Showing posts with label Hildegard Knef. Show all posts
Showing posts with label Hildegard Knef. Show all posts

Monday, 3 October 2011

Du hast ja keine Ahnung wie schön du bist Berlin!

I've been to Berlin three times now: 2006, 2008 and again just recently (10-13 September 2011). Edgy, gritty, punky, cosmopolitan and still steeped in Weimar Decadence, Berlin is one of my favourite cities in the world. Every time I go to Berlin, I want it to be awash with excellent German bier and Schlager music, and to feel like I'm channelling Marlene Dietrich, Hildegard Knef, Rainer Werner Fassbinder films (Fassbinder was actually from Bavaria, though), Christopher Isherwood and Nico -- and it never disappoints. Turns out I'm a total Germanophile -- who knew? (But then I'm also a Francophile and an Italophile: it's just that when I'm in Rome, I'm channelling Pier Paolo Pasolini and Anna Magnani in Pigneto).

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Mainlining German Culture: Me in 2008, reading Hildegard Knef's memoirs and drinking Berliner beer at the cafe Cake in Kreuzberg

I joked on Facebook just before my latest trip that when I went to Berlin this time, I intended to recreate scenes from the 1981 film Christiane F: Wir Kinder vom Bahnhof Zoo. (Relax! Obviously I was only kidding!)



Jayne Mansfield singing in German in 1963, Part 1




Nina Hagen In Ekstasy! German clown princess of punk Nina Hagen going apeshit in Alexanderplatz.



My friend Ali and I stayed in the Friedrichshain district this time (when I was there in 2008 we stayed in Mitte; before that, in Prenzlauer Berg). We were walking distance from Alexanderplatz, so ultra-central in other words. We enjoyed (mostly) better weather than poor Nina in this clip. (There was just one jinxed night when we tried to go out bar hopping in Prenzlauer Berg and it was like a freakin' tropical monsoon drenched us).

The Fernsehturm / Berlin Television Tower in Alexanderplatz looms in the horizon of virtually every photo you take in Berlin! It's definitely worth going up to the revolving restaurant at the top of the tower, even if just for a drink (it's very pricey). The views of Berlin are spectacular and the revolving sensation is very freaky.

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Me in 2011

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I can’t imagine going to Berlin without paying a visit to Filmmuseum Berlin, which is devoted to the history of German cinema. It also houses the Marlene Dietrich archives (donated by her daughter Maria Riva after Dietrich's death in 1992): a whole section is allocated to Dietrich's film, stage and personal wardrobe and costumes, memorabilia and even her home movies and love letters. It's a treasure trove for Dietrich obsessives. Going to the filmmuseum is like a religious pilgrimage!

Me at the Filmmuseum in 2008. Hildegard Knef and Dietrich look on

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Me at the Filmmuseum in 2011

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The actual sexy / curvaceous Art Deco robot from Fritz Lang's Metropolis (1927).

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Memento mori: The beautifully macabre death mask of great silent film director F W Murnau (1888-1931). For years it was in the possession of his friend Greta Garbo.

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The beautiful gigantic poster of La Dietrich in Blonde Venus (1932) that ushers you into the Dietrich wing of the Filmmuseum

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A video of Dietrich's wonderfully insolent 1929 screen test for Der Blaue Engel is played on an endless loop; you can hear the young Dietrich warbling "You're the Cream in My Coffee" echoing through the museum. (I can't embed the video, annoyingly. Watch it here)

Dietrich's top hat in display cabinet

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Perhaps it's even this one ...





Genius: Rainer Werner Fassbinder's chair

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My all-time Fassbinder film was one of his last: the haunting / haunted Veronika Voss (1981). I read about the death of its unforgettable leading lady, Rosel Zech just before we split for Berlin in September 2011. Here is Zech huskily crooning the Dean Martin standard "Memories Are Made of This", Dietrich-style. What a woman. RIP, Rosel Zech


Conveniently located adjacent to the Filmmuseum is the Billy Wilder cocktail bar.

