R. E. Sackett, Antimodernism in the Popular Entertainment of Modern Munich: Attitude, Institution, Language, New German Critique, No.

57 (Autumn, 1992), <http://www.jstor.org/stable/488444>, [Accessed: 08/02/2012 13:41], pp. 123155. Foremost among the modem conditions affecting entertainment in Munich were industrialization and urbanization, particularly the latter: the Bavarian capital underwent rapid population growth without becoming a centre of large-scale factory production. Between 1890 and 1913 the city saw an increase in population from 350,000 to 638,000. Many of the newcomers came seeking work from towns and villages of the surrounding provinces. Page number: p.127 Relevant to section no. Munich, the growing city, represented modernity itself. Munich meant change, as it communicated to its people the awareness of an ever-transformed present, and turned thousands from the province into urbanites. Munich had electricity, streetcars, and motion pictures, but was also overcrowded, had poor sanitation, and crime: so the city was as well-suited to the antimodernist critique as any modem city.

Page number: p.128 Relevant to section no. Weiss Ferdl and the Dachauers championed Munich, theirs was a city with roots in the country, a city arising from, and in this way perpetuating, the earthiness, the social solidity, the changelessness of life in Bavaria's villages and small towns. In their routines they venerated and idealized the past as the vessel of these qualities. Much of their antimodernism consists of this nostalgia for "Old Bavaria." Between the turn of the century and the 1930s, Munich's urban growth was not a single phenomenon, but a welter of transformations succeeding, coexisting with, and even opposing each other. Weiss Ferdl's nostalgic routines did not change apace years went by, but he and the Dachauers expressed the same yearning for country air. These Munich entertainers assisted in the invention of a tradition of sentiment supported by many institutions, through which people in Bavaria's capital saw in the rural "Old Bavarian" heritage a source of their urban life. Page number: p.128-9 Relevant to section no. Platzl's antimodernism, it should be said, was spurious as well as inconsistent. To begin with, it misrepresented the province surrounding the city. Hardly the place of changelessness that Weiss Ferdl portrayed, provincial Bavaria had in no way been left untouched by modernity. Werner K. Blessing has shown that while Bavarian rural society op- posed the influence of modernization more firmly than the urban centres did, by 1900 it too was witnessing a "secularization" of

worldview, and Ian Farr has stressed the adaptability of Bavarian peasants to modern politics and market conditions in the 1890s. Page number: p.129 Relevant to section no. Page number: p.75 Relevant to section no. Karl Valentin type of folksong represents an urban identification with a rural past Reinhard Piper (1879-1953), the publisher, is the other contributor to consider Munich's Old Bavarian tradition. Unlike Valentin, he saw it flourishing - this was precisely what occasioned his complaint. Munich, in his opinion, did not have the public for "novel intellectual and artistic creations," and one reason was the habit of "maintaining the 'Bavarian interests."''" These two men, both central to Munich's cultural world if in different ways, bear witness to the city's ongoing cultural involvement with the country. Page number: p.132 Relevant to section no. Following the turn of the century the Dachauers emerged as exponents of Old Bavaria Page number: p.133 urban nostalgia for rural life Page number: p.135 Relevant to section no. Relevant to section no.

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