and a Judenrat was placed. Protests broke out, and the raid on an ice cream parlour, a known hangout for a Jewish knokploeg, saw Nazi police forces being attacked in retaliation, possibly sprayed with acid. The Nazis decided to round up a large number of Jewish men, and that gave the local Communist resistance groups an opportunity to agitate the population enough to start a strike, and widespread strikes started the following Tuesday, 25 February. The Dutch police response was moderate, and the Nazi authorities were not pleased. Troops were sent in to break the strike, and posters explaining the death of Koot were put up in an attempt to justify military action.

Café Alcazar, however, had also been a hiding place for 14 Jewish people.

In 1983, during the renovation of a nightclub on the Thorbeckeplein, a film that had been made there forty years ago surfaced. The film was called Duikjoodbasis,(Jewish hiding place) and the screenplay was written by the then thirteen-year-old Henry Robinski. It was made with and by the fourteen Jews who were in hiding above the nightclub Alcazar until May 28, 1943. Hendrik Swaab, who conceived the idea for the film in 1943, said in 1983 in the NIW(New Israeli Weekly) that the reason for making the film was boredom.

Making a film would give the people in hiding some distraction. The film was shot between July 1942 and April 1943 and was shot by a resistance member who had worked for a film company before the war.

Now Duikjoodbasis is unique: no other film recordings are known that were made at a hiding place.

sources

https://beeldbankwo2.nl/nl/beelden/?mode=gallery&view=horizontal&q=caf%C3%A9%20Alcazar%20Amsterdam&rows=1&page=1

https://www.joodsmonument.nl/nl/page/457142/initiatiefnemer-film-duikjoodbasis

https://www.delpher.nl/nl/kranten/view?identifier=ddd%3A010859021%3Ampeg21%3Ap002&coll=ddd
Clara de Vries-Jazz Musician murdered in Auschwitz.

https://portal.ehri-project.eu/units/nl-002896-mf759708

https://collections.ushmm.org/search/catalog/irn1004588

Music in Westerbork.

Compared to other concentration camps ,Westerbork was ‘reasonably’ safe and life was less harsh there, But that is also what made it a more sinister place.

From 1942 to 1945, Westerbork was a transit camp (Durchgangslager) located in the Netherlands. As a transit camp, Westerbork served as a temporary collection point for Jews in the Netherlands prior to their deportation by the Germans to killing centers and concentration camps in the east.

Westerbork was originally established in 1939 by the Dutch before the German invasion of the Netherlands. It began as a refugee camp for German Jewish refugees who had fled Nazi persecution.

The Nazis created an illusion that all of the measures they had introduced for the Jews were only temporary. They even had a football league in the camp.

Music also played a big part in Westerbork. The picture at the start of the blog is of Jazz violinist Benny Behr. He is playing for some of the children of the camp. For them he would play uplifting children’s songs. Fr older people who would also play classical pieces.

Benny Behr was married to a non-Jewish woman, Wien Bouwina Sijtina Havinga. Because of that he enjoyed freedoms which other Jews did not have. But these freedoms were only temporary On August 1,1944 Benny ended up in Westerbork, where he remained until the camp was liberated in April 1945.

The Westerbork Serenade is the title of a love song written by Dutch singing duo,Nol (Arnold Siméon) van Wesel and Max (Salomon Meyer) Kannewasser aka Johnny and Jones, just before their deportation to Auschwitz in 1944. The play tells the true story of Jewish cabaret performers held by the Nazis in the Dutch transit camp of Westerbork, and portrays songs and vaudeville sketches that were actually staged in the camp revues. Some of Berlin’s greatest stars performed at Westerbork, thereby delaying their transport to death camps.

In 1943 Max,Nol and their wives were arrested and were send to the Westerbork transit camp.In the camp they performed once under the name Jonny und Jones because only the German language was allowed during performances. In 1944 they were sent on a day’s work assignment from Westerbork to Amsterdam, during which they managed to secretly record the song “Westerbork Serenade”.

