Negermusik

[retrieved from Wikipedia on August 3rd, 2016]

Negermusik (“Negro Music”) was a pejorative term used by the Nazis during the Third Reich to signify musical styles and performances by African-Americans that were of the Jazz and Swing music genres. They viewed these musical styles in a racist fashion as inferior works belonging to an “inferior race” and therefore prohibited.

At the time of the Weimar Republic during 1927, Ernst Krenek’s opera of Jonny spielt auf (Jonny Plays) contained jazz musical performances that caused protests among some right-wing ethnic-nationalist groups in Germany at the time. In 1930, the American musician Henry Cowell wrote in the Melos journal that jazz interpreted a mixture of African-American and Jewish elements, stating that:

“The fundamentals of jazz are the syncopation and rhythmic accents of the Negro. Their modernization is the work of New York Jews […] So Jazz is Negro music seen through the eyes of the Jews.”

Such views were readily picked up by the Nazis. Their criticisms have included “gratuitous use of syncopation” and “orgies of drums”. More statements from the Nazis included such things as “artistic licentiousness” and “corruption seed in the musical expression” with “indecent dance forms”. On 4 May 1930, Wilhelm Frick, the Reich’s newly appointed Minister of the Interior and Education for Thuringia made a decree called “Against the Negro Culture — For Our German Heritage”.

In 1932 the national government under Franz von Papen pandered to the Nazis by banning all public performances by black musicians. After Adolf Hitler gained “seizure of power” in 1933, the Reich’s Music Chamber was also created in that same year. This was then followed by a full legal ban on this music on October 12, 1935 across all German national radio. This ban was spearheaded by the German Reich’s radio conductor, Eugen Hadamovsky, who purportedly stated:

“Mit dem heutigen Tag spreche ich ein endgültiges Verbot des Negerjazz für den gesamten Deutschen Rundfunk aus.” (in English- “As of today, I am speaking on a definitive ban on the negro jazz for the entire German Radio.”).

In 1938, the Nazis organized the ‘Entartete Musik’ public exhibition in Germany, mainly held in Düsseldorf. This exhibition included a poster displaying a cartoon caricature of an African-American male playing on a saxophone with the Star of David on his tuxedo lapel. The overall theme of the exhibition was defamation of contemporary American music as “Negro music” and as another Jewish ‘plot’ upon German culture.

Swing kids

The “Swing Kids” (German: Swingjugend) were a group of jazz and swing lovers in Germany in the 1930s, mainly in Hamburg (St. Pauli) and Berlin. They were mainly composed of 14- to 18-year-old boys and girls. They defied National Socialism (Nazism) by listening and dancing to this same banned music in private quarters, clubs, rented halls and vacant cafés. Jazz music was offensive to Nazi ideology, because it was often performed by blacks and a number of Jewish musicians.

On 18 August 1941, in a brutal police operation, over 300 Swing kids were arrested. The measures against them ranged from cutting their hair and sending them back to school under close monitoring, to the deportation of their leaders to Nazi concentration camps.

The 1993 movie, Swing Kids, gives a fictional portrayal of these same youths in that period in Germany.

World War II

Prior to the D-Day landings, during the German occupation of the Netherlands, Joseph Goebbels’s propaganda ministry published pamphlets written in Dutch named “Greetings from England – The Coming Invasion”. These pamphlets contained in-between statements, such as “old jazz-records” and a further full statement declaring “at the celebration of liberation your daughters and wives will be dancing in the arms of real Negroes”. This further equated Jazz music with ‘blackness’ during this time to stir up racism and anti-Allied propaganda within occupied Europe.

Additionally counter-propaganda was used by Allied forces which played upon the fears of the Nazi’s banned music. One such example is Glenn Miller, who was a White American Jazz musician, that initially provided Jazz music, through radio, to Allied combat soldiers for the purposes of entertainment and morale. His same music was used as counter-propaganda by AFN radio broadcasting to denounce fascist oppression in Europe with even Miller once stating himself:

“America means freedom, and there’s no expression of freedom quite so sincere as music.”-Glenn Miller

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Author: National-Satanist

Just another blue-eyed devil...

1 thought on “Negermusik”

  1. Many people have wondered whence come the waves upon waves of musical slush that invade decent homes and set the young people of this generation imitating the drivel of morons. Popular music is a Jewish monopoly. Jazz is a Jewish creation. The mush, slush, the sly suggestion, the abandoned sensuousness of sliding notes, are of Jewish origin.

