Radio in The Third Reich…

It was in the mid-1920s that a national broadcasting network, Grossdeutscher Rundfunk (Greater German Radio), was established in Germany and Funkstunde Berlin, was the first regional station to begin broadcasting on the 29th October 1923…and Berlin’s ‘Radio Hour’ became the first well-known programme of this new medium, with some 500 Berliners registered to receive it.The following year saw a number of regional radio stations (Reichssender) set up on medium wave under the Grossdeutscher Rundfunk umbrella in the cities of Leipzig, Munich, Frankfurt, Hamburg, Stuttgart, Königsberg & Münster.

Two years later Berlin found itself with a second radio station, Deutsche Welle, established in 1926 and this expansion in radio broadcasting captured the imagination of the German public and the number of registered & licensed radio listeners soon rose to an incredible 500,000. By the end of 1926 this figure had risen to well over one million Germans who were eagerly paying their 2 Reichsmarks (2 shillings or ten pence) a month to receive regular radio broadcasts in their own home!

Though the art of radio broadcasting & programme production was still fairly primitive, music was very much at the heart of this new fledgling form of entertainment, and there was a good variety & mix: from opera & operetta  to symphony orchestras & solo recitals which filled the regular evening broadcasting slots.

Then on January 30th 1933, Berlin radio carried a news-flash stating that Leipzig, Munich, Frankfurt, Hamburg, Stuttgart, Königsberg & Münster. leader, Adolf Hitler, had been promoted to the position of Reich Chancellor. With this brief message, radio broadcasting in Germany moved into a whole new era, to become a vital tool in the hands of the new propagandists! The following day, January 31st, Reichskanzler Hitler made his inaugural national radio address to the Third Reich, the first of some 50 broadcasts that he would make in his first year of office!

On March 15th 1933, the German Government assigned all broadcasting rights to the newly-formed Ministry for Education & Propaganda under Minister-in-Charge, Joseph Goebbels, who viewed radio as ‘the eighth wonder of the world’. He triumphantly declared: ‘We will create the first modern broadcasting system in the world has ever seen…and so take our National Socialist demands to the people…’ 

However the Nazi take-over did not, as one would have imagined, immediately change the tone of broadcasting from entertainment to blatant political propaganda; the reason for this can be attributed directly to Goebbels, who was not a stupid man and, along with Adolf Hitler, had quickly realised the power of radio & its influence over a population.

He was determined to ensure that radio retained its impact on the German people and not lose the appeal of National Socialism. He therefore issued an order at a conference of radio officials in March 1933 that radio output should….‘never become boring! Avoid dreariness and don’t put your convictions on the turntable, Do not think that you can serve the our government best by the sound of blaring marches evening after evening! Broadcasting should never suffer from the misused word!’

Nevertheless, Goebbels managed very successfully to balance entertainment with the political message, and in April 1933 he introduced a new programme called ‘Stunde der Nation’ (Hour of the Nation), which was relayed to all German regional radio stations each evening between 7 & 8 pm. Containing a professional mix of lectures, radio plays and politically inspired music and opera, it fulfilled Goebbel’s desire that radio should also:“saturate the people with the spiritual content of National Socialism!”

Two very astute observations from the Minister for Propaganda, but his approach seemed to work, for later that same year, at the tenth Broadcasting Exhibition in Berlin the People’s Receiver, the Volksempfänger 301 (derived from the date of the Nazis’ ascension to power on January 30th 1933), was launched, selling a staggering 100,000 sets on the first day at a cost of 76 marks (£5.8s.10d or £5.44p), almost half the cost of its nearest rival!

Radio broadcasting in Germany had certainly come of age, and by the following year an incredible 5 million German radio listeners were registered and though home ownership of the new radio receivers was growing rapidly, Goebbels was anxious that all Germans had access to radio broadcasts. He therefore ordered that radio loudspeakers be immediately installed in all factories and on street corners across the Reich to ensure that the political speeches of the nation’s leaders would reach the widest audience possible…

Under the slogan ‘a radio in every home’, he also decided that a low- cost radio set should now be made available to the German masses.

Technical & programme production development continued apace,and in 1936 a new and improved version of the VE301 was introduced at a lower cost of 65 marks (£5.5s.4d or £5.27p), followed in 1938 by the smaller Deutscher Kleinempfänger (German Compact People’s Receiver), which was introduced to great acclaim and (and no little excitement!), at an even lower and much more affordable price of just 35 marks (£2.17s.7d or £2.88p).

By 1938, light entertainment music, so-called ‘Unterhaltungsmusik’, was accounting for nearly two thirds of all music output, and in this pre-television era, German radio was winning the plaudits of its listeners for its variety of music from opera to musicals and for its willingness to experiment and play the latest in the new dance music, such as that of Barnabas von Geczy.

Broadcasting hours had risen from 14 hours a day in 1932 to 20 hours in the year before the outbreak of war, and with the expansion of the whole German broadcasting network, Berlin’s own ‘Radio Hour’ developed into a programme called ‘Germany’s Hour’ which was broadcast on the national network. In addition, each regional station in the German broadcasting network hired its own professional musicians, with the Berlin Funkstunde, for example, employing a 75-strong radio orchestra, a chamber orchestra of twenty-eight musicians and a twenty-five man choir.

By the outbreak of war in 1939, the number of domestic German listeners had risen to some 10 million, and with the extension of broadcasting hours, the demand for Unterhaltungs musik grew to such an extent that Goebbels actively ordered more of it be played on the radio. In September 1941, with a total audience of just over 50 million listeners now tuning in to some 15 million sets, he went a step further in establishing a Deutsches Tanz und Unterhaltungs Orchester.

Throughout the war years, Joseph Goebbels, as Reichspropagandaminister, continued to personally vet all musical content and weed out any records or performances that he thought inappropriate, but rather surprisingly, however, was how little Adolf Hitler actually interfered or meddled within the field of German civilian & military musical entertainment.

During his leadership of the Reich, he appeared to have issued only two direct music-related dictums, both on February 6th 1939: firstly that the infamous Horst Wessel Lied, (the alternative Nazi anthem), be played at a faster tempo… and that his beloved German National Anthem (Deutschlandlied) be played at crochet = 80..!

Copyright @ Brian Matthews 2014

 

Waffen-SS Musiker Training…

From the earliest days of the Third Reich, the Allgemeine-SS & SS-Verfügungstruppe had begun forming their own elite Musikkorps, so establishing the tradition for the SS leading the way in all things artistic & political and Hitler’s elite Bodyguard Division, the Leibstandarte-SS had successfully recruited fully-trained first-rate civilian professional musicians to join its ranks to establish itself in the pre-war years as Germany’s premier military band. As such it performed at all the most important military & ceremonial occasions in Berlin, including the Sportspalast Concert on January 30th 1934 to celebrate the first anniversary of Adolf Hitler’s spectacular ascent to power.

However, with the creation of the Waffen-SS and the sudden increase in the number of new Waffen-SS Musikkorps as a result, the SS-Musikinspektion  was determined to ensure a constant supply of highly trained  young musicians from within its own ranks by laying down very strong foundations for their formal musical education, having appointed a new generation of Waffen-SS Musikführer.

So a purpose-built Musikschule der Waffen-SS was set up within the grounds of the SS-Junkerschule at Braunschweig under SS-Hauptsturmführer Edgar Siedentopf and admitted its first intake of  60 pupils on July 1st 1940. Maintained & funded by the Reichsführung-SS and the City of Braunschweig, the school recruited its music teachers from the town’s civilian State Music Academy, whilst school discipline and tuition was provided & overseen by SS-NCOs on secondment from the Musikkorps of the Waffen-SS Division ‘Germania’.

The school boasted an impressive array of brass and percussion instruments, including some 40 upright & grand pianos and consisted of one large staff headquarters building which contained a big rehearsal room, several practice rooms, an administrative office and both a tailor’s & shoemaker’s workshop to service the school’s domestic requirements. In addition, there was a boarding house containing students’ dormitories, a dining hall & kitchen, and scattered around the school were 3 teaching huts, a further smaller rehearsal room, a gym and several sound-proofed practice rooms for individual student practice.

Young pupils who possessed previous musical training and passed the strict medical could enter the school on or after their 14th birthday for a period of four years and then sign up for a 12 year contract as a musician within the Musikkorps of the Waffen-SS, provided their parents had given clear, prior consent and were then able to contribute 25 Reichsmarks (approx. £2.00), a month towards their board & lodging, clothing and education.

The level of the student’s musical aptitude was ascertained through the sitting of an entrance exam and all successful students were then advised on the selection of a main instrument, (brass), and a secondary instrument, (strings). On-going student progress was tested throughout the year and, whilst at the school, pupils wore uniforms similar in style to the standard field-grey combat uniforms of the Waffen-SS (right). But on their black collar patch was an embroidered lyre, the epaulettes contained the monogram M.S. and the cuff-title worn on the lower right tunic arm bore the legend Musikschule Braunschweig in silver on black. To help further distinguish the young students from the general Waffen-SS rank and file, the young trainee musician’s wore the standard Hitler Jugend armband and silver belt buckle.

