SWING FANS Diamond 48, Black Body - Teak Blade

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In November 1939, a group of students from Czechoslovakia founded a vocal octet called the Sing Sing Boys in Sachsenhausen. One part of their programme consisted of well-known musical dance numbers of film melodies in a swing arrangement. Beyond that, they used compositions in the jazz idiom from their musical leader Karel Štancl as well as satirical songs from the Liberated Theatre in Prague, which had been closed in 1938 due to its antifascist leanings. These songs contained the heavily jazz-influenced melodies of Jaroslav Jezek, and their performance was prohibited by the German occupiers. Josef Sárka described the concerts of the Sing Sing Boys in a letter: HR: Horizontal roof unit designed for general ventilation. High efficiency motors. Standard Temperature. Harker, Brian C., 1997, Early Musical Development of Louis Armstrong, 1921–1928, unpublished PhD Dissertation, Columbia University, 390 p. plus Appendix Swing המותג המוביל במאווררי תקרה איכותיים, מעוצבים ועמידים. כמותג מוביל , חרטנו על דגלנו ערכים של חדשנות, יצירתיות, יעילות These appearances were regularly planned. Saturday, Sunday, but also spontaneously, when the oldest camp prisoners came to visit for example. Or during recreational time, when there was no trouble brewing in the camp and it was unlikely that the SS would enter the camp.

They liked it and were happy about the variety it brought whenever we sang 'In the Mood' or 'Bei mir bist du schoen' or 'A Tisket, a Tasket' or whatever. Walda, D., 1980. Trompettist in Auschwitz: Herinneringen van Lex van Weren, Amsterdam: De Boekerij.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. Conclusion

Considine, J. D. "The missing link in the evolution of JUMP BLUES". Baltimoresun.com . Retrieved 23 February 2021.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.

Kirchner, Bill, ed. (2000), The Oxford Companion to Jazz, New York: Oxford University Press, ISBN 978-0-19-518359-7. Kuna, M., 1993. Musik an der Grenze des Lebens: Musikerinnen und Musiker aus Böhmischen Ländern in Nationalsozialistischen Konzentrationslagern und Gefängnissen, Frankfurt/M.: Zweitausendeins. Gensler, Andy (6 June 2016). "Squirrel Nut Zippers Reissuing 'Hot' - Listen to Unreleased 1991 Song 'The Puffer': Exclusive". Billboard . Retrieved 14 June 2017. But precautions had to be taken so that the performance of hated jazz melodies was not accidentally discovered by an overseer: 'Sometimes at night, after lights out, we were quite precocious and would cover the windows with our bed sheets and then we would sing.'Dregni, Michael (2008). Gypsy Jazz: In Search of Django Reinhardt and the Soul of Gypsy Swing. Oxford University Press. pp. 10–13. ISBN 978-0-19-531192-1. eVertical DVC: Designed for elevated ambient temperatures operating up to 120°C. Ideal for kitchen extract with the motor out of airstream. High Temperature. In the French prisoner camp in Perpignan in 1942, for example, the Viennese Erich Pechmann, imprisoned because of his Jewish faith, sang blues pieces and, in addition, imitated instruments with his voice. Using only these simple methods, as Fred Wander relates, Pechmann was able to boost the morale of his fellow prisoners:

During the Weimar Republic, jazz conquered Germany and in the process became a symbol of the Roaring Twenties. Yet bitter protest was already stirring from nationalist conservatives and right-wing circles. After Hitler took power in 1933, the conflict over jazz intensified. So-called fremdländisch (alien) music had to be eradicated. After someearly prohibitions in this regard and the creation of the Reichsmusikkammer, which would mean exclusion for Jewish musicians and impede artistic exchange with foreign musicians, there followed a liberal phase owing to the 1936 Olympic games being held in Berlin.With the success of the new jazz-style swing and the strengthening of the so-called Swingjugend (Swing Youth), however, further repression came in 1937 and 1938. District Nazi party leaders, police directors and local businesspeople began to issue numerous decrees prohibiting swing, jazz, and swing dancing for their respective region, city or local establishment. Despite these restrictions, jazz’s presence continued, because of the ease with which ignorant inspectors were outsmarted, and the sympathies for the agreeable swing style harboured even by some Nazi functionaries. When he played, everything became quiet. He magically produced the sound of an entire band. […] Everywhere where Pechmann went, he reassured these frightened people. It's not very difficult to understand the evolution of jazz into Swing. Ten years ago this type of music was flourishing, albeit amidst adverse conditions and surrounded by hearty indifference....It is the repetition and monotony of present-day Swing arrangements which bode ill for the future." Downbeat, February 1939, pp. 2–16Nigger jazz’ [… was] offered here in outstanding form without objection from the SS. For us young people, Viennese Café music was boring, but the new style of the Ghetto-Swingers buoyed us through their weekly performances in front of the café. 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 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. Spring, Howard. "Swing and the Lindy Hop: Dance, Venue, Media, and Tradition". American Music, Vol. 15, No. 2 (Summer, 1997), pp.183–207.