Podcast appearances and mentions of kay schiller

German sport history in this week's podcast brought to you by the British Society of Sport History in association with the Institute of Historical Research with Professor Kay Schiller of the University of Durham. It was a wide-ranging discussion in the rather noisy lobby of the British Library that acts as a preview to Kay's rescheduled paper to be given at the IHR some time in 2020. Kay is one of the leading researchers on the history of sport in Germany in the twentieth century and we talk about his new research project into the remarkable life of Alex Natan, the ‘fastest Jew in Germany'. Natan was an élite runner whose ethnicity led him to seek refuge in Britain in the 1930s before being interned in Canada as an enemy alien on the outbreak of war. We also talk about Kay's award-winning book, The 1972 Munich Olympics and the Making of Modern Germany, co-authored with Christopher Young, which won both the North American Society for Sport History Book Award and the Aberdare Prize from the British Society of Sports History for best sports history book published in 2010. He is also Editor-in-Chief of Sport in History, the BSSH's journal and we talk about the recent special issues of Sport in History edited by Jean Williams on women's football to the accompaniment of the BL's in-house John Coltrane. There was also time to mention Jon Hughes's excellent paper on the German boxer Walter Neusel, and also to hear about Kay's experience of attending the 1972 Games as a child.

German sport history in this week's podcast brought to you by the British Society of Sport History in association with the Institute of Historical Research with Professor Kay Schiller of the University of Durham talking about Alex Natan, the fastest Jew in Germany, and the 1972 Munich Olympics.

When ESPN anchor Stuart Scott passed away from cancer this past January, he was widely hailed for his innovative style, which mixed heavy does of African American slang and pop culture references. His signature phrases are now commonly used terms in the American lexicon: “As cool as the other side of the pillow” and, of course, “Boo-Yah!” After the announcer’s death, Barack Obama remarked that Scott “helped usher in a new way to talk about our favorite teams and the day’s best plays.” No disrespect to America’s Sports Fan-in-Chief, but already a century before Stuart Scott was dropping quotes from Shakespeare and Tupac Shakur in his game summaries, Pierce Egan was mixing the Bard and street slang into his sports writing. An Irish-born printshop worker, Egan moved from manning the presses to take up the pen, writing sketches about life in early-nineteenth-century London. In particular, Egan wrote about the world of boxing, an illegal activity that brought together upper- and lower-class enthusiasts. Egan wrote prolifically about the matches (surreptitiously staged at out-of-the-way rural spots), the fighters, the patrons and fans. As David Snowdon shows in his book Writing the Prizefight: Pierce Egan’s Boxiana World (Peter Lang, 2013), Egan’s accounts – published in multiple volumes titled Boxiana –painted a vivid picture of the early boxing community, known as “the Fancy.” Egan also established a distinctive style for writing about sport, one that mixed classical analogies, high literary references, and the vernacular of London’s lower classes. The blend inspired later English writers of the 19th century, and its echoes are still heard in the rapid-fire, pop culture-saturated style of today’s ESPN announcers. David’s book was awarded the 2014 Lord Aberdare Literary Prize by the British Society of Sports History. You can hear New Books in Sports interviews with previous Lord Aberdare Prize winners Tony Collins, Simon Martin, and Christopher Young and Kay Schiller. Learn more about your ad choices. Visit megaphone.fm/adchoices

When ESPN anchor Stuart Scott passed away from cancer this past January, he was widely hailed for his innovative style, which mixed heavy does of African American slang and pop culture references. His signature phrases are now commonly used terms in the American lexicon: “As cool as the other side of the pillow” and, of course, “Boo-Yah!” After the announcer’s death, Barack Obama remarked that Scott “helped usher in a new way to talk about our favorite teams and the day’s best plays.” No disrespect to America’s Sports Fan-in-Chief, but already a century before Stuart Scott was dropping quotes from Shakespeare and Tupac Shakur in his game summaries, Pierce Egan was mixing the Bard and street slang into his sports writing. An Irish-born printshop worker, Egan moved from manning the presses to take up the pen, writing sketches about life in early-nineteenth-century London. In particular, Egan wrote about the world of boxing, an illegal activity that brought together upper- and lower-class enthusiasts. Egan wrote prolifically about the matches (surreptitiously staged at out-of-the-way rural spots), the fighters, the patrons and fans. As David Snowdon shows in his book Writing the Prizefight: Pierce Egan’s Boxiana World (Peter Lang, 2013), Egan’s accounts – published in multiple volumes titled Boxiana –painted a vivid picture of the early boxing community, known as “the Fancy.” Egan also established a distinctive style for writing about sport, one that mixed classical analogies, high literary references, and the vernacular of London’s lower classes. The blend inspired later English writers of the 19th century, and its echoes are still heard in the rapid-fire, pop culture-saturated style of today’s ESPN announcers. David’s book was awarded the 2014 Lord Aberdare Literary Prize by the British Society of Sports History. You can hear New Books in Sports interviews with previous Lord Aberdare Prize winners Tony Collins, Simon Martin, and Christopher Young and Kay Schiller. Learn more about your ad choices. Visit megaphone.fm/adchoices

