This compelling survey examines the remarkable relationship between the Nazis and classical music through the stories of musicians, composers, and conductors across the political spectrum. May 1945. A Soviet military patrol searches Hitler’s secret bunker in Berlin. They find bodies, documents, jewelry, paintings—and also an extensive collection of 78 rpm records. It comes as no surprise that this collection includes work by Beethoven, Wagner, and Bruckner. The same goes for a procession of other giants promoted by the Nazi regime: “It seems as if the Nazis put a steel helmet on Mozart, girded Schubert with a saber, and wrapped barbed wire around Johann Strauss’s neck,” composer Robert Stolz once said. But how is it possible that Hitler’s favorites also included “forbidden” Jewish and Russian composers and performers? While Hitler sat secretly enjoying previously recorded music in his bunker, musicians made of flesh and blood were denied a means of making a living. They died in concentration camps or in other war-related circumstances. They survived but ended up in psychiatric care; they managed to flee just in time; they sided with the regime—out of conviction or coercion—or they joined the resistance. From fiery conductor Arturo Toscanini, who defied Mussolini and Hitler, to opportunistic composer Richard Strauss and antisemitic pianist Elly Ney, who collaborated with the Third Reich to varying extents and for different reasons, Fred Brouwers profiles the complex figures of this extraordinarily fascinating chapter in music history.
Experience a timeless collection of wisdom on love, friendship, respect, individuality, and honesty from the beloved PBS series Mister Rogers' Neighborhood. There are few personalities who evoke such universal feelings of warmth as Fred Rogers. An enduring presence in American homes for more than thirty years, his plainspoken wisdom continues to guide and comfort many. The World According to Mister Rogers distills the legacy and singular worldview of this beloved American figure. An inspiring collection of stories, anecdotes, and insights—with sections devoted to love, friendship, respect, individuality, and honesty—The World According to Mister Rogers reminds us that there is much more in life that unites us than divides us. Culled from Fred Rogers' speeches, program transcripts, books, letters, and interviews, along with some of his never-before-published writings, The World According to Mister Rogers is a testament to a man who served as a role model to millions—and continues to inspire us all with his legacy.
This compelling survey examines the remarkable relationship between the Nazis and classical music through the stories of musicians, composers, and conductors across the political spectrum. May 1945. A Soviet military patrol searches Hitler’s secret bunker in Berlin. They find bodies, documents, jewelry, paintings—and also an extensive collection of 78 rpm records. It comes as no surprise that this collection includes work by Beethoven, Wagner, and Bruckner. The same goes for a procession of other giants promoted by the Nazi regime: “It seems as if the Nazis put a steel helmet on Mozart, girded Schubert with a saber, and wrapped barbed wire around Johann Strauss’s neck,” composer Robert Stolz once said. But how is it possible that Hitler’s favorites also included “forbidden” Jewish and Russian composers and performers? While Hitler sat secretly enjoying previously recorded music in his bunker, musicians made of flesh and blood were denied a means of making a living. They died in concentration camps or in other war-related circumstances. They survived but ended up in psychiatric care; they managed to flee just in time; they sided with the regime—out of conviction or coercion—or they joined the resistance. From fiery conductor Arturo Toscanini, who defied Mussolini and Hitler, to opportunistic composer Richard Strauss and antisemitic pianist Elly Ney, who collaborated with the Third Reich to varying extents and for different reasons, Fred Brouwers profiles the complex figures of this extraordinarily fascinating chapter in music history.
Fred Rogers's gentle spirit and passion for children's television takes center stage in this collection of interviews spanning his nearly forty-year career Nearly twenty years after his death, Fred Rogers remains a source of comfort and fond memories for generations who grew up watching Mister Rogers' Neighborhood. Over the course of his career, Rogers revolutionized children's television and changed the way experts thought about the educational power of media. But perhaps his most lasting legacy was demonstrating the power of simply being nice to other people. In this collection of interviews, including his fiery (for him) 1969 senate testimony that saved PBS and his final interview with Diane Rehm, Rogers's gentle spirit and compassionate approach to life continues to be an inspiration. An introduction by David Bianculli provides brilliantly contextualizes the interviews and offers a contemporary reading of Rogers's storied career.
“Children see and hear what is there; adults see and hear what they are expected to and mainly remember what they think they ought to remember,” David Lowenthal wrote in The Past Is a Foreign Country. It is on this fraught foundation that Fred Lanzing builds this memoir of his childhood in a Japanese internment camp for Dutch colonialists in the East Indies during the World War II. When published in the Netherlands in 2007, the book triggered controversy, if not vitriol, for Lanzing’s assertion that his time in the camp was not the compendium of horrors commonly associated with the Dutch internment experience. Despite the angry reception, Lanzing’s account corresponds more closely with the scant historical record than do most camp memoirs. In this way, Lanzing’s work is a substantial addition to ongoing discussions of the politics of memory and the powerful—if contentious—contributions that subjective accounts make to historiography and to the legacies of the past. Lanzing relates an aspect of the war in the Pacific seldom discussed outside the Netherlands and, by focusing on the experiences of ordinary people, expands our understanding of World War II in general. His compact, beautifully detailed account will be accessible to undergraduate students and a general readership and, together with the introduction by William H. Frederick, is a significant contribution to literature on World War II, the Dutch colonial experience, the history of childhood, and Southeast Asian history.
Fred Rogers's gentle spirit and passion for children's television takes center stage in this collection of interviews spanning his nearly forty-year career Nearly twenty years after his death, Fred Rogers remains a source of comfort and fond memories for generations who grew up watching Mister Rogers' Neighborhood. Over the course of his career, Rogers revolutionized children's television and changed the way experts thought about the educational power of media. But perhaps his most lasting legacy was demonstrating the power of simply being nice to other people. In this collection of interviews, including his fiery (for him) 1969 senate testimony that saved PBS and his final interview with Diane Rehm, Rogers's gentle spirit and compassionate approach to life continues to be an inspiration. An introduction by David Bianculli provides brilliantly contextualizes the interviews and offers a contemporary reading of Rogers's storied career.
These stories cover the almost 50 years I was associated with N C State University, both as a student and later as faculty. A few relate to my early years growing up in Tryon, NC. There is an element of truth/fact in each. I have added a number written since leaving the University and moving to Windsor Point, a retirement village in Fuquay-Varina, NC. Many of these stories were inspired by my new friends there. Several are based on some innocent event or act which would provoke little or no interest if re-told precisely as they happened. To these I have "enhanced" the truth, somewhat, to make them more interesting. I hope you will forgive my boldness. A few are pure fabrication based on a story I had heard, or some idea on which I wanted to elaborate. You may be unable to distinguish the fabricated ones from the others.
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