In 1942 the SS-Musikschule separated from the SS-Junkerschule to become a separate and totally independent unit, and by 1944 the number of students had risen from that initial 60 to 220, with SS-Haupsturmführer Eberhardt taking over command and head-ship of the school from SS-Sturmbannführer Siedentopf and in keeping with the SS-Musikinspektion’s aim of providing the Waffen-SS with only the finest musician’s available, the Musikschule Braunschweig also ensured that high achieving students could be selected for further training as future conductors & musical directors with SS-Officer rank.

Along with suitable musician’s already serving with existing Musikkorps within the Waffen-SS, selected Braunschweig students were recommended by their instructors for further training and ordered to Berlin to sit aptitude & entrance examinations for the Musikführer’s course, and successful candidates were then attached to the Staff Band, where training took place across a range of musical subjects.

The emphasis in music-leader training was obviously placed on conducting, and the SS-Staff Band was used both in this regard and for the performances of compositions actually written by the probationary musical leaders; as such these future Waffen-SS Musikführer were given a far more realistic and dynamic music leadership training than any other military music school within the Reich.The SS-Musikführer course finished with a final examination and following a pass the successful students were promoted to the rank of SS-Standarten-Oberjunker (trainee officers), with the expectation that they would eventually become musical directors of their own Musikkorps and an accompanying rank of SS-Untersturmbannführer.

It is worth noting that the only two SS-Musikmeister who were not formally trained were Musikmeister Hermann Müller-John and his number two Gustav Weissenborn, (right in civvies), both of the Musikkorps der SS-Leibstandarte Adolf Hitler, neatly illustrating the elite and exclusive image that the SS Bodyguard Division enjoyed in the eyes of Adolf Hitler and its Commanding Officer Sepp Dietrich.

Upon completion of their basic military training, Waffen-SS musicians were immediately assigned to the SS-Musikkorps that had suitable vacancies on offer, whereas some newly qualified Wehrmacht musicians, fresh out of basic training, had to wait and scan the notice-boards or the situations vacant pages of the musical magazine Deutsche Militärmusikerzeitung seeking out bands that were advertising for specific musicians.

Military musicians quite often found themselves having to suffer the ‘indignity’ of being assigned to other military duties whilst awaiting their full-time move to a regimental or corps band, for despite the regular flow of Wehrmacht & Waffen-SS musicians through basic military training, the German High Command issued strict regulations on the size of a unit’s military band, and new musicians would only be transferred to a band when there was a genuine vacancy.

An exception to this rule was the SS-Leibstandarte ‘Adolf Hitler’, whose elite band was much favoured by commanding officer Sepp Dietrich who firmly believed that a good Musikkorps reflected well on the whole regiment. Therefore whenever SS-LAH Musikmeister Hermann Müller-John slapped in a request for two more clarinettists or an additional oboist, Dietrich would say with a rueful grin, ‘haven’t you got enough already….?’, before turning a blind eye to the already over-subscribed Musikkorps line-up and approving the latest transfer. It was in this fashion that the SS-LAH Musikkorps grew from an original 48 musicians to 75 thence up to 120 musicians!

Once the new musical recruits had passed through basic military training and joined a Musikkorps, all Wehrmacht and Waffen-SS musicians were put onto the Wehrmacht Heeresdienstvorschrift (or Army Service Regulation) pay scale HDV 32 and were then very much considered to be full-time professionals. Now, in a complete reversal of their previous status during basic training, they were not expected to undertake any other military duties outside of their creative sphere during peace time and could concentrate fully on advancing their professional Waffen-SS and Wehrmacht military-musical careers.

The only exception to this order was their annual four weeks posting, as serving soldiers, back to a training company to ‘recapture’ their military skills acquired during basic training and to freshen up on what would become their secondary wartime roles as medics, communications personnel, drivers and motorcycle couriers. But once assigned to a Wehrmacht & Waffen-SS musikkorps, a musician’s instruments were then provided by the unit or regimental band, (the only exception being the 12.SS-Hitlerjugend who, due to their late formation in 1944, actually provided their own instruments), and then the business of performing professionally in public could really begin in earnest…

A typical military musician’s day in barracks usually consisted of full rehearsals of the Musikkorps each morning followed by individual practice and performance in the afternoon, with many evenings being taken up with small public concerts being staged to entertain the good folk of the garrison town and its outlying regions. Mornings normally began with marching practice for the full band, either practising new movements or brushing up on old ones and rehearsing the military marching repertoire, either on the parade ground or in fields behind the barracks; then it was time to sit down and work on specific concert pieces and performances including overtures and waltzes that would be performed at important public concerts…

Afternoons provided the opportunity for the individual musicians to lock themselves away in whichever quiet spot they could find (the attic, boiler or store room), and work undisturbed on their own specific instrument, before rejoining the band and travelling to the evening concert. This evening entertainment could take place in the local town hall or in the large hall of the local brewery or as an outdoor concert in the bandstand in the town park or perhaps as a more elaborate performance in the local theatre or concert hall. Particularly well received wherever they played were the dance band of the SS-Leibstandarte-SS ‘Adolf Hitler’ in the distinctive Waffen-SS white mess-jackets they always performed in!

For the German military career-musician, Sunday was always the most important day of the working week, with them often being required to perform full-scale concerts organised for the German civilian population most weeks. These were often in aid of the Deutsche Rotes Kreuz, or to entertain the workers at local factories during peace time. During the war years they were more likely to perform in support of the Winterhilfswerk (Winter Relief Fund), or visit military hospitals to entertain sick & wounded soldiers shipped back from the front…thus proving Goebbel’s maxim that military music was a vital tool in Third Reich’s Propaganda War..!

Copyright@ Brian Matthews 2014

Extracted from the book:  The Military Music & Bandsmen of Adolf Hitler’s Third Reich 1933-1945                     Published by The Tomahawk Films WW-II German Archive.    ISBN 0-9542812-0-9

Third Reich Military Concerts…

During the years of the Third Reich 1933-1945, public concerts & radio performances given by the military orchestras and bands of the elite Wehrmacht & Waffen-SS Musikkorps, particularly by Adolf Hitler’s Bodyguard Division band, the Leibstandarte-SS, were very much a feature of civilian life in both pre-war & war-time Germany and as such were deemed a vitally important part of the propaganda morale-boosting of the German Home Front…

The co-ordination of these  important social and inherently propaganda events came under the control of the ‘Kraft durch Freude’ (Strength through Joy) organisation, a department of the Deutsche Arbeitsfront that oversaw and promoted public entertainment and holidays for the people throughout the Third Reich.

So it was that this KdF organisation took responsibility for promoting all of the pre-war military concert tours that regularly took place right across Greater Germany, plus all of the major musical events staged by the elite bands of theSS-Leibstandarte ‘Adolf Hitler’ and the Wehrmacht’s leading Musikkorps, such as the ‘Grossdeutschland’ Musikkorps within Berlin’s Wachbataillonen...

When rostered to perform concerts in public as part of their normal everyday military service, Wehrmacht & Waffen-SS soldier-musicians were governed by either the Oberkommando der Wehrmacht or the SS Reichsführung Hauptamt, and were paid in exactly the same manner as ordinary enlisted personnel, which was once every ten days at the rate of 25 Pfennig per day.

However, when they were booked to perform at a specifically-staged high profile concert or national event… or were out ‘on the road’ on tour across Germany for the Kraft durch Freude organisation, a separate deal would be struck directly with the Musikkorps in question, which proved to be a very valuable source of additional private income for all of the musicians involved…

Permission would be sought of the band’s unit commander by the KdF organisation to perform, and a fee of some 5% of the concert or event takings would be paid directly into the unit’s military account; thereafter, pay for the performers was carefully divided up, with the conductor/band-leader earning three shares and each individual musician, regardless of his rank, earning one share apiece…

It was not always possible for the full band line-ups to appear, however strict band rotas were operated to try to make sure that all the band’s musicians received the opportunity to play at these outside concerts and earn a little extra, and to ensure that musicians were specifically selected for certain concerts according to their required musical skills.Indeed the Musikkorps of the SS-Leibstandarte ‘Adolf Hitler’ had, within its line-up of musicians, a superb dance-band (right) that was always in demand to perform at private parties for the well-to-do in and around the German capital, Berlin…

By way of further prospects for additional earnings over and above their normal military pay, all of the top Wehrmacht & Waffen-SS military orchestras in fact were also readily available (and much encouraged by their separate High Commands) to perform at private functions, weddings, family celebrations and myriad gatherings laid on by senior ministers, dignitaries, government officials and the military Top Brass.. an opportunity these highly-trained, professional musicians never missed when offered… their day-to-day military duties permitting. of course!

All Wehrmacht & Waffen-SS Musikkorps performances that were tightly organised and overseen by the Kraft durch Freude, also included those live performances broadcast on Greater German radio, such as the most important Sunday night Wunschkonzert für die Wehrmacht, (Request Concert for the Armed Forces, broadcast from Reichssender Berlin).

In addition the KdF also took on overall responsibility for organising the regular professional studio-recording sessions that many of the leading Musikkorps, (such as the Musikkorps LAH & ‘Grossdeutschland’) had with the leading German music labels, including Telefunken, Electrola, HMV & Gloria, where these varied musical activities would also result in a similar division of additional pay amongst the participating musicians, plus vital contributions to the individual band’s military fund…

           Copyright @ Brian Matthews 2014

Tomahawk Films Under Water…

I awoke the other morning, or rather I was woken, by the incessant sound of sawing..and when I finally came to with a clear enough brain and looked out of the window I could see a funny little bearded man in back garden surrounded by a huge pile of wood..and realised it was Noah building himself another Ark… and I am not surprised he is in such advanced planning as it is still raining here on the South Coast after some 2 months or so!