The song starts off , with them singing that they don’t feel like themselves and that they aren’t great. Their hearts beat like the airplane demolishing yard, which was actually the job assigned to them in the camp, dismantling crashed warplanes.

This the translation of the lyrics

Hello we feel a little out of order,
To pull myself together is quite hard,
Suddenly I’m a different person,
My heart beats like the airplane wrecking yard.

I sing my Westerbork serenade,
Along the little rail-way the tiny silver moon shines
On the heath.
I sing my Westerbork serenade
With a pretty lady walking there together,
Cheek to cheek.
And my heart burns like the boiler in the boiler house,
Oh it never hit me quite like this at Mother’s place
I sing my Westerbork serenade,
In between the barracks I threw my arms around her
Over there
This Westerbork love affair.
And so I went over to the medic,
The guy says: “there is nothing you can do;
Oh but you will feel a whole lot better
After you give her a kiss or two
(But that you must not do…)”

Even in this dark period they managed to keep composure and a sense of humour.

On 4 September 1944 Van Wesel and Kannewasser were deported on one of the last transports from Westerbork to a number of concentration camps: Theresienstadt, Auschwitz, Sachsenhausen, Ohrdruf and Bergen-Belsen. They died of exhaustion during the last days of the war in 1945.

Transports were a traumatic experience for Jews in Westerbork. Witness testimonies mention confusion, distress, and brutality. For example, Dutch-Jewish journalist Philip Mechanicus, who kept a diary of life in Westerbork, described a transport that took place on June 1, 1943. He wrote:

“The transports are as nauseating as ever.… Men, quiet, stone-faced; women, often in tears. The elderly: stumbling, faltering under their burden, tripping on the bad road sometimes into pools of mud…. Whoever hesitates, whoever dawdles, is being assisted; sometimes herded, sometimes shoved, sometimes beaten, sometimes punched, sometimes persuaded by a boot, quickly shoved aboard the train…. When the cars are full, the prescribed number of deportees having been loaded, the cars are sealed…. The commandant signals the departure: a wave of the hand. The whistle sounds … a heart-rending sound is heard by everyone in the camp. The grungy snake, now fully loaded, crawls away.”

The transport Mechanicus describes included 3,006 people. It arrived at the Sobibor killing center on June 3, 1943. Jules Schelvis, who had spent six days in Westerbork prior to deportation, was the only known survivor of this transport.

Looking back at the picture at the start of the blog. When you take it out of context, you might think it is a group of scruffy kids hassling a violin player. However when you put it in the context of Westerbork and the Holocaust, there is the realisation that most, if not all, of these kids listening to the music in Westerbork, will have been murdered shorty afterwards. And that knowledge breaks my heart.

sources

Home

https://htc.miami.edu/plays/westerbork-serenade/

https://westerborkportretten.nl/bevrijdingsportretten/benny-behr

https://encyclopedia.ushmm.org/content/en/article/westerbork

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The language of Music

John Miles once sang “Music was my first love and it will be my last”. The beauty with music is that you don’t need words to understand what it says. It evokes emotions so strong that you cannot really describe the effects they have on you.

Music has its own language, it is universal and it is understood by everyone, regardless with language they speak.

I could choose so many beautiful instrumental pieces because there are millions of them, but I will only be posting a few of my favourites.

Sit back, relax and enjoy.

Clara de Vries-Jazz Musician murdered in Auschwitz.

