PREFACE
1. Keynote speech by Joseph Goebbels at the inauguration of the Reich Culture Chamber (RKK) in Berlin, November 15, 1933, cited in Goebbels, Signale, 325.
2. Other active participants were David Scrase, Alan E. Steinweis, Eric Rentschler, Pamela M. Potter, Frank Trommler, and Jonathan Petropoulos. See the articles in Huener and Nicosia, The Arts in Nazi Germany.
3. Jost Hermand’s Culture is a useful introduction but lacks treatment of victims of Nazi cultural policy, as well as documentation, supplying only a “selected bibliography.” See the review by Anselm Heinrich in Bulletin of the German Historical Institute London 36, no. 1 (2014): 105–9. Lisa Pine’s final section on culture in her very readable Hitler’s “National Community,” 215–78, also serves introductory purposes, but is shorter and lacking analysis. See the review by Joseph W. Bendersky in American Historical Review 114 (2009): 228–9.
4. See, for example, Rentschler, Ministry and Use and Abuse; Hull, Film; Welch, Propaganda; Niven, Hitler; Sösemann, “Journalismus” and “Voraussetzungen”; Schnell, Dichtung and Geschichte; Prieberg, Musik im NS-Staat and Musik und Macht; Levi, Mozart and Music; Potter, Most German.
5. Petropoulos, Art, Faustian Bargain, and Artists under Hitler; Potter, Art of Suppression.
ONE – DECONSTRUCTING MODERNISM
1. The latter point has been justly emphasized by Pamela Potter, see further in this chapter at note 136. See also Eksteins, Rites of Spring; Herf, Reactionary Modernism.
2. Gay, Weimar Culture, 105.
3. Ibid.
4. See the photograph in Bergdoll and Dickerman, Bauhaus, 52.
5. Kater, Weimar, 144–5; Honegger and Massenkeil, Lexikon, vol. 4, 95.
6. Kater, Different Drummers, 3–28. For the Berlin cabaret scene, see Jelavich, Berlin Cabaret, 118–227; on Hesterberg specifically PEM, Heimweh, 37–8, 131, 170, 175.
7. Kracauer, Caligari, 61–76, 149–50, 162–3, 226–9.
8. Plates in Bergdoll and Dickerman, Bauhaus, 115, 191.
9. Hoeres, Kultur, 143–5; Hermand and Trommler, Kultur, 193–211.
10. Michalzik, Gründgens, 48–9; Rischbieter, Theater, 228; Spotts, Legacy, 34; Petropoulos, Artists under Hitler, 216–19. On Weimar-era theater, see also Laqueur, Weimar, 174–97.
11. Jelavich, Berlin Alexanderplatz, 1–35; Evans, The Coming, 411.
12. Volz, Daten, 24, mentions this but is silent on the content.
13. Without documentation by Martynkewicz, Salon Deutschland, 11. In his 1927 speech at Nuremberg, printed in Rosenberg and Weiss, Reichsparteitag, 38–46, Hitler did not mention culture.
14. Bollmus, Amt Rosenberg, 27–8.
15. Kater, Weimar, 205.
16. Steinweis, “Weimar Culture,” 409.
17. See Schultze-Naumburg, Kampf, e.g. 10, 12; Meckel, Animation, 20.
18. Blunck, “Volkstum,” 190.
19. Stern, Wassern, 74.
20. Hussong, “Kurfürstendamm,” 7 (1st quote); Stang, Grundlagen, 12 (last two quotes).
21. Mitteilungen des Kampfbundes für deutsche Kultur 2 (1930): 36; Klee, Kulturlexikon, 616–17; Hille, “Beispiel,” 207–11; Dümling, “Hexensabbat,” 190–4.
22. On the other hand, Hans Zöberlein wrote novels of that ilk. See his Der Glaube (first publ. 1931), and Ketelsen, Literatur, 222.
23. Steinweis, “Conservatism,” 340.
24. Petsch, “Malerei,” 248.
25. Deutsche Kultur-Wacht, no. 2 (1932): 13; ibid., no. 4 (1932): 12; ibid., no. 1 (1933): 13; ibid., no. 3 (1933): 14–15; RKK Gustav Havemann (BAB, former BDC); Steinweis, “Culture,” 416; Führer, “Cultural Life,” 475.
26. Steinweis, “Culture,” 417.
27. Moeller, “Filmstars,” 155. Trenker and Riefenstahl had been co-stars in The Holy Mountain (1926) and The Great Leap (1927).
28. Ketelsen, Literatur, 219.
29. Schultze-Naumburg, Kampf, 13; Blunck, “Volkstum,” 200.
30. Wardetzky, Otto, 69–75; Klee, Kulturlexikon, 402.
31. Petersen, Strasse, 8–11.
32. Langhoff, Moorsoldaten, 5–6, 82–3; Klee, Kulturlexikon, 320 (Mann quote); Föllmer, Kultur, 100; song text freiklick.at/index.php?option=com_content&task=view&id=1123.
33. Kater, Muse, 278; Bermann Fischer, Bedroht, 106 (quote); Hull, Film, 30. Kleiber was not Jewish, as is sometimes claimed (e.g. in the otherwise very readable Third Reich volume by Thomas Childers, 293).
34. Kirchner, in LEMO: Lebendiges Museum Online; Kirchner cited in William Cook, “The Best Thing to Come Out of Davos,” The Spectator Online, January 18, 2014.
35. Goebbels on May 31, 1934, in Theater von A–Z, XXII g 6 (1st quote); Bühner in Dreyer and Jenssen, Demut, 87 (2nd quote); Engelbrecht, Kunst, 64; Schlegel, Dichter, 31, 33; Eberlein, Was, 33–4; Högg, “Baukunst,” 63; Schindler, “Gedanken,” 318; Feulner, Kunst, 7–8; Lorenz, Unrast, 19, 127. A thorough treatment of “asphalt culture” from a Nazi perspective is in Hussong, “Kurfürstendamm.”
36. Bracher, Dictatorship, 193–7.
37. Text in Reichsgesetzblatt Teil I (October 7, 1933): 713–17.
38. “Gesetz zur Wiederherstellung des Berufsbeamtentums vom 7. April 1933,” Reichsgesetzblatt Teil I (April 7, 1933): 175.
39. Klee, Kulturlexikon, 351.
40. Stein, Schoenberg Letters, 116 (quote); Reich, Schoenberg, 187–8.
41. Tägliche Rundschau, May 11, 1933.
42. Sarkowicz, “Schriftsteller,” 176–8; Brenner, Ende, 27–161.
43. Brenner, Ende, 63–6 (quote 64: Huch to Schillings, March 24, 1933); Albrecht et al., Lexikon, vol. 1, 402–3.
44. Rischbieter, “Schlageter,” 213–15; Petzet, Theater, 253–4.
45. Rischbieter, Theater, 478; Rischbieter, “Schlageter,” 216–17; Ketelsen, Theater, 75–6. From a critical Nazi point of view see Ziegler, Wende, esp. 77–8.
46. Rischbieter, “Schlageter,” 215.
47. Thiele interviewed in Gramann et al., Thiele, 14–19; “Nachzensur aller Filme, die vor 1933 zugelassen wurden,” Frankfurter Zeitung, July 8, 1935; Hull, Film, 44; Wetzel and Hagemann, Zensur, 15–19; Kreimeier, Ufa-Story, 302.
48. On jazz, see Nazi choir director Fritz Stein’s remarks in Deutsches Podium (July 31, 1936): 4, and Stein, “Chorwesen,” 285–6. On atonality see Goebbels, Tagebücher Fragmente, vol. 2, 534, and vol. 3, 398–9 (quote); Siegfried Kallenberg, “Wiedergeburt der Musik,” Münchner Neueste Nachrichten, August 18, 1933; Jena speech by Hans Severus Ziegler, May 13, 1936, in Ziegler, Wende, esp. 8.
49. Drewniak, Theater, 282; Levi, “Opera,” 139; Du Closel, Stimmen, 409–10.
50. Steinbeck, “Tannhäuser,” 134–7.
51. Eckert, Rundfunk, 228, 246; Kater, “Controls,” 60–1.
52. Speech in Goebbels, Signale, 203–4. See also Dressler-Andress, Reichsrundfunkkammer, 32.
53. “Die Urteilsbegründung im Rundfunkprozess,” Frankfurter Zeitung, June 15, 1935; Diller, Rundfunkpolitik, 72–5, 96, 108–11, 129–33, 146; Evans, The Coming, 402; Grüttner, Brandstifter, 316–18.
54. Schäferdieck, Lebens-Echo, 88–9.
55. Hadamovsky, Propaganda, 58 (1st quote); Drechsler, Funktion, 40 (2nd quote), 64 (last quote). For the political uses of Beethoven’s œuvre in the Third Reich, see Dennis, Beethoven, 142–74.
56. Goebbels, Tagebücher Fragmente, vol. 2, 376; Martens, Reich, 19; Frei and Schmitz, Journalismus, 14; Grüttner, Brandstifter, 310.
57. “Schriftleitergesetz. Vom 4. Oktober 1933,” Reichsgesetzblatt Teil I (October 7, 1933): 713–17 (quote 713); Amann, “Volkspresse,” XII–XIII; Hagemann, Publizistik, 35–42; Grüttner, Brandstifter, 311; Frei and Schmitz, Journalismus, 15–23; Sösemann, “Voraussetzungen,” 201–8.
58. Frei and Schmitz, Journalismus, 17; Sösemann, “Voraussetzungen,” 203; Laux, Nachklang, 228–9.
59. Kursell, “Kunstpolitik,” 4.
60. Högg, “Baukunst,” 64 (1st quote); Schindler, “Gedanken,” 356 (2nd quote); Schultze-Naumburg, Kunst, 43; Hager, “Bauwerke,” 19.
61. Miller Lane, Architecture, 169.
62. Teut, Architektur, 67–70.
63. Miller Lane, Architecture, 170–3 (1st quote 172), 181–4; Weissler, “Bauhaus-Gestaltung,” 58–62; Nerdinger, “Modernisierung,” 19–20; Petropoulos, Artists under Hitler, 68–72, 75–87 (2nd quote 80); Nerdinger, “Bauhaus-Architekten,” 153–63 (last quote 158). Gropius’s attitude is far from that of a political fugitive, as Florian Siebeck suggests: “Wettschulden sind Ehrenschulden,” faz.net, February 24, 2016.
64. Hitler, Mein Kampf, 283; Hitler’s 1933 Party rally speech in Dreyer, Kultur, 16; 1934 Party rally speech in Der Kongress, 102–3; 1935 Party rally speech in Hinz, Malerei, 143, 146–7; Hitler in “Die Ansprache des Führers zur Eröffnung des Hauses der Deutschen Kunst,” Mitteilungsblatt der Reichskammer der bildenden Künste (August 1, 1937): 2–3, 6.
65. Scholz, “Kunstgötzen,” 5; Willrich, “Aufgabe,” 276–7, 278 (quote), 279, 285.
66. Klaus Graf von Baudissin, “Das Essener Folkwangmuseum stösst einen Fremdkörper ab,” National-Zeitung, Essen, August 18, 1936; Hermann Dames, “Es wird aufgeräumt!,” Nationalsozialistische Erziehung (1935): 83; Rave, Kunstdiktatur, 53; Brenner, Kunstpolitik, 37–8; Lehmann-Haupt, Art, 74; Merker, Künste, 124; Spotts, Hitler, 156–62; Clinefelter, Artists, 69; Steinkamp, “Schöpfung,” 295–6.
67. Rave, Kunstdiktatur, 47–8; Lehmann-Haupt, Art, 74–87; Bushard, “Bildhauer,” 105.
68. For a definition see Willett, New Sobriety, 111–17.
69. Scholz, Lebensfragen, 31 (quote); Schubert, Dix, 110; Peters, Neue Sachlichkeit, 84, 133; Beck, Dix, 143; Klee, Kulturlexikon, 103.
70. Linfert, “Beckmann,” esp. 66–9; Karin Janker, “Wie Hitler Kitsch verherrlichte,” sueddeutsche.de, June 4, 2015; Klee, Kulturlexikon, 36.
71. Karin Janker, “Wie Hitler Kitsch verherrlichte,” sueddeutsche.de, June 4, 2015 (1st quote); Droste, “Bauhaus-Maler,” 131–2; Schlemmer in Lauzemis, “Ideologie,” 46 (2nd quote).
72. Hübinger, Mann, 123, 138–9, 180, 182; Klee, Kulturlexikon, 351–3; Heinrich Mann, in LEMO: Lebendiges Museum Online.
73. Ziegler, Wende, 76; Brenner, Kunstpolitik, 44–5; Strothmann, Literaturpolitik, 176; Schnell, Emigration, 25; Barbian, Literaturpolitik, 47, 250, 254–5.
74. Naumann and Lüthgen, Kampf, 3–4; Brenner, Kunstpolitik, 48; Strothmann, Literaturpolitik, 74; Strätz, “Aktion,” 348–53, 363; Sauder, Bücherverbrennung, 169–71; Ketelsen, Kulturpolitik, 238; Boese, Bibliothekswesen, 226–7; Barbian, Literaturpolitik, 40.
75. Goebbels’s speech in Deutsche Allgemeine Zeitung, May 12, 1933; Sauder, Bücherverbrennung, 179–80; Evans, The Coming, 427–9.
76. “Verordnung über die Errichtung einer vorläufigen Filmkammer. Vom 22. Juli 1933,” Reichsgesetzblatt Teil I (July 25, 1933): 531–2.
77. Hagemann, Publizistik, 62; Hull, Film, 30–1 (quote); Baird, To Die, 73–107.
78. Kalbus, Werden, 102; Heyde, Presse, 29; Hull, Film, 43–4; Lowry, Pathos, 10; Kreimeier, Ufa-Story, 268–9; Moeller, Filmminister, 107–8; Grüttner, Brandstifter, 351–3.
79. Albrecht, Filmpolitik, 330–56.
80. Paragraph 13, “Schriftleitergesetz. Vom 4. Oktober 1933,” Reichsgesetzblatt Teil I (October 7, 1933): 714.
81. Hagemann, Publizistik, 37; Abel, Presselenkung, 30–1; Grüttner, Brandstifter, 309–10.
82. Dovifat quoted in Wilkens,“Urteil,” 371; Guido Enderis, “Reich Press Loses Last of its Rights; Must Serve State,” The New York Times, October 6, 1933.
83. Original text in Der deutsche Schriftsteller 1, no. 12 (December 1936): 280–1.
84. Approvingly: Dovifat, Zeitungslehre Zweiter Band, 35–36. Critically: Hagemann, Publizistik, 60; Strothmann, Literaturpolitik, 270–1, 276–7.
85. “Kultur und kein Bildungsphilister!” Das Schwarze Korps, February 25, 1937.
86. Rudolf Kircher, “Der Kunstschriftleiter,” Frankfurter Zeitung, November 29, 1936.
87. Aigner, “Indizierung,” 983–1,004; Dahm, Buch, 169–71; Barbian, Literaturpolitik, 251–7.
88. Payr, Schrifttumspflege, 14, 18, 26; Hagemann, Publizistik, 42; Brenner, Kunstpolitik, 52–3; Strothmann, Literaturpolitik, 39.
89. “Theatergesetz. Vom 5. Mai 1934,” Reichsgesetzblatt Teil I (May 19, 1934): 411–12.
90. Von Schramm, Neubau, 22–3; Drewniak, Theater, 34; Dussel, Theater, 89–95; Levi, “Opera,” 139–40; Rischbieter, Theater, 218; Grüttner, Brandstifter, 347.
91. “Reichskulturkammergesetz. Vom 22. September 1933,” Reichsgesetzblatt Teil I (September 26, 1933): 661–2.
92. Steinweis, Art, 174.
93. Schnell, Emigration, 26–8; Dahm, Buch, 167–8; Strothmann, Literaturpolitik, 179–80; editor in Klepper, Schatten, 1; Friedländer, Years, 426. In 1937, Klepper had published a two-volume biography of King Friedrich Wilhelm I of Prussia (the “soldier king”), which evinced right-wing, patriarchal, views. See his Der Vater; Zimmermann, “Literatur,” 400.
94. Kater, Muse, 293–4.
95. Abel, Presselenkung, 30; case of Dr. Kaspar Rathgeb in Frei, “Berufsgerichte,” esp. 122–3, 150.
96. Minutes of broadcast planning committees are in BAK, e.g. R55/696.
97. Fröhlich, “Pressekonferenz,” 347–81; Gillessen, Posten, 153–5; Sänger, Politik, 66–7, 91, 94–5, 149, 154; Frei and Schmitz, Journalismus, 30–1. Vollerthun’s case is treated in corr. (1936), BAK, R55/223.
98. Härtwig, Wagner-Régeny, 43; Levi, “Opera,” 156 (quote).
99. Petzet, Theater, 262 (Wagner quoted ibid.).
100. Mühr, Mephisto, 144–5.
101. Walter, Hitler, 175–212.
102. Paragraphs 1 and 2, “Verordnung über die Aufgaben des Reichsministeriums für Volksaufklärung und Propaganda. Vom 30. Juni 1933,” Reichsgesetzblatt Teil I (July 5, 1933): 449.
103. Goebbels, Tagebücher Fragmente, vol. 2, 483; Kreimeier, Ufa-Story, 333; Moeller, Filmminister, 317–18.
104. Wetzel and Hagemann, Zensur, 11; Moeller, Filmminister, 332.
105. Goebbels, Tagebücher Fragmente, vol. 2, 697.
106. Wetzel and Hagemann, Zensur, 24; Drewniak, Film, 244. The wife was played by a very young Ilse Werner. Her recollection of Hitler’s censorship is in So, 86.
107. Goebbels, Tagebücher Fragmente, vol. 3, 229, 499; Bucher, “Filmpropaganda,” 59.
108. Benn, Morgue, 6.
109. Benn, in LEMO: Lebendiges Museum Online (quote); Hindemith, in Oxford Music Online; Klee, Kulturlexikon, 39–40.
110. Benn, Staat, esp. 19–20, 23, 26–9, 31–2, 34 (quote).
111. Benn, “Bekenntnis,” esp. 15–16.
112. Benn, “Lebensweg,” 10; Sarkowicz, “Schriftsteller,” 179–81 (quote 181); Ketelsen, Literatur, 335–7; Schnell, Zeiten, 93–7; Barbian, Literaturpolitik, 265–6.
113. Benn’s post-1935 life is described well in Petropoulos, Artists under Hitler, 128–36.
114. Barlach, in LEMO: Lebendiges Museum Online; Barlach, in ernst-barlach-haus.de.
115. Paret, Artist, 94.
116. Barlach, Briefe, 377, 388–9, 396–7, 433; Piper, Barlach, 81; Nina Burleigh, “Haunting MoMA: The Forgotten Story of ‘Degenerate’ Dealer Alfred Flechtheim,” The Observer Online, February 14, 2012; alfredflechtheim.com; Petropoulos, Faustian Bargain, 221.
117. Speech of February 16, 1934, printed in Barlach, Briefe, 847 (n. 2); Paret, Artist, 80–1.
118. Barlach, Briefe, 454; Wilhelm Westacker in Berliner Börsenzeitung, February 20, 1934, cited in Piper, Barlach, 105–6; Blunck, Kulturpolitik, 27; Rosenberg, Revolution, 8.
119. Barlach to Willy Katz, [September 15, 1934], in Barlach, Briefe, 493–4; ibid., 490; Paret, Artist, 88–9.
120. Jan, “Barlach,” 68–9, 74–5.
121. Barlach to Goebbels, May 25, 1936, in Briefe, 636–8; Goebbels’s entry for April 4, 1936, in Goebbels, Tagebücher Fragmente, vol. 2, 596; Paret, Artist, 96–7. See also Petropoulos, Artists under Hitler, 6, 48.
