By Uta G. Poiger
Within the twenty years after international conflict II, Germans on each side of the iron curtain fought vehemently over American cultural imports. Uta G. Poiger lines how westerns, denims, jazz, rock 'n' roll, and stars like Marlon Brando or Elvis Presley reached young people in either Germanies, who eagerly followed the hot kinds. Poiger unearths that East and West German professionals deployed gender and racial norms to comprise Americanized early life cultures of their personal territories and to hold at the ideological chilly struggle conflict with one another. Poiger's energetic account is predicated on a magnificent array of assets, starting from movies, newspapers, and modern sociological reviews, to German and U.S. archival fabrics.
Jazz, Rock, and Rebels examines diverging responses to American tradition in East and West Germany by way of linking those to alterations in social technological know-how study, political cultures, country associations, and foreign alliance platforms. In the 1st twenty years of the chilly struggle, buyer tradition turned how to delineate the bounds among East and West. This pathbreaking learn, the first comparative cultural background of the 2 Germanies, sheds new mild at the legacy of Weimar and nationwide Socialism, on gender and race family members in Europe, and on Americanization and the chilly struggle.
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Additional info for Jazz, Rock, and Rebels: Cold War Politics and American Culture in a Divided Germany
Under the impact of the Great Depression many jazz musicians were out of work, since Germans found going out too expensive. At the same time, opponents of jazz became ever more powerful. In 1930 the Minister of the Interior for Thuringia, the first Nazi appointed to a state cabinet, promulgated an ordinance titled “Against Negro Culture, for German Folkdom” that was directed against all forms of avant-garde art and prohibited all jazz performances in the state. And in 1932 the autocratic central government headed by Chancellor Franwz von Papen, responded to racist critics of jazz by prohibiting the hiring of musicians of color.
Almost half of the exchanges under HICOG involved elite groups of young people, including university and high school students, and youth leaders, among them numerous future West German leaders of the 1960s and 1970s. 16 As they were seeking to liberate Germans into a Western-style capitalist democracy in the postwar years, American leaders themselves were ambivalent about the use of American popular culture in Germany. Hostilities toward American popular culture persisted in both Germany and the United States after World War II.
55 Exoticization was in many ways a form of racial prejudice that created or reinforced racial stereotypes. Many Germans failed to see that associating African Americans with the jungle or even seeing them as authentic representations of Africa was problematic. Charges of blacks’ alleged primitivism reaffirmed racial hierarchies, both in the avant garde, especially among the expressionists who viewed primitivism as liberating, and in the right wing, where celebrations of primitivism fueled a much more pernicious racism that saw primitivism as a cause of racial decline.