Europeans brought the first slaves to America. Then, the immigrent Scot-Irish put gunmen in the field of battle, and won the Revolutionary War. The Scot-Irish had been fighting the Redcoats for hundred’s of years. They killed the loyalists and took their property. This was a White Nationalist Movement. The British did not want the Irish and the Scottish to feel Nationalistic. Most black people do not feel Nationalist. Obama was no help. The evangelicals pushed nationalism through the church, and one party. This is why they do not feel culpable for the wrongs of their President – and party. Our Democracy is in extreme crisis. The Republicans are creating a fantasy world, a alternative reality, where TRUTH has been BANNED! Banned in Boston and the Blue States. Trump’s evangelical-base don’t care if their President lies ten thousand times a year. The are the National People of King Jesus. They are the proud owners of America.

The scenario that Eric Richardson foist upon Walt Disney, and the lovers of Walt – is real when it comes to Evil Wizard POTUS!  I decided to post the video I took of Eric’s political message, that says his people were brought here against their will, and thus his participation in White Reality is less than enthusiastic, and, living White People are going to have to make major adjustments, such as surrender their pride in being White. Does Eric demand White Europeans stop being prideful? Trump is trying to destroy NATO as I type. I believe he is a Russian Agent.

I am going to post more on the Bohemian Rebels who lived next door to real Nazis. Black People in American are not living next door to real Nazis, just fake ones. Eugene has been a Mecca for Hippies and Bohemians. There is a nihilistic tone to Eric’s rant, that says he and black people have resigned from white society – just like they did when they didn’t bother to vote – and Trump got elected.

“Take that! We got power! Surrender to us! Be guilty and ashamed, or we will put Trump back in office – again! Take that you Bohemian Beatnik Bubbas!”

I fought against this four years ago! I saw it coming. I reported on it, and got ostracized! I did a drive-by of the Mim’s house wearing a Micky Mouse Wizard hat. We hippies would take LSD and got to a theater and watch Fantasia. Society did not cater to us. We made our culture from scratch – while the entire Armed Forces and the FBI – did everything to destroy us!

A movie was made about the Swing Kids of Nazi Germany. They were the tip of the iceberg. Wild and Crazy Germans imported Black Music and used it as a weapon against THE NAZIS NEXT DOOR! I have every intention of making sure MY BOHEMIAN PEOPLE SURVIVE!

There is not a large black population in Eugene. Are they WITH ME, or, against me? I intend to reach out to like-minded Europeans, and create a BOND. I see Hands Across the Water. I see a Society of Truth living in vortex surrounded by Lying Nazis in America, who are just – a kiss away!

I am not some young punk toting a New Age Theory. I am a veteran. I have been on the front lines. I carry an old beat up black case. I got my horn inside. I know how to play it – real good! Play these videos at the same time. Mix it up! Do you want to win one battle, or…THE WHOLE DAMN WAR!

I just had a vision. I see Eric with a Jazz band at the Hult. Instead of digging for more black roots, he’s digging for white roots. The first piece is titled ‘Return to the Shire’.  The mostly white audience won’t recognize it at first. When they do, there will be applause! Some folks might stand up!

I have been trying to talk Marilyn into doing another show at the Hult. It could be about the Swing Kids and German youth adopted black Jazz Artists. M’s friend, Les McCann moved to Europe add married a white French torch singer. We can get him to do our True National Anthem – and make it real!

John Presco

https://en.wikipedia.org/wiki/Ringvereine

William Morris (24 March 1834 – 3 October 1896) was an English artist and author, who wrote and published poetry, fiction, and translations of ancient and medieval texts throughout his life. J.R.R. Tolkien was influenced by both the artistic and literary work of William Morris.

[edit] Literary influence

Literary works by Morris, which Tolkien explicitly stated to have had an impact on his writing, are his translation of the Völsunga Saga,^[1], and his novels The House of the Wolfings and The Roots of the Mountains. Tolkien also said in an early letter to Edith that he tried to use some of Morris’s literary techniques when writing “The Story of Kullervo“.^[2][3]

Furthermore, scholars have deduced possible implicit influences from these and several others of Morris’s works: The Earthly Paradise (for The Book of Lost Tales),^[1] The Roots of the Mountains (for Gollum),^[4] The Wood beyond the World (for Lothlórien and Fangorn),^[4] and his translation of The Saga of Gunnlaug the Worm-tongue (for Gríma Wormtongue).^[5]