122. Barlach, Briefe, 663, 713, 721–2, 783; Paret, Artist, 95; Barlach, in LEMO: Lebendiges Museum Online.
123. Lenz, Deutschstunde, see esp. 146–8, 280–2. See, e.g., Nolde, Mein Leben, esp. 393–4. Emphasizing the victim theme is Steinkamp, “Schöpfung,” 297–300.
124. Nolde, in LEMO: Lebendiges Museum Online; Fulda and Soika, “Nolde,” 191. Nolde evinced dislike of and ambivalence toward Jews in his memoirs, Jahre (1934), 78–79, 101–2, 119–24, 170. On the Secession, see 134, 139–50, on the French, 193–6, 210, 233.
125. Fulda and Soika, “Nolde,” 187–8; Paret, Artist, 69 (quote); Evans, The Coming, 414.
126. Fulda and Soika, “Nolde,” 188.
127. Fulda and Soika, “Nolde,” 190, Hanfstaengl quote ibid. Ernst Hanfstaengl alleges to have been critical of Hitler’s old-fashioned (and ill-informed) taste in art (Hanfstaengl, Haus, 70–4).
128. Fulda and Soika, “Nolde,” 190, Nolde quote ibid.
129. Admiring: Weigert, Kunst, 100. See also Fulda and Soika, “Nolde,” 190–1.
130. Hennig, “Judentum,” 355.
131. Willrich, Säuberung, 135.
132. Steinkamp, “Schöpfung,” 298; Fulda and Soika, “Nolde,” 191–2.
133. Nolde, Mein Leben, 393–4; Nolde, in LEMO: Lebendiges Museum Online.
134. Fulda and Soika, “Nolde,” 193–4, Ada Nolde quoted ibid.; Fulda, “Transfiguration,” 179.
135. Heiber, Goebbels, 33–9 (quote 35); Longerich, Goebbels, 50, 106–7; Speer, Erinnerungen, 40–1; Piper, Barlach, 24. See Goebbels, Michael.
136. See the well-made argument in Potter, Art, 209.
137. Bruno E. Werner, “Der Aufstieg der Kunst,” Deutsche Allgemeine Zeitung, March 3, 1933. See under Werner, in Munzinger Archiv, www.munzinger.de/search/portraits.
138. Alfred Rosenberg, “Revolution in der bildenden Kunst,” Völkischer Beobachter, July 6, 1933.
139. Hippler, Verstrickung, 128; Merker, Künste, 131–3; Meckel, Animation, 21; Brenner, Kunstpolitik, 66–8.
140. Paret, Artist, 65.
141. Merker, Künste, 134; Hitler’s speech in Dreyer, Kultur, 16.
142. Eberlein, Was, 37; Pinder, “Was” (2nd quote 406). On Pinder, see Klee, Kulturlexikon, 414–15.
143. Wendland, Kunst, 9; Weigert, Kunst, 25–6, 29, 32, 115, 119, 124, 138 (quote).
144. Bollmus, Amt Rosenberg, 54–60.
145. Rosenberg, Revolution, 13.
146. Hitler’s speech at 1934 Nuremberg Party rally in Der Kongress, 103; Merker, Künste, 136.
147. On the NSKG (Nationalsozialistische Kulturgemeinde, or Nazi cultural community, which changed the KfdK into a Rosenberg-sponsored theater patronage organization, June 1934), and its move toward Ley, see Bollmus, Amt Rosenberg, 66–103.
148. Speech “Kunst und Kultur im Dritten Reich,” printed in Der Autor 10, nos 5 and 6 (May and June, 1935): 11–12.
149. Scholz, “Kunstpflege,” 149; Willrich, Kunst, 7; Gerlach, “Maler,” 8–9; Rosenberg, Gestaltung, 333–4; Scholz, Lebensfragen, 53–5; Willrich, Säuberung, 25.
150. “Ansprache des Führers zur Eröffnung des Hauses der Deutschen Kunst,” Mitteilungsblatt der Reichskammer der bildenden Künste (August 1, 1937): 2–7 (quote 4).
151. Brenner, Kunstpolitik, 73; Merker, Künste, 136.
152. Klee, Kulturlexikon, 258; Baird, To Die, 13–40; Evans, The Coming, 417–18; Johst, Schlageter; quote in Schoeps, Literatur, 126.
153. Baird, To Die, 108–29; Hull, Film, 34; Kreimeier, Ufa-Story, 329; Rentschler, Ministry, 60–2.
154. Niven, “Thing,” 54; Ketelsen, Literatur, 65.
155. Miller Lane, Architecture, 191; Schlenker, “Art,” 99.
156. Lehmann, “Richard der Dritte,” 173–4, 176, 182. The mother of Fehling’s father was Anna Emilie Oppenheimer, a daughter of Hamburg Jews (RKK Jürgen Fehling, BAB [former BDC]). Actor Bernhard Minetti, who played Buckingham, falsely maintains in his memoirs that it was Gloster, played by Gustaf Gründgens, who simulated the limp (Minetti, Erinnerungen, 113).
157. Steinkamp, “Schöpfung,” 298; Fulda and Soika, “Nolde,” 191–2; William Cook, “The Best Thing to Come Out of Davos,” The Spectator Online, January 18, 2014; Barlach, Briefe, 718; Piper, Barlach, 153; Paret, Artist, 131.
158. Goebbels, Tagebücher Fragmente, vol. 3, 215; Peters, “Genesis,” 113–14.
159. “Ansprache von Präsident Prof. Ziegler zur Eröffnung der Ausstellung ‘Entartete Kunst’ am 19. Juli 1937 in München,” Mitteilungsblatt der Reichskammer der bildenden Künste (August 1, 1937): 11.
160. See Willrich, Säuberung. Also: Rave, Kunstdiktatur, 96, 98; Brenner, Kunstpolitik, 108; Merker, Künste, 143; Backes, Hitler, 67, 73; Peters, “Genesis,” 111–12.
161. Rave, Kunstdiktatur, 97; Brenner, Kunstpolitik, 109; Merker, Künste, 145; Backes, Hitler, 74; Spotts, Hitler, 163.
162. Deutsche Allgemeine Zeitung, July 20, 1937; Münsterischer Anzeiger, July 22, 1937.
163. National-Zeitung (Gross-Essen), July 20, 1937.
164. Lüttichau, “Rekonstruktion,” 120–81; Rave, Kunstdiktatur, 103.
165. Nolde, Leben, 391.
166. Münchner Neueste Nachrichten, August 20, 1937; Nolde, Leben, 391. On July 23, 1923, a 1,000-gram rye bread cost 16,000 marks in Munich; after the return to normality with the introduction of the rentenmark on October 22, 1924, it cost 0.44 marks (Statistisches Jahrbuch, 1924/25, 262).
167. Evans, Third Reich in Power, 174.
168. Backes, Hitler, 75; Rave, Kunstdiktatur, 105; Lehmann-Haupt, Art, 80; Merker, Künste, 145; Paret, Artist, 132; Spotts, Hitler, 165.
169. Werwigk, “Gemälde,” 121.
170. Lott, “Staatsgalerie,” 294.
171. Kardorff, Aufzeichnungen, 84.
172. Kaiser, Entartete Kunst, 1.
173. Kaiser, Entartete Kunst, 6, 8.
174. Kaiser, Entartete Kunst, 8–10.
175. Kaiser, Entartete Kunst, 10–12.
176. Kaiser, Entartete Kunst, 12–14.
177. Kaiser, Entartete Kunst, 14–16.
178. Kaiser, Entartete Kunst, 16–20.
179. Kaiser, Entartete Kunst, 20–2.
180. Kaiser, Entartete Kunst, 22–3.
181. Kaiser, Entartete Kunst, 24–30.
182. Kaiser, Entartete Kunst, 31.
183. “Ansprache von Präsident Prof. Ziegler zur Eröffnung der Ausstellung ‘Entartete Kunst’ am 19. Juli 1937 in München,” Mitteilungsblatt der Reichskammer der bildenden Künste (August 1, 1937): 11; Hamburger Tageblatt, July 20, 1937 (quote); Kieler Neueste Nachrichten, July 20, 1937; Hamburger Nachrichten, July 20, 1937; Münchner Neueste Nachrichten, August 20, 1937.
184. Marks, “Black Watch,” 297–334.
185. Lüttichau, “Crazy,” 46 (quote); Shorter, Dictionary, 280.
186. Frankfurter Zeitung, February 27, 1938; Der Mittag (Düsseldorf), July 19, 1938; Meldungen aus dem Reich, vol. 2, 275.
187. Werwigk, “Gemälde,” 122; Peters, “Genesis,” 119; Boelcke, Kriegspropaganda, 329.
188. “Erlass des Preussischen Ministerpräsidenten Hermann Göring,” Hakenkreuzbanner, August 4, 1937, reprinted in Piper, Barlach, 204. The quoted phrase in German is “ausgemerzten Gegenstände.”
189. “Gesetz über Einziehung von Erzeugnissen entarteter Kunst,” May 31, 1938, reprinted in Piper, Barlach, 209; Goebbels, Tagebücher Fragmente, vol. 3, 401; Lehmann-Haupt, Art, 81; Peters, “Genesis,” 118–19.
190. Adolf Ziegler, “Entartete Kunst,” April 23, 1941, Mitteilungsblatt der Reichskammer der bildenden Künste (May 1, 1941): 6.
191. Goebbels, Tagebücher Fragmente, vol. 3, 494, 547; Lehmann-Haupt, Art, 82–3; Schubert, Dix, 120–1; Backes, Hitler, 76–7; Spotts, Hitler, 167–8; Peters, “Genesis,” 119; Petropoulos, Art, 76–83.
192. On Schumann: Daverio, Schumann, 197; Botstein, “Jewish Question,” 445.
193. Klee, Kulturlexikon, 617; Dümling, “Hexensabbat,” 194–8; Levi, Music, 95.
194. Levi, Music, 94 (quote); Klee, Kulturlexikon, 108.
195. Dümling, “Hexensabbat,” 198–200.
196. Speech of February 27, 1937, in Ziegler, Wende, 46–7.
197. Dümling and Girth, Entartete Musik, 105–10; Prieberg, Musik im NS-Staat, 275; Schwerter, “Heerschau,” 112–13; Blacher, in Oxford Music Online.
198. Goebbels’s speech published in Völkischer Beobachter, May 29, 1938.
199. Frotscher, “Problem,” 426.
200. Heinz Fuhrmann, “Abrechnung mit der entarteten Kunst,” Hamburger Nachrichten, May 25, 1938; Laux, Nachklang, 271.
201. Laux, Nachklang, 271.
202. Wolfgang Steinecke, “Entartete Musik – Eröffnung der Düsseldorfer Ausstellung,” Deutsche Allgemeine Zeitung, May 25, 1938.
203. Levi, Music, 95; Ziegler, Musik, 21.
204. Ziegler, Musik, 17 (quote); Moldenhauer and Moldenhauer, Webern, 491, 497–8, 503, 516–17, 531.
205. Schönberg, “Vorwort,” in Harmonielehre, n.p.
206. Hindemith opposed Schoenberg’s atonal conceptions, offering instead innovations within the conventional tonal system. See his Unterweisung, published in 1937, esp. 9–27.
207. Ziegler, Musik, 11, 17, 25, 31; Levi, Music, 95.
208. Dümling, “Target,” 60; Prieberg, Musik im NS-Staat, 279.
209. Ziegler, Musik, esp. 13–16, 22, 24, 26, 29.
210. Dümling, “Hexensabbat,” 204–5.
211. Prieberg, Musik im NS-Staat, 281.
212. As Jonathan Petropoulos has ably shown in his book Artists under Hitler.
213. Kater, Weimar, 253–4.
214. The group organizing the auto-da-fé was Deutsche Studentenschaft (DSt), the core organization of all university students in the Third Reich, to which every student belonged automatically. The group backing Expressionism and Barlach was the Nazi Student League (NSDStB), run by the Nazi Party and to be joined voluntarily.
TWO – PRE-WAR NAZI CULTURE
1. Bracher, Dictatorship, quotes 235–6.
2. Jäckel, Hitlers Weltanschauung, 60–8; idem, Hitlers Herrschaft, 63–5. “Volksgenosse” is generally translated as “racial comrade”; it meant all the members of the biologically defined Nazi community (“Volksgemeinschaft”).
3. Mommsen, Beamtentum, 98, n. 26.
4. Mommsen, “Hitlers Stellung,” esp. 51–4, 57, 59–60 (quote). Variants of this, describing the Rosenberg office and the SS, were presented already in 1970 and 1974, respectively, by Reinhard Bollmus (Amt Rosenberg, 236–50) and the present author (Ahnenerbe, 338–52).
5. Manfred Funke, “Ämterchaos und Weltmachtstreben: Die Debatte über Struktur und Politik des Hitler-Reiches,” Frankfurter Allgemeine Zeitung (March 20, 1984): 25.
6. Kershaw, Hitler Myth, 253–64, last two quotes 253 and 257–8.
7. Kershaw, Hubris, 529–31 (quotes 530), 534; Kershaw, Nemesis, 27, 311.
8. On Gestapo denouncements, often for personal reasons, see Gellately, Gestapo.
9. Kershaw, Hubris, 530.
10. Ullrich, Hitler, 579.
11. This conversation took place in Munich-Schwabing, a short distance from where the Nazi Party had its institutional origins.
12. Ullrich, Hitler, 7. See also Pyta, Hitler, 235.
13. Hotter in a telephone conversation with the author, Munich, December 12, 1994; Hotter, Mai, 128–9. For more on the post-1919 Hitler and Richard Wagner see Alex Ross’s chapter “Siegfried’s Death,” in his forthcoming book Wagnerism: Art in the Shadow of Music, to be published by Farrar, Straus and Giroux. I am indebted to the author for allowing me a preview.
14. Ullrich, Hitler, 388–9.
15. Hanfstaengl, Haus, 45.
16. Kershaw, Hubris, 449.
17. Hanfstaengl, Haus, 52–3; Ullrich, Hitler, 32, 176, 389–90, 395; Chapoutot, Greeks, 262–9; Ross, “Hitler Vortex,” 66.
18. Niven, Hitler, esp. 9–30, 120–40.
19. Ullrich, Hitler, 385–6.
20. Kater, Composers, 253.
21. Hanfstaengl, Haus, 55–6; Heesters, Sekunde, 126; Ullrich, Hitler, 32, 389–90, 632; Pyta, Hitler, 68–9, 92.
22. Evans, Third Reich in Power, 209 (quote). For Bruckner as a mainstay of the symphonic canon, see Painter, Aspirations, 167–205.
23. See the near-overinterpretation by Werckmeister, “Hitler,” 275, 278; Groys, “Kunstwerk Rasse,” 36. Also not convincing: the genius cult subtext in Spotts, Hitler.
24. For impressions Hitler intended for posterity, see: Mann, Tagebücher, 1937–1939, 477; Kershaw, Nemesis, 213; Ullrich, Hitler, 726.
25. Schwarz, Geniewahn, 21–9; Ullrich, Hitler, 7, 33, 402–4; Pyta, Hitler, 17, 47–61, 84, 88.
26. Weinheber as observed by dramaturg Eckart von Naso, in Leben, 695–7; Klee, Kulturlexikon, 387, 588; Weimarer Reden . . . 1938, 55–69; Berger, Weinheber, 260–340.
27. See Trommler, “Command Performance,” 125; Zeller, Klassiker, vol. 1, 155.
28. Adolf Hitler, “Verordnung über die Aufgaben des Reichsministeriums für Volksaufklärung und Propaganda. Vom 30. Juni 1933,” Reichsgesetzblatt Teil I (July 5, 1933): 449 (quote); “Erste Verordnung zur Durchführung des Reichskulturkammergesetzes. Vom 1. November 1933,” Reichsgesetzblatt Teil I (November 3, 1933): 797, par. 3.
29. Goebbels, Tagebücher Diktate, vol. 3, 213 (quote); Goebbels’s RKK opening speech (November 15, 1933) in Goebbels, Signale, 323–36; Goebbels at the Reichs-Theaterfestwoche Hamburg, June 17, 1935, in Deutsche Theater-Zeitung, June 13, 1937; Münster, “Wille,” 13–14. Objectively, see Koszyk, “Propaganda,” 649.
30. See Evans, Third Reich in Power, 122–3.
31. Goebbels in an address on the Ufa film grounds in Babelsberg on April 26, 1933 (Film-Kurier, April 27, 1933).
32. Mosse, Nazi Culture, 133.
33. Goebbels touched on some of these purposes in his July 5, 1937, speech at the Berlin Krolloper, reprinted in Albrecht, Filmpolitik, see esp. 456–7. Also: Goebbels, “Richard Wagner und das Kunstempfinden unserer Zeit,” speech of August 6, 1933; Goebbels, “Die deutsche Kultur vor neuen Aufgaben,” in Goebbels, Signale, 191–6, 323–36; Goebbels’s speech at the Reichstheaterwoche Dresden, May 27, 1934, in Theater von A–Z, XII e 1–XII e 4; Goebbels at Deutsches Opernhaus Berlin, November 26, 1937, in Volz, Grossmacht, 416–26.
34. Minetti, Erinnerungen, 107.
35. Goebbels (1st quote) in Hagemann, Publizistik, 61; Kolb and Siekmeier, Rundfunk, 346 (2nd quote); Traub, Film, 6 (3rd quote), 29; Rentschler, Ministry, 544–5.
36. Hanns Johst, “Das Theater und die Nation,” Der neue Weg (April 20, 1933): 128 (1st quote); Karl August Walther, “Das Theater der Zukunft: Erneuerung deutscher Bühnenkunst,” Deutsche Bühne 1, no. 1 (September 1933): 6 (2nd quote); Liskowsky, “Wiedergeburt,” 222 (3rd quote); Nufer, “Erneuerung,” 76; Nufer, “Lage,” 422; Gerlach-Bernau, Drama, 70–2; von Trotha, “Rasse,” 2.
37. Schultze-Naumburg, Kunst, 24–5 (quote); Engelbrecht, Kunst, 156; Willrich, Säuberung, 149–51.
38. See Scholz, Lebensfragen, 57.
39. Naumann in Naumann and Lüthgen, Kampf, 6; Johst, Standpunkt, 27; Kindermann, “Geschichtsbild,” 556; Langenbucher, Nationalsozialistische Dichtung, 22–3; Möller, “Dichtung,” 178.
40. As correctly outlined by Strothmann, Literaturpolitik, 401.
41. Ross, Rest, 307.
42. Herzog, “Musik,” 205.
43. Goebbels speaking at the Berlin Krolloper, July 5, 1937, cited in Albrecht, Filmpolitik, 461.
44. Musicologist Bryan Gilliam refers to some Nazis’ definition of music: “Aryan music was heroic, lofty, organic, uplifting, philosophical, and spiritual” (“Annexation,” 590). On this point, see also Riethmüller, “Komposition,” 268; Potter, “Music in the Third Reich,” 91.
45. Goebbels’s opening speech at the first Nazi broadcast exhibition in Berlin, August 18, 1933, “Der Rundfunk als achte Grossmacht,” printed in Goebbels, Signale, 197–207; Goebbels, “Geleitwort,” in Weiss, Rundfunk, 9–10; Hadamovsky, Dein Rundfunk, 72–3; Hadamovsky, Der Rundfunk, 13, 22.