I cannot believe how a little country likes ours can receive so much constant rain..it seems to me as if it has been raining almost every day since before Christmas..I know we have actually had some precious rain-free days, but the overall memory to date is just a continual torrent of the wet stuff…(and as some wag said the other day, despite it being the wettest winter since records began, no doubt the Water Companies will be warning us of drought conditions later this summer..they’d better not!)

The problem seems to be constant rain streams coming across the Atlantic and they are making landfall in Devon, Cornwall & South Wales and from the news reports those parts are having a  really bad time of it, with farms under water, railway lines physically broken and still the water rises..and still the Government seems to be ‘fiddling while Rome burns’. The scuttlebutt in the pub is that whenever there is a disaster anywhere else in the non-English-speaking world, the ‘charity do-gooders’ throw their hands in the air, rush straight to the advertising companies and produce gut-wrenching, emotionally black-mailing TV adverts exhorting us to hand over more of hard–earned, (in addition to the £13 billion our governmental masters are eagerly giving away in overseas aid each year to other countries). Currently this is leaving many of us wondering if our neighbouring countries are now running similar TV Appeals urging their people to give to this growing British Flood disaster?

One joke doing the rounds aptly sums up how it works in Britain: an old couple are sitting on the roof of their house in Cornwall surrounded by rising flood water and after 5 days up there, they espy a small boat with three Red Cross volunteers speeding towards them.The old couple cry out in relief to the boat.. ’have you come to rescue us? No! shout back the volunteers, we are collecting donations for Syria!!!!

As I say dear reader, that just about sums up this country..we help everybody else yet nobody givers a ‘brass razoo’ about us poor Brits…we have to do everything ourselves.. yet on that note my little village of Twyford is pulling together, (some 13 years after our last major flood), and the past 3 days for Tomahawk have been spent in helping to fill sandbags and patrolling the rising flood water. I managed to spend 7 hours in the water with others on Sunday as the floods spread out down the valley from the Hazeley Down area, (which is full of natural springs deep within the chalk).

Indeed we have a Victorian pumping station on the outskirts of the village, so pure is our water, however though that water is great to drink, the vast amount of it is now posing a big problem as the constant fall of rain means that everywhere is just waterlogged and the hillsides can just take no more and are literally now bursting at the seams. In fact when I walked along the Hazeley Road yesterday, (which now resembles a fast-flowing river rather than tarmac road), I could see actual ‘geysers’ of water rising a foot into the air from the sodden ground in the adjacent fields and onto the road..!

Thus far about a quarter of a mile or so of road is under water and cut off to traffic and the edge of the flood has reached the centre of the village and everything is being done to stem the flow. Over the weekend all sorts of important people from the various Environment agencies came out, plus the local Member for Parliament, village councillors, TV news crews and assorted members of the press to report on progress.. and then yesterday it went quiet again with just a few of us trying to maintain the situation before more stoic local folk turned up to help fill yet further sandbags.

The main problem is now we have no idea when the rain will stop or indeed how much more water is still in the hills and yet to find its way into the torrent rushing down into the village. Thankfully we are nowhere near as bad either as our 2000 flood or indeed as the poor folk down in Devon & Cornwall are now, but we are still in danger of having some of our low lying neighbours flooded out, so the constant whirr of water pumps can he heard pumping out water from these low-lying properties is now the constant background noise.

As is often said, at times like these the old ‘Dunkirk Spirit’ kicks in with people pitching in and doing what they can to help and we now have a constant rota of people in bright yellow tabbards trying to direct traffic to ensure people can still reach the village store & cafe..but the amount of indignant people who get ratty because they can’t go where they want to is just amazing. Whilst most people are quite understanding it beggars belief that others are too dense to realise that we are in a  tricky situation. As for those who see we are struggling with the rising water yet try to drive through at high speed so sending a tidal wave over us..well it takes all our will power not to drag them from their cars and dunk their fat heads under the waves they are causing.. .you certainly see both the best & worst of people at times like these..!

So hopefully valued customers of Tomahawk Films will also understand if their orders are a little later than our usual speedy despatch as we break off from our normal day’s work here at our production offices just above the flood to pitch to help our neighbours. So far we have done 3 days on the bounce and will try to spend today back at Tomahawk HQ catching up.. but as it is now raining again we’ll try to break off tomorrow and pitch in once more, wherever we’re needed..!

Talking of Tomahawk, the floods notwithstanding our planned monthly geriatric lad’s get-together of former TV colleagues took place at our local, The Phoenix, last night and I am delighted that amongst our small gathering of 7 was the cameraman on Tomahawk Films ‘Channel Islands Occupied‘ TV documentary, Ian ‘Nobby’ Fraser (left) and my old sound-recordist buddy and former colleague on Jack Hargreaves ‘Out of Town’ series, Phil Wade.. and talking of floods, to use an appalling DJ link, (that I would certainly have been strung up for using in my radio days!) the memories of our former working lives certainly flooded back over a riotous couple of hours!

But returning to the rising water outside, we now just have to see if the submarine will return with more aid..I contacted the Ministry of Defence and they said the skipper will try to ‘come about’ when he reaches the end of the road at Morestead and hope to sedately return along Hazeley Road distributing vital supplies, (ie cider), so thankfully even with today’s severe defence budget cuts, you can still rely on the Royal Navy. .the true ‘Dunkirk Spirit’ personified..!

Copyright @ Brian Matthews 2014

 

‘Got it wrong again, Dad..!’

Well here I am still struggling valiantly on behalf of the Tomahawk Films WW-II German Archive with the necessary evils of Social Media… and that’s without even having wrestled yet with the thorny issue of mastering You Tube and posting up bite-sized snippets from our Archive..(seems many others have already loaded up some of our German music clips & CD covers without our permission, so I feel it only polite that we, as the original copyright-holders, actually get a look–in and have a go ourselves!)

But oh boy! is my learning curve still steep.. with so much coming at me since the sad loss of dear old Stan, Tomahawk Film’s web-master, all this technical fannying around has fallen to me to get my head around and as I opined in one of my former Blogs, I am having to assimilate so much in recent months that my head is in danger of exploding.! It must have been great to be born at a time when all of this new media technology just came naturally to you: in fact my much loved & dearly missed mum always used to ask if it was something she should get involved with?… and I always told her in no uncertain terms to avoid it all costs.!

I would have done the same if today’s modern world didn’t view it as such an essential business tool; in fact only yesterday I heard the superb actor Martin Shaw being interviewed on Radio Two about his new series of ‘Inspector George Gently’ (starting tomorrow night on the Beeb) and when the subject came around to Facebook it was more than obvious that he is implacably imposed to it all and also avoids it like the plague.. and I silently thought: ‘lucky blighter that you can..!’

However the next generation growing up with all of this as ‘natural’ merely take it in their stride, but those young shavers have to remember that my colleagues & I come from the generation that glorified in ITV’s The Sweeney when Regan & Carter would have to break off from a high-speed car chase, tailing a ‘motor full of villains with shooters’ in the East End, to find a ‘phone box to make an urgent call back to HQ..! No good the young sniggering about that, as that was just the way it was and so it is that my generation of 50-somethings are now the apparent dinosaurs… great! But when all the satellites ‘go on the fritz’ after being hit by a meteor shower we at least will know how to write & talk to each other… some of us even know how to do long-division (well not me, I was a somewhat ‘theatrical’ History & English wallah with my head in the clouds… and not much change there either!)

However thanks to my great TV director & cameraman mate Ian ‘Nobby’ Fraser and his wonderful Girl-Friday, Harriet, both have continued to expend further valuable time in trying to help me find my way through the trials & tribulations of Facebook though sadly, ‘Dear Listener’ I have to shamefacedly admit I have transgressed yet again..dang!.. and much to everybody’s exasperation, I find myself on the FB Naughty Step… again, for Pete’s sake.. and it’s for 14 bloomin’ days this time!

Apparently I was again spotted by members of the the FB Polizei Feld-Division contacting another couple of fellow WWII German enthusiasts and that is verboten!.. As was noted before, you may contact friends only on FB to which I counter: that is what the pub, the ‘phone and e-mail is for..!

However Nobby very kindly took me to one side and quietly said “Look Bruno you are imbuing Facebook with far too much importance and a business ethic it doesn’t actually possess..it is just a place for mates to swap gossip and send each other cute little pictures of kittens or donkeys standing on their head…it’s not like the public library or theTomahawk Films website where you post up serious archival & historical information and promote yourself in a business sense.. Facebook is like buying a tabloid newspaper, looking at a couple of  lurid stories & interesting pics inside…then throwing it out..it is literally here today & gone tomorrow..!”

And that was my big mistake..I actually thought Facebook was like a company website where you put up your work & allied information for folk to use like a reference source, (and also exchange links with like-minded folk). But once I finally realised that FB is just a bit of lightweight fun & frolics and nothing more and that this ‘Daily Star’ approach to life is actually their raison d’être in place of a business plan, it has made all the difference to my thinking. So rather than post up written articles I am now limiting myself to sticking up interesting Tomahawk archival pictures with perhaps a few lines of explanation, (or stuff I’ve worked on in my career), writing funny captions on other peoples often hilarious images and just enjoying seeing what other people on FB find funny or thought-provoking.

