Some of my 2015 Photographs
Text Selection 2015
Some of my 2015 Photographs
Text Selection 2015
|Radio Feature DW Jewish Child Refugee||https://dzx2.net/2015/12/23/radio-featureworld-in-progress-jewish-child-refugee/|
|Reichskristallnacht und das Volk. (English Comment)||https://dzx2.net/2015/11/09/reichskristallnacht-und-das-volk/|
|Interview: Die Überlebende: Marina Litvinenko, the survivor||https://dzx2.net/2015/03/12/die-uberlebende-marina-litwinenko-the-survivor-marina-litvinenko/|
|https://dzx2.net/2015/06/27/back-to-eden-kult-hairstylist-in-london-the-roots-of-hair-culture/||Back To Eden, London Rastafari Hair Couture from the Roots|
|World Capital for the Rich||https://dzx2.net/2015/05/05/eine-weltstadt-fur-reiche-world-capital-for-the-rich/|
|Leitkommentar / Leading Comment Juedische Allgemeine||https://dzx2.net/2015/06/25/bds-gegen-den-isolierten-boykott-von-israel-against-the-isolated-boycott-of-israel/|
| Der Fall Jeremiah Duggan
|Nie Wieder Keine Farbigen||https://dzx2.net/2015/05/12/never-again-no-coloureds-nie-wieder-keine-farbigen/|
|A Question of Remembering||https://dzx2.net/2015/04/16/eine-frage-des-nationalen-gedenkens-und-vergessens-a-question-of-national-memorialisation-and-forgetting/|
|Remembering Terror 1972||https://dzx2.net/2015/03/09/how-to-remember-the-terrorism-of-1972/
|Schuhe selbst machen||https://dzx2.net/2015/01/31/schuhe-selbst-machen-in-moretonhampstead-devon-go-make-your-own-shoes/|
|Ai Weiwei in London||https://dzx2.net/2015/09/21/ai-weiwei-royal-academy-london/|
|London: Von Privatbuttler bus zur Mausefalle (from private buttler to a mat in a tent.||https://dzx2.net/2015/09/29/von-privatbuttler-bis-mausefalle-taz-hier-mit-bildern/|
|Frank Auerbach, the old master
A new radio feature on DW Radio English on Jewish child refugees to England.
Punch and Judy and and German Kasperl have not much in common or so it seems.
My latest contribution to Deutsche Welle examines this further. DW has released
a printed version prior to the audio feature.
So what on earth got me to do this feature? It was about two years ago that I encountered Punch and Judy first with my daughter in St George’s Park, Holborn on St George’s Day. I thought we were going to see what I knew as a Kasperl show, but was taken back when I saw Punch whom I thought to be Kasper, hit everyone of his characters. To my amazement my daughter stomached it but I came out outraged talking to my friends about the brute Brits. A year later on another show near Covent Garden, my daughter’s friend, they are French – Irish, run crying away from the show, whilst my daughter quite liked it. At the end of the show I spoke to the puppeteer, who turned out to be Geoff Felix, a Punch and Judy puppeteer of many years experience, who as I later found out kept a whole historical archive on the show. I asked him why it was so different from the German version and it was him who first suggested to me that actually there was such a play in Germany, but it was transformed, his real words were “sanitized” through the Nazi Reich. So this story it seemed wasn’t so much about the supposed brute Brits, but about the even more brutal Germans.
This really drew my curiosity. I had never head such a thing. Was it true? I kept the idea in my head, and made sure I took all the essential details from Geoff. I few months later I found myself in the Munich city museum in the puppet exhibition. And there I saw to my astonishment that in deed Kasper prior to 1932 was the villain you recognize as if you are British.
After some research and the fact that Punch and Judy’s 350th anniversary was about to come up I pitched BBC World Service with my idea to run the story why the puppet plays would be so different in the two countries, Germany and the UK. The BBC answered to my astonishment with “definitely not!” It still puzzles me today why it was the BBC – who was after all are based in Punch and Judy’s home-country- that felt the story was not worthwhile. I wondered if perhaps they had a negative view of the show, being “violent,” and part of children entertainment at the sea-side. Neither was the Sueddeutsche Zeitung in Munich interested, the paper being based near the home of the German 1920’s Kasper assemble inside the Munich City Museum. The German weekly Die Zeit was interested, but felt the style wasn’t right, perhaps they wanted it more in a more arty way, which is quite unlike the tradition of Punch and Judy, rooted in impoverished working class puppeteering. But my editor at Deutsche Welle called me within minutes of telling him about the idea. He is an American living in Cologne for some time now and like any migrant has to negotiate two cultures, in his case the very differences between Anglo-Saxon and German culture that my feature attempted to investigate.