[edit] Artistic influence

In several illustrations, Tolkien was clearly inspired by the decorative style found in the Arts and Crafts Movement (of which Morris was the central figure and one of the founders) and the related Art Nouveau. The design philosophy of Morris was to re-introduce traditional craftsmanship by using simple forms and patterns and often medieval, romantic or folk styles of decoration (in reaction to early to the early modern industrial design), a theme which can be seen in some of Tolkien’s illustrations from the late 1920s (see, e.g., ‘Tol Sirion‘), some of his paintings for The Hobbit, the ornamental patterns drawn in later years,^[6][1] and his hand-drawn maps of Middle-earth.^[7]

[edit] Bibliography, selected

[edit] Fiction

• 1867: The Life and Death of Jason
• 1888: The House of the Wolfings
• 1889: The Roots of the Mountains
• 1896: The Well at the World’s End

[edit] Translations

• 1870: Völsung Saga: The Story of the Volsungs and Niblungs, with Certain Songs from the Elder Edda (with Eiríkr Magnússon)

France’s flirtation with Russia goes even deeper and is therefore more worrisome. French President Emmanuel Macron, clearly angered by Trump’s complaints about NATO and threats to pull out, has decided to preempt that possibility essentially by forging a new geopolitical deal with Russia. Macron invokes an autonomous Europe (presumably under French leadership) making a deal with Russia, which, in any case, is allegedly not the main threat to European security.

The sub-text of this deal will be forcing Ukraine to accept Russia’s forcible seizure of its territory in return for which the new Europe will magically prevent Russia and China from forging an alliance and also, tacitly restrain German ambitions. This kind of geopolitical nonsense may enjoy support among French intellectuals who think the EU should remain neutral between the U.S. and China and presumably welcome back an unrepentant Russia into the fold. But it represents the abnegation if not nadir of the great tradition of French statesmanship dating back to Richelieu, and offers nothing to Europe.

The Café Bohemia is a jazz club located at 15 Barrow Street in the Greenwich Village neighbourhood of New York City. Its original run lasted from 1955 to 1960, and has been revived at its original location as of October 2019.^[1     

The club was opened in 1955 by Jimmy Garofolo.^[2] Garofolo had owned the room since 1949 and had operated it as a restaurant, bar, and stage at various times, each endeavour turning out unsuccessfully. In 1955, saxophonist Charlie Parker was living across the street from the club with poet Ted Joans. Parker offered to play the club for Garofolo in order to get his drinks for free,^[3] which unofficially began the room’s short-lived life as a jazz club. Parker died prior to the beginning of his engagement at the Bohemia,^[3] but the hype generated around his name being promoted was enough to garner further support for the new club.^[2]

Among the bands that played the club were the first Miles Davis Quintet, Art Blakey‘s original Jazz Messengers, and Kenny Dorham‘s Jazz Prophets. At one point Herbie Nichols was the intermission pianist. Miles Davis’s Prestige recordings Workin’, Relaxin’, Steamin’, and Cookin’ were meant to convey the spirit of the group’s performances at the Bohemia. This is most evident on Workin’ where the band’s set closer “The Theme” is played at the end of each side of the record, and one piano trio number, “Ahmad’s Blues”, is featured.

Oscar Pettiford penned the song “Bohemia After Dark” in spirit of the club.^[4]

The cover photograph of the Miles Davis record ‘Round About Midnight was one of several taken by Marvin Koner during the quintet’s stay at the club in 1956. The photograph retains the actual colouring but is cropped from the original. The red hue was due to a red fluorescent light above the bandstand.

As of October 2019, Café Bohemia has been revived in its original location, in the basement of the Barrow Street Ale House (which was established in 1990).^[1]

Cannonball Adderley’s New York debut[edit]

On 19 June 1955 Julian and Nat Adderley arrived in New York on a trip for the former to work on his Master’s Degree at New York University. That first night in the city the brothers went to the Café Bohemia to hear the Oscar Pettiford band, which was the club’s house band at the time. Jerome Richardson, who was the group’s regular saxophonist was unavailable that evening due to a recording session. Pettiford asked Charlie Rouse – who was in the audience – if he would sit in, but Rouse did not have his saxophone with him. Pettiford then noticed another audience member, Adderley, who had a saxophone case with him and told Rouse to ask this unknown man if he could borrow his horn. Instead, Rouse asked Cannonball if he would like to sit in with the group. Reluctantly, the leader complied and allowed Adderley to play. Overnight Adderley rose to prominence on the New York jazz scene. On 21 June he officially played his first night at the Bohemia; on June 28, 1955 he recorded with Kenny Clarke’s group; on 14 July he recorded his first album as a leader. By October 1957 he was a member of the Miles Davis Sextet..^[1]

This purpose of this project is to commemorate and honor lost womyn’s space–both ancient and modern. This can mean anything from lost women’s colleges and schools, to lesbian bars and clubs. And everything sacred and profane in between.