When ESPN anchor Stuart Scott passed away from cancer this past January, he was widely hailed for his innovative style, which mixed heavy does of African American slang and pop culture references. His signature phrases are now commonly used terms in the American lexicon: “As cool as the other side of the pillow” and, of course, “Boo-Yah!” After the announcer’s death, Barack Obama remarked that Scott “helped usher in a new way to talk about our favorite teams and the day’s best plays.” No disrespect to America’s Sports Fan-in-Chief, but already a century before Stuart Scott was dropping quotes from Shakespeare and Tupac Shakur in his game summaries, Pierce Egan was mixing the Bard and street slang into his sports writing. An Irish-born printshop worker, Egan moved from manning the presses to take up the pen, writing sketches about life in early-nineteenth-century London. In particular, Egan wrote about the world of boxing, an illegal activity that brought together upper- and lower-class enthusiasts. Egan wrote prolifically about the matches (surreptitiously staged at out-of-the-way rural spots), the fighters, the patrons and fans. As David Snowdon shows in his book Writing the Prizefight: Pierce Egan’s Boxiana World (Peter Lang, 2013), Egan’s accounts – published in multiple volumes titled Boxiana –painted a vivid picture of the early boxing community, known as “the Fancy.” Egan also established a distinctive style for writing about sport, one that mixed classical analogies, high literary references, and the vernacular of London’s lower classes. The blend inspired later English writers of the 19th century, and its echoes are still heard in the rapid-fire, pop culture-saturated style of today’s ESPN announcers. David’s book was awarded the 2014 Lord Aberdare Literary Prize by the British Society of Sports History. You can hear New Books in Sports interviews with previous Lord Aberdare Prize winners Tony Collins, Simon Martin, and Christopher Young and Kay Schiller. Learn more about your ad choices. Visit megaphone.fm/adchoices

When ESPN anchor Stuart Scott passed away from cancer this past January, he was widely hailed for his innovative style, which mixed heavy does of African American slang and pop culture references. His signature phrases are now commonly used terms in the American lexicon: “As cool as the other side of the pillow” and, of course, “Boo-Yah!” After the announcer’s death, Barack Obama remarked that Scott “helped usher in a new way to talk about our favorite teams and the day’s best plays.” No disrespect to America’s Sports Fan-in-Chief, but already a century before Stuart Scott was dropping quotes from Shakespeare and Tupac Shakur in his game summaries, Pierce Egan was mixing the Bard and street slang into his sports writing. An Irish-born printshop worker, Egan moved from manning the presses to take up the pen, writing sketches about life in early-nineteenth-century London. In particular, Egan wrote about the world of boxing, an illegal activity that brought together upper- and lower-class enthusiasts. Egan wrote prolifically about the matches (surreptitiously staged at out-of-the-way rural spots), the fighters, the patrons and fans. As David Snowdon shows in his book Writing the Prizefight: Pierce Egan’s Boxiana World (Peter Lang, 2013), Egan’s accounts – published in multiple volumes titled Boxiana –painted a vivid picture of the early boxing community, known as “the Fancy.” Egan also established a distinctive style for writing about sport, one that mixed classical analogies, high literary references, and the vernacular of London’s lower classes. The blend inspired later English writers of the 19th century, and its echoes are still heard in the rapid-fire, pop culture-saturated style of today’s ESPN announcers. David’s book was awarded the 2014 Lord Aberdare Literary Prize by the British Society of Sports History. You can hear New Books in Sports interviews with previous Lord Aberdare Prize winners Tony Collins, Simon Martin, and Christopher Young and Kay Schiller. Learn more about your ad choices. Visit megaphone.fm/adchoices

The history of globalization is found in more than international political organizations and multinational corporations, free-trade agreements and foreign direct investments, satellite communications and special export zones. When looking at the forces that have driven globalization over the last decades, we must also look to football and especially the World... Learn more about your ad choices. Visit megaphone.fm/adchoices