Slowly a picture began to emerge. After speaking to Manfred Wegner from the City Museum of Munich, who oversees the permanent puppet exhibition I was just as unsettled about the civilised tamed Kasperl as I was initially about the portrayed violence of Punch and Judy. This conflict made me contact Prof. Andrew Tolmie at one of Europe’s leading centres in child psychology.
There are still no definite answers, but I think if one contextualize either play tradition, they both of their right place in the imagination of a child. It is worth pointing out, that neither Punch, Polcinella, nor Kasperl at their beginnings were actually part of children theatre, but pointy and witty adult entertainment. They evolved into the children’s genre only gradually. Whilst violence is till displayed in every Punch and Judy, one thing that isn’t is the once traditional use of animals, in particular a little dog usually called Toby, nor will you find an African character that only speaks gibberish. I was told the reason is simple. A puppeteer plays to a live audience, if he plays things that the majority of an audience dislikes, he is out of a job.
Another comment I like to make is that the friendliness of all the puppeteers I met was remarkable and quite above the norm. These are thinking people who enjoy entertaining children for their genuine laughter. It isn’t always easy living, and I heard about quote a few injuries to, either to backs or shoulders, and playing puppets is quite physical, but regardless it seems that once they start playing they almost can’t stop it. Geoff Felix said to me that there is a saying among Punch and Judy players: If you look after Mr Punch, he will look after you!”
Punch and Judy’s 350th birthday was celebrated at Covent Garden on 12th of May 2012.
Most of my features from Deutsche Welle – English Service, all produced in London are not uploaded here yet. I simply did not have the time to transfer the old Minidisk recordings into digital yet.
However some of the feats I produced and which were broadcasted were:
Daniel Z. Sept 2011
Queen Feature for Cool
Originally broadcasted in 2000 – full transcript follows – all rights reserved
Do you have a King or a Queen in your country? If you are listening from an English speaking country, chances are that the royal family of Great Britain was once the head of your country, or that the Queen still is your country’s head. Queen Elizabeth the Second is not only the representative head of various Commonwealth countries but also of is the head of the Church of England. All this makes her sound like a very powerful woman. Daniel Zylbersztajn went to investigate what young people in England had to say about her:
[anthem music only god safe the queen 20’’ ]
VP1 “She is gorgeous”
VP2: “ I think she makes a fairly good head of state!”
VP3: “She rules!”
VP4: “She should get a job and stop taking the tax payers money!”
VP5: “Well she is not as beautiful as our president!”
VP6: Maybe she is old, but she is cool!
[Daniel] Many ways to describe this one person her majesty the Queen Elizabeth the second, who has been Queen now for almost fifty years assuming official duties when she was only 16 years old. The Queen doesn’t only own expensive crowns kept for her in the Tower of London, she may be the richest woman in the world, owning over five billion pounds sterling. She can summon and dissolve the British parliament and is also the supreme legal power in the country. Post-boxes and coins in Britain bear her emblem or picture. But not everyone gets the honour to meet her. It are mostly distinguished and honourable persons that get to meet her. Cynthia and Mathew from Cornwall in England are two persons who met her recently. Both of them study for their A-Levels at the moment. Both of them were winners of an essay competition on the Second World War, and their first price was to meet the Queen. What better people than them, to give you a first impression of what the Queen is like.
[Cynthia] “Good Afternoon your majesty! I had to courtesy when I met her, and refer to her as your majesty!
[Matthew] You have to shake hands and say Good Afternoon Ma.
[Cynthia] When we met her she wasn’t as scary really as we thought, I don’t think!
[Matthew]She is really nice and not what you’d expect. She was really normal. She is only small as well, she is only about five-foot tall.
[Daniel] Only five foot? I always though she must be of gigantic measures, judging her powers. I asked Cynthia and Mathew what they felt the Queen was all about:
[Cynthia] The royal family serve a big purpose. They stand for Britain, without standing for politics. And they, you know, even though , the Queen and the Duke of Edinburgh are really quite old now, they continue to work all the time, representing the country at some many things.
