Interwar Years Quotes

“Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors.

In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.”
― Jeffrey H. Jackson, Making Jazz French: Music and Modern Life in Interwar Paris

“The Nazis may write like school boys, but they're capable of anything. People laugh at them right up until the last moment...”
― Christopher Isherwood

“Scotland was a coal economy and it was from the coalfields of Fife, the Lothians, Lanarkshire and Ayrshire that modest six-coupled steam locomotives of late-Victorian design hauled trains of wagons to the towns and cities, where coal was then used for heating, industry and transport. Practically every room in every household had a coal fire and the belching chimneys of factories ensured that the air in industrial areas was usually filthy with sooty smoke and, in autumn and winter, thick smogs enveloped the cities. The porous sandstone from which most of central Scotland's buildings were constructed was consequently uniformly black with absorbed pollution. People smoked everywhere - at home, at work, on transport, in cafes, bars and restaurants and even at their seats in the cinema. Clothing became saturated in smoke from coal and tabacco alike and so, for housewives, doing the washing was a constant burden.”
― Bruce Peter, Art Deco Scotland: Design and Architecture in the Jazz Age

“I knew that I was 'out.' And that I had now found my way.

To that old master, now, to wizard Faust, old father of the ancient and swarm-haunted mind of man, to that old German land with all the measure of its truth, its glory, beauty, magic and its ruin—to that dark land, to that old ancient earth that I had loved so long—I said farewell.

I have a thing to tell you:

Something has spoken to me in the night, burning the tapers of the waning year; something has spoken in the night; and told me I shall die, I know not where. Losing the earth we know for greater knowing, losing the life we have for greater life, and leaving friends we loved for greater loving, men find a land more kind than home, more large than earth.

Whereon the pillars of this earth are founded, toward which the spirits of the nations draw, toward which the conscience of the world is tending—a wind is rising, and the rivers flow.”
― Thomas Wolfe, I Have a Thing to Tell You