More worrying however is that I too am now going awwww!! at pictures of kittens & Boxers and laughing uproariously at aforesaid mentioned donkeys standing on their head…but the fact that many other like-minded military-historical enthusiasts are now enjoying our Tomahawk Films WW-II German Archive Page and following us is a real a bonus..!

My original plan was just to go on FB to help Tomahawk Films get noticed by Google  and so hopefully rise above the rankings of those pirating our original Tomahawk Films archive, but it is actually turning out to be quite a fun place to be and I can now clearly see the attraction… it is also having an unexpected but happy consequence to my own personal & professional life as well!

As kind readers of my Blogs may know, before Tomahawk Films I had a very interesting period as a freelancer in television production plus a parallel 8 years or so as a local radio presenter and as I wrote in a recent Blog, my very first professional job in telly was as Unit Production Manager on Jack Hargreaves’ ‘Out of Town/The Old Country’ working alongside my old pal Phil Wade who was the superb sound recordist on the series. One of the unintended consequences of  now being on Facebook is I then found a Jack Hargreaves Page and as a result of that I  posted a small bit about my former role in the Out of Town story and since then have been welcomed in by Jack’s growing legion of followers which in turn is hopefully leading Phil & I to meet up with the man behind those Facebook pages, Simon Baddeley, Jack’s step-son…

So all of this social media is slowly & gradually staring to weave small links throughout my professional & personal life (which I can see is also one of its many attractions), because this new Out of Town link comes at a time when Phil and I also met up after almost 20 years or so of not being in touch, courtesy of Nobby’s 60th birthday bash just before Christmas..(pictured in the photo are my Dad, Dennis left, Nobby middle, Phil right). At what was a ‘superb do’ that I had not realised Phil was attending, we linked up again and through gales of laughter the years rolled away..!

It seems like only yesterday that Phil & I were working together on the Jack Hargreaves’ shows, (and also enjoying a riotous skiing holiday in Westerndorf, Austria in the first mid-shoot break!) and as we left Nobby’s bash we all made a pact to meet up again on the basis that none of us is getting any older and the only time we have spied each other of late was from opposite aisles at funerals… not a good state of affairs by any stretch of the imagination!

Happy to say we’ve now had our first ‘geriatric lad’s night’ out at the local watering hole: The Phoenix Inn, in my village of Twyford (at which the photo albums came out) and apart from the laughter resulting from comparing lack-of-hair and me being accused of actually dying my hair.. bloody cheek!.. plus a measuring of ever-expanding waist-lines (on some!), we also recalled some of the shoots we did… a couple I don’t recall even being on..that’s age for you!

Since then we have started to slowly catch up on our disparate lives via text ahead of our next monthly meet-up, (at which we are hoping to have 3 more mates from the past join us to also exchange wig-length & ‘beer belly’ statistics), and a surprising thing for me in meeting up again was to learn that Phil’s son Ollie Wade has become a very talented singer… his dad Phil was always a dab hand as a singer-songwriter and he’s obviously passed this skill on to his lad..!

Some of our old group back in our pre-television days had varying rock careers in the music biz: the second band I drummed for, ‘Adam West and The Gotham City Rockers’, lasted for a few very successful years on the local circuit here on the South Coast (during which time Nobby, unbeknownst to me at the time as an aspiring TV cameraman, actually looked after our lighting & gig poster design)… there’s a very spooky early crossing of later lives for you..!

I’m embarrassed to admit now that I was totally unaware of him in those heady times, yet years later he has happily become one of my closet buddies.. In fact we all had great fun in our early, if short-lived, disparate musical careers and though some came closer to a recording contract than others, reality dawned and we realised we had to get proper jobs, (if you can call television & radio a ‘proper job’!)

However it is obviously a case of what is in the genes is almost always passed on and in Ollie Wade I am thrilled to have seen on You Tube, (so yes all this Social media is working & interlocking our lives), what an absolutely superb singer he is, possessed of a very haunting delivery and indeed look.. and those of us who know Phil well can see his dad in him.. very ‘mini-me’. Though I don’t get involved in any promotion of up & coming musicians or media-types these days, (as I feel it is just too much like today’s short-cut reality TV to those of us who spent years practising, gigging, learning our craft and driving to & from myriad venues late at night in battered transit vans, dreaming of an album deal.. or even, gasp, a rare appearance on TV), however with Ollie, this is a very different kettle of fish..!

I linked into his superb You Tube pages yesterday to see B/W footage of his latest cover ‘Say Something’ (which I’d never heard until yesterday, but most spookily yet again, has just come on the radio as I write..how weird and how prescient is that ?) and I am genuinely blown away by his obvious talent.. and I urge you, if you have a moment, to make the link yourself and listen in to this brilliant young man sing..what a voice..his parents Phil & Nicky must be so proud of him...and rightly so!

I pray he doesn’t go down the television wannabe route and be used & abused by the music industry as with so many previous ‘one-hit wonders’ (or X-Factor winners as they are now known!), but gets picked up by trusted music-career professionals and bags a ‘proper’ recording deal for, with his obvious talents, I know Ollie Wade is a star of the future..and remember… you heard it here on the Tomahawk Films’ Blog… go for it Ollie!

….now, where’s that hilarious Facebook photograph of a Boxer puppy driving a German armoured car..?

Copyright @ Brian Matthews 2014

Out of Town with Jack Hargreaves..

Well, I am seemingly getting the hang of this Facebook ‘thing’.. apart from the heinous transgression of having the temerity of contacting like-minded people interested either in World War Two Military History… and I am still sitting on The Naughty Step for another 11 hours..apparently..before I can purge my sins and rejoin the Facebook community and starting befriending folk once more…

However one of the exciting things for me is that whilst looking around FB to see what other folk get up to, I noticed a Jack Hargreaves Page…a wonderful surprise and a trip down memory lane for me for, as a young 22 year old just starting out in the TV business in the early 80s, (and as a real country-boy myself having had Jack as my childhood hero), I am genuinely thrilled to say that my very first job in broadcast TV was as the Unit Production Manager on 60 episodes of Jack’s famous show commissioned by the new Channel 4, (which Jack undertook as a favour to his old pal and fellow Picture Post journalist, Jeremy Isaacs who was, at that time starting up this new and potentially ground-breaking television channel).

Having just turned 56, it is now quite amazing to realise that it was some 36 years ago that, working through Lacewing Productions in based down in the old crypt of the church in St Peters Street in Winchester, (chosen by Jack as his former Southern TV editor & good friend Dave Knowles was a partner in this new Winchester-based film company), our enthusiastic young team were awarded, (and trusted with), such an important television contract for Channel Four. I had only been with Lacewing for a few months as a trainee studio manager when I was asked by Dave if I’d like to be the Production Manager on this new series for Jack…delighted to be asked, I in turn, asked what does a Production Manager do? To get the swift answer ‘there’s a desk, there’s a phone..learn’!

..and learn I certainly did... and within a short space of time we had located Jack’s ‘Out of Town Shed’, (and myriad props) sitting in a hanger in Southampton and so organising a pick-up truck I collected the flats and took this very famous & much-loved piece of Southern Television history over to Meonstoke Village Hall, (the village where TV director Steve Wade lived) in Hampshire where we set about faithfully re-building Jack’s set as per the old days..

Short of an old military stove and a roll-top desk I went up to a props company in London and located just the two items we needed to complete the scene, (and wandering around that company was a story in itself as I recognised props from Dr Who and several other famous shows) and having collected them and completed the recreation of Jacks’ shed, we then proceeded to shoot studio-links effectively as an Outside Broadcast..ie cameras inside and an OB truck parked outside the hall containing director, sound engineer, vision mixer, P.A. & racks engineer), playing in new 16mm film footage (shot by local film cameraman Steve Wagstaff of Jack out & about in the countryside) that had already been be edited in Winchester ready to be played in.

The first 20 episodes went down a storm with the new Channel Four audience and we were ecstatic when another two series were commissioned & awarded to Dave Knowles’ new film company The Production Unit and a further happy 2 years shooting the studio sequences in the lovely village of Meonstoke ensued!

For reasons I can’t remember today, (probably legal!), we could not name this new series Out of Town as previously, so a  new name was needed. I had, in passing, suggested to Jack the title ‘The Old Country’..and that indeed was what those following glorious 60 episodes on Channel 4 went out as and they were such a joy to work on. Oh, that reminds me, we could also not use the original Out of Town song by Max Bygraves for some reason or other so Jack, being a most canny operator, got a television technician of his acquaintance who played guitar to record a very relaxing and extremely fitting instrumental track which then became The Old Country’s official new theme-tune..

Jack was the most fabulous raconteur & joke-teller you could ever imagine and his fund of stories were just fabulous, a number stemming from his days as a tank commander during the Second World War. Not surprising then that during  our lunch breaks taken at the pub in Meonstoke, Jack with pint of real ale to hand, would hold court and the youngsters on the crew (or usually just me!) would find ourselves either hanging on every word, spell-bound, or laughing fit to bust..In fact I recall that on more than one occasion I had to ask Jack to ‘politely’ shut up as my sides were aching from so much laughter…

He once told a story dating from his war-time tanker days where he was standing on a parade ground watching a tank, engine idling, sitting with just one crew member aboard. Said crew member suddenly remembered he had left something in his billet and jumped out, but as he did his foot caught the upper hatch and it slammed shut..and locked! This would have been bad enough but as the squaddie jumped out of the hatch, his heavy boot clipped the gear-lever and the tank was somehow knocked into drive and moved off slowly at a very regal and sedate 2mph… and with not a soul inside to stop it…what a hoot!