[Matthew] They are definitely a role model for everyone in England and the world really! Because everyone should aim to be like them!
[Cynthia] I don’t think that the royal family are role models for the rest of us. I think it is too much of a burden to be place on one family! But the mannerism and the behaviour of the Queen and of the Duke of Edinburgh, of the royal family, are different to em, for example leading politicians in the country.
So there you are. Well most politicians do not rule for 50 years, so of course the Queen would have a very distinguished and settled routine. For most people the Queen is still only something they see on their TV, or maybe on a post-card. Opposite Buckingham Palace, the large London residence of the Queen, there are many shops where you can buy items that de-picture the Queen Mr. Barzu is the store-owner of one these shops:
The most popular items that we sell, related to her majesty the Queen are:
Postcards, trays and mugs celebrating the golden wedding anniversary, also coronation, these items are very popular with people from abroad, especially the Germans, Australians and the Americans and the students from schools. We often see her majesty the queen driving past. Once I waved and I was greeted with a smile and I thought it was very encouraging!
Mr Barzu must have been on cloud nine for an entire week. I think he should always wear a sticker or T-shirt saying: I was smiled to by the Queen!
The Queen in Britain is still as popular as ever. In fact she has recently revamped her image and skills and even tried to understand how computers work, which is more than for many people over the age of seventy, although she is apparently not on e-mail as yet.
For Cool I am Daniel Zylbersztajn from London, leaving you with some more impressions of people on the streets of London when I asked them about the Queen:
[anthem music only god safe the queen 5’’ ]
Voice 1, male: God save our gracious Queen!
Voice 2, male, long live our noble Queen!
Voice 3, female: God Save the Queen
At 17” anthem Vox pops set in
VP1: She is a drag queen!
VP2: She is not the real Queen. They’re fake, they’re not the real kings and queens on this planet, she is just sitting on fortunes that are not hers
VP3: Ah, she is all right! Wears awful cloths though. She needs to get back to the sixties, when she used to wear shorter skirts, I think!
[Anthem finishes] male voice: God Save the Queen!
This feature was broadcasted in 2000 on DW – transcript follows
all rights reserved
At the beginning of October, London hosted the MOBO awards, MOBO standing for Music of Black Origin. It is important to consider MOBO within Europe’s and North America’s history. “Black music” supposedly means by people with a black skin colour. For years, many black artists were pushed behind. Their songs were often copied by white performers to satisfy audiences, alienated by blacks. In the eighties and nineties, attempts to label music were made, to try to correct, decades of exclusion.
MOBO supporters hold the view that the drum was invented in Africa –as most music has a drum based rhythm – most music is held to be black. But why be specific here, if, most likely, the totality of humanity originated in Africa? Different folk traditions made use of drums –not always due to an African migration.
So. can music be separated into black and white? Kanya King is one of the founders and main driving forces behind MOBO, which this years saw fames like Lauryn Hill, and Armand van Helden, both of darker complexion, and Fat Boy Slim and Emi-nem, on the lighter side of shades. With her I discussed the meaning and history of MOBO:
Kanya King: “The MOBO award was founded through award and celebrity artists involved in the broad spectrum of music of black origin and that encompasses Hip Hop R&B, Gospel, Jazz, Reggae et cetera. Basically the MOBO awards are unique because they celebrate the basis of much popular music today, as well as saluting the rich history and cultural diversity apparent in today’s multi-cultural society. It’s only been going three years, this will be the fourth year. It goes out worldwide to an audience of over a 100 Million people.
I think there became a time when I said look, I’d been to see a lot of organisations I had the door slammed in my face: “Oh look this is niche music, It’s a niche event! “ I said: No it’s not a niche event! You only have to look at the sales pattern and politics of music today and you re realising we’re defining the future of world music. You know, the acts that we’re talking’ about are securing number one global hits around the world. In a way I said, what we’re trying to do is something positive. We’re trying to celebrate the music, we’re also trying to celebrate genres that often get overlooked in other mainstream award ceremonies.”
Daniel Zylbersztajn: ”But it seems like at the moment we have a little bit of circulation from awards to awards, especially big people like Lauryn Hill, Puff Daddy is certainly somebody who has been recognised by MTV awards and what have you!!