It is funny sometimes how you are researching one thing and it leads you to something completely different.
I was looking at the origin of a Dutch TV show called ‘Ter land.ter zee en in de lucht” which translates to on the land, in the sea and in the air. It was a light-hearted entertainment show where candidates from all over the Netherlands demonstrate in open air how long and far, they can keep going (sometimes only a few meters) in a self-constructed sort of go-cart, before crashing mostly in to water. But for most it was really more for showing off the design of their ‘vehicles’ rather than winning.
While I was researching it ,I noticed a piece of music used for the show called the beach party, which was performed by a Jazz musician called Willy Schobben, a Jazz trumpetist from Maastricht which is a city I know well because I grew up only a few mile away from it.
When I looked up Willy Schobben, I discovered he married Clara de Vries in 1936, like Willy Clara was also a Jazz trumpetist, and by all accounts an exceptionally talented one. Louis Armstrong once said of her “That Louis de Vries, he had a sister Clara with a ladies-band. Oh boy, she could play that horn!” Her brother Louis, another Trumpetist, was often referred to as the Dutch Louis Armstrong. Unfortunately, he died in a car crash in 1935.
Clara was the sister of Louis de Vries and Jack de Vries, received trumpet lessons from her father Arend de Vries. So, she had quite a musical pedigree.
She played in several Jazz Bands like: Shirmann Jazz Girls; Clara de Vries and her Jazz-ladies; The Rosian Ladies; the Swinging Rascals; and several other bands.

Her talent though was soon to be destroyed, Clara was Jewish and when the German invaded the Netherlands on May 10, 1940 her fate and that of many other Jews was sealed. Added to that she played Jazz, which was considered degenerate art by the Nazis. Jewish musicians were also forbidden to perform for non-Jewish people and later they were forbidden to perform their art at all
On February 9, 1941 Clara was still giving concerts outside the Jewish quarter of Amsterdam in the Café-Cabaret Alcazar. The NSB, the Dutch Nazis, had heard there was a Jewish musician playing in the club and raided the place. Which led to fights and 23 people were injured.
Clara however, refused to stop playing concerts.
On October 15, 1942 Clara and her family were arrested and sent to Westerbork, A few days later, on October 21 she was put on transport to Auschwitz where she was murdered on arrival a day later, on October 22.
Except for her brother Jakob, all her siblings and parents were murdered.

Donation

I am passionate about my site and I know you all like reading my blogs. I have been doing this at no cost and will continue to do so. All I ask is for a voluntary donation of $2, however if you are not in a position to do so I can fully understand, maybe next time then. Thank you. To donate click on the credit/debit card icon of the card you will use. If you want to donate more then $2 just add a higher number in the box left from the PayPal link. Many thanks.

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sources

https://www.joodsmonument.nl/nl/page/507961/about-clara-johanna-suzanna-de-vries

Clara de Vries

http://www.nettyvanhoorn.nl/sweet_and_hot_music.html

http://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/Vriesde

Bei Mir Bistu Shein—The Ghetto Swingers

Ghetto

Music soothes the savage beast—that is what Eric Vogel must have thought when he sent a petition to the Commander of the Theresienstadt camp on 8 January 1943. It was to start a jazz band named the Ghetto Swingers. The band would include the following members: Dr Brammer (piano), Dr Kurt Bauer (percussion), Fr. Goldschmidt (guitar), Fasal (bass), Ing. Vogel (trumpet), Langer (tenor sax and clarinet), and Fr. Mautner (trombone).

pettition

As crazy as it may seem—the request was granted. The band was formed, and the Jewish prisoners organized in the ghetto a lively cultural scene that included jazz music.

The jazz classic I Got Rhythm by George Gershwin became the band’s theme. Also, the prisoners’ favourite song was the 1932 Bei Mir Bistu Shein composed by Sholom Secunda. The song is better known as Bei Mir Bist du Schön, the 1936 hit of the Andrew Sisters.

The Ghetto Singers also included guitarist Coco Schumann  Kurt Gerron and clarinetist Bedřich “Fritz” Weiss, who had joined later.

After being pressurized following the deportation of Danish Jews to Theresienstadt, the Germans permitted representatives from the Danish Red Cross and the International Red Cross to visit in June 1944

After the Red Cross inspection, Commandant Rahm instructed Gerron to make a propaganda film. Filming took place over eleven days between 16 August and 11 September 194. The Ghetto Swingers participated in this Nazi propaganda film, “Theresienstadt: A Documentary Film from the Jewish Settlement Area,” which is also known as, albeit with the erroneous name, “The Fuehrer Gave the Jews a City.”

After that camp closed, the members of the jazz band were sent to Auschwitz.