Cue much hysterical laughter as Jack vividly explained how this tank then slowly wandered off across the parade-ground, flattening various, huts, including the NAAFI and other sundry buildings, with more squaddies all over the show trying in vain to stop it..!.The way that Jack also brought this story to life was just pure joy and the cue for yet more pains in the side and our crew gasping for breath..!

I also recall on set one day, just as the cameras were about to turn over, he cracked a gag (one of the funniest & dirtiest I have ever heard up until that tender age of 22) and back then we had an much older, rather po-faced, floor-manager who didn’t laugh much as a rule, but as Jack delivered the punch-line with real verve, this FM broke into such gales of hysterical, uncontrolled laughter that we all thought he was either going to have coronary on the studio floor..or wet himself.. or quite possibly both!

But then Jack always knew what he was doing..: his timing was superb and his memory & powers of recall quite unbelievable, allied to which he knew how to deliver both a gag and a story brilliantly. I think it was his old mate & sparring partner Fred Dineage (of ‘How’ & World of Sport fame and now Meriden’s mainstay news presenter in Southampton), who once opined, if I’ve got it right, that if you gave Jack a ping-pong ball and asked him to talk about it, he would hold forth for half an hour without faltering once on the merits of the inside of said ball..amazing!

In fact in all of my long-ish TV & Broadcasting career to date, I have never ever met another man such as Jack that did not use a script or autocue in his day-to-day work! In fact it used to irk me more than a little when folk talking to me about working with Jack would state with much certainty that’ “you could see him looking off camera at a script”..which was complete rubbish and I used to get quite offended as towards the end I actually came to look on Jack as a surrogate grandfather and was, (like all of our crew), very protective of him & the programmes we were producing!

What Jack was doing was, in fact, talking directly to us, his crew, standing behind or just off the camera. We were very much a small family unit, (as Jack liked it to be), and we all used to sit on set watching him and he would simply keep looking off camera at us as he talked…almost drove poor old Steve the director nuts as he wanted Jack looking straight to camera and not at us… Happy Days indeed!

After 60 episodes of the Old Country Jack then ‘retired again’ and we thought that was that.. until he was later asked by former production colleagues up in London, if he would come out of retirement again to produce another 28 episodes for world distribution. So it was that the former ‘The Old Country’ television director Steve Wade, his son Phil, again on sound, and myself (excited to be asked to reprise my former role as Unit Production Manage)r, all very happily teamed up once again. This time however we used Jack’s real shed, (full of his beloved props), over at his home in Shillingstone in Dorset, went into production mode once more, this time using his favourite old film sequences from his days at Southern TV..

We shot the links in his shed and then moved inside his house where, sitting in his arm-chair, he’d voice-over the film-clips into a Nagra recorder as Phil & I sat at his feet having our own personal performance of Out of Town, whilst marvelling at the truly wonderful presenter that Jack was, narrating without a script in sight!

And a further laugh for me was that during filming the 60 episodes of The Old Country over at Meonstoke folk would say to me ”ah I can see he is in a  real shed” to which I would reply it was a set, then when the 28 episodes shot in his shed at Shillingstone aired on regional TV, those self-same folk would say “ah yes, I can see that is a TV set” to which I would have to say, wrong again, this time it is his real shed..! In fact I think the header photo of him on the ‘Jack Hargreaves Facebook Page’ is indeed a publicity shot from his shed when we were filming those last 28 episodes from his home in beautiful, deepest Dorset!

In recent months I have noticed that several companies are now offering boxed versions of ‘Out of Town’, (one set listed as the ‘Lost Tapes’ or some such), on DVD and wonder if it is actually these last 28 episodes that we shot in Jack’s ‘real shed’?

But all-in-all, I am extremely proud of the 88 episodes I worked on with Jack, (in my long-lost freelance days before I formed Tomahawk Films and became a voice-over artiste), and count myself very fortunate (and ever grateful to Dave Knowles) to have had such an opportunity of working so closely with that boyhood hero of mine…  I also know that he was not just a hero to me for wherever I still go today and talk about my TV & broadcasting career, when Jack’s name crops up, I am simply staggered by the amount of folk that, like me, also grew up with him and love to talk to me about working with him as I did..!

It’s funny to remember back when my school mates rushed home to watch the footie on TV, whilst I’d rush home to watch Out of Town.. never knowing that years later it would be my first production job in broadcast television. I consider myself both lucky & honoured to have been so closely involved with this great broadcaster and ‘man of the countryside’…..

Copyright @ Brian Matthews 2014

Tomahawk Films’ New Year..

A very happy and contented New Year to all of the fantastic and most loyal customers of the Tomahawk Films’ WW-II German Archive that we have around the world and indeed to the ever-growing band of kind and enthusiastic collectors & students of military history now regularly reading our Blog and are beginning to contact us either to share welcome snippets of information or just telling us they are enjoying what we post from time to time here on the Tomahawk Film’s website…

I must admit, (though my friends & colleagues in the business already know it to be fact, sadly), that being the Luddite that I am, I’m so much happier with just a word-processor to write on; so that having to finally launch ourselves into the modern era of ‘social media’ and leave behind the old Tomahawk Films catalogue mail-order business, (that has served us so well over 27 years), has become a bit of a shock to my system… it’s sad, but I know it has to be done!

Albeit still so embarrassing when I watch a tiny tot happily & confidently typing on a lap-top or using the latest mobile phone with all its latest apps & gizmos with such aplomb… makes me feel a right klutz)! Then I content myself with the thought that said tot could not write and produce a 50 minute WW-II TV documentary..but then again, knowing my luck these mega-bright little sparks probably could.. and judging by some current TV output..actually do!

But I find it really worrying that there is now such a cultural divide (or should that be a cultural apartheid?) opening up between those of us over 50 and those under.. and, yes, I am the man that shouts at World’s Strongest Man contests on the box when the commentator says a competitor is ’1.8 metres high and weighs 128kgs’. Excuse me? Speak English man not some strange continental Euro verbiage.. I can imagine a man at 6” 6” weighing 26 stone..but everything else… just forget it!

However persisting with my desire…well it’s not my desire but everybody else’s it seems, (thanks Malcolm!), I actually spent over 6 hours yesterday at our local IT company hopefully, and finally, sorting out the Tomahawk Films website and ensuring that its upgrade to a new, firmer foundation and with a change-over from Card Net (Lloyds Bank’s credit-card clearing bank) to the more global Barclaycard, goes seamlessly. If it does then within the next few weeks the our distinctive German archival website will both have a more secure footing to stand upon and be an easier, more customer-friendly & ultra-secure experience for those German music & film footage fans that generously want to continue buying our rare German archival products via the website and having Barclays accept their welcome Visa & Master card payments on our behalf, (alongside our continued usage of PayPal of course).

If that wasn’t enough (smelling salts Daphne!) I then went through an intensive couple of hours being shown the rudiments of Twitter, Facebook & You Tube, (thanks to the aforementioned Malcolm, who is our great mate Malcolm Moore who runs the excellent Mist of Time on-line & battle re-enactors militaria operation up there in Yorkshire and who is ‘our man in the north’ (along with felllow friend Anthony at Militaria.net) as it was Malcolm that finally convinced us here at Tomahawk that we have to embrace the new social media..or die.

Sadly it is a case in fact that one of the downsides to our fabulous success of our German Archive as we enter our 28th year of operation is that we are a regular target for the myriad rip-off merchants in Europe, Russia and North America who still appear to be sitting in their back bedrooms copying our CDs on a home computer then offering the contents on–line as if it were their own (or passing it off as genuine Tomahawk Films products) or worse simply banging it all up on You Tube without asking our permission. Indeed infamous US pirate even went to all the trouble of copying our distinctive red cardboard covers and placing our ripped-off material on several well known American on-line auction and book sites, but I think a ‘phone call to the right ears disabused him of that notion, hopefully he is now out of business..well we can hope I suppose!

Some youngsters seem to view my generation who’ve been in Film & TV a life-time (so do actually have a small clue as to what we talking about..well sometimes!) as dinosaurs; however for some reason there is a new breed of techno folk coming through now who either have no understanding of the concept of Copyright..or simply care even less and it is really galling when you do a regular Google test to check where our German Archive sits within their listings.. only to find those rip-off merchants are actually ranked higher than our bona fide archive..frustrating in the extreme!

These techno-herberts may be highly advanced in all forms of on-line technology but none of them seems to have grasped the simply concept of Copyright and that if somebody else has that Copyright you simply do not rip it off and post it or advertise it on-line as yours…I think these folk must wear strange glasses that make the words ‘on-line’ translate into ‘free to plunder’… and the on-line authorities seem to care not a jot..well that has to change if there is any justice!