My martini in 2008. Damn, it was good

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Mural of the great director Billy Wilder on the wall of the cocktail bar

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In 2008, after visiting the Dietrich collection at the Filmmuseum, it felt de rigeur to go to her gravesite next. Dietrich's grave is in the Friedhof Friedenau cemetary in Schoneberg (where she was born), a very leafy, quiet and elegant neighbourhood. About three graves away is the gravestone of photographer Helmut Newton. The inscription on Dietrich's tombstone translates as: "Here I Stand on the Marker of My Days."

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Me putting flowers on Dietrich's grave in 2008

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Mostly, though, Berlin is dreamy for simply bar and cafe-hopping, sampling the excellent variety of German biers, or eating kaffee und kuchen.

In conclusion, my favourite bars in Berlin:

Möbel-Olfe in Kreuzberg: This place kills me. Seriously -- it almost makes me cum. The bleak green-tinged neon lighting makes everyone look interestingly ashen, and the place exudes such a brooding, dissolute atmosphere it feels like you’re starring in your own Fassbinder film. I would live here if I could.

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Roses in Kreuzberg: fun, trashy, kitsch gay bar with great decor (Our Lady of Guadalupe mural; pink-fur covered walls like something out of Barbarella). It feels like an early Pedro Almodovar film. Always a rowdy, boozy vibe.

Beers at Roses

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Portrait of me at Roses in 2008

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Pinguin Club in Schönberg: Wonderfully atmospheric punk-y and grunge-y rock’n’roll dive bar.

Pinguin Club

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Old movie star portraits on the wall at Pinguin Club. See if you can spot Gary Cooper, Alain Delon, Elizabeth Taylor, John Wayne, Jayne Mansfield and Ingrid Bergman. Brigitte Bardot (circa Le Mepris) is there -- but in a black wig

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Barbie Bar in Kreuzberg: Like Roses, this bar (painted Jayne Mansfield pink) has the kind of kitsch decor Berlin excels at. I love this place, but have never managed to get here when it’s really buzzing (probably because am getting there too early!).

Barbie doll chandelier at Barbie Bar

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Barbie Bar

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Neues Ufer in Schöneberg: Nice laidback gay cafe, but mainly of historical interest. It dates back to 1970, and used to be called Cafe Nemesis. It was one of the favourite hang outs of David Bowie and Iggy Pop when they were based in Berlin in the 70s, recording their masterpieces Low, Heroes, The Idiot and Lust for Life and competing for the favours of drag queens; they lived in a flat virtually next door.

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What used to be one of my favourite Berlin bars ... I went to White Trash Fast Food in Mitte with friends on my first trip to Berlin in 2006, had a blast and I always go back when I’m in town. It’s in a beautiful venue: a baroque and palatial old Chinese restaurant with all the old fixtures intact, transformed into a hipster restaurant / bar with an American white trash / hillbilly / punk sensibility (hence the name). It holds punk gigs and features DJs and serves trashy carb-heavy American-style fast (comfort) food. Sadly, it was a let-down this trip. Yes, it was extremely busy (the crowd seemed to be 100% American tourists, which might suggest Berliners themselves are avoiding the place these days) but the service (from the unsmiling harridan with the dyed-black Goth hair who “greets” you at the door demanding the one Euro cover charge to the embittered and queen-y male bar staff) was inept bordering on hostile. And for a place that seems to pride itself on being hipper-than-thou, it needs to sort its music out. While Ali and I were there (long enough to drink one round of drinks and split ‘cause it was so unwelcoming) we heard the likes of Hall and Oates and The Bangles! Hell-o. Raise your game, White Trash Fast Food!

At White Trash Fast Food in happier times: Anne, Jonathon, me and Philip at White Trash in 2006. If anyone knows whatever happened to Jonathon Long (my Irish friend who used to be based in Berlin as a translator), tell the mofo to get in touch. I lost track of him many years ago.

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Hildegard Knef (aka "Die Knef"): The post-Dietrich German chanteuse with the guttural whisky-and-cigarettes voice is synonymous with Berlin (she's their equivalent of Paris's Juliette Greco. Like Greco, she went to Hollywood for a brief and unhappy stab at American stardom in the 1950s). Her ultra-deep, nicotine-stained baritone babe (almost drag queen-y) vocal stylings are definitely an acquired taste (like all the best things in life), but I've grown to love her. I was introduced to her by my German friends in London, who revere her and collect her old records. Like Dietrich, she's Berlin personified.

