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As World War II ended, jazz was imported to Germany via its strong footholds in England and France, and home-grown post-war jazz was able to develop, particularly in the American-occupied zone. Ironically, many German prisoners first heard jazz in French camps, and then the occupying Allied forces introduced those records and sheet music into ...
Charlie and his Orchestra (also referred to as the "Templin band" and "Bruno and His Swinging Tigers") were a Nazi-sponsored German propaganda swing band. Jazz music styles were seen by Nazi authorities as rebellious but, ironically, propaganda minister Joseph Goebbels conceived of using the style in shortwave radio broadcasts aimed initially at the United Kingdom, and later the United States ...
He entertained troops during World War II, and ended up in the US Army Air Forces. [1] Their workload was just as heavy as the civilian band's had been. With a full string section added to a big band, the Major Glenn Miller Army Air Forces Orchestra [ 14 ] was the forerunner of many US military big bands.
The first patriotic war song of WWII in the U.S. was "God Bless America," written by Irving Berlin for a World War I wartime revue, but it was withheld and later revised and used in World War II. [4] There were many other patriotic wartime songs during this time such as, " A Nightingale Sang in Berkeley Square " by Glenn Miller and "Arms for ...
"Tangerine" was introduced to a broad audience in the 1942 movie The Fleet's In, produced by Paramount Pictures, directed by Schertzinger just before his death, and starring Dorothy Lamour, William Holden, Eddie Bracken, singer Cass Daley, and Betty Hutton in her feature film debut.
During World War II, American music helped to inspire servicemen, people working in the war industries, homemakers and schoolchildren alike. American music during World War II was considered to be popular music that was enjoyed during the late 1930s (the end of the Great Depression) through the mid-1940s (through the end of World War II).
While the Big Band Era suggests that big bands flourished for a short period, they have been a part of jazz music since their emergence in the 1920s when white concert bands adopted the rhythms and musical forms of small African-American jazz combos.
The Swing Youth (German: Swingjugend) were a youth counterculture of jazz and swing lovers in Germany formed in Hamburg in 1939. Primarily active in Hamburg and Berlin, they were composed of 14- to 21-year-old Germans, mostly middle or upper-class students, but also including some in the working class. [1]