One of these companies passing themselves off as ‘professionals’ have simply lifted our rare and original Kriegsweihnachten Christmas Carols CD (that took me 2 years to source and produce), changed the running order, replaced our distinctive cover and, bold as you like, have it offered on their website as ‘legal downloads’ with some obscure German name appended to the recording to make it look as if they have legally acquired the rights….I think not!.. and in fact I’m not sure they would understand the meaning of the word legal if it hit them in them face. Certainly, and as mentioned before, Tomahawk Films does not offer any of our material as digital downloads as happily, (at least for now) our myriad customers still want our complete archival albums on CD and in an attractive sleeve.. (or the real enthusiastic collectors as I tend to call them!) Perhaps ‘digital’ is not the way forwarded as everybody once blithely predicted..indeed look at the newly burgeoning vinyl market with new material being released onto record..who’d have thought it

Sadly as I increasingly make my way through the business world I see there is precious little honour left in business dealings any more (though with wonderful exceptions inall  the people Tomahawk deals directly with in terms of sale & supply!). I suppose with the pirates, where there is a buck to be made from somebody else’s endeavours, then honour is an alien concept, which is really tragic!

But let’s not get down about the dishonest ‘herberts’ infecting the internet and just be thankful for all the good people out there..to whit, thanks to Malcolm, Craig at our IT company CT Central, my director-cameraman Nobbie and his girl-Friday Harriet, Tomahawk are now about to take the fight to the pirates and ne’er-do-wells by opening our own YouTube account so we can legally list and offer some our archive’s music as tasters of the original material to be found in our archive via the Tomahawk Films website… likewise we will open up a Facebook account to keep ourselves updated and see what’s what in the wider world outside of our production offices here in Hampshire..

I have to say that Twitter is the one that I am least convinced by at the moment as what do you say that can be of any meaning in however few characters you are allowed.?. What can you actually say that might be of some importance to anybody else? Since last evening I have started to follow Jeremy Clarkson, BBC ‘Top Gear’ stalwart and a journalist I admire greatly, (though not for his motoring columns as cars, sadly, do nothing for me), but his weekly newspaper columns about life in general are some of the funniest ‘laugh out loud’ musings I have ever seen and happily are now available as delightful book collections, which I read avidly and highly recommend!

For my money, Jeremy is consistently quite the funniest and irreverent writer currently in print,but watching & reading his exchanges yesterday with a female journalist (who I suspect might be London’s Mayor Boris Johnson’s feisty magazine-editor sister) it all seemed quite inane and not really worthy of taking up any of their valuable time and I thought, er why?

The gist of the tweets seems to a bit of slagging for his most impressive Q17 Arctic Convoy documentary that went out last week and was in fact one of the finest war-time documentaries I have seen of late (after the recent Goering: A Career) and I urge you all to take a gander if you get the chance. Jeremy is just a sublime & confident presenter of such war-time docs as his very evident patriotism shines through and his admiration for the veterans he is talking about certainly adds a very personal touch to the programme.

But returning to his ‘tweets’ of yesterday I sort find all these rather unedifying to have such little spats played out in public.  These are bright people so why do they need twitter..something I am still musing about with Tomahawk. Just why do we need a place to leave inane one-liners when we have our website and our Blog through which to express ourselves more fully? .I cringe even more when certain ‘loved up’ couples in the media seem to play out their entire romance on Twitter of the edification of others and I feel like shouting ‘oh do get a room you two’..!

I don’t know whether it is a ‘showbiz thing’ that these folk have to always been seen in public or cannot live their lives without somebody commenting about them…Malcolm & Nobbie have both told me that Tomahawk being on Twitter, (plus the aforementioned You Tube & Facebook), will all help keep Tomahawk Films in the public eye and so keep us right up in the Google rankings, above the very people trying to rip us off..So if it is for the good of the company then we will give it a go..but I can already see Twitter will be the first of these social media to fall by the wayside for Tomahawk Films, as who is going to be sitting in his bath, say, and be interested in the fact that we have just acquired a new German signalhorn for the archive?

Actually that said, I’ll now completely contradict myself and thank John for contacting us having read my Blog relating to such signalhorns & German Bugles to say that he has recently bought a Max Glass-marked example and do we know of the company?… We certainly do for Max Glass (left) was one of the main manufacturers of such signalling instruments and was prolific in distributing them…but oddly Max Glass was also a typewriter-producing factory and was probably as well known, if not more so, for such German Schreiber machines.

Indeed our good pal Shawn over in Texas very generously gifted us an original invoice (Rechnung) dated September 1st 1939 that he picked up recently as issued by Max Glass from Klingenthal, one of the major musical instrument production areas of Germany (also a ski-jumping town I believe?) during both the years of Imperial Germany and the Third Reich. We just missed adding another Max Glass to the archive over Christmas so must ask John if it was indeed his good self that managed to purchase this bugle from a dealer..it had a small waffenampt stamp to the garland, (something I have never seen before so am keen to hear more about that). However our signalhorn collection continues to ebb & flow..as we speak we are awaiting one from Holland and two from Germany but the Christmas back-log seems to have all 3 still in its grip.. so we must be patient!

However back to the social media and it will just remain to be seen if Tomahawk launching itself on to such platforms will be a success or indeed a damp squib…I must admit I have certainly enjoyed writing the Tomahawk Blog which is now just over a year old…though sometimes the ‘old grey matter’ runs a bit dry and it is not always easy to come up with something new opine on…that is why occasionally there are 3 or 4 Blogs in a couple of weeks or nothing for a month. However it is good to see that since we started Blogging the hits to our Tomahawk Film’s website have actually doubled. So we know you guys out there are finding us..and thank you so much for that..great to know we are not sitting in the dark, wittering to ourselves!

On that front, sad news to report that over the Christmas holidays I heard from the family of former Ober-Kanonier Helmut Zimmerman of the 319th Artillery Regiment stationed in Guernsey, (and whom I wrote about in my Blog and magazines articles A Guernsey Gunner’ returns) passed away on Boxing Day and I would like to extend my deepest condolences to his family. Helmut was a wonderful man whom I was pleased to know and spend some time with over in Guernsey… as with many terrific, German veterans he always had a twinkly smile and a warm greeting and was a much loved friend of Guernsey.

So in being able to share both happy & sad news I can see social media does have its part to play in keeping everybody involved & interested in this specialised field of military study & collecting and to that end I welcome any Blog readers contacting me via the Tomahawk Films website to either say ‘hello’ or share any information or comments about anything I may have written here..or indeed any world war two television documentaries you may have watched & enjoyed that I may have missed? Having spent the bulk of my professional career in the film, TV & sporting outside broadcast world, I am still a sucker for a good TV documentary and still enjoy watching them & writing about them, so please feel free to make contact with me, it’ll be great to hear from you…!

Meantime wishing you all a great year of study & collecting in 2014… Tomahawk certainly did much better in 2013 than expected on sales of archival CDs, DVDs & Books so perhaps the Recession is finally lifting its heavy hand from backs & our wallets… here’s hoping!  

           Copyright @ Brian Matthews 2014

Collecting Third Reich Signalhorns…

I must admit that, many years before I penned my book The Military Music & Bandsmen of AH’s Third Reich 1933-45, I’d always had a bit of soft spot for the German signalhorn or bugle having, in my own time, been a bit of a whizz on my old Potters of Aldershot cadet bugle when I was a Petty Officer in the Royal Naval Section of the CCF back at my old Grammar school in Winchester. As such I could often be heard belting out a fair rendition of Reveille or The Last Post through my bedroom window, (embarrassingly much to my poor old neighbour’s on-going distress!)

But it was to be many moons while later, when I had graduated to the world of documentary  Film & TV and was running Tomahawk Films here in Twyford that the alluring aspect of historical German military music would fully emerge ’front & centre’ in my professional life and the engaging world of the bugle would happily re-appear on my radar in the shape of the German Infantry Signalhorn from the Third Reich and the earlier era of the Kaiser and the Great War of 1914-18.

So it was that over the last 20 years or so this lovely but often overlooked battlefield signalling instrument from the German military inventory became something of a passion for me and, as a result of acquiring all of the stunning Third Reich-era military musical instruments that can be seen in my book, many of the infantry signalhorns have since gone into my own personal collection, where today they take pride of place on display in Tomahawk Films’ production offices here on the UK’s beautiful South Coast…

Indeed the whole office used to be crammed full of Third Reich military-musical militaria as I sought out anything & everything in Germany to photograph and illustrate in the instrument chapter of my book, though many of those wonderful instruments now happily grace similar  enthusiastic Musiker collections here in the UK, over the Channel in France and with a number of great collecting mates ‘across the pond’ over in the US where they are similarly treasured as the terrific historical artefacts they undoubtedly are…

But the long search in various nooks, corners & crevices of Germany, (and their subsequent handling by myself and others), over many years has certainly added to my own personal compendium of knowledge of this, hitherto, unsung area of militaria collecting. For it is a matter of recorded fact the military band of the Third Reich was certainly well placed in terms of equipping itself, for not only was that nation renowned for its expertise in the manufacture of certain specific and highly technical items such as optical instruments and cameras, but Germany was also, historically, a major designer & producer of high quality musical instruments.