46. Facsimiles in Varga, Jew-Baiter, 186–7, 190–5. See Münster, “Wille,” 13; Amann, “Volkspresse,” XIII, X; Dovifat, Zeitungslehre Erster Band, 115.
47. Gilman in American Historical Review 114 (2009): 230. Gilman was reviewing the monograph by Jay W. Baird, Hitler’s War Poets, arguing Baird had missed the point. On the contrary, Baird had dealt with six of the most important writers of the Nazi era: Rudolf G. Binding, Josef Magnus Wehner, Hans Zöberlein, Edwin Erich Dwinger, Eberhard Wolfgang Möller, and Kurt Eggers.
48. Some surfaced after 1939 but was mostly war-related. See Chapter 4.
49. For prose: Volck, Rebellen, 263; Goote, Fahne, 414; Lohmann, SA, 184; Stelzner, Schicksal SA, 27; Pantel, Befehl, 14–15, 21; Zöberlein, Befehl, 448; Dwinger, Reiter, 54; Keller, Nacht, 47; Steguweit, Sinnen, 23; Hagen, Tonne, 117. For poetry: Anacker, Reich, 45; Burte, Anker, 7. Hans Carossa mentions Italian Fascists admiringly in Geheimnisse, 176.
50. Gerstner and Schworm, Dichter, 59; Pongs, Krieg, 8–10. Critically: Baird, Hitler’s War Poets, 98, 119; Adam, Lesen, 140–3. On the genre of World War I Kriegsroman see, critically, Geissler, Dekadenz, 17–19; Prümm, “Erbe,” 139–41.
51. Jünger, Mobilmachung, 34–5 (quote). See Langer, Dichtung, 31–2, and, critically, Loewy, Literatur, 169–70.
52. Salburg, Kamerad, 224.
53. Dwinger, Reiter, 118; Beumelburg, Gruppe Bosemüller, 71; Zerkaulen, Hörnerklang, 187–8; Steguweit in the poem “Soldatenbrief,” Melodie, 46. Beumelburg’s novel is discussed in detail in Busch, Und, 105–11.
54. Dwinger, Reiter, 49–50; Salburg, Kamerad, 194. See Loewy, Literatur, 171–2.
55. Theweleit, Male Fantasies, vol. 1, 57–8; vol. 2, 185–6.
56. Zöberlein, Befehl, 246–7; Dwinger, Reiter, 149; Volck, Rebellen, 51. From a Nazi-approval point of view, see Trunz, Dichtung, 6–7; Langenbucher, Volkhafte Dichtung, 533–4. Critically: Schoeps, Literatur, 80–3.
57. Schlageter, in LEMO: Lebendiges Museum Online.
58. Volck, Rebellen, 263; Goote, Fahne, 103; Dörfler, Brücke, 173–4; Dwinger, Reiter, 195–6; Schenzinger, Anilin, 349.
59. Stelzner, Schicksal SA, 15; Goote, Fahne, 99; Schenzinger, Anilin, 352. Derogatorily about “Congo Negroes”: Jünger, Mobilmachung, 29.
60. Volck, Rebellen, 105.
61. Zöberlein, Befehl, 91. Critically on Befehl: Busch, Deutschland, 83–7. See also Steguweit, Unrast, 220–2, and the allegorical sketchings in Wiechert, Totenwolf, 233.
62. Klaehn, Sturm 138, 63–5.
63. Wiechert, Leben, 314–15; Jünger, Mobilmachung, 31. On Wiechert’s anti-Weimar republican sentiment see Niven, “Wiechert,” 14.
64. According to Zöberlein, Befehl, 71, 81; Klaehn, Sturm 138, 7–8. The writer Thor Goote’s contemporary Kurt Ziesel portrayed Goote as one such victim: Krieg, 165–8. Goote, b. 1899, whose real name was Werner von Langsdorff, came from the low nobility. He eventually piloted a Luftwaffe plane and was shot down over the North Sea in July 1940 (Klee, Kulturlexikon, 173–4).
65. Hagen, Tonne, 82–3; Barthel, Volk, 143; Paust, Menschen, 240–1; Klaehn, Sturm 138, 15; Pantel, Befehl, 22. Critically: Stollmann, “Wege,” 196, 206–10.
66. Wiechert, Leben, 89, 330. Critically: Niven, “Wiechert,” 11–13.
67. Jünger, Mobilmachung, 13–14.
68. Bergengruen, Grosstyrann, 60, 188, 226, 237, 307.
69. According to Zimmermann, “Literatur,” 400. See also the positive contemporary critique in Langer, Dichtung, 222.
70. For a contemporary justification of this approach, see Blunck, Kulturpolitik, 6–9. One current, critical, evaluation of the Nazi manipulation of Germanic myths is Johann Chapoutot’s in Law of Blood, 32–63.
71. Jansen, Insel Heldentum, 187.
72. Langer, Dichtung, 179.
73. Best, Dramaturgie, 81–6, quote 82.
74. See his Geschichten, 18, 103.
75. Blunck, Geiserich, esp. 108, 163–5. See Langenbucher, Volkhafte Dichtung, 411–12; critically: Werbick, “Roman,” 165–7.
76. Berens-Totenohl, Femhof, 281.
77. Contemporary interpretation in Langer, Dichtung, 203; Langenbucher, Volkhafte Dichtung, 143–4.
78. Schonauer, Literatur, 88–9; Schoeps, Literatur, 101–3; Adam, Lesen, 28–89.
79. Salburg, Landflucht, 184, 187; Griese, Weissköpfe, 247; Weisenborn, Mädchen, 22, 62; Wiechert, Totenwolf, 17–18; Grimm, Lüderitzland, 92; Gmelin, Konradin, 18; Carossa, Geheimnisse, 11, 21, 30–1. Critical commentary in: Geissler, Dekadenz, 17, 39–41; Schwarz, Aufbruch, 265; Loewy, Literatur, 61–2, 122; Schonauer, Literatur, 78–9.
80. In the shifted context of the Holocaust: Friedländer, Kitsch und Tod. See also Schonauer, Literatur, 90.
81. Curiously enough, Bauer served as professor of German literature at the University of Toronto after World War II. While a student there, I never came into contact with him.
82. Bauer, Herz, 98, 124, 172.
83. Jansen, Insel Heldentum, 376; Steguweit, Unrast, 170; Paust, Nation, 98; von Mechow, Jahr, 223; Carossa, Geheimnisse, 121; Wiechert, Leben, 256.
84. “Eine deutsche Mutter spricht,” in Anacker, Reich, 50; Nierentz partially reprinted in Leuchter, “Nierentz,” 196.
85. Typically murky, Nazi-conformist depictions of physical love with the emphasis on procreation are in Carossa, Geheimnisse, 120, and Wiechert, Totenwolf, 236–9. For the rare exception, love as sexual passion for its own sake, see Weisenborn, Mädchen, 52–3; 153–4.
86. Paust, Nation, 427 (quote). Also: Klaehn, Sturm 138, 24–43, 137–9; Volck, Rebellen, 248, 425; Anderlahn, Gegner, 60–1; von Mechow, Jahr, 219; Zöberlein, Befehl, 627; Zerkaulen, Hörnerklang, 43, 265, 304.
87. Griese, Weissköpfe, 289; Paust, Nation, 96; von Mechow, Jahr, 28; Lohmann, SA, 150–1.
88. Ewerbeck, Koldewey, 211–12.
89. Dwinger, Reiter, 261.
90. Griese, Weissköpfe, 273.
91. As if in anticipation of this: Bauer, Herz, 68, 273; Frenssen, Vorland, 177–8; Weller, Rabauken, 286–7, 321.
92. Gypsies (there was no attempt at distinction between Roma, Sinti, and Lalleri) were treated mostly as thieves and, if female, promiscuous temptresses: Molzahn, Nymphen, 23–4, 152; Berens-Totenohl, Femhof, 91, 110–11; Tremel-Eggert, Schmied, 67, 76. See Schonauer, Literatur, 91.
93. Zöberlein, Befehl, 333, 338 (quote); Hagen, Tonne, 44–5, 165; Salburg, Kamerad, 211.
94. Blome, Arzt, 23–5; Salomon, Die Geächteten, 32; Hutten, Kulturbolschewismus, 12–15, 29, 82–91.
95. Grimm, Volk; Lüderitzland, esp. 101, 152–3; Johst, Maske, 196–7. Approvingly and recommending other writings from Grimm’s pen: Pongs, Krieg, 72; Langenbucher, Volkhafte Dichtung, 458–64. A critical view of the German colonial treatment of the Hereros and Nama as the first genocide of the twentieth century is in Christoph Schult and Christoph Titz, “Herero und Nama verklagen Deutschland,” SpiegelOnline, January 6, 2017.
96. Dwinger, Gott, 13, 23, 45, 89–91, 94–5, 103; Barthel, Volk, 11–12, 22, 26.
97. See Rothacker, Dorf, 18, 40, 85, 108; Zillich, “Dichtung,” 1,192.
98. Schenzinger, Anilin, 69, 77, 208, 213, 335. Critically, see Adam, Lesen, 87–92.
99. Hohlbaum, König Volk; Jansen, Insel Heldentum, 208; Johst, Standpunkt, 8–9.
100. Wiechert, Leben, 259–60.
101. Von Mechow, Jahr, 79 (quote); Weller, Rabauken, 183.
102. Vesper, Geschichten, 102.
103. Wiechert, Totenwolf, 119.
104. Peters, “Werk,” 5. See, e.g., Wiechert, Leben, 53, 137.
105. Vesper, Geschichten, 104; Stelzner, Schicksal SA, 13; Tremel-Eggert, Barb, 274.
106. Bauer, Herz, 124, 139 146; von Mechow, Jahr, 14, 53; Salburg, Landflucht, 78–9; Lange, Weide, 211; Tremel-Eggert, Barb, 333; Weller, Rabauken, 63; Wiechert, “Brief,” 176; Hagen, Tonne, 91.
107. Wiechert, Leben, 239, 319.
108. Dörfler, Brücke, 36, 96, 105; Lersch, Pioniere, 94; Faust, Maurer, 85. See Langenbucher, Volkhafte Dichtung, 262–3, 268–9.
109. Steguweit, Melodie, 47.
110. Darré, an agronomist with shaky job prospects, met Hitler through his friend Himmler and the Artaman settlers’ youth movement, becoming Reich Minister for Food and Agriculture in June 1933 (Wistrich, Who’s Who, 45–6).
111. Entry for August 26, 1937 in Goebbels, Tagebücher Fragmente, vol. 3, 249.
112. Varied sample evidence is in: Wiechert, Totenwolf, 10; Keller, Nacht, 95; Salburg, Landflucht, 12; Lersch, Pioniere, 35; Griese, Gesicht, 316; Böhme, Kirchgang, 18, 22, 50, 71–2; Vesper, Geschichten, 103; and the poems by Steguweit, “Deutschland,” in Echtermeyer, Auswahl, 719–20, and “Bauer,” in Steguweit, Melodie, 33. Affirmatively then: Pongs, Krieg, 68–71. Critically now: Trommler, “Command Performance,” 120.
113. Nierentz, “Flieg, deutsche Fahne, flieg!,” in Echtermeyer, Auswahl, 722–3.
114. Blunck, Plettenberg, 40–1, 48–9, 77, 272–3. Affirmatively then: Langer, Dichtung, 157; Langenbucher, Volkhafte Dichtung, 413. Critically now: Werbick, “Roman,” 168–71.
115. Sieburg, in www.deutsche-biographie.de/sfz121633.html#ndbcontent; Klee, Kultur lexikon, 511–12.
116. Sieburg, Deutschland, 140, 157, 208, 217, 268 (quote).
117. Sieburg, Portugal, 24, 111–12, 179–82.
118. Leupold, Neuordnung, 11; Abel, Presselenkung, 38–40; Grüttner, Brandstifter, 315.
119. Sänger, Politik, 95.
120. Grüttner, Brandstifter, 313; Ullrich, Hitler, 685.
121. Sänger, Politik, 224–5.
122. Sänger, Politik, 254 (first three quotes); entry for November 14, 1938, in Goebbels, Tagebücher Fragmente, vol. 3, 534.
123. See the book by Gillessen, Posten, which makes that point but on the whole is far too apologetic.
124. Klee, Kulturlexikon, 433, 532.
125. See the critical remarks regarding FZ by Bernd Sösemann, “Zwischen Distanz und Anpassung,” Die Zeit, March 6, 1987. Also Evans, Third Reich in Power, 141–3.
126. See, e.g., the Nazi-conformist review by Margret Boveri, “Versailles nach 15 Jahren,” Berliner Tageblatt, January 6, 1935; Bermann Fischer, Bedroht, 116; Haffner, Defying, 153–4. Not least for apologist purposes, post-1945 Boveri decribes typical Nazi pressure tactics against the Berliner Tageblatt in Wir lügen alle, 538–71.
127. Deutsche Allgemeine Zeitung, July 20, 1937.
128. “Die deutschen Truppen sind in Oesterreich einmarschiert,” Frankfurter Zeitung, March 13, 1938. Hitler’s proclamation is printed ibid.
129. “Die Zeitgenossen,” Frankfurter Zeitung, April 20, 1939.
130. Reto Caratsch, “Die letzten zehn Jahre der ‘Frankfurter Zeitung’,” Neue Zürcher Zeitung, January 19, 1947.
131. Lindemann, “Heimat,” 31, 43–4, 47.
132. Frei, Eroberung, 136–313; Hale, Press, 102–273.
133. Facsimiles of journals in Lehmann, Gestaltung, 203, 213, 223, 225 (quote).
134. Hale, Press, 15–38; Mühlberger, introductions and subsequent English-language excerpts from VB in Hitler’s Voice, vols 1 and 2.
135. Münster, Zeitung, 89; Dennis, Inhumanities, e.g. 127–285.
136. Eksteins, Limits, 85.
137. No post-1933 treatment of the paper could be found. It did not change its character after 1933. For its origins, see Münster, Zeitung, 94 (quote); Eksteins, Limits, 85; Lemmons, Goebbels, 21–42.
138. Heiber and Kotze, Querschnitt; Grunberger, Reich, 63.
139. “K.Z. und seine Insassen,” Das Schwarze Korps, February 13, 1936.
140. Kolb and Siekmeier, Rundfunk, 76 (quote); Hagemann, Publizistik, 47; Frei and Schmitz, Journalismus, 83–4. The stations were Deutschlandsender (long-wave), Deutscher Kurzwellensender (short-wave), and nine Reichssender: Berlin, Breslau, Cologne, Frankfurt, Hamburg, Königsberg, Leipzig, Munich, and Stuttgart. Saarbrücken was opened in 1935 (Drechsler, Funktion, 37).
141. Diary entry for February 11, 1933, in Ebermayer, Deutschland, 21–2.
142. Hadamovsky, Dein Rundfunk, 119, 122; Weiss, Rundfunk, 147–8; Hagemann, Publizistik, 45; Ullrich, Hitler, 539. Figures from Eckert, Rundfunk, 38. Still, in April 1937 a stonemason from Liegnitz, Silesia, at 76 pfennigs an hour, had to work more than 100 hours before taxes, to afford a VE (Statistisches Jahrbuch . . . 1938, 341). Around that time, a used small Opel P4 motorcar cost ca. 500 marks (Hagen, Auftrag, 143).
143. Kater, Drummers, 46–7.
144. Entry for April 23, 1937, in Goebbels, Tagebücher Fragmente, vol. 3, 121.
145. Hadamovsky, Dein Rundfunk, 76; Eckert, Rundfunk, 99, 130–2, 179, 242–5; Kater, Drummers, 47; Grüttner, Brandstifter, 321.
146. Hadamovsky, Dein Rundfunk, 75–7; Drechsler, Funktion, 36–8, 58–61, 70–1, 74, 79–80, 86–7; Klingler, “Rundfunkpolitik,” 44; Frei and Schmitz, Journalismus, 85–6.
147. My previous research shows that the percentage of the educated elite class compared with all the other classes joining the Nazi Party declined gradually, from 1933 until 1938, when it rose again (Figure 2 in Kater, Nazi Party, 264).
148. Kater, Drummers, 48; Frei and Schmitz, Journalismus, 86. For an anti-jazz hardliner see Heinrich Glasmeier cited in “Die Programmgestaltung des Rundfunks: Vorträge von Dr. Glasmeier und Dr. Kriegler,” Frankfurter Zeitung, August 10, 1938.
149. Goebbels, Tagebücher Fragmente, vol. 2, 545; Klingler, “Rundfunkpolitik,” 45; Koch, Wunschkonzert, 58. Goebbels’s conviction is paraphrased in Eckert, Rundfunk, 247.
150. Entry for June 25, 1938, in Goebbels, Tagebücher Fragmente, vol. 3, 465. Radio Munich’s program for January 25, 1938, is in Fischer, Dramaturgie, 174–5.
151. Münster, Publizistik, 85–6.
152. Klingler, “Rundfunkpolitik,” 47; Drechsler, Funktion, 42.
153. Kracauer, Caligari, 275.
154. Carter, Ghosts, 92; Lehnich, Jahrbuch, 168–9.
155. Rentschler, Ministry, 13.
156. Rentschler, Ministry, 216; Moeller, Filmminister, 153.
157. Bathrick, “State,” 295.
158. See, among many, Ullrich in Schaukel, who married a count (Wulf Dietrich zu Castell-Rüdenhausen), whose sister Alexandra Hedwig was married to Friedrich Christian Prinz zu Schaumburg-Lippe, of the Promi and later Ribbentrop’s Foreign Ministry (213). See also Niven, Hitler, 121–40; Klee, Kulturlexikon, 468, 563; Stockhorst, Köpfe, 375 and the last chapter of this book.
159. Klee, Kulturlexikon, 160–1.
160. “S.A.-Mann Brand,” Völkischer Beobachter, June 16, 1933; Kalbus, Werden, 119–20; Moeller, Filmminister, 158–9; Tegel, Nazis, 53–6.
161. Schenzinger, Hitlerjunge Quex.
162. Baird, To Die, 108–29; “Hitlerjunge Quex: Die Welturaufführung in München,” Reichsfilmblatt, September 16, 1933; Kalbus, Werden, 122–3; Rentschler, Ministry, 54–9, 67–9; Schulte-Sasse, Entertaining, 258–68; Tegel, Nazis, 57–62; Hoffmann, Fahne, 59–63.
163. With respect to this film see the contemporary remarks in Eckert, “Filmtendenz,” 23.
164. Funk, Film, 104.
165. Kriegk, Film, 243.
166. “S.A.-Mann Brand,” Völkischer Beobachter, June 16, 1933 (1st quote); Goebbels’s mixed feelings in Goebbels, Tagebücher Fragmente, vol. 2, 433–4. A Party objection to the showing of SA-Mann Brand in Frankfurt is mentioned in Rabenalt, Goebbels, 40–1, and Tegel, Nazis, 55–6.
167. Kalbus, Werden, 119–20 (quote; the original German is “Konjunkturkitsch”).
168. Goebbels in a Berlin speech on May 19, 1933, reprinted in Albrecht, Filmpolitik, 442.
169. Goebbels, Tagebücher Fragmente, vol. 2, 552.
170. For the press, see Ewald von Demandowsky, “Das grösste Filmwerk, das wir je gesehen haben,” Der Filmbeobachter (Beilage zum VB), March 30, 1935; Rudolf Kircher, “‘‘Triumph des Willens’,” Frankfurter Zeitung, March 30, 1935; also Kriegk, Film, 216–17.
171. On the purge aspect, see Volker, “Von oben,” 50–1; Tegel, Nazis, 77. An early appreciation of the film as art and propaganda is in Welch, Propaganda, 147–59. See the more current appraisal in Niven, Hitler, 71–84.
