Oh, Ja.........more Schlager!

It's been awhile since I've tortured you all with any British and American artists singing in German...better late than never, I say! :)

The Spencer Davis Group- Der Wassermann (Aquarius)

Donny Osmond-Bleib bei mir, little Girl (Go away little girl)

Gene Pitney-Bleibe bei mir (Town without pity)

The Liverpool Beats-Boys (Yup, The Beatles version of The Shrielles song)

Chubby Checker-Der Twist beginnt (Let's twist again)

James ( Jimmy ) Darren-Der Zirkus hat ein Ende (Goodbye, cruel world)

Peter, Paul & Mary-Die Antwort weiss ganz allein der Wind (Blowin' in the wind)

Petula Clark-Geh in die stadt (Downtown)

Beach Boys-Ganz allein (In my room)

Dionne Warwick-Geh vorbei (Walk on by)

The Swinging Blue Jeans-Good Golly Miss Molly-o

Lesley Gore-Goodbye, Tony (You don't own me)

The Honeycombs-Hab ich das Recht (Have I the right)

Terry Jacks-In den Gärten der Zeit (Seasons in the sun)

Joey Dee-Joey's Party

The Supremes-Jonny And Joe (Come see about me)

Brenda Lee-Kansas City

Millie Small-My Boy Lollipop

Bobby Vinton-Rosen sind rot (Roses are red)

The Everly Brothers-Sag auf Wiedersehn

Bobby Darin-Schatten auf den Wegen (Eighteen Yellow Roses)

Manfred Mann-Sie (She)

Lulu-So fing es an

The Searchers-Süss ist sie (Sugar and spice)

The Searchers-Tausend Nadelstiche (Needles and pins)

Dusty Springfield-Warten und hoffen (Wishin' and hopin')

Johnny Cash-Wer kennt den Weg (I walk the line)

http://www.megaupload.com/?d=G3S55JWA

Hitler's Hitparade....2003

HITLER'S HIT PARADE is a composition of archival footage from movies, amateur-, animated-, and educational films, commercials and propaganda - accompanied by dance and popular music from the Third Reich.

The film is structured along thematic chapters, each accompanied by a song and introduced by a headline in the style of the period. In the form of an artistic collage, the film uses a musical thread, to lead the audience through experiences and ideas of the Nazi era.

In contrast to still images - from painter Otto Dix to the Bauhaus - this collage is composed of living pictures. From a wealth of situations in the original material, a portrait of a modern civilization slowly emerges, in which beauty and evil flourish side by side. The lyrics and melodies of the songs serve both as a complement and contrast to the footage.

By foregoing didactic narration, HITLER'S HIT PARADE addresses audiences, who are well versed in the historical facts of the time, on an emotional level. Open-minded viewers are thus offered a broad perspective on the problems inherent in passing judgment on the Nazi
era.

Rather than adopting a typical distanced approach, the film invites viewers to shed their usual safe distance looking back in time from the outside - and to allow a view from the inside on this journey through the Third Reich.

In witnessing numerous situations and examples of human behavior, the viewer is tempted to identify with the figures on screen, and is forced to ask himself what roles he could, would, or should have taken on during this period.

In a subtle manner, HITLER'S HIT PARADE analyses the enticing components of highly progressive, extremely modern Nazi Germany, and how at the same time a cultivated people could be reduced to a moral and physical heap of rubble as a result of the Nazi madness.

MORE INFO (excellent site)

www.deutsche-moderne.de

 ****Link to film in comments****

From: http://www.thenoiseboard.com/lofiversion/index.php?t62851.html

The show tunes of the Nazis
Using music and movies to promote ideology

NEW YORK (AP) -- "Hitler's Hit Parade" is hardly a trip down memory lane. This film's juxtaposition of romantic songs and wartime brutalities can cause viewers to squirm or turn away in horror.

The disturbing collage of Third Reich musicals, newsreels, home movies, cartoons and commercials, including rare segments in color, shows how the Nazis relied on escapist entertainment to promote their murderous ideology and bolster the veneer of normalcy during the nightmare of Adolf Hitler's reign.

The 75-minute production, co-directed by Oliver Axer and Susanne Benze, opened last Wednesday for a two-week run in New York -- the U.S. premiere after limited screenings in Germany. It's a provocative study of seductive propaganda techniques, a partial explanation of the riddle of mass German support for Hitler.

Portraying themselves as protectors of German traditions and historic continuity, the Nazis promised law and order and national respect at a time of economic despair when Hitler came to power in 1933. Lighthearted entertainment was allowed to flourish to distract Germans from harsh realities of totalitarianism.

Sentimental songs churned out by Germany's light-music industry were crammed with code words like "fate" and "homeland" that served as psychological tools to enforce mass conformity.

Allusions to discipline and obedience were reflected in seemingly innocuous popular tunes with titles like "Don't Ask How, Don't Ask Where," "Don't Let It Bother You" and "Everything in Life Will Pass."

"I know a miracle will happen some day and a thousand fairy tales will come true," Zarah Leander, a wartime diva, croons in one segment, hinting at "wonder weapons" rumored to be in Hitler's arsenal to beat back the allies.