Indeed the modern brass instrumentation of today’s military bands the world over can be traced directly back to the Germany of the 16th & 17th century, and in particular to the ancient town of Nuremberg which boasted some twenty to thirty small companies who were actively involved in the manufacture of brass musical instruments and their accessories; whilst around Markneukirchen in southern Saxony, a whole host of musical instrument and associated parts makers also thrived. Other towns and cities operating similar thriving instrument ‘cottage industries’ included Augsburg, Vienna, Stuttgart, Frankfurt, Munich, Dresden, Breslau, Leipzig, Graslitz (now post-war Kraslice), Linz, and Adolf Hitler’s beloved Berchtesgaden.

The highly skilled manufacture of musical instruments in Germany was very much a family-run affair, often handing down skills and expertise over three and four generations of craftsmen, all working in small companies, many employing no more than eight or nine employees, each producing the various different parts and components, such as valves, bells & decorations required to produced the finished instruments, often put together elsewhere.

Not only was Germany credited with producing the first true brass musical instruments, but it was also the nation that, in the late 18th century, started their mass-production at about the same time that many German instrument-manufacturing families began to spread their wings and move across Europe and further afield to the United States. Kohler and Metzler were two such instrument families who chose to move and they set up businesses in England, where they continued the strong tradition of excellent instrument workmanship, before sadly finally going out of business altogther in the early 1900′s. 

Meanwhile, back in Germany, the instrument families and their cottage-industry continued to flourish, with Kruspe of Erfurt excelling in the manufacture of the ‘Rolls Royce’ of all trombones, cornets and trumpets, whilst Germany’s oldest brass instrument manufacturer, Gebrüder Alexander, established in Mainz in 1782 by Franz Ambrose Alexander, concentrated on producing superior examples of flugelhorn, French horn, tuba & euphonium, creating and introducing many of the skills and techniques that continue to be utilised in instrument manufacture today. Tragically some of these old companies, like signalhorn-maker Oskar Ullmann of Leipzig, were literally blasted out of existence by the Allied bombing campaigns of the RAF & USAAF in the years 1943 to 1944…

Historically, probably the most famous of all musical instrument producing dynasties was the Denner family of Nuremberg, though similar other large scale family firms followed hard on their heels including the Moritz family of Berlin, (manufacturers of desirable and very high quality signalhorn for the Imperial Army of Kaiser Wilhelm), the Heckel & Grenser families of Dresden and the Adler family of Markneukirchen and Leipzig.

Of the many innovations in musical instrument production credited to German craftsmen, perhaps the most revolutionary was the rotary-valve, which they employed with great enthusiasm on their all trumpets, trombones, cornets, French horns and Wagner tubas. So whilst the bands of other European military armies evolved with the piston-valve, German military bands stuck rigidly to their beloved and, some say, superior rotary-valve. This is a very good rule of thumb when trying to identify German military musical instruments from a photograph or at a some distance! 

In addition a great many German-made brass instruments, particularly my beloved Deutsche Signalhorn, were often distinguished by the manufacturer’s practice of embellishing their instruments with the addition of an inch wide nickel silver plated brass collar or band around the bell-end, known as a ‘Girlande’ or garland.

Traditionally a Bavarian and Austrian deluxe adornment, this metal reinforcement fulfilled two roles: that of strengthening the bell of the instrument in the days when metals and manufacturing techniques could not always guarantee a consistent thickness of the bell, so giving a more ‘rigid’ sound to the instrument as a result, and secondly, providing an area of the instrument, upon which engravings or personal and regimental details could be etched by the manufacturer or the musician himself.

So whilst many brass instruments encountered sporting a garland will be of German & Austrian origin, a number of nations took note and subsequently copied this design feature, including early French produced instruments. Indeed, in American musical circles, the addition of a garland on instruments produced between 1920 and 1940 was considered a rather swanky personal customisation, and was a sure sign of the owner’s affluence!

However, on close inspection of a garland, those emanating from German craftsmen will traditionally be seen to have the lower edge of the silver band actually wrapped around the rim of the instrument’s bell to become slightly tucked under. Non-Germanic garlands will generally be affixed in the opposite manner with the rim or lip of the bell rolling back over the garland and effectively holding it down. In addition, certain manufacturers could be identified by the specific ornamentation and engraving etched onto their garlands.

Another sign of Teutonic origin is that all German-produced silver used in the manufacture of garlands & instrument parts contained a much higher nickel content in their alloy mix; as a result Germans refer to nickel-silver simply as ‘German silver’ even today.

Apart from making the material much stronger, this had the beneficial effect of giving the silver finish a much brighter, polished feel, whilst other manufacturers around the world using a lower nickel content in the mixes had to make do with their silver-plated instruments having more of a greyish quality in their finishes. Thanks to their stronger nickel-silver mixes, German manufactured musical instrument parts, particularly nickel-silver tubing used for the sliding parts, were very much in demand the world over, especially from American manufacturers… and this is very much the case today.

The actual range of instruments in a Wehrmacht or Waffen-SS military band, (as opposed to just the bugles, fife & drums of the spielleute), depended primarily on the overall manpower of the band in question, and on whether it was employed on standard & ceremonial duties or required to perform in a concert situation. These further matters I detail in my Tomahawk Films’ published book: The Military Music & Bandsmen of Adolf Hitler’s Third Reich 1933-1945

Copyright @ Brian Matthews 2013

A Tiger Tank’s Movie Debut…

A very rare German tank that I first saw many years ago down in rural Dorset as little more than a rusty hull at the beginning of what was to be a long & painstaking restoration has recently emerged from the shadows of the dusty REME (Royal Mechanical and Electrical Engineers) workshops into the sunlight as it was transformed from an ugly duckling into the beautiful swan of folklore legend.

Thought to be the very last working example of its type anywhere in the world, Bovington Tank Museum’s very own Tiger Tank is not only up and running but is now being hired out to the producers of the new Brad Pitt film, ‘Fury’ currently being shot in and around the village of Shirburn  in the beautiful Oxfordshire countryside here in the United Kingdom.

Along with an American Sherman M4 also on hire from this ground-breaking Museum, this superb & almost breathtaking Tiger will add a sense of realism with its sheer power & stage presence on set.. indeed Bovington’s Director of Operations, Richard Smith, said the Tiger was’ “one of the most feared weapons unleashed by the Nazis and was possessed of a formidable reputation as it could destroy an enemy tank from over 2km away..!”

When I first set eyes on it in the workshop it was a somewhat sad shadow of its former glory, completely shorn of its fearsome & powerful turret and talking back then with Curator David Willy, my understanding was that the tank was originally captured in the Western Desert in 1942 after a particularly ferocious clash between General Montgomery’s 8th Army. (the famous’ Deserts Rats’ of legend) and Feldmarschall Erwin Rommel at the head of his equally famous Afrikakorps.

This huge prize (in all senses of the word) was eventually brought back to the UK to undergo evaluation at the hands of the British Army and the Ministry of War’s tank boffins to see exactly what made this mighty German tank, (apart from its obvious & highly feared 88mm cannon), such a deadly & frightening opponent, then once its dark secrets were revealed to the British Army, the hulk was destined to become a target for the development of armour piercing shells.

But miraculously and thankfully for all of us who now either make a professional living from military history or those of us who also appreciate (or more likely ‘revel in’), the sheer power of the armoured fighting vehicles that the industrial might of Hitler’s Third Reich could produce, it survived a potentially ‘sticky end’ to later become the restoration project of today, so bringing it back to life for modern generations to once again marvel at and stand in total awe of..!.

In fact I was lucky enough to see it in all is restored glory when I drove down to Bovington last year to meet up with long-time pal Karl Friedrich Koenig from Hamburg, who was a Wehrmacht Panzer crew-member also serving in the Western Desert during the Second World War. Known to his UK Veteran pals as ‘Charlie’, Karl also features in both word & photo in my book The Military Music and Bandsmen of Hitler’s Third Reich 1933-1945.

Karl and I have been communicating for some 15 years or so and at the time of penning my book he kindly sent me a photo of himself as that young tank crewman, (far left), along with some shots of him with some of his former foes in The Sherwood Forresters, with whom he used to meet up regularly when he came over to the UK each year to resume old friendships forged from the heat of war. (In fact it never ceases to amaze me by just how many firm friendships were made, post-war, between former soldiers of the Third Reich and their Allied adversaries. Enduring friendships created through total respect for each other as honourable enemies, but all with shared experiences as fellow infantrymen, tankers, artillery gunners, fighter pilots, sailors et al.)

During our meet up Karl & I had a chance to take in this most impressive looking tank and I think the next time I see it, it will be in full moving action in the Brad Pitt movie and as David Willy said: “The Tiger was restored so that the public could fully appreciate what a truly fearsome machine it would have been during battle and now for the first time countless numbers of people will have the opportunity to see a genuine Tiger in a contemporary war film.”

Also describing it as “a unique piece of military heritage”, for those worried at how it might be used and abused by the movie crew, he said he was happy to reassure us all that its time on the set would be carefully managed and overseen by a group of museum workshop staff..which is a great comfort, having seen at first-hand how easy it is to wreck things on a movie or television production..!

(I’m told that on the movie set of the 1990 Michael Caton-Jones re-make of William Wyler’s famous 1943 war-time original of Memphis Belle, what started out as a number of rare sets of very valuable Irvine flying jackets and fur-lined trousers… and their US equivalents… all ended up as balls of torn rags after the Extras decided they could still play football in them in between takes… makes you weep doesn’t it! )

But back to today and ‘Fury’ (due for release next October), starring Brad Pitt as a US army sergeant leading an Allied mission behind enemy lines, dropped something of a clanger in that its cameras continued to roll on Remembrance Sunday.. to an obvious outcry!!