172. See Vaget, “Nazi Cinema,” 36–43.
173. Susan Sontag, “Fascinating Fascism,” The New York Review of Books, February 6, 1975, www.nybooks.come.ezproxy.library.
174. See Kriegk, Film, 218; Welch, Propaganda, 112–18; Tegel, Nazis, 97; Niven, Hitler, 84–94.
175. Hull, Film, 115–17; Welch, Propaganda, 159–63; Kreimeier, Ufa-Story, 306–7; Moeller, Filmminister, 173. The actor Will Quadflieg recounts witnessing the charismatic Jannings smashing glass furniture before the filming of a particularly violent scene, to get into the proper mood (Spielen, 224–5).
176. That it was a forced comparison was the immediate impression of the British critics. See Monthly Film Bulletin (1937): 151. Similarly on the German side: Jasser, “Film,” 232.
177. Goebbels, Tagebücher Fragmente, vol. 3, 76, 79.
178. Krützen, Albers, 237–8; Rentschler, Ministry, 76.
179. Kriegk, Film, 212 (quote); Welch, Propaganda, 242–6; Rentschler, Ministry, 76. Hitler saw his Crimean settlement plans temporarily thwarted after Stalin had deported the Volga Germans to Siberia and Kazakhstan in the fall of 1941 (Kershaw, Nemesis, 401–3; Pyta, Hitler, 372).
180. Kriegk, Film, 242.
181. Riefenstahl attempted to make the film Tiefland with herself as lead character, but was bogged down by financial and logistical difficulties beginning in 1938 and through the war, so that the movie was completed only in 1954, to moderate acclaim. See Petropoulos, Artists under Hitler, 251–7; Klee, Kulturlexikon, 440–1.
182. Rentschler, Ministry, 125–6, 131–4, 139–41; Nadar, “Director,” 72–5; Lowry, Pathos, 212.
183. Ascheid, Heroines, 186–94; Drewniak, Film, 500–1. On the alleged superiority of Bach and inferiority of the U.S.A. see Riethmüller, “Leander,” 163, 174–5.
184. Hake, Cinema, 198.
185. Heins, Melodrama, 79–80.
186. Ascheid, Heroines, 143–52.
187. Rosenberg, Tagebücher, 267.
188. Von Schramm, Neubau, 96. Unemployment among the gainfully employable was at 19.9 percent for all of 1932. At 16.3 percent artists in “theater, music, etc.” were below but close to that level. The highest rate was among domestic servants at 99.2, the lowest among mine workers at 0.3 percent (figures in Horkenbach, Reich, 507). By 1937, the Reich unemployment rate had been reduced to 5.87 percent, with “theater, music, etc.” at zero (figures in Statistisches Jahrbuch . . . 1938, 371, 377).
189. Schoeps, Literatur, 123; “Erste Reichstheatertagung der HJ,” Der Autor (April/May 1937): 15; Zander and Willimczik, Reichstheatertage.
190. Rischbieter, Theater, 225–6.
191. The Deutsches Theater was led by Heinz Hilpert, the Schiller-Theater by Heinrich George, the Deutsche Volksbühne by Eugen Klöpfer, and the Preussisches Staatstheater by Gustaf Gründgens. The first three came under the Promi, the last under Göring. In Munich, the Prinzregententheater (under Promi) was singled out and after March 1938, in Vienna, the Burgtheater (under Promi). See Rischbieter, Theater, 227. On Göring’s patronage see “Ministerpräsident Goering [sic]: Die Rede an die Theater-Intendanten,” Film-Kurier, September 13, 1933.
192. Baranowski, Strength, 58. See also Robert Ley’s speech of November 27, 1935, in Ley, Deutschland, 103–4; Dressler-Andress, Jahre, 11 (with, likely, inflated figures); Guthmann, Kunst, 30. On Rosenberg, see Brenner, Kunstpolitik, 90; Dussel, Theater, 102–3. KdF = Kraft durch Freude.
193. Corr. Lampel and Schlösser (May 1934) published in Wardetzky, Theaterpolitik, 280–1; Herbert A. Frenzel, “Nationalpolitische Tat auf der Bühne,” Hamburger Tageblatt, October 22, 1935; Walter Gättke, “Hier irrt Herr Bunje!,” Hamburger Tageblatt, July 20, 1937; von Naso, Leben, 618; Drewniak, Theater, 212; Schoeps, Literatur, 123.
194. On Party theater personnel: Denk, “Zukunftsschau,” 448; Drewniak, Theater, 217.
195. Ebermayer, Deutschland, 241.
196. Nowak, Bauer, 9–10, 26, 39–40; Wischmann, Vogt, esp. 52; Ahlers, Sturm, 14, 16, 34, 40–1, 51, 54–5, here positively the Nazi critic Wanderscheck, Dramatik, 251.
197. Zerkaulen, Jugend, 32–3, 36, 42, 70, critically Schoeps, Literatur, 129–31; Dwinger, Namenlosen, 16–17, 83–6; Steguweit, Petermann, 9, 11, 21–2.
198. Blachetta, Kampf, 25–7, 38–9, 46–7; Felix Lützkendorf, “Vom ‘Opfergang’ zum ‘Alpenzug,’” Hamburger Tageblatt, October 22, 1935; Billinger, Gigant, 9, 17, 25, 53.
199. Diebenow, Nacht, 20–2, 25; Billinger, Lob, 38, 40.
200. Huth, Gesellen, esp. 80–1, 10, see Wanderscheck’s approving comments: Dramatik, 269–70; Steguweit, Baron; Hinrichs, Petermann, 8, 16, 38, 40, 42, 68, 75, 81.
201. E.g. Billinger, Lob, 38, 40.
202. See fourteen insipid-looking titles of the Braunschweiger-Bühnen-Verlag Albert Limbach, Berlin, in Deutsche Theater-Zeitung, September 14, 1939.
203. Fitz Mack, “Das Stück des Reichsministers Joseph Goebbels,” Leipziger Neueste Nachrichten, May 16, 1933.
204. Eckart, in LMO: Lebendiges Museum Online; “Aus der Arbeit eines Ortsverbandes,” Deutsche Bühnen-Korrespondenz 4, no. 5 (January 19, 1935): 4; Dresler, “Eckart,” 22; Drewniak, Theater, 216.
205. Helmuth Merzdorf, “Dichtung aus nordischem Geist,” Hamburger Tageblatt, October 22, 1935; “Deutsches Volkstheater . . . Plumpudding,” ibid.; Alexander Funkenberg, “Thilo von Trotha,” in Zander and Willimczik, Reichstheatertage, n.p. (quote); Klee, Kulturlexikon, 558.
206. Johst, Schlageter, 26; Pfanner, Johst, e.g. 243.
207. Johst, Paine; Ketelsen, Theater, 69; Michalzik, Gründgens, 99–100; Jürgen Fehling, 144–5; Goebbels’s positive reaction (November 1935) in Goebbels, Tagebücher Fragmente, vol. 2, 541.
208. See Johst, Standpunkt and Maske; Johst’s three poems in Böhme, Rufe, 101, 304, 348. Positively historicizing Johst: Horn, “Johst,” 87, 91–2, 105–8, 112; Wanderscheck, Dramatik, 54–5, 93–5, 100; Langenbucher, Volkhafte Dichtung, 554–9.
209. Hermann Wanderscheck, “Das Theater als Idee,” Deutsche Theater-Zeitung, no. 84 (July 25, 1937); Baird, Hitler’s War Poets, 66–95.
210. Paul Kersten quoted in “Gerhard Schumann als Dramatiker,” Deutsche Theater-Zeitung, no. 8 (January 18, 1939).
211. Möller, Untergang, esp. 15, 17, 32, 37, 49, 65, 71, 105–6, 118–19; Frenzel, “Möller,” 141, 157–8, 168; Baird, Hitler’s War Poets, 165–207; Klee, Kulturlexikon, 373, 500–1. On the Nazi characterization of Carthage, during the Punic Wars (264–146 BC), as Jewish see Chapoutot, Greeks, 293–8.
212. Menz, “Sprechchor,” 332, 338; Kater, Weimar, 120–4.
213. Stang, Grundlagen, 38; Rischbieter, Theater, 219.
214. “‘‘Flamme des Volkes’,” Deutsche Bühnenkorrespondenz 4, no. 42 (May 29, 1935): 2; Kurt Heynicke, “Erfahrung und Meinung,” Der neue Weg 12 (August 15, 1935): 350; von Schramm, Neubau, 46, 48, 51, 65; Schlösser, Volk, 57; Theater von A–Z, XI c 5; Braumüller, “Heynicke,” 3. See the critical analysis by Niven, “Thing,” esp. 56–61, and 67–8 on audience integration.
215. Rischbieter, Theater, 219; Brenner, Kunstpolitik, 103; Niven, “Thing,” 55.
216. Goebbels’s praise: Tagebücher Fragmente, vol. 2, 600, 654.
217. Wanderscheck, Dramatik, 33, 121–2; Petersen, Geschichtsdrama, 53–5; Baird, Hitler’s War Poets, 180–3; Menz, “Sprechchor,” 340–1; Rischbieter, Theater, 224.
218. Menz, “Sprechchor,” 339–40; Rischbieter, Theater, 222, 225; Niven, “Thing,” 62–7.
219. Goebbels, Tagebücher Fragmente, vol. 2, 626; Kühn, “Thingspiel,” 459–63; Schlösser, Volk, 54–5; Stang, Grundlagen, 37–8; Krug, “Erziehung,” 456–62; Emmel, Theater, 23–4.
220. The quoted phrase is William Niven’s: “Thing,” 76. See Schlösser, Volk, 56; Brenner, Kunstpolitik, 106; Rischbieter, Theater, 220.
221. “Die Kunst im öffentlichen Leben,” Münchener Zeitung, June 18, 1935.
222. Minetti, Erinnerungen, 107. See also text above at n. 34.
223. Goebbels, Tagebücher Fragmente, vol. 2, 748; Ledebur, “Shakespeare,” 1–12.
224. Kenter, “Regieführung,” 744; Künkler, “Probleme,” 199–200; Ketelsen, Theater, 129–30.
225. Dussel, Theater, 280–5; Gadberry, “Dresden,” 129–30. On the significance of Schiller for the Nazis (until 1941) see Zeller, Klassiker, vol. 1, esp. 164–227, 403–36; Kater, Weimar, 243–5. On Goethe: Kater, Weimar, 239–41.
226. Playlists: Willi Glindemann, in Werkhäuser, 150 Jahre, 91 (Koblenz, performed Hauptmann); Berliner Zeitung am Mittag, March 11, 1939 (Berlin); Gadberry, “Dresden,” 129 (Dresden Reich Theater Week, 1934); Deutsche Theater-Zeitung, January 17, 1937 (Weimar, performed Halbe).
227. Rosenberg, Tagebücher, July 1936, 185; Goebbels cited in Amtliche Mitteilungen der Reichsmusikkammer 5, no. 11 (June 4, 1938).
228. Pohle, Rundfunk, 322–3; Stege, “Jazzkapelle,” 251; Das Deutsche Podium (November 8, 1935): 3, (November 14, 1935): 1,280, (January 24, 1936): 4, (February 7, 1936): 1–2, (February 14, 1936): 3, (March 20, 1936): 3, (April 3, 1936): 1–2; Der Artist, (August 28, 1935): 961, (November 14, 1935): 1,279, (February 6, 1936): 129, (February 13, 1936): 156, (February 20, 1936): 189, (February 26, 1936): 228, (March 5, 1936): 244, (March 19, 1936): 304–5, (June 4, 1936): 651–52.
229. Joost-Hinkel corr. (1936), RKK Oskar Joost, BAB (former BDC); Das Deutsche Podium (February 28, 1936): 5, (May 26, 1936): 7; Diller, Rundfunkpolitik, 198.
230. Wilhelm Hartseil, “Rassestimmen und Hörerbriefe zur Sendereihe ‘Rundfunkball des Reichssenders Leipzig’ (Neue Wege zum Deutschen Tanzstil),” ms., BAK, Library, Rundfunk, esp. 1, 3, 5–6, 10–15, 18, 24, 35, 79, 102, 123; Unterhaltungsmusik (January 6, 1938): 4.
231. Unterhaltungsmusik (April 14, 1938): 451, (August 11, 1938): 1,054–5; Musik in Jugend und Volk 2 (1939): 33.
232. Ramin, in Oxford Music Online; Kater, Muse, 175–6; Klee, Kulturlexikon, 428–9.
233. Ehlert to Esser, April 4, 1934, BH, MWi/2817; corr. in RKK Li Stadelmann, BAB (former BDC) (quote Stadelmann to Hinkel, August 3, 1933); SMK, 275 and 97/5; Klee, Kulturlexikon, 523.
234. Lemnitz, in Oxford Music Online; Klee, Kulturlexikon, 327–8 (with different career dates).
235. Ivogün and Raucheisen, in Oxford Music Online; Klee, Kulturlexikon, 251, 430–1.
236. In 1943–4, Schwarzkopf was treated for TB in a sanatorium in the Tatra Mountains. Physician Jury was a TB specialist. See Kater, Muse, 61–3, 260 n. 140; Schwarzkopf, in Oxford Music Online; Klee, Kulturlexikon, 503.
237. Klee, Kulturlexikon, 203; Kater, Muse, 15, 17, 23–4.
238. Heger, in Oxford Music Online (quote); Heger to Lotte Lehmann, July 9, 1933, ATW/15; Laux, Nachklang, 244–5; Klee, Kulturlexikon, 206; Niessen, “Schauplatz,” 136.
239. Hüsch, in Oxford Music Online; Klee, Kulturlexikon, 246, 474; Berthold Goldschmidt in Csipak, “Goldschmidt,” 61; Die Musik 26 (1934): 363 (quote).
240. Ney to Robert Ley, July 15, 1943, EB/26 (1st quote); Ney, in Oxford Music Online (2nd quote); Klee, Kulturlexikon, 391; Kater, Muse, 31–3.
241. Distler, in Oxford Music Online; Klee, Kulturlexikon, 102; quotes in Fischer, “Kirchenmusik,” 204, 231.
242. David, in Oxford Music Online; Klee, Kulturlexikon, 95; Kater, Muse, 166–7.
243. Pepping, Stilwende, 79–81 (quote); Pepping, in Oxford Music Online; Kater, Muse, 165–6.
244. Fortner, in Oxford Music Online; Klee, Kulturlexikon, 144.
245. The German original of “race defilement” is “Rassenschande.” Quotes from the contemporary Deutsche Theaterzeitung as cited by Klee, Kulturlexikon, 577. See also Wagner-Régeny, in Oxford Music Online; Honegger and Massenkeil, Lexikon, vol. 8, 325–6.
246. Egk as quoted by Anton Würz in Zeitschrift für Musik 108 (1941), 725; National-Zeitung (Essen), August 18, 1936; Schmitz, “Oper,” 382; Egk, in Oxford Music Online; Kater, Composers, 3–21. Ridicule of Egk was expressed by Hans Bergese (to Orff, March 16, 1938, CM, Allg. Korr.), and Karl Amadeus Hartmann (Elisabeth Hartmann, recorded interview with author, December 13, 1994, YUA, CA ON00370 F0456).
247. Taruskin’s quotes: (1) Taruskin, “Carl Orff” in Oxford Music Online; (2) author’s minutes of panel discussion at symposium, “The Politics of Music: Orff, Weill and Brecht,” co-produced by New York City Opera and Works and Process at the Guggenheim Museum, New York, March 16, 1997 (APA).
248. Schmitz, “Oper,” 382; Levi, “Opera,” 153; Taruskin, “Carl Orff,” in Oxford Music Online.
249. Aster, Orchestra, 120–1, 154.
250. Steinweis, Art, 42–9; Piper, Barlach, 92.
251. “Tätigkeitsbericht des Präsidenten der Reichskulturkammer, Dr. Goebbels,” Völkischer Beobachter, November 28, 1936.
252. “10 Jahre NS.-Sinfonieorchester,” Die Musik 34, no. 4 (1942): 151.
253. Bresgen, and Stürmer, in Oxford Music Online; Klee, Kulturlexikon, 55, 71; Kater, Muse, 71–2, 143–6; Kurt Heynicke, “Erfahrung und Meinung,” Der neue Weg (August 15, 1935): 350; Riethmüller, “Komposition,” 243.
254. Muschler, “Film,” 7; Wähler, “Kampflied,” 154–6.
255. Tägliche Rundschau, May 11, 1933; Amtliche Mitteilungen der Reichsmusikkammer 6, no. 4 (February 15, 1939): 9.
256. “Hohe Nacht der klaren Sterne . . . ,” in Baumann, Kamerad, 68–9.
257. I have this on the authority of my wife, Barbara Kater, née Streit, who experienced this many times in family circles.
259. Killer, “Graener,” 150; Schmitz, “Geburtstag,” 1–3.
260. Graener, in Oxford Music Online (quote); Levi, “Opera,” 148; Klee, Kulturlexikon, 176. In translation, the operas are “Don Juan’s Last Adventure” and “Hannele’s Ascension” (after Hauptmann).
261. Matthes, “Trapp,” 1,074–5, 1,078–9; Trapp, in Oxford Music Online; Honegger and Massenkeil, Lexikon, vol. 8, 161.
262. Matthes, “Trapp,” 1,078; Büttner, “Reichsmusiktage,” 739–40; Trapp, in Oxford Music Online; Klee, Kulturlexikon, 556.
263. Büttner, “Reichsmusiktage,” 738; Riethmüller, “Stefan Zweig,” 269 (quote), 273; Steinweis, Art, 42–9; Piper, Barlach, 92.
264. Martin, New Order, 78.
265. Sachs, Music, 21–2.
266. Fischer, “Fate,” 80 (quote), 85–6. More on Pfitzner in the war in Chapter 4.
267. Walter, Strauss, 355–95; Fischer, “Fate,” 82–8.
268. Honegger and Massenkeil, Lexikon, vol. 6, 260–1, vol. 8, 23–5.
269. Kater, Muse, 7–12. For the crucial case of Berlin see Potter, “Berlin Philharmonic,” 39–55; Potter, “Musical Life,” 93–8.
270. Figures according to Baranowski, Strength, 58. See also Ley, Deutschland, 107; Dressler-Andress, Jahre, 10.
271. Potter, “Musical Life,” 97.
272. Hitler, in Linz, was seven when Bruckner died in 1896. See Binding in Sechs Bekenntnisse, 19 (quote); Liskowsky, “Wiedergeburt,” 222; Herzog, “Musik,” 201–3; “Bachfest des Reiches,” Münchener Zeitung, June 18, 1935; Laux, Bruckner, 90–1; Riethmüller, “Bestimmung,” 28–69; Ross, Rest, 314–16, 335; Dümling, “Michel,” 202–14. On Binding’s pro-Nazism see Baird, Hitler’s War Poets, 32–65.
273. Levi, Music, 192–3; Drewniak, Theater, 328–30; Aster, Orchestra, 155; Reinhold, “Repräsentation,” 41–2; Dussel, Theater, 215.
274. “Wochenspielplan der Berliner Theater,” Berliner Zeitung am Mittag, March 11, 1939; Werkhäuser, 150 Jahre, 90.
275. Adorno in March 1945, in Schriften, 416. Quote is from Alex Ross’s chapter “Prelude: Death in Venice,” in his forthcoming book Wagnerism (see n. 13 above).
276. Herzog, “Musik,” 201, 204; “Zum Abschluss: Festaufführung im Deutschen Opernhaus,” Völkischer Beobachter, November 28, 1936; Hamann, Wagner, 236; Reinhold, “Repräsentation,” 42; Werr, Weltsicht, 195–7.