The Ringvereine (English: “Ring clubs”, as members identified themselves by wearing a ring) were criminal gangs operating in late 19th and early 20th century Germany, notably the Weimar period. Ostensibly convicts associations formed in the 1890s to aid their reintegration to society, the Ringvereine became convenient fronts for illegal activities as well as providing a ready network of underworld contacts. Like the Mafia, these associations also followed certain rules and a code-of-conduct.^[1] Since these groups practiced witness intimidation and members provided alibis for one another, it was difficult to prove their involvement in a crime.

The term emerged for a union with criminal orientation when several clubs by former prisoners joined up to the holding organization “Ring Berlin”. The “Ring-brothers” could be identified by the identical signet rings and were bound to absolute secrecy particularly towards the police. The criminal clubs of the 1920s held melodious names such as “Berliner”, “Immertreu” (“always faithful”), “Libelle” (“Dragonfly”) or “Apachenblut (“blood of the Apache”). The members provided each other with alibis and lawyers, supported each other financially and looked after the families of the other members. The union was funded by a charge of the spoils from the organized crimes.

When the Nazis came to power in 1933 they promised to restore law and order and outlawed Ringvereine associations. Nevertheless, despite being banned and the best efforts of the Nazi regime, these organised gangs would persist for a number of years.^[2] During communist rule in the eastern part of Germany supported by the Soviet Union, the Ringvereine were suppressed.

Sunday, June 5, 2011

The lost lesbian bars of Weimar Berlin

The Lesbians of Berlin (1928)

The lost lesbian bars of Weimar Berlin

Location: Berlin, Germany

Founded: 1918

Closed: 1933

First, a brief history lesson from Meredith Miller.

Germany declared its first republican government in the final days of World War I, after the resignation of the Kaiser. During this period the country was experiencing terrible economic hardship and social unrest. Berlin was considered unsafe for the new government, which removed to the city of Weimar. The period generally referred to as Weimar Germany lasted from 1918 until the Nazis began to gain power in 1930.

Volumes have been written about the politics, economics, art, literature, music, film, cabarets, and theater of Weimar Germany, and no doubt many more volumes remain to be written. But for our purposes here, the  Weimar is signficant for its formative influence on western lesbian culture. As Miller goes on to explain,

The era of the Weimar Republic…represents the first forum in which a recognizably modern lesbian identity gained mass visibility and a reasonable level of acceptance. German women had been allowed political particpation since 1908 and a strong women’s movement had existed since the mid 19th-century. Magnus Hirshfeld’s Scientifiic Humanitarian Committee had included women among its members for decades and this political and cultural support lead to a strong lesbian community that was often conscious of the need for political organization. Thus many lesbian bars in Weimar Berlin carried a stamp of approval from Hirshfeld’s committee and the several national lesbian magazines, which flourished during the era and encouraged women to patronize only these bars.

B. Ruby Rich sums it up this way:”The years of the Weimar Republic witnessed a flowering of women’s rights and of struggles for homosexual emancipation, as well as a bursting forth of a large lesbian and gay subculture quartered largely in Berlin.”

In 1928, the German lesbian writer Ruth Roellig (1878-1979) assembled a guidebook to Berlin’s lesbian clubs, Berlins lesbische Frauen (The Lesbians of Berlin), which featured a preface by pioneering German sexologist and activist Magnus Hirschfeld (see the cover above.) Ruth M. Pettis elaborates:

After an introduction deploring religious attitudes toward lesbians and decrying discrimination against “priestesses of Sappho,” Roellig describes the ambience and offerings of 14 Berlin clubs and dance halls that catered to lesbians. At this time in Germany, lesbians were not subject to criminal prosecution, but they faced ostracism and employment discrimination, and Roellig is keenly aware of such injustices. Indeed, her introduction must be considered a contribution to the literature of the Geman homosexual emancipation movement.

Hirschfeld’s preface was featured prominently on the book’s cover in order to characterize the book as a work of social significance rather than simply a guidebook for tourists. But perhaps the greatest function of Berlins lesbische Frauen was to alert isolated women to the presence of a larger lesbian community. As a measure of its success in this endeavor, the book underwent several printings.