    Monkey talk, jungle squeals, grunts and squeaks and gasps suggestive of calf love are camouflaged by a few feverish notes and admitted in homes where the thing itself, unaided by scanned music,” would be stamped out in horror. The fluttering music sheets disclose expressions taken directly from the cesspools of modern capitals, to be made the daily slang, the thoughtlessly hummed remarks of school boys and girls.

    The Jewish influence on American music is without doubt regarded as serious by those who know anything about it. Not only is there a growing protest against the Judaization of our few great orchestras, but there is a strong reaction from the racial collusion which fills the concert stage and popular platform with Jewish artists to the exclusion of all others. If they were superior artists, nothing against it could be said; they are only better known and racially favored in Jewish musical circles.

    “Let me make a nation’s songs and I care not who makes the laws,” said one; in this country the Jews have had a very large hand in making both. It is the purpose of this article to put people in possession of the truth concerning the moron music which they habitually hum and sing and shout day and night, and if possible to help them to see the invisible Jewish baton which is waved above them for financial and propaganda purposes. Just as the American stage and motion picture have fallen under the control of Jews and their art-destroying commercialism, so the business of handling “popular songs” has become a Yiddish industry. The Jews who captured it in the early days of exploitation were for the most part Russian-born Jews, some of whom had personal pasts which were as unsavory as the past of many Jewish theatrical and movie leaders have been exposed to be.

    In the early 1920’s, Irving Berlin, Leo Feist and other officers of seven music publishing corporations in New York, were charged with violating the Sherman anti-Trust law in a suit brought by the United States Government. The defendants, it was alleged, controlled 80% of the available copyrighted songs used by manufacturers of phonographs, player piano rolls and other musical reproducing instruments, and fixed prices at which the records or rolls were to be sold to the public. The corporations involved in the action were the Consolidated Music Corporation; Irving Berlin, Inc.; Francis, Day and Hunter, Inc.; Shapiro, Bernstein & Co.; Watterson, Berlin & Snyder, Inc.; and M. Witmark & Sons, Inc. – all of New York. The agreement which the United States Government sought to dissolve was alleged to provide that the defendants would make contracts only through the Consolidated Music Corporation which they had organized. The other 20% of the song business was controlled by other Jewish music houses not included in that special group.

    Talented singers, tuneful singing vanished. The Jew and the African period, being the entrance of the jungle motif, the so-called “Congo” stuff, and other compositions which swiftly degenerated into a rather more bestial type than the beasts themselves arrive at. Running alongside this swamp strain was the “ragtime” style of music which was a development of the legitimate Negro minstrelsy. Lyrics disappeared before the numerous “cake-walk” songs that deluged the public ear. Seductive syncopation swamped the harmony of the real song. Minstrelsy took on a new life; glamorous youths mutter dirges in low monotones, voluptuous females with grossly seductive gestures moan nasal notes no real musician can recognize.

    The first self-styled “King of Jazz” was a Jew named “Frisco.” The general directors of the whole downward trend have been Jews. It needed just their touch of cleverness to camouflage the moral filth and raise it half a degree above that natural stage where it begets nothing but disgust.

    America does not sing what it likes, but what the vaudeville “song-pluggers” popularize by repeated renditions, until the flabby minds of the audiences begin to repeat it on the streets.

    The “song-pluggers” of theater, vaudeville and radio, are the paid agents of the Yiddish song agencies. Money, and not merit, dominates the spread of the moron music which is styled Jewish jazz and swing. Non-Jewish music is stigmatized as “high-brow.” The people are fed from day to day on the moron suggestiveness that flows in a slimy flood out of “Tin-Pan-Alley,” the head factory of filth in New York which is populated by the “Abies,” the “Izzies,” and the ‘Moes” who make up the composing staffs of the various institutions. “Tin-Pan-Alley” is the name given to the region in Twenty-eighth street, between Broadway and Sixth Avenue, where the first Yiddish song manufacturers began business. Flocks of young girls who thought they could sing, and others who thought they could write song poems, came to the neighborhood allured by the dishonest advertisements that promised more than the budding Yiddish promoters could fulfill. Needless to say, scandal became rampant, as it always does when so-called “Gentile” girls are reduced to the necessity of seeking favors from the Jew. It was the constant shouting of voices, the hilarity of “parties,” the banging of pianos and the blaring of trombones that gave the district the name of “Tin-Pan-Alley.” All America is now one great Tin-Pan-Alley, its entertainment, its youth, its politics, a blare of moronic Judaism.

    – HENRY FORD, ‘THE INTERNATIONAL JEW’

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