Seite - 38 - in Entangled Entertainers - Jews and Popular Culture in Fin-de-Siècle Vienna

38 | Entangled Entertainers 12. Josef Koller, Das Wiener Volkssängertum in alter und neuer Zeit. Nacherzähltes und Selb- sterlebtes (Vienna: Gerlach and Wiedling, 1931), 8. 13. For more on “Judenlisi,” see IWE 77 (19 March 1903): 12. 14. Gertraud Pressler, “Jüdisches und Antisemitisches in der Wiener Volksunterhaltung,” Musicologica Austriaca 17 (1998): 78. 15. If this is true, historians who do not adhere to an essentialist interpretation of Jewishness must ask whether they can reference the artists listed in this register within the frame- work of a study of Jews in popular culture. How did their Jewishness manifest itself to legitimize such an approach? Did they identify with Jewish culture or religion, or did they show special solidarity with the Jewish community? Perhaps they were indiff erent or even hostile to Judaism? Did they perceive themselves as Jewish artists? For more on this controversial point, see Ernst H. Gombrich, Jüdische Identität und jüdisches Schicksal: Eine Diskussionsbemerkung (Vienna: Passagen, 1997). 16. Th eophil Stengel and Herbert Gerigk’s Lexikon der Juden in der Musik: mit einem Titel- verzeichnis jüdischer Werke (Berlin: B. Hahnefeld, 1940) serves as an important reference source. 17. For more on Emanuel Müller’s activities as the artistic director of the Halls of Nestroy (Nestroy-Säle), see chapter 2. 18. “Ein totgesagter und ein wirklich gestorbener Volkssänger,” Die Bühne 2, no. 13 (5 Feb- ruary 1925): 35. 19. Koller, Volkssängertum, 96. 20. Ernst Weber, “Die Wienermusik der Jahrhundertwende bis 1914,” in Wien: Musikge- schichte I (Volksmusik und Wienerlied), ed. Elisabeth Th . Fritz and Helmut Kretschmer (Vienna: LIT, 2006), 260. 21. Pressler, “Jüdisches,” 63–82. Th e author provided personal confi rmation that she works from the assumption that Kriebaum was Jewish. 22. See Felix Czeike, Historisches Lexikon Wien, vol. 3 (Vienna: Kremayr & Scheriau, 1994), 614. 23. Hans Pemmer, “Volkssänger F. Kriebaum 50 Jahre tot,” Wiener Zeitung 166 (20 July 1950): 5. My own inquiries at the Vienna Israelite (Jewish) Community as well as an in- dependent search of records of past conversions have not produced any contrary results. 24. On this, see Eddy Portnoy, “Superman Is a Glatt Goy,” Marginalia Review of Books, https://marginalia.lareviewofbooks.org/superman-is-a-glatt-goy/ (accessed 12 January 2019). A particularly illustrative example of this phenomenon appeared on 3 November 2016 in Forward magazine. In it, the author of the article attempts to demonstrate that the Swedish pop group ABBA has a special closeness to Judaism, expressed, among other things, in the group’s name (Hebrew for “father”). See Seth Rogovoy, “Th e Secret Jewish History of Abba,” Forward, 3 November 2016, http://forward.com/culture/353049/ the-secret-jewish-history-of-abba/?utm_content=culture_Newsletter_MainList_Title_P osition-1&utm_source=Sailthru&utm_medium=email&utm_campaign=Automated% 20Culture%202016-11-05&utm_term=Arts (accessed 12 January 2019). 25. Andrew Ross, No Respect: Intellectuals and Popular Culture (New York: Routledge, 1989), 231. 26. See Amalie Kraftner, “Von der Budapester Orpheum-Gesellschaft,” Oesterreichische Wo- chenschrift [OW in subsequent citations] 1 (6 January 1899): 9. 27. IWE 42 (12 February 1907): 6. This open access edition has been made available under a CC BY 4.0 license thanks to the support of Knowledge Unlatched.