The history of globalization is found in more than international political organizations and multinational corporations, free-trade agreements and foreign direct investments, satellite communications and special export zones. When looking at the forces that have driven globalization over the last decades, we must also look to football and especially the World Cup. Indeed, there is no greater proof of globalization than the fact that a large part of the world’s population cheered or groaned at exactly the same moment, as Mario Gotze scored to put Germany ahead of Argentina in this year’s final. Globalization is an important theme in the volume of essays on the history of football’s premiere tournament, The FIFA World Cup 1930-2010: Politics, Commerce, Spectacle and Identities (Wallstein, 2014). Coming out of a 2013 conference held at FIFA headquarters in Zurich, the volume boasts an impressive squad of football scholars, coming from universities and research institutes in nine different countries. After opening essays from David Goldblatt and Alan Tomlinson, the contributors give an in-depth look at each of the World Cup tournaments, from 1930 in Uruguay to 2010 in South Africa. Credit goes to the volume’s editors, Kay Schiller and Stefan Rinke, for putting together a cohesive, comprehensive, and readable collection of essays, one that can be recommended for students of sports history and curious fans of global football. In the podcast, we hear from both Kay and Stefan about their colleagues’ findings, the persistent themes in World Cup history, and their expectations for World Cups of the future. Learn more about your ad choices. Visit megaphone.fm/adchoices

The history of globalization is found in more than international political organizations and multinational corporations, free-trade agreements and foreign direct investments, satellite communications and special export zones. When looking at the forces that have driven globalization over the last decades, we must also look to football and especially the World Cup. Indeed, there is no greater proof of globalization than the fact that a large part of the world’s population cheered or groaned at exactly the same moment, as Mario Gotze scored to put Germany ahead of Argentina in this year’s final. Globalization is an important theme in the volume of essays on the history of football’s premiere tournament, The FIFA World Cup 1930-2010: Politics, Commerce, Spectacle and Identities (Wallstein, 2014). Coming out of a 2013 conference held at FIFA headquarters in Zurich, the volume boasts an impressive squad of football scholars, coming from universities and research institutes in nine different countries. After opening essays from David Goldblatt and Alan Tomlinson, the contributors give an in-depth look at each of the World Cup tournaments, from 1930 in Uruguay to 2010 in South Africa. Credit goes to the volume’s editors, Kay Schiller and Stefan Rinke, for putting together a cohesive, comprehensive, and readable collection of essays, one that can be recommended for students of sports history and curious fans of global football. In the podcast, we hear from both Kay and Stefan about their colleagues’ findings, the persistent themes in World Cup history, and their expectations for World Cups of the future. Learn more about your ad choices. Visit megaphone.fm/adchoices

This past summer Germany hosted the 2011 FIFA Women’s World Cup. The 32 matches drew more than 800,000 fans, while the total number of foreign tourists visiting Germany increased by nine per cent over the previous summer. The German government’s commissioner for tourism proudly declared that the success of the... Learn more about your ad choices. Visit megaphone.fm/adchoices

This past summer Germany hosted the 2011 FIFA Women’s World Cup. The 32 matches drew more than 800,000 fans, while the total number of foreign tourists visiting Germany increased by nine per cent over the previous summer. The German government’s commissioner for tourism proudly declared that the success of the Women’s World Cup “strengthened the global image of Germany as a cosmopolitan and family-friendly travel destination with excellent infrastructure,” making the country the “world champion of hospitality.” As the statement shows, German officials are highly conscious of their nation’s “brand,” and the effectiveness of that brand in drawing tourists. The same can be said of other nations that host major international sporting events. Think of the attention to the “new South Africa” in 2010 or the “new China” in 2008. Organizers of these events do not simply plan a schedule of competitions; they seek to present an attractive image of their country to visitors at the stadiums and viewers watching on television. This concern with national image was at the center of planning for the 1972 Summer Olympics in Munich. When the organizers made their bid to host the games, only two decades had passed since the end of the Nazi state. Germany still had a big image problem, something that the planners hoped to remedy with the Munich games. Kay Schiller and Christopher Young examine this effort to re-craft the German brand in The 1972 Munich Olympics and the Making of Modern Germany (University of California Press, 2010), named the best book for 2011 by both the British and North American societies for sports history. As Kay and Chris discuss, the West German planners were alert to everything from the graphic design of the venue posters to the legacies of the 1936 Berlin Olympics. The aim was to create a Gesamtkunstwerk–a complete work of art–that would depict their country as modern, welcoming, and non-ideological. And in Kay and Chris’ judgment, they were largely successful: the Munich games were a model of planning and executing a major international event. But then came the fifth of September. Learn more about your ad choices. Visit megaphone.fm/adchoices

