Cabaret Political Quotes

I don’t think this kind of thing [satire] has an impact on the unconverted, frankly. It’s not even preaching to the converted; it’s titillating the converted. I think the people who say we need satire often mean, ‘We need satire of them, not of us.’ I’m fond of quoting Peter Cook, who talked about the satirical Berlin cabarets of the ’30s, which did so much to stop the rise of Hitler and prevent the Second World War.

التاريخ السياسي قد علمنا أن السياسة كباريه وأنه في الكباريه لابد أن تجد بنات الليل رجلا يحميهن .. يسمونه البلطجي .. والدول العظمى تقوم بهذا الدور عادة

Chancellor Gerhard Schröder has several times made statements to the effect that we Europeans should not cultivate a superficial anti-Americanism. But mine isn't superficial at all. Personally I have nothing against the US itself - it's a beautiful country - it's the people who live there that are the problem. I guess you could say it's the same thing with Bavaria.

Un payaso, una primera actriz de cabaret y un futbolista retirado se aprestan a tomar el control de las acciones: la escenografía del infierno se adapta sin problemas a un set de televisión.

There were micro-squabbles almost unbelievable to imagine now. The BBC was giving live coverage to the Beaulieu Jazz Festival in 1961 and they had to actually shut down the broadcast when trad jazz and modern jazz fans started to beat the shit out of each other, and the whole crowd lost control. The purists thought of blues as part of jazz, so they felt betrayed when they saw electric guitars—a whole bohemian subculture was threatened by the leather mob. There was certainly a political undercurrent in all this. Alan Lomax and Ewan MacColl—singers and famous folk song collectors who were patriarchs, or ideologues, of the folk boom—took a Marxist line that this music belonged to the people and must be protected from the corruption of capitalism. That’s why “commercial” was such a dirty word in those days. In fact the slanging matches in the music press resembled real political fisticuffs: phrases like “tripe mongers,” “legalized murder,” “selling out.” There were ludicrous discussions about authenticity. Yet the fact is, there was actually an audience for the blues artists in England. In America most of those artists had got used to playing cabaret acts, which they quickly found out didn’t go down well in the UK. Here you could play the blues. Big Bill Broonzy realized he could pick up a bit of dough if he switched from Chicago blues to being a folksy bluesman for European audiences. Half of those black guys never went back to America, because they realized that they were being treated like shit at home and meanwhile, lovely Danish birds were tripping over themselves to accommodate them. Why go back? They’d found out after World War II that they were treated well in Europe, certainly in Paris, like Josephine Baker, Champion Jack Dupree and Memphis Slim. That’s why Denmark became a haven for so many jazz players in the ’50s.

In his experience, ‘trust me’ was just a polite way of saying ‘brace yourself.