By Volker Ullrich
Wer conflict Hitler wirklich? Dem Zeithistoriker und Publizisten Volker Ullrich gelingt es eindrucksvoll, hinter der öffentlichen Figur des »Führers« den Menschen sichtbar zu machen: mit seinen gewinnenden und abstoßenden Zügen, seinen Begabungen und Talenten, seinen Komplexen und mörderischen Antriebskräften. Neben der neuesten Literatur hat der Autor auch bislang unbekanntes Archivmaterial ausgewertet. So kann er dem bisherigen Hitler-Bild wichtige Facetten hinzufügen, etwa was once Hitlers Privatleben, seine Beziehung zu Frauen und die Berghof-Gesellschaft betrifft. Von den Anfängen bis zum Höhepunkt seiner Macht 1939 vollzieht der erste Band den durchaus aufhaltsamen Aufstieg des Diktators nach. Eine glänzend erzählte Biographie, die Hitler nicht als Psychopathen zeigt, sondern als Meister der Verführung und Verstellung – und gerade dadurch die Abgründe seiner Persönlichkeit greifbar macht.
»Seine Beiträge zur deutschen Geschichte vor allem des 19. und 20. Jahrhunderts verbinden eigene Forschung und kraftvolle Synthese auf glänzende Weise und erreichen dadurch ein großes Publikum.« Zur Verleihung der Ehrendoktorwürde der Universität Jena 2008 an Volker Ullrich
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Additional resources for Adolf Hitler: Die Jahre des Aufstiegs 1889 - 1939. Biographie
Hill's business acumen and his management skills were to have an important role in Dizzy's later career and the development of bebop, but in May 1937, Hill came up with what Dizzy most needed at the time—the firm offer of a job. The band was to sail for Paris at the end of May—a story about them that appeared in the Pittsburgh Courier on June 5 is datelined "MidAtlantic 2 June"—and they did not arrive back in New York until late September. The French backers of the tour timed it to coincide with the Exposition Universelle of 1937, hoping that there would be a large potential audience visiting Paris for the exhibition.
There were few other founding members of this new band who achieved anything other than local fame, save for Dizzy's fellow trumpeter Jimmy Hamilton, who had worked with Fairfax on and off The Frankie Fairfax Orchestra, Philadelphia, 1935. Fairfax (center) with music; Dizzy Gillespie kneeling on the right. (Frank Driggs collection) 26 II Groovin'High from 1934 on trumpet, but who made the transition to clarinetist during Dizzy's time in the orchestra. Hamilton's career is a remarkable parallel of Dizzy's.
Its object, besides recording the Hot Club's "house band" (the string quintet with Stephane Grappelli and Django Reinhardt), was to record U. S. visitors to Paris, and Panassie no doubt enlisted the advice of Bill Coleman in deciding which of Coleman's former colleagues in the orchestra to record. Coleman did not already know the playing of the young Gillespie, who had arrived in New York after Coleman left for Europe, and had little opportunity to hear Dizzy with the show since "there were not many solos.