277. Vaget, Erbe, 457; Hamann, Wagner, 231–399; Spotts, Bayreuth, 161–88.
278. Collection in BS, Ana/306; Bormann to Kähler, July 4, 1933, ibid.; Rasch to Promi, April 24, 1935, BAK, R55/1177; Goebbels, Tagebücher Fragmente, vol. 3, 491; Prieberg, Musik und Macht, 180.
279. Reproductions in Schorer, Kunstbetrachtung, 145; Schlenker, “Art,” 95 (see also 99); Merker, Künste, 261. On Erler (1868–1940) and Knirr (1862–1944), see Klee, Kulturlexikon, 126, 287–8.
280. The painting is reproduced in Merker, Künste, 262. On Hoyer (1893–1968) see Schlenker, “Art,” 99–100; Klee, Kulturlexikon, 243.
281. See Merker, Künste, 260; Hackel, “Annäherungen,” 76–7; Grosse Deutsche Kunstausstellung, plate 55. Also Adam, Art, 105, 171, 224.
282. Frontispiece “Der Führer,” charcoal drawing by H. Oloffs after a photograph by Hitler’s personal photographer Heinrich Hoffmann, in Mantau-Sadila, Deutsche Führer. See also ibid., 202–407.
283. See painting in Adam, Art, 18. A regime-beholden description read: “Führer as knight in silver-white armour on horseback, with a fluttering flag in hand” (Bruno E. Werner, “Erster Gang durch die Kunstausstellung,” Deutsche Allgemeine Zeitung, July 20, 1937). On Lanzinger (1880–1950) see Klee, Kulturlexikon, 320.
284. Reproductions in Adam, Art, 73, 173; Kölnische Volkszeitung, July 22, 1937.
285. See the photograph of Breker, bust-in-progress, and Speer in Adam, Art, 197. Also the finished bust in Hackel, “Annäherungen,” 76.
286. Images in Grosse Deutsche Kunstausstellung, plate 4; Adam, Art, 97; Gritzbach, Göring, frontispiece opposite title page and plate opposite 192.
287. Reproduced by Petropoulos in Artists under Hitler, 19. See also Grosse Deutsche Kunstausstellung, plates 5, 56, 57. Wilhelm Otto Pitthan (1896–1967) painted Goebbels in 1938: www.google.ca/search?q=wilhelm+otto+pitthan. The portrait was reproduced during the war: Hans Hartmann, “Das politische Portrait: Wilhelm Otto Pitthan, ein Maler deutscher Staatsmänner,” Das Reich, January 30, 1944. Max Brüning (1887–1968) published an original etching of a pensive Goebbels in Kalbus, Werden, 102.
288. Werner Rittich, “Maler der Kampfzeit und des Krieges,” Völkischer Beobachter, August 15, 1941; images in Backes, Hitler, 79, and Adam, Art, 99. On Eber (1892–1941) see Klee, Kulturlexikon, 111–12.
289. www.renegadetribune.com/artwork-german-hardship-soldierly-struggle-franz-eichhorst/#&gid=psgal_48164_1&pid=1.
290. Wühr, “Graphik,” 165; Merker, Künste, 264; Adam, Art, 65. Biography of Sluyterman (1903–78) is in Klee, Kulturlexikon, 516.
291. Wühr, “Graphik,” 164.
292. Kalauer Bauernfamilie, purchased by Hitler 1939 (Backes, Hitler, 80). See also Schorer, Kunstbetrachtung, 172, 180. For Wissel (1894–1973) and Gradl (1883–1964) see Klee, Kulturlexikon, 175–6, 605.
293. Hochgebirge, in Backes, Hitler, 94.
294. Adam, Art, 119, 284.
295. Spotts, Hitler, plates near 139, and drawings 52, 394.
296. Ross, “Hitler Vortex,” 69.
297. Hitler, “Die Ansprache des Führers zur Eröffnung des Hauses der Deutschen Kunst,” Mitteilungsblatt der Reichskammer der bildenden Künste (August 1, 1937): 4; Hitler’s speech at the Grosse Deutsche Kunstausstellung 1938, in Hinz, Malerei, 176; Hitler’s speech in “Der Führer,” 34–5; Hitler utterings in Jochmann, Hitler, 387, 398; Lehmann-Haupt, Art, 89–91; Merker, Künste, 163; Backes, Hitler, 90; Schlenker, “Art,” 98–9.
298. “Die Begabung des Einzelnen – Fundament für Alle,” Hakenkreuzbanner, June 10, 1938; reproduction in Schorer, Kunstbetrachtung, 175; Petsch, “Malerei,” 268 (quote); Klee, Kulturlexikon, 409; Adam, Art, 101, 166–7; Spotts, Hitler, 176, 178. “Realism” may suggest contemporary motifs only, but Peiner (1897–1984) painted in all genres.
299. See Willrich’s Kind aus Schaumburg-Lippe, in Hansen, “Willrich,” 337. Programmatically, Robert Böttcher reproduced Dürer’s Bildnis meiner Mutter in Kunst, 27. See also Sluyterman von Langeweyde’s linoleum cut In einem kühlen Grunde, in Lehmann-Haupt, Art, 95. See Weise, “Aussprache,” 405–7. Willi Münch-Khe’s Der Bodenseefischer Leopold Wenck is of the Peiner school (reproduction in Merker, Künste, 252). On Hans Thoma see Julia Voss, “Der gefallene Meister der deutschen Kunst,” July 2, 2013, www.faz.net, and his contemporary portrait by Hans Adolf Bühler reproduced in Clinefelter, Artists, 63.
300. Linfert, “Sichtbar vor Augen,” Frankfurter Zeitung, September 29, 1936.
301. Werner, “Erster Gang durch die Kunstausstellung,” Deutsche Allgemeine Zeitung, July 20, 1937.
302. Schindler, “Blut und Boden,” 370.
303. Reproductions, including Baumgartner’s Bäuerliches Mittagsmahl, in: Wühr, “Graphik,” 168; Willrich, Säuberung, 152; Schorer, Kunstbetrachtung, 179; Damus, “Gebrauch,” 98; Merker, Künste, 242–3, 251, 274. See also Hinz, Malerei, 76–7, 109; Meckel, Animation, 44, 70–2.
304. Hermand, “Tümlichkeiten,” 108; Schirmbeck, “NS-Kunst,” 72; Merker, Künste, 280–83.
305. See Am Massinger See (At the Massing Lake) by Hermann Mayerhofer of Passau, in Schindler, “Blut und Boden,” 372, and the commentary in Petsch, Malerei, 253.
306. Veronika Wulf, “Einmal ‘Weidende Kühe’ für Adolf Hitler,” Sueddeutsche.de, March 12, 2017; Klee, Kulturlexikon, 523; Engelbrecht, Kunst, 102; Merker, Künste, 250; Petsch, Malerei, 261; Adam, Art, 132.
307. For the first type see Wissel, Bäuerin (Peasant Woman), in Schorer, Kunstbetrachtung, 180, and Hans A. Bühler’s Heimkehr (Homecoming), in Merker, Künste, 243. For reference, Böttcher reproduced Leibl’s Drei Frauen in der Kirche (Three Women in Church), in Kunst, 17. The connection between Bühler and Thoma is made in “Hans Adolf Bühler, ein Maler deutscher Weltanschauung,” Deutsche Kultur-Wacht 3 (1933): 13. Bühler’s own portrait of his teacher Thoma is reproduced in Clinefelter, Artists, 63. Dürer’s Mother is shown in Böttcher, Kunst, 27.
308. Cissarz, Mütterlichkeit (Motherliness), in Merker, Künste, 273; Willrich, Meine Frau (My Wife), in Hansen, “Willrich,” 335; Diebitsch, Mutter und Kind (Mother and Child), in Schorer, Kunstbetrachtung, 181.
309. In Adam, Art, 147. See also Karl Schlageter’s End of the Day, ibid., and Bühler’s Heimkehr, as in n. 307.
310. Reproductions in Adam, Art, 64, 223. Earlier an Impressionist, Liebermann (1869–1960) was no relative of the Jewish painter Max Liebermann. See Klee, Kulturlexikon, 331–2.
311. Reproduction in Adam, Art, 154. See also Klee, Kulturlexikon, 404. For earlier exemplars, see those by Giambettino Cignaroli (1706–70) and Henri Matisse (1869–1954).
312. Exemplary: Frenssen, Vorland, 71–2, 136–7.
313. Willrich, Säuberung, 157.
314. Reproductions in Adam, Art, 15, 191, 194; Merker, Künste, 271–2.
315. Stephanie Barron’s introduction in Einzig et al., Sculpture, 13–28; Kaiser, Führer, 19; Heftrig, “Modernism,” 273; www.bpb.de/politik/hintergrund-aktuell/141166/vor-75-jahren-ausstellung-entartete-kunst-18-07-2012.
316. Damus, “Gebrauch,” 110; Lehmann-Haupt, Art, 103.
317. Thorak, in www.meaus.com/josef-thorakenglish.htm; reproductions in Merker, Künste, 248–9, 266; Adam, Art, 194–6.
318. Lehmann-Haupt, Art, 98.
319. www.germanartgallery.eu/m/Webshop/0/product/info/Arno_Breker,Kameraden&id=31 (quote); Breker in LEMU: Lebendiges Museum Online; Lehmann-Haupt, Art, 97–100; Petropoulos, “Seduction,” 205–29; and the reproductions in Petsch, “Malerei,” 266, and Adam, Art, 8, 14–15, 198–204.
320. See Merker, Künste, 297; Lehmann-Haupt, Art, 100; Petsch, “Malerei,” 263–74.
321. Miller Lane, Architecture, 188.
322. Miller Lane, Architecture, 192–3 (1st quote); Speer, “Vorwort,” 10–11 (2nd quote); Lotz, “Reichsparteitagsgelände,” 264–8; Hager, “Bauwerke,” 11–12; Thies, Plans, 87–9; Merker, Künste, 220–4.
323. Kitchen, Speer, 31–3; Hitler’s motto in Brenner, Kunstpolitik, 124; Dresler, Braune Haus, 10; Rasp, Stadt, 21, 27–8; Chapoutot, Greeks, 88–9. Hitler’s Graecomania is documented in his public speeches: see, for 1933, Hitler in Dreyer, Kultur, 13–15, and for 1935 in Hinz, Malerei, 142–3. Perforce, Rosenberg, who, like Himmler, was a Germanocentric at heart, paid lip service to this in Revolution, 10.
324. Adam, Art, 252.
325. Hitler quoted in Miller Lane, Architecture, 189.
326. In 1938 Kaspar (1904–86) was appointed professor of monumental painting in Munich. Photographs and text in Adam, Art, 252–9 (Hitler quoted 254); Speer, “Vorwort,” 12–13; Klee, Kulturlexikon, 269.
327. Spotts, Hitler, 311–85; Kater, Weimar, 221–3.
328. Pfeiffer, “Jagdhaus,” 19–24; “Nationalsozialistische Baukunst,” Mitteilungsblatt der Reichskammer der bildenden Künste 4, no. 9 (September 1, 1939): 1; Miller Lane, Architecture, 196–208, 215; Damus, “Gebrauch,” 116–20; Schäche, Architektur, 67–9; Kitchen, Speer, 34. Schultze-Naumburg reiterated his well-known views in Kunst, 42–4.
329. Werkhäuser, 150 Jahre, 71 (1st quote); Steguweit, Sinnen, 118 (2nd quote).
330. Adorno, Schriften, 424.
331. Rosenberg in July 1933 speech, printed in Rosenberg, Ein Kampf, 250.
332. Goebbels, Tagebücher Fragmente, vol. 3, 167; Backes, Hitler, 61, 79–82; Spotts, Hitler, 172.
333. Meldungen aus dem Reich, vol. 2, 276.
334. Goebbels, Tagebücher Fragmente, vol. 2, 722.
335. Meldungen aus dem Reich, vol. 2, 116; Lehnich, Jahrbuch, 117; Eckert, “Filmtendenz,” 25.
336. Lindemann, “Heimat,” 35 (quote), 36.
337. Emmel, Theater, 23–4.
338. Dorsch to Ebermayer, March 11, 1938, printed in Ebermayer, . . . und morgen, 248.
339. Stang, “Nationalsozialismus,” 389. See also Billerbeck-Gentz, “Ausschaltung,” 10; von Trotha, “Rasse,” 2; Schlösser, Volk, 54–5.
340. Langenbucher, Nationalsozialistische Dichtung, 40. Critically today: Andersch, Literatur, 7–8; Geissler, Dekadenz, 8–9; Strothmann, Literaturpolitik, 10, 391, 394.
341. Goebbels, Tagebücher Fragmente, vol. 3, 465–6 (quote).
342. Herzog, “Musik,” 203; Ziegler, Wende, 13; Schmitz, “Oper,” 381–2. Also Vogelsang, Filmmusik, 12; Werr, Weltsicht, 157.
343. Bade, Aufgaben, 16; Haupt, Dichtung, 20; Weigert, Kunst, 118; Stang, “Weltanschauung,” 196; Stang, “Nationalsozialismus,” 389; Langenbucher, Nationalsozialistische Dichtung, 28; Eckert, Rundfunk, 131. Critically: Tegel, Nazis, 73.
344. Goebbels, Tagebücher Fragmente, vol. 2, 432, 556, 620, 751; vol. 3, 272, 320; Weigert, Kunst, 117; Merzdorf, “Romane,” 373–4; Ziegler, Wende, 13. Critically: Boeschenstein, Novel, 3.
345. Bade, Aufgaben, 18.
346. Drewniak, Theater, 211; Wardetzky, Theaterpolitik, 77.
347. Schinköth, “Leistung,” 66. Carl Orff had been commissioned after a similar invitation by Frankfurt’s lord mayor, the SS officer Fritz Krebs.
348. Brenner, Kunstpolitik, 106.
349. Meckel, Animation, 86; Fröhlich, “Pressekonferenz,” 374–6.
350. Mitteilungsblatt der Reichskammer der bildenden Künste 4 (September 1, 1939): 3, 5.
351. Rosenberg in Völkischer Beobachter, January 1, 1935; Hans Weigert, “Kunst und Staat,” Deutsche Allgemeine Zeitung, July 18, 1937.
352. Goebbels, Tagebücher Fragmente, vol. 3, 327.
353. Meldungen aus dem Reich, vol. 2, 117; Hagemann, Publizistik, 65; Wardetzky, Theaterpolitik, 77.
354. Goebbels quoted in Klee, Kulturlexikon, 331.
355. Deutsche Filmakademie, 4, 19–21, 89. The police curriculum is detailed in Browning, Ordinary Men, 177.
356. Meldungen aus dem Reich, vol. 2, 116.
357. Slansky, Filmhochschulen, 162–4.
358. Quote in Petropoulos, Artists under Hitler, 42.
359. Kater, Muse, 43–6.
360. Hitler in Jochmann, Hitler, 214; Bollmus, Amt Rosenberg, 153–234; Kater, Ahnenerbe, 139–44; Chapoutot, Greeks, 7, 30, 69–77.
361. Kershaw supplies examples of this in Nemesis, e.g. 462, 469, 514, 576–7, 580–1, 622–3, 688, 838.
362. Katja Iken, “Von Hitler verehrt, von Goebbels kaltgestellt,” www.spiegel.de/einestages/henny-porten-erster-deutscher-star-der-ufa-a-1182894.html.
THREE – JEWS IN THE NAZI CULTURAL ESTABLISHMENT
1. Browning, Origins, 5.
2. Goldhagen, Executioners, 77 (quote); Friedländer, Nazi Germany, 107.
3. Menz, Aufbau, 2–5 (1st two quotes 4); Stang, “Weltanschauung,” 197 (3rd quote); Münster, Zeitung, 143–4; Spieker, Hollywood, 64; Niewyk, “Cultural Role,” 172. Among Jewish painters, one could also mention Otto Freundlich and Felix Nussbaum, both of whom perished in the Holocaust (on Freundlich, see below; for Nussbaum, see Milton, “Culture,” 89–95).
4. Steinweis, “Anti-Semitism,” 20; Friedländer, Nazi Germany, 108. See also Müller-Wesemann, Theater, 23–5; Hoeres, Kultur, 81; Winkler, “Gesellschaft,” 276–7; Niewyk, “Cultural Role,” 167–8. Peter Gay pioneered the thesis of the Weimar German Jews as creatively most potent outsiders, in his classic Weimar Culture, but later distanced himself from it (see Friedländer, Nazi Germany, 107) .
5. Peter Heyworth and John Lucas in Oxford Music Online (1st quote); Eric Ryding and Rebecca Pechefsky, ibid. (2nd quote). See also Niewyk, “Cultural Role,” 169–72; Müller-Wesemann, Theater, 22; Du Closel, Stimmen, 288; Fox-Gál, Musik, XII; Grüttner, Brandstifter, 143; Deák, Weltbühne, 13–61.
6. Kracauer, Caligari, 97, 101–2.
7. Laqueur, Weimar, 176.
8. Heilmann, Jessner, 402–3, 412; Feinberg, “Leopold Jessner,” 114–28; Strobl, Swastika, 16–17; Klee, Kulturlexikon, 256.
9. Hitler quoted in Jäckel, Hitlers Herrschaft, 89; Pyta, Hitler, 143–5. In the wake of this pioneering literature, including Thomas Weber’s own Hitler’s First War, portraying a Hitler in World War I without Jew hatred, Weber is correct in referring, in his 2017 Hitler biography, to Hitler’s “anti-Semitic conversion” during 1919 (Becoming Hitler, 58). See also Longerich, Hitler, 68–70.
10. The Vogls’ quotes from Pyta, Hitler, 160.
11. Hitler, Mein Kampf, 772.
12. Hitler, Mein Kampf, 332 (quote), 345.
13. Ullrich, Hitler, 230–1.
14. Pamphlet cited in Müller-Wesemann, Theater, 30.
15. Bruckmann cited in Martynkewicz, Salon Deutschland, 426.
16. Vesper, Wer? Wen?, 102, 112.
17. Strasser’s speech printed in Rosenberg and Weiss, Reichsparteitag, 11–13 (quote 11).
18. Streicher’s speech printed in Rosenberg and Weiss, Reichsparteitag, 9–11; his lists, such as the aggregate one of Jews in Prussia [1930], are at NAW, Captured German Records, T-580/267. I owe my knowledge of these documents to Marc Romanych, of Digital History Archive.
19. Grosse Anfrage, sign. Gieseler et al., December 12, 1928, Sitzungsprotokoll des Preussischen Landtages, quoted in Heilmann, Jessner, 395.
20. Müller-Wesemann, Theater, 31–2; Kater, Weimar, 205–10.
21. Friedländer, Nazi Germany, 109; Steinweis, “Conservatism,” 343.
22. Langenbucher to Ernst, July 21, 1931, printed in Bähre, “Langenbucher,” 254–5.
23. Von Ambesser, Nimm, 84.
24. Dagover, Dame, 205.
25. Johst, Maske, 31.
26. Friedländer, Nazi Germany, 12.
27. “Gesetz zur Wiederherstellung des Berufsbeamtentums. Vom 7. April 1933,” Reichsgesetzblatt Teil I (April 7, 1933): 175–7; “Erste Verordung zur Durchführung des Gesetzes . . .,” Reichsgesetzblatt Teil I (April 11, 1933): 195; “Zweite Verordnung zur Durchführung des Gesetzes . . .” Reichsgesetzblatt Teil I (May 4, 1933): 233–5; Friedländer, Nazi Germany, 27. A German-Jewish reaction playing down the issue is in “Zur Kündigung jüdischer Arbeitnehmer,” C.V.-Zeitung, May 11, 1933.
