SWING FANS Diamond 48, Black Body - Teak Blade

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Bergmeier, H.J.P., 1998. Chronologie der deutschen Kleinkunst in den Niederlanden 1933–1944., Hamburg: Hamburger Arbeitsstelle für Deutsche Exilliteratur. Gensler, Andy (6 June 2016). "Squirrel Nut Zippers Reissuing 'Hot' - Listen to Unreleased 1991 Song 'The Puffer': Exclusive". Billboard . Retrieved 14 June 2017. Dregni, Michael (2004). Django: The Life and Music of a Gypsy Legend. Oxford University Press. ISBN 0-19-516752-X. Schumann, C., 1997. Der Ghetto-Swinger: Eine Jazzlegende Erzählt 2nd ed., Munich: Deutscher Taschenbuch Verlag. In 2001 Robbie Williams's album Swing When You're Winning consisted mainly of popular swing covers. The album sold more than 7 million copies worldwide. In November 2013, Robbie Williams released Swings Both Ways.

Hejtmar, M., Rhythmus hinter Drähten [Rhythm behind barbed wire], Weimar: archive of the KZ-Gedenkstätte Buchenwald. Thereupon I had my portable record player, along with about one hundred records sent to me – English and American swing records. They got here, but I never received them. Schitli [Wilhelm Schitli, head of the detention camp] called for me and said that there was already something in my files about connections to English industrial circles. The records, therefore, had to be confiscated and would be stored along with my effects. This popularity and even a performance in a propaganda film about the camp could not, however, protect the Ghetto-Swingers from deportation to Auschwitz-Birkenau. Those who had survived the selection formed the core for the newly-founded camp band. Guitarist Coco Schumann talked about this in an interview: Swing אנחנו מאמינים במוצרים שלנו ומעוניינים לקדם ידע מקצועי בתחום מאווררי התקרה, כדי שתוכלו לבצע רכישה מושכלת שתואמת לצרכים הפרקטיים והעיצוביים שלכם. לכן, אנחנו מעניקים שירותי ייעוץ מקצועי בחנויות הרשת, בטלפון ודרך מספר פלטפורמות באתר וכמובן שנשמח לספק לכם גם שירותי משלוח והתקנה If the musicians in Theresienstadt could fashion a pure, artistically ambitious jazz repertoire, then they became mere musical slaves in Auschwitz, where their lives depended upon the momentary disposition of the SS and functionaries. Because the musicians were useful for them, the camp band did offer the possibility of escaping the gas chamber. Later, the remaining musicians were transferred via Berlin and Sachsenhausen into a satellite camp of Dachau. But only a few members of the Ghetto-Swingers survived the Shoah. ConclusionConsidine, J. D. "The missing link in the evolution of JUMP BLUES". Baltimoresun.com . Retrieved 23 February 2021. Another modern development consists of fusing swing (original, or remixes of classics) with hip hop and house techniques. "Swing house" was particularly popular during the late 1980s and early 1990s. Influences incorporated into it include Louis Jordan and Louis Prima. Electro swing is mainly popular in Europe, and electro swing artists incorporate influences such as tango and Django Reinhardt's gypsy swing. Leading artists include Caravan Palace and Parov Stelar. Both genres are connected with a revival of swing dances, such as the Lindy hop. Despite all the campaigns of defamation and prohibition, as well as the incarceration of some jazz musicians and jazz fans,it cannot be said that there was no German jazz scene in the Third Reich. Sustained by professional and amateur musicians, jazz bands, and also by enthusiastic swing fans and record collectors, it is more accurate to say that the development of jazz was severely encumbered by political conditions. This made the jazz scene increasingly dependent for its survival upon the loopholes of Nazi cultural policy. Such loopholes existed because the cultural politics of the Third Reich vis-a-vis jazz and jazz-related music was characterized by the coexistence of contradictory and ambivalent measures, for which no unified strategy existed. Depending on the inner dynamic of Nazi ideology and foreign policy developments, Nazism’s response to jazz oscillated between prohibition for ideological reasons, and toleration and appropriation for economic and market-driven considerations. This explains why the Nazis did not decree an all-encompassing, nationwide ban on jazz, nor issue any corresponding law. Jazz in the Camps Swing המותג המוביל במאווררי תקרה איכותיים, מעוצבים ועמידים. כמותג מוביל , חרטנו על דגלנו ערכים של חדשנות, יצירתיות, יעילות