In Auschwitz, Coco Schumann had to play [for the SS hangmen], “for hours and hours every day, especially when they tattooed the new arrivals, because they considered it such boring work. Four members of the band survived. They were were Eric Vogel, Coco Schumann and Martin Roman and Kurt Gerron.

To end this blog, I leave you with the aforementioned, Bei Mir Bistu Shein, played by the Ghetto Swingers.

Donation

I am passionate about my site and I know you all like reading my blogs. I have been doing this at no cost and will continue to do so. All I ask is for a voluntary donation of $2, however if you are not in a position to do so I can fully understand, maybe next time then. Thank you. To donate click on the credit/debit card icon of the card you will use. If you want to donate more then $2 just add a higher number in the box left from the PayPal link. Many thanks.

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Sources

You Tube

Geni

Huffpost

Django’s Lucky Escape

Django

The title of this blog is not referring to a Western film, it is referring to an extraordinary event during World War II.

Django Reinhard is one of my favourite guitarists it is actually because of him (and Jim Croce) I picked up a guitar myself. Although I am an admirer of his music and even more his style of playing I didn’t know too much about Django during WWII. I had always assumed he had escaped Europe on time.

It was only after watching a documentary on BBC 4 called Tunes for Tyrants, presented by Suzy Klein, I discovered that Django not only survived the war but he also thrived.

You may think “What is so extraordinary about that?” Django was a Belgian-born Roma-French jazz guitarist. Three words in the last line was what makes it extraordinary, Roma Jazz Guitarist.

Romas were persecuted in Nazi-occupied Europe, and about one million Roma-Gypsies perished in extermination camps or as a result of forced labour.

Jazz was considered degenerate music in the Third Reich.

degenerate

However, Jazz was allowed in Paris because Hitler did not care about the “spiritual well-being” of the French. Django had lived in the UK before the war but had returned to Paris when the war broke out in 1939, leaving his wife behind and eventually divorcing her.

In 1943, Reinhardt married Sophie Ziegler in Salbris, and they had a son, Babik Reinhardt.

Because Django and his family were Roma, he tried to escape Nazi-occupied France, His first attempt failed he and his family were caught, but lady luck smiled on them for a Luftwaffe officer Dietrich Schulz-Köhn, who was an ardent Jazz fan and knew Django and his music, allowed Django and his family return to Paris. If Köhn would not have done that the Reinhard family would have surely ended up in a concentration camp.

Django remained nervous though for he knew there was always a chance that he’d still be arrested someday and be sent away. Although he did attempt to flee France again, he was sent back to the Swiss border.

He remained in Paris and his music was enjoyed by the Parisians but also by the Nazis. Django managed to make quite a bit of money during those years. One of his songs, “Nuages,” did  become an unofficial anthem in Paris to signify hope for liberation.

He did change his musical direction somewhat though because Jazz although allowed in Paris was still considered degenerate music, and the laisse-faire attitude the Nazis in Paris had toward it could change any minute. He attempted to  He tried to write a Mass for the Gypsies and a symphony.

Django guitar

I would recommend watching the three-part documentary series ‘Tunes for Tyrants’ on BBC 4. It gives a great overview of the musical history during the world war 2 era and the years before it.

Ending this blog withe th aforementioned “Nuages.”

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I am passionate about my site and I know you all like reading my blogs. I have been doing this at no cost and will continue to do so. All I ask is for a voluntary donation of $2, however if you are not in a position to do so I can fully understand, maybe next time then. Thank you. To donate click on the credit/debit card icon of the card you will use. If you want to donate more then $2 just add a higher number in the box left from the PayPal link. Many thanks.

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Captain Macheath—The Story Behind “Mack the Knife”

knife

Mack the Knife is one of my favourite Jazz songs,  I love the Bobby Darin and Louis Armstrong versions equally. It just doesn’t get cooler than that song, sung by these two performers, although Sammy Davis Jr, also did a pretty cool rendition.

Even though I have admired this song for decades. it is only recently I discovered the actual history of the song. I always thought it was written in the 50s.

The song was composed in 1928 in Berlin by Kurt Weil and Bertolt Brecht provided the lyrics.

