"Heute Tanzen alle Junge Leute" by Helga Brauer with Kurt Henkels & Leipzig Radio Dance Orchestra скачать в хорошем качестве

"Heute Tanzen alle Junge Leute" by Helga Brauer with Kurt Henkels & Leipzig Radio Dance Orchestra

"I like this new Amiga music from eastern Germany, whatever they call it" -Thomas Edison's Ghost, 1959 "Today All the Young People are Dancing the Lipsi Step" - no they aren't, but it's a catchy piece by Klaus Hugo & Dieter Schneider. This is an uncommon pre-July 1959 pressing, as Kurt Henkels fled the GDR early that month, and subsequent issues omitted his name. His take from    • Bandleader Kurt Henkels Escapes East Germa...   - and he mentions that even the Lipsi's creators, Dubianski & the Seiferts, all had mentioned the dance was just an invention, not anything organic... It almost seems the composers begrudgingly complied with sarcasm, by claiming Lipsi was extremely popular despite clearly not having the appeal touted. https://content.time.com/time/subscri... was a good read of the contemporary opinion in the US, where the SED somehow thought they could influence. Clearly lip-synced music videos from    • Hugo Leichtsinn & Heute tanzen alle jungen...   &    • Unterhaltung im DDR-Fernsehen 1960 - 1988   - including the eerie foreshadowing of the "improved border fortifications" symbolized on Edwin Redslob's proposal for the German flag... To call the authorities "out of touch" is an understatement. Delusional? That would be more accurate... But they thought "WE CANCELLING ELVIS PRESLEY WITH THIS ONE 🔥🔥🔥" and went ahead with the inane development of a ballroom dance literally no one asked for, with the intent of displacing rock 'n' roll worldwide - no joke. This was the East German SED's "Lipsi" dance, named for the culturally and economically-significant city of Leipzig. To make absolutely sure their brilliant idea was credited to them, the even trademarked and astroturfed it worldwide with promotional materials, which predictably did nothing. So what was it exactly? Walter Ulbricht - leader of the Socialist Unity Party [SED] and the GDR at large - was the leading figure against "Western decadence" creeping into East German society. Elvis Presley and new rock music were considered abhorrent, and it wasn't enough just to oppose it, but there had to be a cultural substitute, such that the population had something other to do than "obscene" rock dancing and the associated cultural deterioration [i.e. the brawls erupting at/after rock concerts]. With Thomas Edison's ghost guiding their musical taste, this led to the commission of a new dance - one that was intentionally ballroom-oriented to oppose the guttural nature of rock music, one choreographed by Christa and Helmut Seifert* to a new genre developed by René Dubianski. They described it as somewhat derived from rhumba, boogie, and cha-cha, and the 6/4 time signature is something of a Latin-inspired waltz with cha-cha or shuffle-feeling background. To be fair, the tunes written on this pattern can be catchy if orchestrated correctly, such as this. As far as Kurt Henkels was concerned, he and his band had been increasingly antagonized throughout the 1950s by the Stasi - his relatively independent political-social stance and popularity across Europe was not good news for the GDR authorities, who wanted to keep him in check while benefitting from his good press and representation of the country. Henkels had outlasted the Nazis and other politically-unstable times; this too would pass. One would think that his stature could be co-opted to change public opinion - if you wanted "approved" dance music, you would try working with the guy whose influence was greatest. Instead, the SED tried to force compliance. Henkels's defiance led to repertoire regulation and travel bans, so one of Europe's most popular dance bands was confined increasingly, and upon seeing this "new dance", Henkels was not impressed. Forced to record its music and realizing he couldn't wait out the regime, Henkels took his family and fled to West Germany in July 1959. His career did not end, but his status as a refugee early on made things more difficult, and he had left the stage by the 1970s. A few Henkels Lipsi recordings have the infectious energy of his swing records, although this is a bit less so. Of Polish origin with the French moustache, woodwind player/bandleader Dubianski (1923-2011) composed numerous swing and Latin pieces in the 1950s-60s - he wasn't devoid of talent, and his light music is generally entertaining. He covered many popular styles and was definitely creative - perhaps he took on the challenge and became the musical inventor of Lipsi because no one else was willing to blaze the trail. His legacy, sadly, is mostly overshadowed by his invention of this genre, and his career basically ended in 1970. His activities after aren't well known, and he passed away in obscurity a bit over a decade ago. *whose dance school still exists, though their descendent finds the dance embarrassing - https://taz.de/!5163551/ #KurtHenkels #Lipsi