Thursday, 10 February 2011

31 January 2011 Dr Sketchy Set List



/ No, It's Not Marlene: Marilyn Monroe photographed by Richard Avedon in 1958, styled to resemble Dietrich as Lola Lola in The Blue Angel /

It was a nicely laidback Dr Sketchy at The Paradise this time. The featured burlesque performer was Bettie Bottomdollar (who did a Charlie Chaplin tribute act). The other model was Mam’ Zelle Celine, who more usually is our resident photographer. Clare Marie (the brains / promoter / stage manager behind London Dr Sketchy) hosted the proceedings herself and is becoming an ever more effortless and sparkling emcee.

Some rhetorical questions: Is it possible to play too many versions of “Fever” or “Mack the Knife” in a single night? (The answer: of course not, don't be silly). How did Kurt Weill’s 1920s Weimar Republic murder ballad about a serial killer become a finger-snapping cocktail lounge standard, anyway? I played The Bill Black Combo’s laid-back and swinging instrumental version and Eartha Kitt’s sublimely alluring and feline interpretation, which should be far better known. Maybe because she actually is German, one of the most authoritative versions of “Mack the Knife” you’ll ever hear, though, is by Dietrich-esque Teutonic diseuse Hildegard Knef. She sings it with a steely demeanour over pattering bongos. It's very dramatic, with a sense of building coiled tension. Check out Die Knef’s wonderfully guttural voice and piercing eyes here...



I also played a few tracks from The Party Ain’t Over, First Lady of Rockabilly Wanda Jackson’s “comeback” CD produced by White Stripe Jack White. She’d performed two songs from it as a tantalising teaser when I saw her at Viva Las Vegas in 2010 (Amy Winehouse’s “You Know I’m No Good” and “Shakin’ All Over” by Johnny Kidd and The Pirates) and it was definitely intriguing. Promisingly, Jackson had been quoted as saying she wanted to be challenged by Jack White, for him to force her to make a real 21st century album and not rest on her laurels – how refreshing and inspiring to hear a 73- year old legend say that?

So I had high expectations for The Party Ain’t Over. I put the CD on pre-order on Amazon to ensure I got it as soon as it was available. And finally getting to hear it, it’s ... strange. One of the first things you notice is that for an album by the Queen of Rockabilly – there’s virtually no rockabilly songs. It’s perhaps to his credit that White takes such a provocative and unpredictable musical approach (he did a similar collaboration with Country and Western royalty Loretta Lynn on the 2004 CD Van Lear Rose, but don’t know enough about that CD to comment on it), but then you hear opening song “Shakin’ All Over”. The arrangement seems to be striving for a sleazy punk/soul/lounge revue vibe (think of Jackson’s ex-boyfriend Elvis Presley in his dissolute, baroque 1970s Vegas phase) but its shrill horns and weird stop-start tempo are jarring, and from there the album only occasionally seems to gel. Perversely, White’s production cranks up the abrasive irritation value, seemingly intended to deliberately annoy: the songs are submerged in noise and distortion (even Jackson’s still warm and powerful rasping, caterwauling voice is filtered for a weird echoed effect). In particular the overly-dominant and intrusive soul / funk horn section eventually starts to feel like nails on a blackboard and never meshes with Jackson’s voice.

The mature Jackson’s trademark hairstyle is a gravity-defying, teased bouffant which she keeps dyed jet black. Perhaps inspired by her coiffure, the accompanying artwork in the CD case feature some deliberately kitsch glamour shots of Jackson having her nails painted, and rocking a pair of diamante-studded cat’s eye sunglasses. When this camp aesthetic infects the music (i.e. a gimmick-y calypso novelty version of The Andrews’s Sisters “Rum and Coca Cola”) it’s disastrous. And strangely, even the few rockabilly songs (Little Richard’s “Rip It Up”, Eddie Cochrane’s “Nervous Breakdown”), which should be terra firma for Jackson, feel forced and inorganic.