Weil was Jewish while  Brecht was a Christian, his mother was a Protestant and his father was Catholic, but he was an opponent of the Nazi regime and had Marxist sympathies. Both men fled Germany in the early 30s for fear of persecution. They both ended up in the US, but Brecht eventually returned to East Berlin after the war.

They had written the music drama, “The Three Penny Opera,” which premiered in Berlin in 1928. The song, “Mack the Knife,” or “Die Moritat von Mackie Messe” was part of that opera.

The character, Mack the Knife, is based on the dashing highwayman Macheath, from John Gay’s “The Beggar’s Opera.”

beggar

Although Macheath is a fictional character he is believed to be based on, or at least partially based on Jack Sheppard, an English thief and jail breaker, and also enjoyed the affections of a prostitute, but unlike the character in the song he despised violence.

The Macheath in Mack the Knife is compared to a shark, and it tells tales of his numerous crimes like robberies, murders, rapes, and arson.

And the shark, it has teeth,
And it wears them in the face.
And Macheath, he has a knife,
But the knife can’t be seen.

The song was translated in 1954 by Marc Blizstein. The nuances of Blitzstein’s translations are different compared to the original.

Oh, the shark has pretty teeth, dear,
And he shows them pearly white
Just a jack-knife has Macheath, dear
And he keeps it out of sight.

jack knife

Leaving you with Bobby Darin’s version of the song.

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I am passionate about my site and I know you all like reading my blogs. I have been doing this at no cost and will continue to do so. All I ask is for a voluntary donation of $2, however if you are not in a position to do so I can fully understand, maybe next time then. Thank you. To donate click on the credit/debit card icon of the card you will use. If you want to donate more then $2 just add a higher number in the box left from the PayPal link. Many thanks.

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Johnny & Jones-Jazz musicians, killed because they were Jewish.

Prentbriefkaart_Johnny_and_Jones

Aside from the human costs of he persecution of the Jews by the Nazis, it also had a devastating impact on culture. So many very talented painters,writers,musicians and other artists were killed because they were Jewish. Artists whose art could still have been enjoyed today,but they never got a chance.

Johnny & Jones were a Jazz/Cabaret duo from Amsterdam. Nol (Arnold Siméon) van Wesel (Johnny) and Max (Salomon Meyer) Kannewasser (Jones).

The duo worked together at the De Bijenkorf (Beehive) department store.bijenkorf

During a company party in 1934, they joined up with The Bijko Rhythm Stompers, where their talents were discovered. Two years later they quit their jobs and began performing under the name Johnny & Jones. Their biggest hit was “Mr Dinges doesn’t know what swing is” (“Mijnheer Dinges weet niet wat swing is”).

hoes

They made jazz music accompanied by the guitar, and their lyrics, invariably pronounced with an American accent, were characterized by humorous, topical parodies. Beginning in 1937 they were regularly played on the VARA-radio and became immensely popular.

In May 1940 the Germans invaded and occupied the Netherlands, gradually but at a fast pace the Nazi began introducing antisemitic laws. Also laws banning some musical genres were introduced, Jazz was labelled as Entartete Musik or Degenerate music, alabel applied in the 1930s by the Nazi government in Germany to certain forms of music that it considered to be harmful or decadent.

Entartete_musik_poster

Because they were Jewish,  Johnny & Jones could only play for Jewish audiences, during the German occupation,and after 1941 were not allowed to play at all. In 1943 Max,Nol and their wives were arrested and were send  to the Westerbork transit camp.In the camp they performed once under the name Jonny und Jones since in the revue only the German language was allowed. In 1944 they were sent on a day’s work assignment from Westerbork to Amsterdam, during which they managed to clandestinely record the song “Westerbork Serenade”.

The song starts of with them singing that they don’t feel like themselves and that they aren’t great. Their hearts beat like the airplane demolishing  yard, which was actually the job assigned to them in the camp,dismantling crashed warplanes.