Pre-dawn stunt explosions and the use of extras dressed in Wehrmacht & Waffen-SS uniforms on Britain’s national day of Remembrance when the rest of us were spending a few quiet moments remembering those lost in action from World War 1 to the modern day was not the best way the film company could ‘win friends and influence people’! Indeed one movie extra who was filming on that Sunday told a UK national newspaper: ‘this was grotesquely disrespectful… but this is what I do and I cannot just walk off set.”

This unfortunate issue forced movie-director David Ayer (who directed the motion-picture U-571 showing Americans as liberating the Nazi code-breaking Enigma machine which, despite the gratuitous re-writing of history, I rather enjoyed), later apologised and expressed his heartfelt apologies for any disrespect caused adding  ”I am a veteran myself!”

But that said, knowing the Film & TV business as I do I am sure it would not have been beyond the wit & wisdom for somebody at the movie company Sony to wonder out loud if having a team of actors & extras rushing around the Oxfordshire countryside in a full array of WW-II German military uniforms on this solemn of all military days here in Britain was not such a bright idea?

However, we all make mistakes and I am sure by the time ‘Fury’ comes out all this will be forgotten amidst seeing Bovington’s wonderfully restored Tiger Tank in all its awesome beauty… stand aside Brad, let’s see the real star of the show..! 

Copyright@Brian Matthews 2013

The Great Escape of 1944…

Over the weekend I sat down to watch a superb documentary produced by Windfall Films and aired on Channel 5, devoted to the recent uncovering of the actual tunnel dug and used in the fabled 1944 ‘Great Escape’ from the German  Prisoner of War camp Stalag Luft III located in what is now western Poland…

Untouched for almost 70 years, this underground passage, nicknamed ‘Harry’ by Allied prisoners, was sealed by the enraged and embarrassed German authorities immediately after the audacious break-out from the camp and despite on-going interest in this subject, (not least as a result of the 1963 John Sturges-directed Hollywood movie of the same name starring Steve McQueen, James Garner, Richard Attenborough, Charles Bronson, James Coburn, Donald Pleasence et al) it has  remained undisturbed down the years because of its location behind the later Iron Curtain and of it being of no interest to the Soviets!

Now, post-Fall of the Berlin Wall, a team of archaeologists, lead by Briton Peter Doyle (his father was a POW in Stalag VIIIb) & American Larry Babits, (whose late father was a US bomber pilot with a reputation for always getting his air-crew safely home), have located and excavated this important war-time legacy from its sandy tomb in what is now a rather beautiful Polish silver-birch forest.

Over a three week period in August they located the actual entrance to the ‘Harry’ and in the course of this dig the team also stumbled across another tunnel, called ‘George’, whose exact position had not been charted, though this one was never used as the 2,000 remaining prisoners were forced to march to other camps as the Red Army approached Stalag III in January of 1945.

But it was during this recent excavation of ‘Harry’ that Peter & Larry, watched on by veterans of the original war-time tunnel construction, discovered many remarkable secrets that still abide within this 111-yard long wood-lined passageway out from the camp and under the former perimeter fences and tantalisingly close to what was, back then the surrounding woods. (The camp having been designed with all its POW huts on legs and away from the perimeter fences and a large swathe of woodland outside of those same perimeter fences felled and cleared so the Luftwaffe guards could, supposedly, always see what their prisoners were always up to!)

As all of us avid Great Escape movie-watchers know full well, the first tragedy of this daring  ‘Boy’s Own’ escape (conducted under British military leadership along the lines of the rules of cricket), was that the eventual opening of the completed tunnel came up dangerously short of the wood and so the escapees would have to come up with the risk of being spotted by the Luftwaffe guard’s watch-towers. This is why, despite help from a well-timed Allied air-raid just as the escape was on and the fact that one of the first out of the tunnel remained just inside the wood and dropped a rope back into the tunnel, giving two tugs to those within to indicate when the Luftwaffe guard had reached the far end of his patrol and it was safe to emerge, only 76 of the planned 200 prisoners got out and into the welcoming protective cover of the forest.

Having first found the concealed tunnel entrance in the ruins of what was originally POW Hut 104, the modern archaeologists excitingly then uncovered the ‘fake’ concrete panel that had disguised the tunnel opening inside the hut, then one of the metal hooks fashioned by the POWS to help with its removal. After this the team then dug down some 30 feet  into the sandy forest loam to uncover the tunnel itself and found that many of the originally harvested hut bed-boards, which had been used in mining fashion all those years previously to shore up the tunnel to stop it collapsing were all, incredibly still in position and expertly doing their protective job even today!

The original ventilation shaft, ingeniously crafted from used powdered milk containers known as ‘Klim Tins’, (milk backwards) was still in working order and as they moved further down through the excavation site, the team also found many parts of old metal buckets, hammers & crowbars, all cleverly fashioned into tools of many & varied designs in 1944 by the POWS from scavenged bits of metal and then used to hollow out the escape shaft & tunnel.

In all a total of some 600 Allied prisoners-of-war worked on three tunnels nicknamed Tom, Dick & Harry at the same time, (with the hope that if the German guards discovered one of them…as actually happened… then they could continue working on the other two), and these tiny shafts were just 2 feet square for most of their full length… not a happy undertaking for those suffering claustrophobia..!

Originally lit by candles made from fat skimmed off the top of their meagre bowls of Ox soup, later scavenging harvested enough wire for the former electricians within the prisoner escape teams to be able to secretly plumb into the German supply and have electric light along the lengths of all 3 tunnels… and so it was that on the night of March 24 & 25 1944, 76 Allied airmen successfully escaped through Harry, complete with their fake identity papers, suitcases and expertly mocked-up German military uniforms & civilian garb.

Barely a third of the originally-planned 200 prisoners managed to get through the tunnel and into the woods before the Allied air-raid was over, and the camp floodlights came back on and the 77th escapee was spotted by an alert German guard. At this point ‘the balloon truly went up’ and all of the remaining escapees in the tunnel were discovered and, along with those waiting in the huts for their chance, were rounded up inside the camp… but not before a great deal of the precious fake German documents forged in the previous year were quickly put to the flame inside the huts..!

3 Allied airmen successfully made it back home to fight again but in the second tragedy of this whole episode, some 50 POWS were rounded up and handed over to the Gestapo and such was Hitler’s apoplexy at this enormous breach of security that orders were given for all 50 prisoners to be executed by firing squad! But something I had not known until watching this excellent documentary was that the Luftwaffe Camp Commandant was so horrified by this cold-blooded killing of so many of the rounded-up POWS that in an amazing act of contrition, he allowed surviving prisoners from Stalag Luft III to go outside of the camp to build a memorial to their murdered airmen Comrades. Still there today it is interesting to note that the memorial missed off the final numeral: it reading just 1939 to 194 because, of course, those surviving prisoners didn’t know when the war would end.

But back to the actual tunnel excavation itself and from the film we learned that in all some 90 boards from bunk-beds, 62 tables, 34 chairs and 76 benches, as well as thousands of items including knives, spoons, forks, towels & blankets were all squirreled away by the Allied prisoners to help aid their ultimate escape plan, which successfully took place right under the noses of their Luftwaffe captors despite the German attempts to ‘keep a lid on things’.

Although the Hollywood movie suggested otherwise (and the Steve McQueen motorcycle sequence is a true motion-picture classic moment), no Americans actually escaped through the tunnel as all of the USAAF airmen involved for many months in the preparation of the tunnels allied to all of the required forgery and costume creations for such an operation were transferred, at the last minute, to another camp that had been built to specifically imprison just downed American bomber-crew and fighter pilots.

However, as is often the case with Hollywood producers rewriting World War Two history as they are oft wont do: (i.e. anything to do with D-Day always seems to forget British & Canadian troops storming the nearby beaches of Gold, Juno & Sword, that the spectacular capture of a Top Secret Enigma machine from a German U-Boot was undertaken by Royal Naval personnel not, as in last night’s film U571, by US seamen or, indeed in that awful CGI-dominated film Pearl Harbor, where the impression was given that just one US airman flying with the RAF had been personally responsible for winning the Battle of Britain single- handedly ..thus stretching the meaning of ‘The Few’ to a quite extraordinary length!)

However whilst American air-crew personnel were very much involved in the vital planning stages of the Great Escape, on the day of the break-out the POW’s were presominantly British, Canadians, Poles, ANZACS & South Africans and this modern day dig, (brilliantly interspersed for TV with some superb actor-recreations, something readers of my Blogs-various know I don’t usually rate), really was a wonderfully engrossing and modern day telling of this amazing war-time story.

Now all these years on from 1944 along with the several American veterans watching the excavation with rapt interest was Gordie King, a former RAF radio operator who, luckily for him in the end, was 140th in line for ‘Harry’ and so didn’t get away. As a result he lived to tell his story and to see the tunnel briefly opened up to the world & recorded on film, before being filled back in and hidden away from the world’s gaze once more.: ‘This brings back such bitter-sweet memories,’ he said, wiping away a tear, ‘I’m amazed by what they’ve found..!’

Copyright @ Brian Matthews 2013