"Entertainment rather than propaganda proved to be the most effective support for the regime," Moshe Zimmermann wrote in his Sueddeutsche Zeitung newspaper review of the film. "One could whistle 'Eternal Spring,' take pleasure in Heinz Ruehmann's amusing films, sing along with the pop tune 'The World Isn't Collapsing' as bombs fell, and the world seemed intact."

From romance to militarism

"Hitler's Hit Parade" (in German with English subtitles) plays out without a spoken commentary, instead using Nazi catch phrases to preface segments on idealized Third Reich society. Lyrics from 20 popular songs serve as ironic commentaries on the sinister policies propelling German industrial expansion for the coming war, mass physical fitness, higher birth rates, anti-Semitism, military training and adulation of Hitler.

The film shows "how dangerously tempting and engaging the general mood of an era can be," according to co-director Axer. It serves as a warning to "recognize the true, hidden meanings before believing" in the brave new world promised in Nazi rhetoric.

Interspersed with sugary ballads and sentimental love songs are films of blond girl gymnasts, German cars on the new autobahns, humming factories, a physician encouraging a couple to have babies, Hitler at his alpine retreat and waving to crowds at mass demonstrations and Hitler Youth in military training.

The scenes become increasingly militant. In a sequence about "Our Women," a home movie shows a German woman and a Slavic man being paraded through a village to have their heads shaved in public for an illegal relationship banned by Nazi racial laws.

Accompanied by a love song, "A Star Fell from Heaven," the documentary shows anti-Semitic caricatures of Jews, and newsreels of ghettos with people wearing Star of David insignias on their coats.

With the advertising slogan, "Millions Ride German Rail" promoting travel for pleasure, cattle cars filled with humans are shown en route to Auschwitz, and "Take commuter rail to the country" shows doomed Jewish inmates at another concentration camp.

To the strains of "When the Lights Shine Again," Germans are shown filing into bunkers to escape bombings. The scene abruptly switches to color newsreels of bombed out cities and smoking piles of corpses.

"Wake Up, Germany," a Nazi brownshirt slogan, serves as the chapter heading for films showing the liberation of death camps and skeletal survivors, a shrunken head and another head preserved in a jar from Nazi medical experiments.

In the closing scene, a little boy with a U.S. Army insignia pinned on his shirt, smiles through tears at his rescue from a death camp.

Copyright 2005 The Associated Press. 

Some Schlager and German Rock 'n Roll for Thursday.......

Schlager, early German Rock and Roll, and a few Americans and Brits charmingly butchering the language....all in fun....Enjoy!

1 2 3...ist dein kleiner Schmerz vorbei-John O`Hara And His New Playboys

Alle Wünsche kann man nicht erfüllen-Michael Holm

At the hop-Ralf Bendix

Auf Dich nur wart immer zu ([I Only Want To Be With You)-Dusty Springfield

B. R. Boogie-Lutz Dietmar

Baby, ich schieß Dir einen Teddybär-Jörg Maria Berg

Copacabana-Rex Gildo

Das hab' ich gleich gewusst-Caterina Valente

Diana-Conny Froboess

Dich gibt`s nur einmal-Rene Kollo

Die hübschen Girls aus Germany-Fats and his Cats

Die Liebe ist ein seltsames Spiel (everybody's somebody's fool)-Die Evelyn Sisters

Die Nacht Ist Mein-Connie Francis

Du bist ein Dieb-Eva May

Eine Reise ins Glück (Sail Along Silv`ry Moon)-Die Lilians

Geh den Weg mit mir-Ted Herold

I'm Sorry-Gitte Haenning

Glockengiesser rock-Conny Froboess

Hirten-blues-Gabriele

Hula Hop-Angele Durand

Ich Bau Dir Ein Schloss-Heintje

Junge Liebe ( Young Love )-Die Monte Carlos

Komm ein bisschen mit nach Italien-Caterina Valente & Silvio Francesco

Küsse nie nach Mitternacht-Charlotte Marian

Laß mich wie ich bin-Wencke Myhre

Male nicht den Teufel and die Wand-Peggy March

Mein girl-The Temptations

Memphis Tennessee-Bernd Spier

Mister Patton aus Manhatten (music: See you later alligator)-Rene Franke

Moonlight Liebe roter Wein (Freight train)-Die Blue Diamonds

Rote Lippen soll man küssen (Lucky lips)-Cliff Richard

Sag mir wie-Udo Jürgens

Schön wie ein Traum (Theme for a dream)-Cliff Richard

Schöner fremder Mann (Someone Else's Boy)-Liane Monti

Seemann, deine Heimat ist das Meer-Lolita

Sexie Hexy (stupid cupid)-Danny Mann

Sie hat nur Bluejeans (We`ve got a secret)-Bubi Scholz

Sie hiess Mary Ann (Sixteen tons)-Freddy Quinn

So geht das jede Nach-Freddy Quinn

Susi Rock-Peter Kraus

Terry-Tony Weller

Teufelsrock-Delle Haensch

Twist im Blut (Twist and Shout)-Cliff Richard

Verbotene Träume-Peter Alexander

Wenn-Die James Brothers

Wie die Liebe Will-Alice Babs

Wie Schon Das Ist ( How Sweet It Is )-Marvin Gaye

http://www.megaupload.com/?d=5OQZLLE5