(Drawing by Leo Kok, a Jewish artist who drew this picture of ‘Johnny and Jones’ dismantling planes in 1944. Leo Kok died a week after liberation day)Tekening_Nol_van_Wezel_en_Max_Kannewasser

Below is the translated text of the song.

“Hello we feel a little out of order,
To pull myself together is quite hard,
Suddenly I’m a different person,
My heart beats like the airplane wrecking yard.

I sing my Westerbork serenade,
Along the little rail-way the tiny silver moon shines
On the heath.
I sing my Westerbork serenade
With a pretty lady walking there together,
Cheek to cheek.
And my heart burns like the boiler in the boiler house,
Oh it never hit me quite like this at Mother’s place
I sing my Westerbork serenade,
In between the barracks I threw my arms around her
Over there
This Westerbork love affair.
And so I went over to the medic,
The guy says: “there is nothing you can do;
Oh but you will feel a whole lot better
After you give her a kiss or two
(But that you must not do…)”

Even in this dark period they managed to keep composure and a sense of humour.

On 4 September 1944 Van Wesel and Kannewasser were deported on one of the last transports from Westerbork to a series of concentration camps: Theresienstadt, Auschwitz, Sachsenhausen, Ohrdruf and Bergen-Belsen. They died of exhaustion during the last days of the war in 1945, Nol van Wesel (Johnny) died on 20 March 1945

Max (Salomon Meyer) Kannewasser (Jones) . died on 15 April, 1945, the day that the camp was liberated.

Vergeb Belsen

The only consolation in this story is that Johnny and Jones songs can still be heard and because of modern day technology their voices can still be heard all over the world.

Donation

I am passionate about my site and I know you all like reading my blogs. I have been doing this at no cost and will continue to do so. All I ask is for a voluntary donation of $2, however if you are not in a position to do so I can fully understand, maybe next time then. Thank you. To donate click on the credit/debit card icon of the card you will use. If you want to donate more then $2 just add a higher number in the box left from the PayPal link. Many thanks.

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Source

https://holocaustmusic.ort.org/places/camps/western-europe/westerbork/johnny-jones/

Johnny en Jones

https://www.amsterdam.nl/stadsarchief/stukken/tweede-wereldoorlog/johnny-jones/

Wikipedia Netherlands

Punks in WWII

zazou

Before you start thinking that this will be a blog about Punk bands like the Sex Pistols singing about WWII, you’d be wrong. In fact, it has nothing to do with Punk music but more about Jazz.

I am referring to Punk as a rebellion against the establishment. During WWII there were 2 groups very similar in how they rebelled against the Nazi regime, the Swingjugend in Germany and the Zazou in France. Unlike the Punk movement in the 70s, the Zazou and the Swingjugend could risk their lives or be sent to a concentration camp for their rebellion.

Swingjugend

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As the Nazi Party took power in Germany in 1933, a complete crackdown on all subversive elements took hold. Having dealt with his political opponents in prior years, his rise to the chancellorship, Hitler intended to finish the job by eradicating all potential opposition.

In schools and on the streets, a silent flame tingled. The Teenagers rejected the strict militarism code of behaviour bestowed by the Nazi Party throughout the youth organisations like the Hitler Youth and the League of German Girls.

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It proved unsuccessful because instead of embracing the Hitler Youth pastimes, city girls and boys crowded in the swing dance joints.[2] It seemed to be the case, particularly in Hamburg, where the swing scene was huge.

The Swingjugend rejected the Nazi state above all, because of its ideology and uniformity. Its militarism, the Führer Principle and the levelling Volksgemeinschaft (people’s community). They experienced a massive restriction on their freedom. They rebelled against all with Jazz and Swing music, which stood for a love of life, self-determination, non-conformism, freedom, independence, liberalism, and internationalism.

Though they were not a political opposition organisation, the whole culture of the Swing Kids evolved into a non-violent refusal of the civil order and culture of National Socialism.

From a paper by the National Youth Leader
The members of the Swing youth oppose today’s Germany and its police, the Party and its policy, the Hitlerjugend, work and military service, and are opposed, or at least indifferent, to the ongoing war. They see the mechanisms of National Socialism as a “mass obligation.” The greatest adventure of all time leaves them indifferent; much to the contrary, they long for everything that is not German, but English.

