Berlin

girlie shows: Jelavich, Berlin Cabaret, 240.

"of the cinematic art": Quoted in Reuth, Goebbels, 195.

"as the primary school": Quoted in Taylor, Berlin’s Culture, 267.

47 percent of the directors: McGilligan, Fritz Lang, 175.

"without brain": Billy Wilder, Der Prinz von Wales geht auf Urlaub (Berlin, 1996), 23.

"crazy nightlife of the bars": Quoted in Kevin Lally, Wilder Times. The Life of Billy Wilder (New York, 1996), 19.

"even without Hitler": Quoted in ibid., 59.

"who understands us": Quoted in Reuth, Goebbels, 194.

doctor’s casting couch: Geza von Cziffra, Es war eine rauschende Ballnacht: Eine Sittengeschichte des deutschen Films (Frankfurt, 1987), 141–143. 665

pure entertainment pictures: Bärbel Dalichow and Axel Geiss, eds., Filmstadt Babelsberg (Berlin, 1994), 47.

"aspects of the German cinema"; "without falsifying them": Riefenstahl, Memoir, 137, 160.

"a healthy one": Quoted Taylor, Berlin and its Culture, 275.

Academy of Arts expulsions: Hildegard Brenner, Ende einer bürgerlichen Kunst-Institution. Die politische Formierung der Preussischen Adakemie der Künste ab 1933 (Stuttgart, 1972), 23–26.

"like Köllwitz paints her": Quoted in Catherine Krahmer, ed., Käthe Kollwitz (Reinbek bei Hamburg, 1981), 113.

in his private residence: Jonathan Petropoulos, Art as Politics in the Third Reich (Chapel Hill, 1996), 25.

"freedom of art": Quoted in ibid., 45.

Ausstellung entartete Kunst: See Stephanie Barron, ed., Degenerate Art: The Fate of the Avant-Garde in Nazi Germany (Los Angeles, 1984).

adopted hometown: Large, Ghosts, 232.

"denied traditional autonomy": Peter Raabe, Die Musik im Dritten Reich (Regensburg, 1936), 9.

"to each other": Quoted in Michael H. Kater, The Twisted Muse. Musicians and Their Music in the Third Reich (New York, 1997), 75–76.

"events in Germany": Quoted in ibid., 93.

"back in Berlin": Quoted in Heilbut, Exiled in Paradise, 150. On Weill in exile, see Ronald Sanders, The Days Grow Short. The Life and Music of Kurt Weill (Los Angeles, 1980), 196–395.

"giant mortuary": Quoted in Kater, Muse, 79.

"friend Stefan Zweig": Quoted in Josef Wulf, Musik im Dritten Reich (Frankfurt, 1983), 197–198.

"a matter of survival"; "justified": Vossische Zeitung, April 11, 1933.

"musicians of the present": Quoted in Shirakawa, Devil’s Music Master, 153.

"art institutes of the new Reich": Völkischer Beobachter, Dec. 7, 1934.

"appointed by him": Quoted in Wulf, Musik, 378.

Karajan: On Karajan’s meteoric career, see Berndt W. Wessling, Herbert von Karajan. Eine kritische Biographie (Munich, 1994).

"arrogant fop": Robert Kraft, "The Furtwängler Enigma," New York Review of Books, Oct. 7, 1993, 10.

NSRSO: See Kater, Muse, 33–34.

"in the jazz band"; "works of German composers": Quoted in Kater, Drummers, 29, 44.

"Golden Seven"; "prohibitions and decrees": Quoted in ibid., 52–56, 57.

"we were": Peter Gay, My German Question. Growing Up in Nazi Berlin (New Haven, 1998), 111.

"have any more Jews!": Fromm, Blood and Banquets, 103.

who was a Jew: On the anti-Semitic measures, see Engeli and Ribbe, "Berlin in der NS-Zeit," 952–960; Hans Gerd Sellenthin, Geschichte der Juden in Berlin und des Gebäudes Fasanenstrasse 79/80 (Berlin, 1959), 70–90; Helmut Genschel, Die Verdrängung der Juden aus der Wirtschaft im Dritten Reich (Göttingen, 1966).

"with great interest": Quoted in Arnd Krüger, Die Olympische Spiele 1936 und die Weltmeinung (Berlin, 1972), 53.

threatened boycott: Duff Hart-Davis, Hitler’s Games: The 1936 Olympics (New York, 1986), 10.

"athlete in history": Quoted in Richard D. Mandell, The Nazi Olympics (New York, 1971), 76.

permission from him: Hans-Georg Sttimke and Rudi Finkler, Rosa Winkel, rosa Listen (Reinbek bei Hamburg, 1981), 252.

"practical than New York": Mandell, Nazi Olympics, 140.

"Adolf Hitler!": Berlin Wirbt!, 18.

"White House"; "have added"; "government money": Dodd, Diary, 340–343.