This past summer Germany hosted the 2011 FIFA Women’s World Cup. The 32 matches drew more than 800,000 fans, while the total number of foreign tourists visiting Germany increased by nine per cent over the previous summer. The German government’s commissioner for tourism proudly declared that the success of the Women’s World Cup “strengthened the global image of Germany as a cosmopolitan and family-friendly travel destination with excellent infrastructure,” making the country the “world champion of hospitality.” As the statement shows, German officials are highly conscious of their nation’s “brand,” and the effectiveness of that brand in drawing tourists. The same can be said of other nations that host major international sporting events. Think of the attention to the “new South Africa” in 2010 or the “new China” in 2008. Organizers of these events do not simply plan a schedule of competitions; they seek to present an attractive image of their country to visitors at the stadiums and viewers watching on television. This concern with national image was at the center of planning for the 1972 Summer Olympics in Munich. When the organizers made their bid to host the games, only two decades had passed since the end of the Nazi state. Germany still had a big image problem, something that the planners hoped to remedy with the Munich games. Kay Schiller and Christopher Young examine this effort to re-craft the German brand in The 1972 Munich Olympics and the Making of Modern Germany (University of California Press, 2010), named the best book for 2011 by both the British and North American societies for sports history. As Kay and Chris discuss, the West German planners were alert to everything from the graphic design of the venue posters to the legacies of the 1936 Berlin Olympics. The aim was to create a Gesamtkunstwerk–a complete work of art–that would depict their country as modern, welcoming, and non-ideological. And in Kay and Chris’ judgment, they were largely successful: the Munich games were a model of planning and executing a major international event. But then came the fifth of September. Learn more about your ad choices. Visit megaphone.fm/adchoices

This past summer Germany hosted the 2011 FIFA Women’s World Cup. The 32 matches drew more than 800,000 fans, while the total number of foreign tourists visiting Germany increased by nine per cent over the previous summer. The German government’s commissioner for tourism proudly declared that the success of the Women’s World Cup “strengthened the global image of Germany as a cosmopolitan and family-friendly travel destination with excellent infrastructure,” making the country the “world champion of hospitality.” As the statement shows, German officials are highly conscious of their nation’s “brand,” and the effectiveness of that brand in drawing tourists. The same can be said of other nations that host major international sporting events. Think of the attention to the “new South Africa” in 2010 or the “new China” in 2008. Organizers of these events do not simply plan a schedule of competitions; they seek to present an attractive image of their country to visitors at the stadiums and viewers watching on television. This concern with national image was at the center of planning for the 1972 Summer Olympics in Munich. When the organizers made their bid to host the games, only two decades had passed since the end of the Nazi state. Germany still had a big image problem, something that the planners hoped to remedy with the Munich games. Kay Schiller and Christopher Young examine this effort to re-craft the German brand in The 1972 Munich Olympics and the Making of Modern Germany (University of California Press, 2010), named the best book for 2011 by both the British and North American societies for sports history. As Kay and Chris discuss, the West German planners were alert to everything from the graphic design of the venue posters to the legacies of the 1936 Berlin Olympics. The aim was to create a Gesamtkunstwerk–a complete work of art–that would depict their country as modern, welcoming, and non-ideological. And in Kay and Chris’ judgment, they were largely successful: the Munich games were a model of planning and executing a major international event. But then came the fifth of September. Learn more about your ad choices. Visit megaphone.fm/adchoices

This past summer Germany hosted the 2011 FIFA Women’s World Cup. The 32 matches drew more than 800,000 fans, while the total number of foreign tourists visiting Germany increased by nine per cent over the previous summer. The German government’s commissioner for tourism proudly declared that the success of the Women’s World Cup “strengthened the global image of Germany as a cosmopolitan and family-friendly travel destination with excellent infrastructure,” making the country the “world champion of hospitality.” As the statement shows, German officials are highly conscious of their nation’s “brand,” and the effectiveness of that brand in drawing tourists. The same can be said of other nations that host major international sporting events. Think of the attention to the “new South Africa” in 2010 or the “new China” in 2008. Organizers of these events do not simply plan a schedule of competitions; they seek to present an attractive image of their country to visitors at the stadiums and viewers watching on television. This concern with national image was at the center of planning for the 1972 Summer Olympics in Munich. When the organizers made their bid to host the games, only two decades had passed since the end of the Nazi state. Germany still had a big image problem, something that the planners hoped to remedy with the Munich games. Kay Schiller and Christopher Young examine this effort to re-craft the German brand in The 1972 Munich Olympics and the Making of Modern Germany (University of California Press, 2010), named the best book for 2011 by both the British and North American societies for sports history. As Kay and Chris discuss, the West German planners were alert to everything from the graphic design of the venue posters to the legacies of the 1936 Berlin Olympics. The aim was to create a Gesamtkunstwerk–a complete work of art–that would depict their country as modern, welcoming, and non-ideological. And in Kay and Chris’ judgment, they were largely successful: the Munich games were a model of planning and executing a major international event. But then came the fifth of September. Learn more about your ad choices. Visit megaphone.fm/adchoices