From 1941, the violent repression by the Gestapo and the Hitlerjugend shaped the political spirit of the swing youth. Also, by police order, people under 21 were forbidden to go dancing bars, which encouraged the movement to seek its survival by going underground.

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The Swing Kids of Hamburg at some point had contacts with another famous resistance movement, when three members of the White Rose (German: Weiße Rose) developed a sympathy for the Swing Kids. No formal cooperation arose, though these contacts were later used by the Volksgerichtshof (“People’s Court”) to accuse some Swing Kids of anarchist propaganda and sabotage of the armed forces. The consequent trial, death sentences and executions were averted by the end of the war.

On 18 August 1941, in a brutal police operation, over 300 Swingjugend were arrested. The measures against them ranged from cutting their hair and sending them back to school under close monitoring, to the deportation of the leaders to concentration camps. The boys went to the Moringen concentration camp while the girls were sent to Ravensbruck.[10]

This mass arrest encouraged the youth to further their political consciousness and opposition to National Socialism. They started to distribute anti-fascist propaganda. In January 1943, Günter Discher, as one of the ringleaders of the Swing Kids, was deported to the youth concentration camp of Moringen.

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On 2 January 1942, Heinrich Himmler wrote to Reinhard Heydrich calling on him to clamp down on the ringleaders of the swing movement, recommending a few years in a concentration camp with beatings and forced labor:

The crackdown soon followed: clubs were raided, and participants were hauled off to camps.

Zazou

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In France a similar movement like Germany’s Swingjugend arose by the name Zazou.The zazous were a subculture in France during World War II. They were young people expressing their individuality by wearing big or garish clothing (similar to the zoot suit fashion in America a few years before).

On 27 March 1942, the French Vichy government issued the barbershop decree, demanding that barbers collect cut hair and donate it to the war effort to make slippers and sweaters. The rebellious Zazous refused and grew their hair long. The Zazous were directly inspired by jazz and swing music. A healthy black jazz scene had sprung up in Montmartre in the inter-war years. Their name  was inspired by a line in a song – Zah Zuh Zah – by Cab Calloway

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Vichy had started ‘Youth Worksites’ in July 1940, in what Zazous perceived as an attempt to indoctrinate French youth.  The Vichy regime was very concerned about the education, moral fibre and productivity of French youth. In 1940 a Ministry of Youth was established. They saw the Zazous as a rival and dangerous influence on youth.

In 1940, 78 anti-Zazou articles were published in the press, a further nine in 1941 and 38 in 1943.

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The Vichy papers deplored the moral turpitude and decadence that was affecting French morality. Zazous were seen as work-shy, egotistical and Judeo-Gaullist shirkers.

By 1942 the Vichy regime realised that the national revival that they hoped would be carried out by young people under their guidance was seriously affected by widespread rejection of the patriotism, work ethic, self-denial, asceticism and masculinity this called for.

Soon, round-ups began in bars and Zazous were beaten on the street. They became Enemy Number One of the fascist youth organisations, Jeunesse Populaire Française. “Scalp the Zazous!” became their slogan. Squads of young JPF fascists armed with hairclippers attacked Zazous. Many were arrested and sent to the countryside to work on the harvest.

At this point the Zazous went underground, holing up in their dance halls and basement clubs.

Though they did not suffer like their contemporaries in Germany, nevertheless, in a society of widespread complicity and acquiescence, their stand was courageous and trail-blazing.

Donation

I am passionate about my site and I know you all like reading my blogs. I have been doing this at no cost and will continue to do so. All I ask is for a voluntary donation of $2, however if you are not in a position to do so I can fully understand, maybe next time then. Thank you. To donate click on the credit/debit card icon of the card you will use. If you want to donate more then $2 just add a higher number in the box left from the PayPal link. Many thanks.

$2.00

Sources

Queens of Vintage

Timelne

Libcom

Special thank you to Norman Stone who pointed me to the story of the Zazou.