Walker, Leo (1972). The Wonderful Era of the Great Dance Bands. Garden City, New York: Doubleday. p.152. In 1935 the Benny Goodman Orchestra had won a spot on the radio show Let's Dance and started showcasing an updated repertoire featuring Fletcher Henderson arrangements. Goodman's slot was on after midnight in the East, and few people heard it. It was on earlier on the West Coast and developed the audience that later led to Goodman's Palomar Ballroom triumph. At the Palomar engagement starting on 21 August 1935, audiences of young white dancers favored Goodman's rhythm and daring arrangements. The sudden success of the Goodman orchestra transformed the landscape of popular music in America. Goodman's success with "hot" swing brought forth imitators and enthusiasts of the new style throughout the world of dance bands, which launched the "swing era" that lasted until 1946. [22] Muth, Wolfgang: „Rhythmus” – Ein internationales Jazzorchester in Buchenwald. In: AG Jazz Eisenach (Hg.): 25 Jahre Jazz im Klubhaus AWE. Eisenach 1984 , 10-15, quote on 12.

Pohl, R., 1986. Das gesunde Volksempfinden ist gegen Dad und Jo“. Zur Verfolgung der Hamburger ‚Swing-Jugend. In Zweiten Weltkrieg. In: Verachtet – verfolgt – vernichtet – zu den ‚vergessenen‘ Opfern des NS-Re­gimes. Hg. von der Projektgruppe für die vergessenen Opfer des NS-Regimes in Hamburg e.V. Hamburg, pp. 15-45 Depending on the particular camp and the specific situation of the camp, the function of jazz and jazz-influenced music in the Nazi camp system was extremely variable. On the one hand, it was an essential component of illegal and/or tolerated camp culture; on the other, it was a means of propaganda and distraction for the henchmen of the Nazi regime. In their own field of responsibility, individual SS members hardly bothered themselves about the music guidelines of the regime. And so it came to pass that even the SS- Rottenführer (an SS leader) Pery Broad jammed together with Dutch jazz musicians in the men’s section of Auschwitz-Birkenau. Only through such varying motivations could the scorned jazz 'survive' in, of all places, the Nazi camps. Likewise, the saxophonist Miroslav Hejtmar summarized of his performances with the Buchenwald jazz orchestra Rhythm: Harker, Brian C., 1997, Early Musical Development of Louis Armstrong, 1921–1928, unpublished PhD Dissertation, Columbia University, 390 p. plus Appendix Hasenbein, H., 1995. Unerwünscht – toleriert – instrumentalisiert. Jazz und Swing im Nationalsozialismus. In eitschrift für Sozialgeschichte des 20. und 21. Jahrhunderts 10. 38-52.

Roof fans provide a simple way to ventilate large areas and can be used with ducting or without. Typically, axial fans are used without and provide higher volumes, whilst centrifugal fans are used with ducting and can generate higher pressures to accommodate the ducting. Though ostracized by the Nazi regime as 'degenerate', reports by historical witnesses and survivors substantiate the claim that jazz, as well as jazz-related music, could be heard within numerous Nazi camps. That such reports do not constitute the exception is made clear by similar activities of prisoners of war, in camps for foreign civilians and forced labour camps, in police detainment camps, in the internment camps of Vichy France, in the Dutch transport camp Westerbork, and in the ghettos of Łódź, Warsaw and Vilna, not to mention the equally secret jazz sessions of the members of the Swingjugend in youth detention and concentration camps. A few examples should serve to make the spectrum of these jazz activities clear. Ritter, F. ed., 1994. Heinrich Himmler und die Liebe zum Swing. Erinnerungen und Dokumente., Leipzig: Reclam.A roof fan is either an axial fan or centrifugal blower contained within a roof mounted unit that can cover a variety of applications depending upon the design of the unit. Roof fans also come in either vertical or horizontal discharge configuration.