28. For their anti-Jewish stipulations, see Hagemann, Publizistik, 36; Brechtken, “Experiment,” 65; Barbian, Literaturpolitik, 193–202; Friedländer, Nazi Germany, 328; Steinweis, Art, 103–20.
29. Friedländer, Nazi Germany, 62.
30. Horak, Fluchtpunkt, 7–9; Beyer, UFA, 24; Krützen, Albers, 149; Tegel, Nazis, 73.
31. Hamann, Wagner, 273; Werr, Weltsicht, 190.
32. Potter, “Berlin Philharmonic,” 48; Aster, Orchestra, 45–50.
33. See Brenner, Ende, esp. 136–7.
34. Teut, Architektur, 70; Lauzemis, “Ideologie,” 62–3.
35. Erich Kämpfer, “Bei Ullstein nichts verändert,” Deutsche Kultur-Wacht, no. 12 (1933): 14; de Mendelssohn, Zeitungsstadt, 362–3, 380–2; Barbian, Literaturpolitik, 53–4.
36. “Reichsbürgergesetz. Vom 15. September 1935,” Reichsgesetzblatt Teil I (September 15, 1935): 1,146–99.
37. König, Germanistenlexikon, vol. 1, 18–21.
38. Kater, Composers, 142.
39. Friedländer, Nazi Germany, 142.
40. Fröhlich divorced Gitta Alpar in 1935, and Rühmann Maria Bernheim in 1938: Klee, Kulturlexikon, 150–1, 456.
41. Klee, Kulturlexikon, 16, 326.
42. See “K.Z. und seine Insassen,” Das Schwarze Korps (February 13, 1936): 10.
43. Friedländer, Nazi Germany, 151.
44. Friedländer, Nazi Germany, 62; Longerich, Davon, 94–5; Grüttner, Brandstifter, 148–60.
45. Fascimile of advertisement (1937) in London, “Introduction,” 13.
46. See Goebbels, Tagebücher Fragmente, vol. 3, 346. The quintessential text on the fate of those Jews throughout the Third Reich is the diary of Victor Klemperer, Tagebücher, 1933–1945.
47. Friedländer, Nazi Germany, 241.
48. Zweig, Welt von Gestern, 367; Berkley, Vienna, 259–60; Goldhagen, Executioners, 286–7.
49. Goebbels, Tagebücher Fragmente, vol. 3, 463.
50. Doherty, Hollywood, 302–10.
51. Longerich, Goebbels, 393–9; Longerich, Davon, 137; Kogon, SS-Staat, 209; Kershaw, Nemesis, 141; protocol of author’s interview with Dr. Otto Jung, Bad Rüdesheim, June 1988, YUA, CA ON00370 F0456.
52. Friedländer, Nazi Germany, 285; Sänger, Politik, 255; Hamann, Wagner, 380; Föllmer, Leben, 160; Peter Carstens, “Wo sind die Autos, die Nazis den Juden geraubt haben?” faz.net, April 15, 2017.
53. Jürgen Matthäus in Browning, Origins, 369.
54. Friedländer, Nazi Germany, 285; Koch, Wunschkonzert, 146; Grüttner, Brandstifter, 160.
55. Reichstag speech of January 30, 1939, as quoted by Friedländer, Nazi Germany, 310.
56. Freytag-Loringhoven’s interview with Wiener Neueste Nachrichten as paraphrased by Berliner Lokal-Anzeiger and reprinted in the German-Jewish Central-Verein-Zeitung, May 11, 1933.
57. Freeden, Theater, 14–16, 19; Zündende Lieder, 31–2; Dahm, “Leben,” 85–6, 90. Hinkel’s vita is in Klee, Kulturlexikon, 225–6 (quote).
58. “Aufruf,” [1935], LBI, AR-A726/2590; Jüdische Rundschau, August 20, 1935; Freeden, Theater, 25, 59; Dahm, “Leben,” 93, 105, 120; Düwell, “Kulturbund Rhein-Ruhr,” 428; Steinweis, Art, 121.
59. Jüdische Rundschau, July 21, 1936 (quote); Israelitisches Familienblatt, Berlin, October 26, 1933; Schild, June 12, 1936.
60. Freeden, Theater, 22–3, 94; Dahm, “Leben,” 87, 89; Walk, Sonderrecht, 221; Rosy Geiger-Kullmann, “Lebenserinnerungen,” ms., February 1961, LBI, ME/180; Friedländer, Nazi Germany, 66.
61. Goebbels paraphrased by Freeden, Theater, 61; Israelitisches Familienblatt, Berlin, August 1, 1935; Zündende Lieder, 36.
62. Gestapo, “Richtlinien für die Tätigkeit des Reichsverbandes der Jüdischen Kulturbünde in Deutschland,” August 13, 1934, LBI, AR-A726/2590/63+64; Freeden, Theater, 52.
63. Hinkel in Frankfurter Zeitung, May 13, 1937; personal files of Wilhelm Guttmann, Erich Rosenow, and Hugo Stern, BAB (former BDC); Dahm, “Leben,” 109; Steinweis, Art, 122.
64. Herbert F. Peyser, “Germany’s Jewish Culture League,” The New York Times, December 10, 1933.
65. Singer to Berlin Gestapo, September 7, 1934; Gestapo to Kulturbund, September 11, 1934, LBI, AR-C1210/3100; Dahm, “Leben,” 114; Steinweis, Art, 122.
66. Hamburger Fremdenblatt, February 6, 1936; communication by Jüdischer Kulturbund Hamburg, March 10, 1936, LBI, AR-A727/2591; Jüdischer Kulturbund Hamburg, program, November 6, 1939, LBI, AR-A728/2592; Steinweis, Art, 123.
67. Hamburger Israelitisches Familienblatt, May 21, 1936; Kulturbund Hamburg to “Sehr geehrtes Mitglied,” March 1937, LBI, AR-A728/2592; Freeden, Theater, 92–3, 104; Dahm, “Leben,” 120.
68. Freeden, Theater, 160, 163–4; Dahm, “Leben,” 245–6, 251, 257; Dahm, Buch, 151–3; Zündende Lieder, 40.
69. Müller-Wesemann, Theater, 179–80.
70. Müller-Wesemann, Theater, 181–2, 187–9.
71. Levi, Mozart, 91.
72. On the latter, see Brenner, Renaissance, 129–211.
73. Molnár, in www.yivoencyclopedia.org/article.aspx; Geisel and Broder, Premiere, 16–28, 72, 150–1; Rovit, “Collaboration,” 145–6; Rovit, “Jewish Theatre,” 198–201; Müller-Wesemann, Theater, 190, 213–18.
74. Dahm, “Leben,” 121–2.
75. See Rosenstock’s obituary by Dena Kleiman in The New York Times, October 18, 1985; Israelitisches Familienblatt, Berlin, November 2, 1933; Jüdisches Gemeindeblatt für Berlin, February 13, 1938; Fischer-Defoy, Kunst, 156.
76. “Abend Frankfurter Komponisten,” January 27, 1934, LBI, AR-A7049/13; Rosy Geiger-Kullmann, “Lebenserinnerungen,” ms., February 1961, LBI, ME/180.
77. Sinzheimer to Orff, January 20, 1934, CM, Allg. Korr.; Dahm, “Leben,” 94.
78. Traber and Weingarten, Musik, 291, 305, 308, 341, 344; “Jüdischer Kulturbund Hamburg: Abschieds-Abend,” November 25, 1936, LBI, AR-A727/2591; Jüdisches Nachrichtenblatt, May 2, 1941; Jüdisches Gemeindeblatt für Berlin, April 12, 1936; Weiss to Misch, January 3, 1965, LBI, AR-C738/2073. On Misch, see Oxford Music Online.
79. Israelitisches Familienblatt, Berlin, March 8 and April 19, 1934; Jüdisches Gemeindeblatt für Berlin, November 17, 1935, May 3, 1936, May 2, 1937, October 24, 1937, January 16, 1938; “Gastspiel Alexander Kipnis,” Düsseldorf, February 9, 1937, LBI, AR-A835/3047; “Alexander Kipnis,” Hamburg, February 10, 1937, LBI, AR-A728/2592; “Stuttgarter Jüdische Kunstgemeinschaft,” October 15, 1938, LBI, AR-A7276/IV/2/15; Pâris, Lexikon, 373–4.
80. Jüdisches Gemeindeblatt für Berlin, April 4, 1937; Stefan Wulf in Heister et al., Musik im Exil, 154.
81. Schild, April 24, 1936; Jüdisches Gemeindeblatt für Berlin, May 3, 1936; Flesch to Herr Doktor, July 5, 1936, LBI, AR-7049/2 (quote).
82. Israelitisches Familienblatt, Berlin, January 11 and September 13, 1934; Schild, October 30, 1936; Jüdisches Gemeindeblatt für Berlin, July 12, 1936; Berlin Künstlerhilfe to Kowalski, April 14, 1935, LBI, AR-A7049/4; Jüdischer Kulturbund Hamburg to subscribers, [May 1936], LBI, AR-A727/2591.
83. Israelitisches Familienblatt, Berlin, October 26, 1933; “Konzert” at Dr. Meyer’s, February 10, 1935, LBI, AR-A7049/13; “Stimmen im Tempel,” August 30, 1938, LBI, AR-A7040/13; Freeden, Theater, 74, 123, 126. On Schoenberg, see Schoenberg quoted in Tonietti, “Albert Einstein,” 1; on Handel see Rosenberg, Gestaltung, 281 and Hirsch, “Defining,” 35.
84. Hinkel quoted in Frankfurter Zeitung, May 13, 1937; Hirsch, “Defining,” 29; Freeden, Theater, 162; Dahm, “Leben,” 115; Müller-Wesemann, Theater, 327; Steinweis, Art, 122.
85. Schild, April 12, 1935; Jüdisches Gemeindeblatt für Berlin, September 22, 1934, May 19, 1935, and June 16, 1937; “Konzert,” January 31, 1935, LBI, AR-A726/2529; “Klavierabend Bernhard Abramowitsch,” November 20, 1935, LBI, AR-A726/2590; Berlin Kulturbund program, March 1934, LBI, AR-A834/3046; Maurer Zenck, “Itor Kahn,” 241.
86. Jüdisches Gemeindeblatt für Berlin, January 5, 1935, and April 28, 1936; Schild, June 28, 1935; “Abend Frankfurter Komponisten,” January 27, 1934, LBI, AR-A7049/13; program, “Jüdischer Kulturbund Hamburg,” December 1935, LBI, AR-A726/2590; “Konzert Tempelchor,” February 1938, LBI, AR-A729/2593; Prieberg, “Davidsstern,” 124.
87. Schild, November 26, 1933 and April 12, 1935; Israelitisches Gemeindeblatt, Berlin, November 23, 1933; Dahm, “Leben,” 191.
88. Craft, Stravinsky, 243, n. 42 (quote); Dahm, “Leben,” 114; Evans, “Rezeption,” 91–93, 104, 106–7.
89. Schild, October 27, 1933; Israelitisches Familienblatt, Berlin, September 13, 1934; Jüdisches Gemeindeblatt für Berlin, March 27, 1938; Freeden, Theater, 75.
90. “Jüdischer Kulturbund Hamburg,” November 12, 1935, LBI, AR-A726/2590; Freeden, Theater, 101; Zündende Lieder, 33, 37; Dahm, “Leben,” 93.
91. Freeden, Theater, 102–3 (calculations according to figures, 114).
92. Dahm, “Leben,” 242, 247, 255; Prieberg, “Davidsstern,” 126.
93. Müller-Wesemann, Theater, 192; Rovit, “Collaboration,” 15; www.joodsmonument.nl/en/page/546495/0; Klee, Kulturlexikon, 514.
94. Herzog, “Musik,” 202.
95. Quote from Drüner and Günther, Musik, 55.
96. Wähler, “Kampflied,” 152.
97. Guthmann, Kunst, 44.
98. Muschler, “Vollerthun,” 991; Ziegler, Wende, 8 (quote).
99. Frickhoeffer, “Musik,” 246.
100. Goebbels in Amtliche Mitteilungen der Reichsmusikkammer 5, no. 11 (June 4, 1938); Menz, Aufbau, 4; Novak, Salzburg, 169.
101. Hiemer, Pudelmopsdackelpinscher, 11 (quote), 35–42.
102. Goebbels, Tagebücher Diktate, vol. 8, 386.
103. Sontheimer, Denken, 180–239. For a nuanced discussion of the DNVP’s anti-Semitism see Jones, “Antisemitism,” esp. 96–7.
104. On Niemöller, the Confessing Church, and Jews, see Conway, Persecution, 202–13; Goldhagen, Executioners, 108–9, 111–12; Gutteridge, Mouth, 91–2, 100–4, 129–30, 287–90.
105. Ernst Jünger emerges as one of the rare high-level (conservative to Nazi) authors who not only was not an anti-Semite, but someone who mostly rejected anti-Semitism. Others would have included, reputedly, Arthur Möller van den Bruck and Oswald Spengler.
106. Goote, Fahne, 280; Salburg, Kamerad, 74–6.
107. Frenssen, Recht, 7–8; Frenssen, Vorland, 218; Goote, Fahne, 197; Weller, Rabauken, 13; Johst, Schlageter, 35; Salburg, Tag, 41–2; Zöberlein, Befehl, 24, 28, 92, 334–5; Steguweit, Unrast, 256; Strauss, Lebenstanz, 182; Paust, Menschen, 170. See also Wanderscheck, Dramatik, 111, who comments on Möller’s “Karthago” as a Semitized Weimar Republic.
108. Lohmann, SA, 136; Keller, Nacht, 45; Salburg, Landflucht, 211–13.
109. Dwinger, Reiter, 76; Volck, Rebellen, 95.
110. Goote, Fahne, 256, 268; Koeppen, Erbe, 138–9; Jansen, Insel Heldentum, 216; Anderlahn, Gegner, 36–40; von Mechow, Jahr, 108–10; Böhme, Kirchgang, 93; Lersch, Pioniere, 27.
111. Volck, Rebellen, 340; Stelzner, Schicksal SA, 160; Roth, Kampf, 229–31; Pantel, Befehl, 32–3, 98–102.
112. Dwinger, Gott, 55; Dwinger, Tod, 115; Slesina, Soldaten, 127–8, 305–6; Brehm, “Kampf,” 46; Strobl, Dorf, 61, 91.
113. Koeppen, Gnade, 41 (quotes), 137.
114. Dinter, Sünde. See Kater, Weimar, 199.
115. Weller, Rabauken, 18, 57, 63.
116. Paust, Nation, 294–5.
117. Zöberlein, Befehl, 313.
118. Jansen, Kinder, 61.
119. Salburg, Landflucht, 128–9.
120. Lorenz, Unrast, 119.
121. Slesina, Soldaten, 128; Strobl, Dorf, 295–6.
122. Paust, Menschen, 47–8.
123. Zöberlein, Befehl, 297–9.
124. Weller, Rabauken, esp. 149.
125. Bie and Mühr, Kulturwaffen, 35; Stelzner, Schicksal SA, 18; Zöberlein, Befehl, 512; reflectively Langenbucher, Nationalsozialistische Dichtung, 37.
126. Niven, Hitler, 165–7.
127. Busch, Und, 155.
128. Jürgen Petersen, “Die Rothschilds: Ein Film der neuen deutschen Produktion,” Das Reich, July 21, 1940. See also the less prolific review by Hans Kraemer, “‘Die Rothschilds’: Im Ufa-Palast am Zoo,” Berliner Lokal-Anzeiger, July 18, 1940.
129. Rentschler, Ministry, 153; Tegel, Nazis, 129; Hollstein, Jud Süss, 115; Busch, Und, 155; Longerich, Davon, 155.
130. Niven, Hitler, 167–8; Moeller, Filmminister, 243–4; Klee, Kulturlexikon, 355–6; Harlan, Schatten, 89–95, 100–30; von Cziffra, Luftballon, 296–8; Hippler, Verstrickung, 199.
131. Jud Süss, BAK, FILMSG 1/8336 II. See Niven, Hitler, 168–71.
132. Carl Linfert, “‘Jud Süss’: Der Film von Veit Harlan,” Frankfurter Zeitung, September 26, 1940.
133. Karl Korn, “Der Hofjude: Veit Harlans-Film ‘Jud Süss’ im Ufa-Palast am Zoo,” Das Reich, September 29, 1940.
134. Goebbels, Tagebücher Fragmente, vol. 3, 666; vol. 4, 286 (quote), 339.
135. Meldungen aus dem Reich, vol. 6, 1,811–12; Culbert, “Impact,” 147.
136. Jud Süss, BAK, FILMSG 1/8336 II.
137. Courtade and Cadars, Geschichte, 187; Rentschler, Ministry, 165; Jürgen Matthäus in Browning, Origins, 251.
138. Longerich, Davon, 52.
139. Niven, Hitler, 181. This was also the view of Fritz Hippler (formerly of the NSDStB, see Chapter 1), the film’s chief creator, according to Clinefelter, “Construction,” 136. Clinefelter convincingly defines the work as a “compilation film” (134).
140. Albert Brodbeck, “‘Der Ewige Jude’: Uraufführung des grossen Dokumentarfilms,” Deutsche Allgemeine Zeitung, November 30, 1940.
141. Clinefelter, “Construction,” 134–46; Culbert, “Impact,” 148–50; Rentschler, Ministry, 160; Hollstein, Jud Süss, 109–16; Friedländer, Nazi Germany, 100. Shechita is explained in Bin Gorion et al., Philo-Lexikon, 635.
142. Within the context of Der Ewige Jude, see the enlightening discussion in Chapoutot, Law of Blood, 23–6.
143. Goebbels, Tagebücher Fragmente, vol. 3, 619; vol. 4, 306; Culbert, “Impact,” 148.
144. Meldungen aus dem Reich, vol. 6, 1,917–19. See also Culbert, “Impact,” 151–2.
145. See Browning, Origins, 510–11 n. 295.
146. Binding’s letter to Rolland in Kölnische Zeitung, May 20, 1933, reprinted in Sechs Bekenntnisse, 11. See Baird, Hitler’s War Poets, 54–5.
147. Augsburger Postzeitung, October 6, 1933, cited in Wilkens, “Schriftleitergesetz,” 372.
148. Weiss, Rundfunk, 27.
149. Das Schwarze Korps, May 15, 1935; Der Stürmer, April 1936 (quote).
150. “‘Deutsches Theater’ – von ehedem: Das Theater der Piscator, Jessner, Reinhardt und Barnay,” Deutsche Allgemeine Zeitung, August 28, 1936; “Schund am Pranger,” Münsterischer Anzeiger, July 27, 1937.
151. Westdeutscher Beobachter, December 1, 1937; Friedländer, Nazi Germany, 253.
152. Börsenblatt text reprinted in Bähre, “Langenbucher,” 272.
153. “Die Programmgestaltung des Rundfunks: Vorträge von Dr. Glasmeier und Dr. Kriegler,” Frankfurter Zeitung, August 10, 1938; directives of press conference of November 24, 1938, reprinted in Sänger, Politik, 262–3; Longerich, Davon, 141.
154. Friedländer, Years, 19 (quote), 48.
155. Friedländer, Years, 161.
156. See also Friedländer, Years, 204–5.
157. Representative samples: Joseph Goebbels, “Um die Entscheidung,” Das Reich, August 3, 1941; “Die Angeber,” ibid., September 14, 1941; “Marathonlauf hinter dem Kriege,” ibid., September 21, 1941; “Die sogenannte russische Seele,” ibid., July 19, 1942; “Der steile Aufstieg,” ibid., September 20, 1942. Echoing these leitmotifs in the public arena were Promi secretary of state Leopold Gutterer in Salzburg (“Unser Kulturschaffen im Kriege,” printed in Deutsche Allgemeine Zeitung, August 5, 1942) and invited speakers at the Promi-organized poets’ meeting in Weimar, summer 1942 (Wilhelm Haegert in Erckmann, Dichter, 7–8).