Kanya King: “These artists feel comfortably not only n specialist charts but also in mainstream charts. So there is a lot of talent out there. We have an award called the unsigned act award. Basically what we are trying to do is to provide a platform for them. What we’re saying is, most people would wholeheartedly agree that most forms of popular music today have their roots in black heritage, and that’s what we’re doing trying to celebrate that fact. It doesn’t matter the colour or creed of an artist.. It’s a bout the music that counts.
Daniel Zylbersztajn: “African musicians in Europe are pretty much marginalised, and also would deserve an award!?”
Kanya King: “You’ve got Hip Hop and R&B, that’s African music! It started with the drum! Gospel music and Reggae music is marginalised! What we’re trying to do is say there are many forms of African music. And African music is R&B and Hip-Hop as well!
Daniel Zylbersztajn: “But why haven’t you got an award for African music?”
Kanya King: “We haven’t got an award for English music!
Daniel Zylbersztajn: “I thought that the award us called music of black origin?”
Kanya King: “Why do we need to call an award for African music when it should be either highlife or Zoot – we have a ninety minute slot and we obviously try to reflect, you know, a reggae act performance. A dance act performance, a hip-hop act performance, a gospel act performance. If we can – we only have ninety minutes of television, so we can’t reflect everything although we’d love to. It’s a very difficult choice, because what you’re trying to do is to give something have something for everyone and even though we have people say: Oh. Can we have not have more reggae acts on our show performing – you should have more dance acts, you try to reflect as much as you can, obviously with the time that you have. What’s also important is that rock music as well, we have black artists. People see that very much as a white genre, obviously you have to look where it’s come from. What we’re trying to do is to focus on music that doesn’t necessarily always get the recognition.!”
Daniel Zylberstajn: “Can you explain a little bit, how was it like when you grew up? How was it like for most black people, in this country about this recognition?”
Kanya King: “Gosh – when I was growing up, it was very very difficult to hear my influences, I mean whether it’s Sam Cook, John Holt or Steve Wonder, I think the sales patterns and politics of music is changing, and it’s no longer niche music, it’s part of the main stream today which is very important and this is really what we were campaigning for to make sure that black music is not marginalised, like it has been done in the past.”
Kanya King organiser of the MOBO.
If MOBO would specify black musical invention that occurred at specific locations, maybe the growth of rap and hip-hop in poverty ridden black populated urban areas in the USA, It would maybe have more validity. MOBO only circles between Britain, the Caribbean and the U.S.A. Today, Hip-Hop and other music forms are made in other world locations too! Most critically, a black origin music award begs its opposite – a white award –an impossibility in contemporary Europe, except for white supremacists. Further, what exactly do the generalising words black or white people mean anyway? They seem to gain meaning only in the context of a Europe and America for several centuries prejudiced towards people of a darker complexion. In the musical context consider also that Europe’s own native musical traditions – white music in the ears of MOBO – have and are still often ridiculed as backwards and primitive, those who believe Europe is the only place with a higher culture. Perhaps what we really need is to re-evalue our understandings of music, beyond black and white?
For Deutsche Welle, I am Daniel Zylbersztajn in London.
2000 Interview with Kanya King, organizer of the MOBO award, on background and history of MOBO.
Originally aired on Cool.
recorded, presented and produced by Daniel Zylbersztajn,
broadcasted in 1999 – full transcript follows, all rights reserved!
THE BRITISH ASIAN MUSIC SCENE (Aug 1999)
Feature Production / Cool DW
(1) Gwandyaa Music Track from Stereonations CDSR 465 (1999)
(2) DZ/BA Feature: Length 5’50
IN: Great Britai.n
OUT: Daniel Zylbersztain from London
Relatd Internetpages for Cool’s new WWW Link Site:
Boom Shack-A-Lak (1993) CID 560
Bally Sagoo: Dub of Asia,
Ishq Records 1999
Frontline (1994) on Inner Nation (John Peel), Strange Fruit/Pinical Label; Duration 3’’
Britain hasGreat had an Asian and Indian population since about the 16th century, but when in the U.K people refer to “British Asians” they normally mean more recent migrants of continental Indian background, who came to the United Kingdom from the 1950’s onwards. Their children and grand children have now created a unique new style of music that reflects the many different influences that shaped them.