But with people this talented, things are bound to cohere occasionally and sometimes brilliantly. Jackson re-interpreting “You Know I’m No Good” shouldn’t work, but somehow it does. The disconnection between the 70-something born again Christian gospel singer and debauched skank Winehouse seems insurmountable (they both have big hair, though), but both Jackson and White clearly (correctly) recognise the song is a modern torch song standard in waiting. Over the languid beats, Jackson treats Winehouse’s lyrics about infidelity and tough, hurt feelings like they’re a country & western lament; when she rues, “I cheated myself / like I knew I would” it packs a genuine ache, with Jackson emerging as a blue honky tonk angel. “Like A Baby” and “Teach Me Tonight” radiate with Jackson’s uncontrived charm, and on the closing “Blue Yodel #6” she finally gets the stripped-down, roots-y and sympathetic setting Jackson should have had all along.

/ Below: Wanda Jackson and I when she performed in London in 2007. She couldn't have been sweeter /



/ Present-day Wanda Jackson with Jack White /



/ La Jackson in her raucous late 50s / early 60s rockabilly prime /



Heart to Heart - Little Esther
Everywhere I Go - Ted Taylor
Jean and Dinah - Robert Mitchum
Rum & Coca Cola - Wanda Jackson
Go Calypso - Mamie van Doren
Scorpion - The Carnations
Love Potion # 9 - Nancy Sit
Groovy - The Groovers
Hush Your Mouth - Huey "Piano" Smith
Sick and Tired - Lula Reed
I'm Not a Juvenile Delinquent - Frankie Lymon & The Teenagers
Skull & Crossbones - Sparkle Moore
A Cheat - The Earls of Suave
Night Scene - The Rumblers
Willow Weep for Me - The Whistling Artistry of Muzzy Marcellino
I Ain't in the Mood - Helen Humes
Don't Be Cruel - Bill Black's Combo
I Was Born to Cry - Dion
Nobody Taught Me - Eartha Kitt
The Beast - Milt Buckner
The Rat - The Ventures
Like a Baby - Wanda Jackson
Fever - Richard Marino & His Orchestra
Go Slow - Julie London
Shangri-La - Spikes Jonez & His New Band
You're My Thrill - Dolores Gray
Les Amours Perdues - Serge Gainsbourg
I'm in Love for the Very First Time - Diana Dors
Slowly - Ann-Margret
Wondrous Place - Billy Fury
The Stripper - John Barry (Beat Girl soundtrack)
Give Me Love - Lena Horne
Mack the Knife - Eartha Kitt
Blues in My Heart - John Buzon Trio
You Go to My Head - Marlene Dietrich
Jungle Drums - Earl Bostick
Drums-A-Go-Go - Hollywood Persuaders
Esquerita & The Voola - Esquerita
Peter Gunn Twist - The Jesters
Peter Gunn Locomotion - The Delmonas
She Wants to Mambo - Johnny Thunders & Patti Paladin
Deep Dark Secret - Lizabeth Scott
Crazy Horse Swing - Serge Gainsbourg (Strip-tease soundtrack)
C'est Si Bon - April Stevens
That Ole Devil Moon - Chet Baker
Black Coffee - Peggy Lee
Fever - Timi Yuro
Lunar Rhapsody - Les Baxter
La Javanaise - Juliette Greco
Mack the Knife - Hildegard Knef
Mack the Knife - Bill Black's Combo
Falling in Love Again - Billie Holiday
Honey Rock - Barney Kessel
Caterpillar Crawl - The Strangers
Bossa Nova Baby - Elvis Presley
Coquette - Dinah Washington
Dancing on the Ceiling - Chet Baker
Work Song - Nina Simone
Tall Cool One - The Wailers
Pink Champagne - The Tyrones

Finally: two public figures close to my heart and who definitely helped shaped my twisted vision died recently. Rest in peace, ace film soundtrack composer John Barry and one of the screen's greatest bad girls / villainesses, Tura Satana.

Obviously Satana will be forever remembered for her vicious performance as homicidal go-go dancer Varla in Russ Meyer's Faster, Pussycat! Kill! Kill! (1965). But here she is doing a nice striptease routine from the more obscure 1973 film The Doll Squad. If you can tear your eyes off Tura, check out the strange little lounge band combo (with standing female drummer) accompanying her.



