'Der Enkel aus Berlin'. Udo Lindenberg and the German Cabaret

Annette Blühdorn

Research output: Contribution to journalArticle

Abstract

In recent years contemporary German popular music has received a fair amount of academic attention. However, the issue of its specifically German roots and origins has been largely neglected. For the most part German popular music is still regarded as an uninspired copy of American and British models. Aiming to redress this misperception, this article focuses on the chanson and cabaret culture of the Weimar era and its significance for the work of Udo Lindenberg. Lindenberg, one of the veterans of German popular music, has described himself as Marlene Dietrich’s ‘Enkel aus Berlin’ and as ‘Vermächtnisnehmer’ of the 1920s’ and 1930s’ chanson and cabaret culture. By exploring the legitimacy of this proud self–description, the article seeks to contribute to the study of German popular music and, more specifically, to show that the work of Udo Lindenberg deserves to be taken more seriously than it has been so far.
Original languageEnglish
Pages (from-to)416-433
Number of pages18
JournalGerman Life and Letters
Volume55
Issue number4
DOIs
Publication statusPublished - Oct 2002

Fingerprint

cabaret
Berlin
music
legitimacy
Popular music
Cabaret

Cite this

'Der Enkel aus Berlin'. Udo Lindenberg and the German Cabaret. / Blühdorn, Annette.

In: German Life and Letters, Vol. 55, No. 4, 10.2002, p. 416-433.

Research output: Contribution to journalArticle

Blühdorn, Annette. / 'Der Enkel aus Berlin'. Udo Lindenberg and the German Cabaret. In: German Life and Letters. 2002 ; Vol. 55, No. 4. pp. 416-433.
@article{c364d295539e44e6a505f6e2bbc6f88a,
title = "'Der Enkel aus Berlin'. Udo Lindenberg and the German Cabaret",
abstract = "In recent years contemporary German popular music has received a fair amount of academic attention. However, the issue of its specifically German roots and origins has been largely neglected. For the most part German popular music is still regarded as an uninspired copy of American and British models. Aiming to redress this misperception, this article focuses on the chanson and cabaret culture of the Weimar era and its significance for the work of Udo Lindenberg. Lindenberg, one of the veterans of German popular music, has described himself as Marlene Dietrich’s ‘Enkel aus Berlin’ and as ‘Verm{\"a}chtnisnehmer’ of the 1920s’ and 1930s’ chanson and cabaret culture. By exploring the legitimacy of this proud self–description, the article seeks to contribute to the study of German popular music and, more specifically, to show that the work of Udo Lindenberg deserves to be taken more seriously than it has been so far.",
author = "Annette Bl{\"u}hdorn",
year = "2002",
month = "10",
doi = "10.1111/1468-0483.00238",
language = "English",
volume = "55",
pages = "416--433",
journal = "German Life and Letters",
issn = "0016-8777",
publisher = "Wiley-Blackwell",
number = "4",

}

TY - JOUR

T1 - 'Der Enkel aus Berlin'. Udo Lindenberg and the German Cabaret

AU - Blühdorn, Annette

PY - 2002/10

Y1 - 2002/10

N2 - In recent years contemporary German popular music has received a fair amount of academic attention. However, the issue of its specifically German roots and origins has been largely neglected. For the most part German popular music is still regarded as an uninspired copy of American and British models. Aiming to redress this misperception, this article focuses on the chanson and cabaret culture of the Weimar era and its significance for the work of Udo Lindenberg. Lindenberg, one of the veterans of German popular music, has described himself as Marlene Dietrich’s ‘Enkel aus Berlin’ and as ‘Vermächtnisnehmer’ of the 1920s’ and 1930s’ chanson and cabaret culture. By exploring the legitimacy of this proud self–description, the article seeks to contribute to the study of German popular music and, more specifically, to show that the work of Udo Lindenberg deserves to be taken more seriously than it has been so far.

AB - In recent years contemporary German popular music has received a fair amount of academic attention. However, the issue of its specifically German roots and origins has been largely neglected. For the most part German popular music is still regarded as an uninspired copy of American and British models. Aiming to redress this misperception, this article focuses on the chanson and cabaret culture of the Weimar era and its significance for the work of Udo Lindenberg. Lindenberg, one of the veterans of German popular music, has described himself as Marlene Dietrich’s ‘Enkel aus Berlin’ and as ‘Vermächtnisnehmer’ of the 1920s’ and 1930s’ chanson and cabaret culture. By exploring the legitimacy of this proud self–description, the article seeks to contribute to the study of German popular music and, more specifically, to show that the work of Udo Lindenberg deserves to be taken more seriously than it has been so far.

UR - http://dx.doi.org/10.1111/1468-0483.00238

U2 - 10.1111/1468-0483.00238

DO - 10.1111/1468-0483.00238

M3 - Article

VL - 55

SP - 416

EP - 433

JO - German Life and Letters

JF - German Life and Letters

SN - 0016-8777

IS - 4

ER -