158. Joseph Goebbels, “Die Juden sind schuld!” Das Reich, November 16, 1941 (1st quote); Friedländer, Years, 337 (2nd and 3rd quotes). See also Goebbels, Tagebücher Diktate, vol. 2, 352; Meldungen aus dem Reich, vol. 8, 3,007; Steinert, Krieg, 245.
159. Joseph Goebbels, “Die motorischen Kräfte,” Das Reich, June 6, 1943.
160. Joseph Goebbels, “Die Krise Europas,” Das Reich, February 28, 1943.
161. Margret Boveri, “Landschaft mit doppeltem Boden: Einfluss und Tarnung des amerikanischen Judentums,” Das Reich, May 28, 1943. Probably misspelling deliberately, Boveri wrote “Samuel Roseman.” See, post-1945, and deceptively: Boveri, Wir lügen alle. On Martinique and broadcasting, see Klemperer, Tagebücher 1943, 74.
162. Joseph Goebbels, “Das innere England,” Das Reich, November 7, 1943.
163. Carl Linfert, “Fremdkörper: Über einige Ratschläge der Juden an sich selbst,” Das Reich, January 21, 1945.
164. Silex, Kommentar, 122–3; Görtemaker, Leben, 63; Klee, Kulturlexikon, 608.
165. Edouard Roditi, “The Fate of Otto Freundlich: Painter Maudit,” Commentary, September 1, 1955 (commentarymagazine.com) (quote); Kracht, “Symbol,” 9–18, 21–2.
166. Palmer, Lilli, 76–85; Klee, Kulturlexikon, 404.
167. Helmut G. Asper, “Walter Wicclair (1901–1998),” Neuer Nachrichtenbrief der Gesellschaft für Exilforschung e.V., no. 11 (June 1998): 5–7; Wicclair, Kreuzburg, 74–7.
168. Petzet, Theater, 252; Klee, Kulturlexikon, 507.
169. Krützen, Albers, 150–1; “Eugen Burg,” www.steffi-line.de.
170. Petzet, Theater, 252–3; Kremer, Holocaust Literature, 1,290–1.
171. Frank, Spielzeit, 331–9; Frank, in tls.theaterwissenschaft.ch.
172. Mühsam, in LEMO: Lebendiges Museum Online; SS im Einsatz, 66.
173. Elisabeth Höpker-Herberg, “Mombert, Alfred,” in Neue Deutsche Biographie 18 (1997): 22–3; Carossa, Welten, 106–10.
174. Zündende Lieder, 136; Lüth, Hamburger Theater, 65; Stefan Wulf in Heister et al., Musik im Exil, 149–51.
175. Bergmeier, Weintraub Story, 5, 7, 9, 13, 23, 31–51; Hollaender, Von Kopf bis Fuss, 118; Stauffer, Forever, 84–5; Starr, Red and Hot, 122, 194–225.
176. Sigmund Petruschka to author, June 28, 1990, YUA, CA ON00370 F0456; sample recording of Sid Kay’s Fellows on cassette tape supplied with Christian Kellersmann, “Jazz in Deutschland von 1933–1945,” MA thesis, University of Hamburg, 1989; Bergmeier and Susat, “Spitzenband,” 34–9.
177. Schumann, Ghetto Swinger, 9.
178. Schumann, Ghetto Swinger, 30.
179. Schumann, Ghetto Swinger, 35.
180. Schumann, Ghetto Swinger, 62.
181. Kater, Doctors under Hitler, 177–221.
FOUR – WAR AND PUBLIC OPINION, PROPAGANDA, AND CULTURE
1. Evans, Third Reich at War, 563.
2. Shirer, Rise, 518–20, 595, 599, 601; Weinberg, World, 51; Longerich, Goebbels, 425–6; Kershaw, Nemesis, 221. There were other staged attacks, at two additional border points, but the Gleiwitz incident received the broadest publicity (Gruchmann, Weltkrieg, 22).
3. Krahl, Ich, 48.
4. Fröhlich, “Pressekonferenz,” 377.
5. Fröhlich, “Pressekonferenz,” 378.
6. Goebbels quoted in Kallenbach, Kulturpolitik, 17.
7. “Autor Ungenannt! Von einem notwendigen Anspruch des geistig Schaffenden,” Der Autor 15, no. 1 (January 1940): 2.
8. Boelcke, Kriegspropaganda, 437–8.
9. Meldungen aus dem Reich, vol. 4, 955, 1,070, 1,110; Boelcke, Kriegspropaganda, 426; Baird, World, 73–4; Steinert, Krieg, 119, 121.
10. Meldungen aus dem Reich, vol. 5, 1,439.
11. Meldungen aus dem Reich, vol. 8, 2,671; Goebbels, “Soldaten im Kampf der Geister,” Das Reich, October 12, 1941.
12. Heinrich to Marga Himmler, August 31, 1941, in Himmler privat, 260.
13. Boelcke, Kriegspropaganda, 558.
14. Goebbels’s Berlin speech, February 15, 1941, in Albrecht, Filmpolitik, 468; Goebbels, Tagebücher Diktate, vol. 1, 103, vol. 2, 556; Meldungen aus dem Reich, vol. 8, 2,671; Hitler in Jochmann, Hitler, 94.
15. Goebbels, Tagebücher Diktate, vol. 2, 316, 556 (quote); Wistrich, Who’s Who, 324.
16. Meldungen aus dem Reich, vol. 4, 1,140, 1,164.
17. Goebbels, Tagebücher Diktate, vol. 4, 233. See also Meldungen aus dem Reich, vol. 5, 1,338–9; Boelcke, Kriegspropaganda, 443.
18. Meldungen aus dem Reich, vol. 5, 1,563, vol. 6, 1,788.
19. Goebbels’s speech, March 28, 1942, in Dresden, printed in Schlösser, Kunst, 10; Goebbels, Tagebücher Diktate, vol. 3, 583, vol. 4, 422–3; Steinert, Krieg, 286; Kershaw, Nemesis, 524.
20. Meldungen aus dem Reich, vol. 7, 2,301, vol. 9, 3,448–9; Goebbels, Tagebücher Diktate, vol. 3, 315; Goebbels, “Das grosse Herz unseres Volkes,” Das Reich, April 5, 1942.
21. Goebbels, “Rede in München anlässlich der Eröffnung der Grossen Deutschen Kunstausstellung,” Film-Kurier, July 6, 1942 (quote). See Meldungen aus dem Reich, vol. 10, 3,566; Goebbels, Tagebücher Diktate, vol. 5, 55; Goebbels, “Ein Wort an alle,” Das Reich, March 8, 1942; Goebbels, “Offene Ansprache,” Das Reich, March 29, 1942; Steinert, Krieg, 285.
22. Gruchmann, Weltkrieg, 176–91; Weinberg, World, 348–52; Pyta, Hitler, 458–9.
23. Goebbels, “Das grosse Herz unseres Volkes,” Das Reich, April 5, 1942 (quote); Goebbels, Tagebücher Diktate, vol. 5, 73, 138. See also vol. 5, 55; Meldungen aus dem Reich, vol. 10, 3,936.
24. Meldungen aus dem Reich, vol. 11, 3,985, 4,053, 4,135.
25. Meldungen aus dem Reich, vol. 11, 4,188–9.
26. Meldungen aus dem Reich, vol. 11, 4,232; Boelcke, Krieg, 371.
27. Goebbels according to Boelcke, Krieg, 365.
28. Mann, Tagebücher, 1940–1943, 475.
29. Langer, Encyclopedia, 1,143; SpiegelOnline, January 29, 2003; Der Spiegel (December 16, 2002): 68; Gruchmann, Weltkrieg, 187–94; Weinberg, World, 410–17; Pyta, Hitler, 429.
30. Schönbeck quoted in Tim Proese, “Schlacht von Stalingrad: ‘Menschen fielen vom Himmel’,” SpiegelOnline, September 23, 2017.
31. Goebbels, Tagebücher Diktate, vol. 5, 478.
32. Goebbels quoted in Boelcke, Krieg, 371.
33. Meldungen aus dem Reich, vol. 11, 4,345–6.
34. Goebbels, “Der Segen der Erde,” Das Reich, October 18, 1942.
35. Baird, World, 179.
36. Baird, World, 182.
37. Meldungen aus dem Reich, vol. 12, 4,720, 4,750–1 (quote); Baird, World, 187–9.
38. Von Kardorff, Aufzeichnungen, 24; Rosenberg, Tagebücher, 469.
39. Baird, World, 184.
40. Caption under photograph, “Härteste Kämpfe an der Ostfront,” front page of Das Reich, January 31, 1943.
41. Goebbels’s directives to the public media of February 3, 1943, as printed in Boelcke, Krieg, 435–6. They are reflected in his diary entries of February 4: Goebbels, Tagebücher Diktate, vol. 7, 255–6.
42. Felsmann et al., Backfisch, 41.
43. Goebbels, “Die harte Lehre,” Das Reich, February 7, 1943 (quote); “Unser Wille und unser Weg,” Das Reich, February 14, 1943.
44. Goebbels, Tagebücher Diktate, vol. 7, 298, 320 (quote).
45. Goebbels, “Nun, Volk, steh auf, und Sturm brich los!” Sportpalast speech, February 18, 1943, la802607.us.archive.org; Goebbels, Tagebücher Diktate, vol. 7, 373–4; Hansen, Leben, 83–4 (Pomsel’s quote); Boelcke, Krieg, 23–5.
46. Meldungen aus dem Reich, vol. 12, 4,831.
47. Goebbels, “Die Winterkrise und der totale Krieg,” Das Reich, March 14, 1943; “Ein offenes Wort zum totalen Krieg,” Das Reich, April 4, 1943.
48. Steinert, Krieg, 383; Goebbels, Tagebücher Diktate, vol. 8, 242; Hagemann, Publizistik, 263; Goebbels, “Mit souveräner Ruhe,” Das Reich, May 23, 1943.
49. Goebbels, Tagebücher Diktate, vol. 8, 263.
50. Meldungen aus dem Reich, vol. 14, 5,406.
51. Goebbels, Tagebücher Diktate, vol. 9, 136.
52. Goebbels, Tagebücher Diktate, vol. 9, 115, 160.
53. Goebbels, “Der Stichtag,” Das Reich, October 31, 1943; Meldungen aus dem Reich, vol. 15, 6,063–4.
54. Von Kardorff, Aufzeichnungen, 120; Goebbels, “Nun, Volk, steh auf, und Sturm brich los!” Sportpalast speech, February 18, 1943, la802607.us.archive.org; Goebbels, “Der totale Krieg,” Das Reich, January 17, 1943; “Der Blick nach vorne,” Das Reich, January 31, 1943; “Die harte Lehre,” Das Reich, February 7, 1943; “Ein offenes Wort zum totalen Krieg,” Das Reich, April 4, 1943.
55. Von Kardorff, Aufzeichnungen, 78–9.
56. Goebbels, Tagebücher Diktate, vol. 8, 511.
57. Goebbels, Tagebücher Diktate, vol. 9, 162.
58. Meldungen aus dem Reich, vol. 14, 5,575; vol. 15, 5,940, 6,063, 6,093.
59. Von Kardorff, Aufzeichnungen, 82; Schäfer, Berlin, 36–41; Söderbaum, Nichts, 197–8.
60. Kater, Weimar, 272–3.
61. Goebbels, Tagebücher Diktate, vol. 9, 115, 124–6 (see also for July 26, 162–3); Goebbels, “Die Voraussetzung zum Sieg,” Das Reich, July 25, 1943. The eastern panzer offensive “Citadel” had started on July 5, but, failing, was called off by Hitler near Orel on July 12, 1943 (Kershaw, Nemesis, 591–2; Pyta, Hitler, 468–70).
62. Meldungen aus dem Reich, vol. 15, 6,063, 6,067.
63. Meldungen aus dem Reich, vol. 17, 6,598.
64. Von Kardorff, Aufzeichnungen, 138.
65. Meldungen aus dem Reich, vol. 17, 6,684.
66. Meldungen aus dem Reich, vol. 17, 6,684, 6,687.
67. Meldungen aus dem Reich, vol. 17, 6,707; Steinert, Krieg, 495.
68. Goebbels, “Die Zeichen der Zeit,” Das Reich, December 24, 1944.
69. As one of many self-satisfied reactions, see Goebbels, Tagebücher Diktate, vol. 2, 440.
70. Meldungungen aus dem Reich, vol. 14, 5,699 (quote); Goebbels, “Die Realitäten des Krieges,” Das Reich, August 22, 1943; “Von der Unersetzlichkeit der Freiheit,” Das Reich, August 29, 1943.
71. Wistrich, Who’s Who, 99 (quote); Steinweis, Art, 168–71; Diller, Rundfunkpolitik, 432; Goebbels, “Der Befehl der Pflicht,” Das Reich, August 6, 1944; Meldungen aus dem Reich, vol. 17, 6,701.
72. Goebbels, Tagebücher Diktate, vol. 15, 638.
73. Goebbels, Tagebücher Diktate, vol. 3, 187, 525.
74. Goebbels, Tagebücher Fragmente, vol. 3, 673; vol. 4, 805; Goebbels, Tagebücher Diktate, vol. 9, 62; vol. 10, 338, 370; vol. 12, 147.
75. Goebbels, Tagebücher Diktate, vol. 14, 94, 457.
76. Promi State Secretary Leopold Gutterer’s remarks in “Unser Kulturschaffen im Kriege,” Deutsche Allgemeine Zeitung, August 5, 1942; Rentschler, Ministry, 13; Moeller, Filmminister, 293–4.
77. Goebbels, Tagebücher Fragmente, vol. 3, 662–3; Rosenberg, Tagebücher, 303.
78. Goebbels, Tagebücher Fragmente, vol. 4, 52, 72, 335, 338, 399, 423, 542; Goebbels, Tagebücher Diktate, vol. 1, 500; vol. 2, 102, 126, 155, 363; vol. 3, 244; vol. 5, 34–5; Hitler in Jochmann, Hitler, 406.
79. Klee, Kulturlexikon, 83, 174–5.
80. Kater, Drummers, 183–4.
81. Goebbels, Tagebücher Diktate, vol. 5, 133; vol. 12, 191, 249.
82. RKK Ilse Werner, BAB (former BDC); Werner, So, 22 (quote).
83. Meldungen aus dem Reich, vol. 6, 2,007–8; Courtade and Cadars, Geschichte, 209–22; Drewniak, Film, 396–7; Hoffmann, Fahne, 172; Tegel, Nazis, 176–7; Koch, Wunschkonzert, 162–9.
84. Vaget, “Nazi Cinema,” 45–51; Courtade and Cadars, Geschichte, 200–1; Drewniak, Film, 377–8.
85. Vaget, “Nazi Cinema,” 49.
86. Such as U-Boote westwärts (“U-Boats Moving West”) and Spähtrupp Hallgarten (“Reconnaissance Unit Hallgarten”); see Jürgen Schüddekopf, “Neue Filme – vom Publikum her gesehen,” Das Reich, June 8, 1941.
87. Welch, Propaganda, 134–41; Drewniak, Film, 320–8; Niven, Hitler, 219–20; Steiner, Wessely, 111, 121–7. For Goebbels’s extremely positive reaction see Goebbels, Tagebücher Diktate, vol. 2, 171.
88. See the book by August Schowalter, Ohm Krüger (1902), on which the film was based, newly printed and illustrated with screen shots of the film. The plate opposite 237 shows a concentration camp, captioned: “In such concentration camps defenseless Boer women were kept.”
89. Facsimile of Hobhouse, “Bericht von Fräulein Emily Hobhouse über die Zustände,” [London or Berlin, 1901], in Ziegler, Humanität, 85–130, quote 96. The English version cited is the original, by Emily Hobhouse, “Report of a Visit to the Camps of Women and Children in the Cape and Orange River Colonies,” n.d., 5, babel.hathitrust.org/cgi/pt?id=uiuc.2776304;view=1up;seq=3. Biographical details on Hobhouse are in www.ofxorddnb.com under Hobhouse, and on Ziegler in Klausch, Erbe; and www.munzinger.de/search/portraits under Ziegler.
90. As related by Klaus Mann, who interviewed Jannings in his capacity as a correspondent for Stars and Stripes: Posten, 311.
91. Moeller, Filmminister, 249–50. See Jannings’s opportunistic declaration in Ebermayer, Deutschland, 586.
92. Emil Jannings, “Die grosse Aufgabe,” in Siska, Wunderwelt, 57–8. See also Jannings, “Paul Krüger,” in Schowalter, Ohm Krüger, 7–12; Hüpgens, “Film,” 411.
93. Hull, Film, 182–3; Moeller, “Filmstars,” 144, 170.
94. Goebbels, Tagebücher Fragmente, vol. 4, 540; Meldungen aus dem Reich, vol. 7, 2,293–5; Drewniak, Film, 337–8.
95. Drewniak, Film, 197–9; Tegel, Nazis, 198–9.
96. Goebbels, Tagebücher Diktate, vol. 2, 176–7, 286, 410.
97. Krauss quoted in Karl Lahm, “Shylok der Ostjude,” Deutsche Allgemeine Zeitung, May 19, 1943.
98. Goebbels, Tagebücher Diktate, vol. 4, 636.
99. Langer, Encyclopedia, 503–4.
100. Weinberg, World, 270–4, 292–5; Gruchmann, Weltkrieg, 128–31.
101. Goebbels, Tagebücher Diktate, vol. 3, 187, 207, 340, 400–1, 407, 412–13, 437–8, 499, 577, 589; vol. 4, 135, 407, 579; Meldungen aus dem Reich, vol. 10, 3,758–60; Ilse Urbach, “Der grosse Friedrich,” Das Reich, March 8, 1942; Welch, Propaganda, 175–82; Hull, Film, 215; Drewniak, Film, 191–3. For Hitler’s complete identification with Frederick esp. during the war, see Pyta, Hitler, 637–43.
102. Hull, Film, 185–6; Heldt, “Composers,” 124–5.
103. Goebbels, Tagebücher Fragmente, vol. 4, 503, 708; Goebbels, Tagebücher Diktate, vol. 3, 220; Welch, Propaganda, 121–2, 125–30; Moeller, Filmminister, 245–9; Niven, Hitler, 217–19.
104. Her term is “Sterbehilfe”: Krahl, Ich, 63. See also the apologist remarks by co-creator Fritz Hippler, Verstrickung, 216–17.
105. Mitteilungen aus dem Reich, vol. 9, 3,175–6. Gerhard Herzberg had argued similarly already in “Ich klage an/Capitol,” Film-Kurier, August 30, 1941.
106. See Boelcke, Kriegspropaganda, 326; Goebbels, Tagebücher Diktate, vol. 2, 114; Meldungen aus dem Reich, vol. 16, 6,487; Rabenalt, Goebbels, 198.
107. Hull, Film, 236–7; Reimer, “Turning,” 216–21; Heins, Melodrama, 169–73.
108. O’Brien, “Spectacle,” 197–208; Moeller, Filmminister, 266–7; Nadar, “Director,” 76; Heins, Melodrama, 177–8, 181–3.
109. Heins, Melodrama, 174–5; Goebbels, Tagebücher Diktate, vol. 3, 104–5. After having played Sudeten-German Anna in Die goldene Stadt (1942), who drowns herself because she has succumbed sexually to a Czech in Prague, Harlan’s wife Kristina Söderbaum claimed to have realized how even harmless films helped the regime in goading the people toward support of the war effort (Nichts, 197–8). Simplistically and self-exculpatorily: Quadflieg, Wir spielen, 113.