I've blogged before about how much I love John Barry's soundtrack for the 1960 sexploitation / juvenile delinquent flick Beat Girl. Funnily enough, I had the DVD on loan from LOVEFiLM when I heard about his death -- watching it again felt like a nice tribute. And the film is every bit as lurid and kitsch as I remembered.


Beat Girl promo from xbbtv on Vimeo.

/ The American trailer (in the US the film was re-titled Wild for Kicks) /

Thursday, 20 May 2010

Dr Sketchy Anti-Art School Set List for 15 May 2010

Probably my most stressful Dr Sketchy’s yet -- bedevilled by technical glitches right up until show time (trying to sort out the audio so that the MC Dusty Limits can talk over music is not as simple as it sounds! Right up until the last minute his microphone was barely audible and the music sounded muffled). I was also waaay too sober – am definitely more relaxed and inspired with a few beers inside me!




/ The lucky winner. Me looking startled on the right. Photo by Celine Chaplin /

Anyway, here’s my set list from the 15 May 2010 Dr Sketchy's Anti-Art School at The Old Queen’s Head in Angel.

Revellion - The Revels
I'm a Bad, Bad Girl - Little Esther
I Ain't in the Mood - Helen Humes
Crank Case - Bill Black's Combo
Switchin' In the Kitchen - Don Covay
Work Song - Nina Simone
Someone to Watch Over Me - Jimmy Scott
Crybaby - The Honey Sisters
Here Comes the Bug - The Rumblers
Bye Bye Young Men - Ruth Brown
The Flirt - Shirley and Lee
Roll with Me Henry - Etta James
I Need Your Lovin - Don Gardner and Dee Dee Ford
Baby Let Me Bang Your Box - The Bangers
Crazy Horse Swing - Serge Gainsbourg (Strip-tease soundtrack)
Anytime - Bill Black Combo
The Stripper - John Barry (Beat Girl soundtrack)
Harlem Nocturne - The Viscounts
The Girl Who Invented Rock'n'Roll - Mamie van Doren
The Man I Love - Hildegard Knef
Baubles, Bangles and Beads - Marlene Dietrich
Kiss - Marilyn Monroe
No Love for Daddy - Serge Gainsbourg (Strip-tease soundtrack)
Looka There Ain't She Pretty? Bill Haley and His Comets
Fujiyama Mama - Annisteen Allen
My Daddy Rocks Me - Mae West
Hit the Road to Dreamland - Dean Martin
Fever - Ann-Margret
Bewildered - Shirley and Lee
Destination Moon - Dinah Washington
The Immediate Pleasure - John Barry (Beat Girl soundtrack)
You're My Thrill - Chet Baker
Look Me Over Closely - Marlene Dietrich
Do It Again - Eartha Kitt
Let Me Entertain You - Ann-Margret
Some Small Chance - Serge Gainsbourg
8 Ball - The Hustlers
I Got a Right to Sing the Blues - Julie London
Little Girl Blue - Chet Baker
Boulevard of Broken Dreams - Denise Darcel
Strip-Tease - Juliette Greco (Strip-tease soundtrack)
Mack the Knife - Bill Black's Combo
All of Me - Mae West
Stagger Lee - Lloyd Price
St Louis Blues - Eartha Kitt
Crazy, Crazy Feeling - Esquerita
Drive Daddy Drive - Little Sylvia
Intoxicated Man - Serge Gainsbourg
Me Myself and I - Billie Holiday
Wo Ist Der Man? Jayne Mansfield
Uptown to Harlem - Johnny Thunders and Patti Paladin
Born to Cry - Dion
Let's Get Lost - Chet Baker
Love Me or Leave Me - Nina Simone
Misirlou - Laurindo Almeida
Lover - Peggy Lee
Jungle Drums - Earl Bostick

Whenever possible I’ll always play an obscure kitsch cover version rather than a classic original. So rather than Peggy Lee singing Fever, I’ll spin Ann-Margret's or Timi Yuro’s version. A particular favourite though is husky-voiced German chanteuse Hildegard Knef’s rendition. Check out Knef’s weirdly anguished, almost horror movie-like Germanic black and white 1963 video, with leotard-clad zombie-dancers interpretive dancing behind her. [Update: YouTube deleted this great clip!]



And speaking of German ...