Pam Sambie is presenter of the BBC Asian Network, and usually the first contact of upcoming British Asian bands.
It’s amazing here in England. Especially in London. I’d say London a hometown of Asian underground music. It’s music which really want to make they make it for themselves. It’s all about the influences it’s all about their childhood it’ all about what they’ve been through in life. Some, not all of them, but certain bands tend to write kind of aggressive lyrics about political issues. The second generation are trying to move away – not so much in a bad way- but to keep their identity of their Asian cultures, but also to persue a career in singing. Being an Artist, being a
Musician, which ever one.
Soon the first successes were at sight. Apache Indian reached the British top ten with Boom Shack-A-Lak in 93, and was soon followed by artists like Bally Sagoo, who managed to sign Sony with Bollywood Flashbacks a mutation of famous Indian film-songs with current dance tunes. Bally Sagoo who has just released a new album called the Dub of Asia in his Birminham based studio:
Bally Sagoo: The UK is playing a very very important part in this style of music. The fusion of Eastern and Western Sounds has been started by people like myself. I’m a British Asian, my parents being Indian want me to be Indian at the same time. We felt – like myself felt, that there was a need for Indian music to sound funky and Westernized, and heavy drum beats and bass line and the kind of music I like listening to in nightclubs. I don’t want to hear any racism remarks, that don’t understand your music because nobody can understand Enigma, nobody can understand Makarena. I broke down a lot of barriers and I made sure that our music was there to be heard not ignored.
Despite most singers in India being female, the first wave of Asian British musicians were male. But this seems to be changing rapidly. Hardoure is one of the female vocalists of the second wave of current musicians:
Check it out Yo! First you’re a girl, second you’re Asian. And that makes it even more difficult for you, it’s very male dominated. We’re trying to do our music and have a good time really. I don’t really answer this for everybody, it’s just music is hip hop. And that’s the different thing you see, ‘cause I’m an Asian female, and there’s no other Asian female rap artist. Caure means Queen, yeah, and I ‘m Siik, so when you’re a Siik girl your name would be very very coure, and coure means queen, so I ve used that. I’ve been doing everything different according to rest of the sterotypes and people take that to be either she thinks she’s bad or she thinks she is hard.
Ah boom with the word in my head ‘c cause I’m raw
Lyricly formed coming through your stereo…
One of the most powerful groups in terms of their lyrics, alongside Asian Dub Foundation, is the group Fun-Da-Mental. Almost all their songs deal with social criticism and their music is heavily influenced by the Punk and Independent Scene, though Fundamental’s remains loyal to an Asian orientation according to their band headman Aki:
Aki: We’re into cultural kind of identity, but in a very spiritual way, , and we’re against human abuses, try to bridge together people. You know we feel, you know, we’re kinda like we do what we wonna do not what the music business wants you to do. I don’t mind the term Asian band, but not British, I don’t think I am British, I don’t think want to be British , because I don’t know what is to be British. You know, who’s to say if I was born and brought up in Pakistan I won’t be doing mad music?
OUT: Tas Unplucked In terms of current success Stereonations are one of the leading atists in the Asian charts both in their home-country as well as in Asia.
Taz: You know we’were growing up with different music around us from Reggae to Soul to Hip Hop, Motown, Jazz, you know, you name it, and also Indian folk music, and when you grow up with all those different styles around you know you naturally pick up on different things. And you know I started experimenting with all different fusions, different types of music. The fusion that I represent, the kind of music that I am making is very unorthodox and it’s not something that is consciously done to please anybody, it.s something that’s a natural fusion as opposed to: Oh, we’ll manufacture a track, to that particular audience!
Musicians like Apache Indian, Black Starliner, Cornershop Bally Sagoo, Hardcaur, Fundamental or Stereonations are now just as much part of British music today as once were the Beatles. A year ago a British Asian music award was created to make the scene more noticeable. But their success seems still to have some difficulties to break the barrier to the leading British top ten ever so often dominated by Ibiza Pop, or the Spice Girls.
Daniel Zylbersztajn from London
(feature originally aired in 1998 on Cool, Deutsche Welle)
Produced, presented and recorded by Daniel Zylbersztajn
In this feature I take a look at people who are refugees in Great Britain and who continue their sports career here.