He cooperated with HUAC so that they would let him go home to Germany. East Germany, it turns out.
I still quote lines from "To Posterity" now and then, particularly the first verse as translated by R.H. Hays. (After listening to Brecht testify, I'm almost afraid to put an English translation of one of his poems up, but what the hell. Here it is.)
Indeed I live in the dark ages!
A guileless word is an absurdity.
A smooth forehead betokens
A hard heart. He who laughs
Has not yet heard
The terrible tidings.
Reading Brecht's complete testimony, I was struck by an exchange between Brecht and HUAC's chief investigator, Robert E. Stripling, about a song Brecht wrote with Hanns Eisler.
Stripling - Did you collaborate with Hanns Eisler in song uh In Praise of Learning?
Brecht - Yeah, uh collaborate, I wrote that song, he only wrote the music.
Ouch. I wonder what Kurt Weill thought of that testimony.
Billy Glad - Did you collaborate with Kurt Weill on The Threepenny Opera?
Brecht - Yeah, uh collaborate, I wrote that opera, he only wrote the music.
Siri Vik, Die Ballade von Mackie Messer (Mack the Knife)
I went to a hole-in-the-wall cabaret in Berlin a few years ago. The trans singers were impressed to learn I'd met Elvis.
A hard heart. He who laughs
Has not yet heard
The terrible tidings.
Reading Brecht's complete testimony, I was struck by an exchange between Brecht and HUAC's chief investigator, Robert E. Stripling, about a song Brecht wrote with Hanns Eisler.
Stripling - Did you collaborate with Hanns Eisler in song uh In Praise of Learning?
Brecht - Yeah, uh collaborate, I wrote that song, he only wrote the music.
Ouch. I wonder what Kurt Weill thought of that testimony.
Billy Glad - Did you collaborate with Kurt Weill on The Threepenny Opera?
Brecht - Yeah, uh collaborate, I wrote that opera, he only wrote the music.
Siri Vik, Die Ballade von Mackie Messer (Mack the Knife)
I went to a hole-in-the-wall cabaret in Berlin a few years ago. The trans singers were impressed to learn I'd met Elvis.