Ad for Cafe Dorian Gray

Information about the following lesbian bars has been assembled from a variety of sources. And while you peruse the list below–which represents but a fraction of the lesbian bars that existed during that time–listen to cabaret star Claire Waldoff (1884-1957). Waldoff was an openly lesbian singer who was famous for her “in-your-face” delivery and “gritty, gutteral voice.” Or check out Marlene Dietrich (1901-1992) and Margo Lion (1899-1989) in “Wenn die beste Freundin” (When the best girlfriend) from 1928.

Auluka-Lounge, Augsberger Strasse 72, 1924-1933

Café Domino, Marburger Strasse 13, 1921-1930

Café Dorian Gray, Bülowstrasse 57, 1927-1933
Florence Tamagne, A History Of Homosexuality In Europe: Berlin, London, Paris, 1919-1939 (2006) mentions Cafe Dorian Gray. She writes, “Dorian Gray, 57 Bülowstraß, was one of the oldest and better-known homosexual establishment. It was a mixed club, with certain days reserved for women and others for men. Friday, for example, was ‘elite day for ladies’, with dancing alternating with stage shows. Theme nights included a Bavarian alpine festival, and a festival of the Rhenish grape harvest. The cuisine was refined Viennesse, the atmosphere was traditional and of good quality.”

It has also been claimed that the male clientele at Dorian Gray was limited, but that every Wednesday was “Sadomasochist Night.”

Café Olala, Zietenstrasse 11, 1927-1932

Damenklub Violetta
Die Freundin: Weekly Journal for Ideal Friendship Between Women (a lesbian journal) was published continuously during 1923-32 by the damenklub (women’s club, or bar) “Violetta” — itself a coded name, as violets were considered a sign of lesbianism at the time. Die Freundin was banned in 1928.

Damenbar by Jeanne Mammen

According to Angeles Espinaco-Virseda, “One of the most popular ladies’ clubs was the Damenklub Violetta, led by Lotte Hahm, a well-known figure in the homosexual rights movement. The Violetta hosted many dances, such as the “Calling-Card Ladies’ Ball” (Damenball mit Saalpost) and the “Dance Roulette” (Roulette-Tanz), and also auto tours of the Spreewald and fashion shows for masculine women and transvestites.” In addtion, women at Violetta were known for singing “Das Lila-Lied” (The Lavender Song), which declared lesbians’ difference and eventual liberation.

Entre Nous

Entre Nous was considered one of the “more exclusive” lesbian bars.

Die Grotte

Like Entre Nous, Die Grotte was considered one of the “more exclusive” lesbian bars.

Hohenzoffern-Café, Bülowstrasse 101, 1921-1933

Featured a male cabaret for lesbians only.

Mali & Ingel, Lutherstrasse 16, 1927-1933
Louise Brooks, the American film actress, later recalled that at the Mali [or Maly], “there was a choice of feminine or collar-and-tie Lesbians.” Somewhat off-topic, but check out this clip from Pandora’s Box (1929) where Louise Brooks (as Lulu) dances with Alice Roberts (as the lesbian Countess Geschwitz).Meyer-Stube, Xanterner Strasse 3, 1927-1928The Silhoette
Alex de Jonge in The Weimar Chronicle: Prelude to Hitler (1978), describes the Silhoette as “one of Berlin’s most fashionable nightspots.” As he elaborates, “You could see women well known in German literature, society, the theater and politics … There was no suggestion of vice about the place. It was a usual phenomenon in German life.” The Silhouette admitted men if accompanied by a lesbian regular.Talverne, Georgenkirchstrasse 30a, 1927-1930
A “tough” working-class bar.Tanzpalaste Zauberflote (Magic Flute Dance Palace)
Anneliese W. or “Johnny” (1916-1995): “The Magic Flute was a large hall with a dance floor in the middle; the orchestra played in the balcony above. Once, when there was a police raid, Kati [Reinhard] called to me, ‘Go in the kitchen by the garbage bins!’ I had to hide back there because I was still too young. You had to be twenty-one to enter these clubs. I started going to clubs and got to know everything around 1931, when I was fifteen. Back then, before Hitler came to power, we had a lot of clubs….Through the Magic Flute, I joined a lesbian bowling league, ‘The Funny Nine,’ which was lead by Lieschen and her girlfriend Gertrud.”Topkeller, Schwerinstrasse 13, 1923-1932
In Claudia Schoppmann’s Days of Masquerade: Life Stories of Lesbians during the Third Reich, trans. Allison Brown (1996), a woman is quoted as saying that the Toppkeller Club was “so exciting that women from all walks of life came, even actresses. It was always so crowded, and on Fridays you could hardly get in at all.” The sign above the Toppkeller Club restroom proclaimed: “We are the New Spirit. We do it with Brazenness!”