110. Quadflieg, Wir spielen, 111–12; www.rarefilmsandmore.com/kora-terry-1940#.WULSmsmQyJI.
111. Goebbels, Tagebücher Diktate, vol. 7, 308; Krützen, Albers, 185–6, 273; Rentschler, Ministry, 212.
112. Goebbels, Tagebücher Diktate, vol. 8, 365; vol. 14, 386; vol. 15, 542; Liebeneiner and Harlan in “Über die Aktualität des historischen Films,” Film-Kurier, December 24, 1943; Harlan, Schatten, 181–94; Drewniak, Film, 194–6.
113. O’Brien, “Celluloid War,” 170–4.
114. Christoph Gunkel, “Der letzte Film der Nazis: Lindenstrasse 1943,” SpiegelOnline, April 16, 2015; Moeller, “Filmstars,” 164; Rentschler, Use, 140.
115. Goebbels, Tagebücher Diktate, vol. 2, 127.
116. Moeller, Filmminister, 365; Kriegk, Film, 219. The companies were Ufa-Tonwoche (the largest), Deulig-Tonwoche, Tobis-Wochenschau, and Fox Tönende Wochenschau (originally a child of Hollywood’s Twentieth Century Fox).
117. Barkhausen, Filmpropaganda, 218–19; Bucher, “Filmpropaganda,” 53; Moeller, Filmminister, 368, 372.
118. Robert Klein in Hippler et al., Jahre, 46; Meldungen aus dem Reich, vol. 3, 820; Barkhausen, Filmpropaganda, 215.
119. Goebbels, Tagebücher Fragmente, vol. 3, 663; Rosenberg, Tagebücher, 302–3; Moeller, Filmminister, 370. Hitler’s reason is implied by subsequent Goebbels, Tagebücher, remarks.
120. Traub, UFA, 110.
121. Meldungen aus dem Reich, vol. 5, 1,403, 1,577; vol. 8, 2,673; Bucher, “Filmpropaganda,” 54.
122. For Goebbels’s official attitude to newsreel work, see his Berlin speech of February 15, 1941, printed in Albrecht, Filmpolitik, 472; and his articles “P. K.,” Das Reich, May 18, 1941; “Nachrichtenpolitik,” Das Reich, July 6, 1941. Also Bucher, “Filmpropaganda,” 55–6.
123. Felix Henseleit, “Die neue Wochenschau: Der Führer wieder in Berlin,” Film-Kurier, July 11, 1940. See also Goebbels, Tagebücher Fragmente, vol. 4, 233.
124. Mitteilungen aus dem Reich, vol. 8, 2,873; Goebbels, Tagebücher Diktate, vol. 2, 340.
125. Goebbels, Tagebücher Diktate, vol. 2, 556. See Bucher, “Filmpropaganda,” 57–9.
126. Mitteilungen aus dem Reich, vol. 9, 3,167; Goebbels, Tagebücher Diktate, vol. 3, 531.
127. Goebbels, Tagebücher Diktate, vol. 4, 289.
128. Barkhausen, Filmpropaganda, 215, 222; Gutterer in Deutsche Allgemeine Zeitung, August 5,1942.
129. Moeller, Filmminister, 394.
130. See Goebbels, Tagebücher Diktate, vol. 7, 90, 308; Hoffmann, Fahne, 219–20; Bucher, “Filmpropaganda,” 60–6; Moeller, Filmminister, 395.
131. Siska, Wunderwelt, 47–9.
132. Hoffmann, Fahne, 221.
133. “Dokument vom Kampf gegen die Invasion: Die Neue Deutsche Wochenschau,” Film-Kurier, June 20, 1944.
134. Moeller, Filmminister, 398–9.
135. Bucher, “Filmpropaganda,” 64; Hoffmann, Fahne, 223–4.
136. The decoration occurred on March 19, 1945. See Hoffmann, Fahne, 228–9.
137. “Die letzten Deutschen aus der Dobrudscha fahren die Donau stromauf zur neuen Heimat im Reich,” Das Reich, December 8, 1940; Kallenbach, Kulturpolitik, 147–53.
138. Heyde, Presse, 36; Sänger, Fäden, 71; Hagemann, Presselenkung, 32–6; Abel, Presselenkung, 40, 51–2, 84.
139. Gillessen, Posten, 415.
140. Goebbels, Tagebücher Fragmente, vol. 4, 250.
141. Boelcke, Kriegspropaganda, 280.
142. Boelcke, Krieg, 238.
143. Goebbels, Tagebücher Diktate, vol. 7, 400; also vol. 3, 240, 387; Hagemann, Publizistik, 257.
144. Goebbels, Tagebücher Diktate, vol. 4, 291.
145. Goebbels, Tagebücher Fragmente, vol. 4, 497; Goebbels, Tagebücher Diktate, vol. 8, 101.
146. Hitler on February 22–3, 1942, in Jochmann, Hitler, 294.
147. Kallenbach, Kulturpolitik, 22–3; Haacke, Feuilletonkunde, 149.
148. Kallenbach, Kulturpolitik, 54.
149. Kallenbach, Kulturpolitik, 165–6; Köhler, Publizisten, 305. See Bollmus, Amt Rosenberg, 122.
150. Reto Caratsch, “Die letzten zehn Jahre der ‘Frankfurter Zeitung’: Bemerkungen über die Gefahren des Maskentreibens,” Neue Zürcher Zeitung, January 19, 1947.
151. Sösemann, “Journalismus,” 30.
152. Goebbels, Tagebücher Fragmente, vol. 4, 288.
153. Von Kardorff, Aufzeichnungen, 137.
154. Goebbels, Tagebücher Fragmente, vol. 4, 184; Goebbels, Tagebücher Diktate, vol. 2, 199; Meldungen aus dem Reich, vol. 7, 2,647; Baird, World, 155–6.
155. Goebbels, Tagebücher Diktate, vol. 2, 54; Kallenbach, Kulturpolitik, 51; Heyde, Presse, 31.
156. Brechtken, “Experiment,” 68; Frei and Schmitz, Journalismus, 38.
157. Laux, Nachklang, 297; Goebbels, Tagebücher Diktate, vol. 9, 103; Köhler, Publizisten, 356.
158. Goebbels, Tagebücher Diktate, vol. 2, 209; vol. 7, 381 (quote).
159. The most egregious exception probably was “Die Juden sind schuld!” Das Reich, November 16, 1941.
160. Werner Oehlmann in Das Reich, June 21, 1942.
161. Ilse Urbach, “Der grosse Friedrich,” Das Reich, March 8, 1942.
162. Paul Scheffer, “Zwischen Wunsch und Zweifel: Amerikanische Betrachtungen zur Jahreswende,” Das Reich, December 29, 1940.
163. Ludwig Ferdinand Clauss, “Natürliche Rolle – Gemeinschaftsrolle: Über Anlagen und Erziehungsziel,” Das Reich, February 9, 1941; Himmler to Bormann, September 8, 1943, BAK, T-175, EAP 161-b-12/94. See Kater, Ahnenerbe, 245–54, 425–8.
164. Eugen Mündler, “Der Krieg gibt das Gesetz,” Das Reich, January 31, 1943.
165. Hans Schwarz van Berk, “Ein Attentat und seine Antwort: Keine Fahne und kein Regiment entehrt,” Das Reich, July 23, 1944.
166. “Standarte Nordland,” Das Reich, February 9, 1941.
167. Hubert Neun, “Wiedersehen mit Warschau: Besiegte Stadt zwischen Gestern und Morgen,” Das Reich, March 9, 1941.
168. “Der Bauer als Lehrherr: SS und Landdienst,” Das Reich, March 9, 1941.
169. Wilhelm Spengler, “Bandenkrieg im Niemandsland: Vom Einsatz des SD,” Das Reich, May 3, 1942. The quotation is from Kershaw, Nemesis, 357.
170. Wilhelm Spengler, “Volksdeutsche Schicksale,” Das Reich, August 19, 1942.
171. Pross, “Einleitung,” 5; Sarkowicz, “Schriftsteller,” 187; Frei and Schmitz, Journalismus, 110–13; Abel, Presselenkung, 75–82, 85–94. One of Theodor Heuss’s (unpolitical) articles was “‘Dennoch . . .’: Begegnung mit einer Vergangenheit,” Das Reich, December 1, 1940. See further on this problem in Chapter 6.
172. Goebbels, Tagebücher Diktate, vol. 2, 440; vol. 3, 395; Meldungen aus dem Reich, vol. 8, 2,774; Klingler, “Rundfunkpolitik,” 173.
173. Goebbels, Tagebücher Diktate, vol. 3, 670.
174. Par. 1 of “Fünfte Verordnung zur Durchführung des Reichskulturkammergesetzes. Vom 28. Oktober 1939,” Reichsgesetzblatt Teil I (1939): 2,118; Fischer, Dramaturgie, 134.
175. Eckert, Rundfunk, 38; Diller, Rundfunkpolitik, 375; Klingler, “Rundfunkpolitik,” 51–2.
176. Echoing imbalance: Goebbels, Tagebücher Diktate, vol. 4, 149, 221; Meldungen aus dem Reich, vol. 6, 1,776; Boelcke, Kriegspropaganda, 527.
177. The two radio icons were Heinz Goedecke and Wilhelm Krug. They produced their own volume, Wunschkonzert, including several (authentic?) fan letters, see 160, 162–4, 167. Also: Goebbels, Tagebücher Diktate, vol. 4, 131; Meldungen aus dem Reich, vol. 4, 940–1; vol. 5, 1,692, 1,712; vol. 6, 1,889; Koch, Wunschkonzert, 100–16, 130–5, 140–5, 157.
178. On content and balance, see Goebbels, Tagebücher Fragmente, vol. 4, 118, 683, 685; Goebbels, “Der Rundfunk im Kriege,” Das Reich, June 15, 1941; Meldungen aus dem Reich, vol. 4, 1,118; vol. 5, 1,493–4; vol. 7, 2,533; vol. 8, 2,662; Fischer, Dramaturgie, 134, and 178–9 for a sample day’s broadcasts (May 27, 1941).
179. Goebbels, Tagebücher Diktate, vol. 2, 305, 556; vol. 3, 40 (quote), 92; Meldungen aus dem Reich, vol. 9, 3,137, 3,199. The original German is “Davon geht die Welt nicht unter.”
180. Goebbels’s vacillations toward balance are reflected in Goebbels, Tagebücher Diktate, vol. 1, 460, 494; vol. 2, 119–20, 126, 245, 340; vol. 3, 111, 243–4, 249–50. For the revisions, see Drechsler, Funktion, 42–3.
181. Das Deutsche Tanz- und Unterhaltungsorchester (DTU) was co-led by Haentzschel and Franz Grothe, both seasoned jazz musicians, with Grothe also receiving a leading post in radio. Haentzschel later composed the film score for Baron Münchhausen (1943): Kater, Drummers, 126–7; author’s recorded interview with Georg Haentzschel, Cologne, October 1, 1988, YUA, CA ON00370 F0456.
182. Goebbels, Tagebücher Diktate, vol. 3, 274, 314, 406; vol. 4, 476; Goebbels, “Der treue Helfer,” Das Reich, March 1, 1942; Meldungen aus dem Reich, vol. 8, 3,076; vol. 9, 3,437–9; Kater, Drummers, 128–9.
183. “Programmwoche vom 13.–19. Dezember 1942”; minutes of broadcast planning meetings of January 6, February 4 and 11, June 17, 1943, BAK, R55/696; Hinkel to Goebbels, January 25 and February 3, 1943, BAK, R55/1254; Goebbels, Tagebücher Diktate, vol. 7, 192, 256; Meldungen aus dem Reich, vol. 11, 4,244; Klingler, “Rundfunkpolitik,” 152–4.
184. Meldungen aus dem Reich, vol. 13, 4,928–9, 4,970; Klingler, “Rundfunkpolitik,” 179, 196.
185. Frei and Schmitz, Journalismus, 89–90.
186. Meldungen aus dem Reich, vol. 16, 6,195; Klingler, “Rundfunkpolitik,” 251.
187. Protocol of author’s interview with former panzer grenadier Werner Wunderlich, Baden-Baden, September 5, 1986, YUA, CA ON00370 F0456.
188. Klingler, “Rundfunkpolitik,” 178, 253.
189. Kershaw, Nemesis, 681.
190. Hitler as quoted in Klingler, “Rundfunkpolitik,” 248–9.
191. I myself heard this on my grandparents’ radio in Wersabe near Bremen, as a seven-year-old boy, ironically while drying wet Hitler stamps on the windowsill.
192. The propaganda value was asserted in Kallenbach, Kulturpolitik, 58.
193. Bucher, “Filmpropaganda,” 60.
194. Meldungen aus dem Reich, vol. 15, 6,174–5; Goebbels, Tagebücher Diktate, vol. 9, 56; von Kardorff, Aufzeichnungen, 113; Aster, Orchestra, 151; Föllmer, Leben, 215.
195. Staatskapelle Berlin, Bach Cantatas Website; Kater, Drummers, 163; Hamann, Wagner, 419, 494–6; Aster, Orchestra, 149–50. See also Goebbels, Tagebücher Diktate, vol. 13, 354.
196. Goebbels, Tagebücher Diktate, vol. 4, 409, 419; Leopold Gutterer’s remarks in Deutsche Allgemeine Zeitung, August 5, 1942.
197. Goebbels quoted in Kater, Composers, 252. See also Egk, Zeit, 342–3; Julius Kopsch to Franz Strauss, July 21, 1946, RG.
198. Goebbels, Tagebücher Diktate, vol. 1, 515.
199. “Verbot des Jazz und ähnlich entarteter Musik in Sachsen. Eine Anordung von Gauleiter Mutschmann,” in Lovisa, Musikkritik, 220. See also Chemnitzer Zeitung, July 5, 1943; Musik im Kriege 1 (1943): 75.
200. Walter, Strauss, 374–95; Kater, Composers, 228–59; Riethmüller, “Stefan Zweig,” 267–87.
201. Drewniak, Theater, 331–4; Novak, Salzburg, 330.
202. Goebbels, Tagebücher Diktate, vol. 2, 436.
203. For the latter, see Drewniak, Theater, 331–4.
204. Völkischer Beobachter, November 22, 1939.
205. Kater, Composers, 150–77; Kershaw, Nemesis, 250–2, 484–5.
206. Orff to Strecker, May 22, 1941, CM, Schott Korr.; Pietzsch to Orff, May 31, 1941, CM, Allg. Korr.; [“To Whom It May Concern”], sign. Raabe, Berlin, February 20, 1942, CM, Allg. Korr.; Orff to Strecker, May 26, 1943, CM, Schott Korr.; Aulich to Orff, July 23 and October 23, 1943, CM, Allg. Korr.; Scherping to Reichsminister [Goebbels], April 25, 1944, BAK R55/559; Deutsche Wochenschau G.m.b.H. to Orff, June 7, 1944 (quote); Theater am Nollendorfplatz to Orff, July 17, 1944, CM, Allg. Korr.; Ellis, “Music,” 133.
207. Goebbels, Tagebücher Diktate, vol. 13, 466; entry for August 30, 1944, in “Gertrud Orffs Tagebuch,” CM; Rathkolb, Führertreu, 176.
208. Goebbels, Tagebücher Diktate, vol. 13, 466.
209. “Opern und Ballette für die neue Spielzeit aus dem Verlag B. Schott’s Söhne, Mainz,” Deutsche Theater-Zeitung, September 14, 1939.
210. Entry for March 7–27, June 3–10, June 24, July 2, 5–22, 1943, in Egk’s pocket calendar, BS, Ana/410; Drewes to Graener, March 26, 1943, BS, Fasc. germ; Egk, Zeit, 349.
211. Goebbels, Tagebücher Fragmente, vol. 3, 317.
212. “Military Government of Germany: Fragebogen,” sign. Werner Egk, October 16, 1945; Beisler to Kläger, September 23, 1946, AM, Egk; Goebbels, Tagebücher Diktate, vol. 13, 333; RKK Elly Ney, BAB (former BDC); RKK Egk, BAB (former BDC); Rathkolb, Führertreu, 176. Military Order of Merit = Kriegsverdienstkreuz.
213. RKK Gottfried Müller, BAB (former BDC); Schinköth, “Psalm,” 305–9; Goebbels, Tagebücher Diktate, vol. 12, 204 (quotes), 234.
214. Goebbels, Tagebücher Diktate, vol. 11, 88; Klingler, “Rundfunkpolitik,” 185.
215. Goebbels, Tagebücher Diktate, vol. 3, 556; vol. 4, 211–12; Leopold Gutterer in Deutsche Allgemeine Zeitung, August 5, 1942.
216. Andrew Lamb on Schultze in Oxford Music Online; Goebbels, Tagebücher Fragmente, vol. 1, 7–8, 23; Goebbels, Tagebücher Diktate, vol. 2, 33, 477; Kühn, “Kompass,” 366–8.
217. Goebbels, Tagebücher Diktate, vol. 4, 172, 175.
218. Goebbels, Tagebücher Fragmente, vol. 4, 118; Goebbels, Tagebücher Diktate, vol. 1, 386; RKK Georg Schünemann, BAB (former BDC).
219. Hotter in telephone conversation to author, Munich, December 14, 1994; Goebbels, Tagebücher Diktate, vol. 4, 408; vol. 12, 204; Picker, Tischgespräche, 396. Goebbels’s futile search is exemplified in Tagebücher Diktate, vol. 11, 77.
220. Diller, Rundfunkpolitik, 432.
221. Elly Ney, “Elly Ney schreibt an den deutschen Soldaten,” Zeitschrift für Musik, 109 (March 1942): 122–3.
222. Ney, “Bekenntnis,” 67.
223. Goebbels, Tagebücher Diktate, vol. 4, 135; facsimile, “Reichsprogramm des Grossdeutschen Rundfunks zum Geburtstag des Führer 20. April 1940,” in Diller, Rundfunkpolitik, 347; Aster, Orchestra, 120.
224. Drewniak, Film, 328, 396, 438; Aster, Orchestra, 121.
225. Brown Sisters = Braune Schwestern. See Posch, “Salzburger Festspiele,” 451–3; Goebbels, Tagebücher Diktate, vol. 2, 265, 519; Hörbiger, Ich, 274; Novak, Salzburg, 269–77, 328–30, 338–9, 347–8; Levi, Mozart, 157–9; Kriechbaumer, Österreich, 315–25, 372–3.
226. Spotts, Bayreuth, 190–9; Meldungen aus dem Reich, vol. 5, 508; vol. 8, 2,675; vol. 15, 5,807–9; Vossler, Propaganda, 331–5; Hamann, Wagner, 407–49, 460–507; Wagner, Wagner Theater, 171, 226, 235–42, 256, 309–13, 320.
227. Drewniak, Theater, 86.
228. Werner Kark, “Künstler spielen – ein Volk marschiert: Deutsche Theater in historischer Stunde,” Deutsche Theater-Zeitung, September 24, 1939 (quote); Gründgens cited in Hans Erman, “Gustaf Gründgens: Krieg und Theaterführung: Der ‘VB.’ unterhielt sich mit dem Generalintendanten des Staatlichen Schauspielhauses,” Völkischer Beobachter, October 19, 1939.
229. Hilpert, “Menschenführung,” 273, 275–6.
230. Karl Pempelfort, “Theater in ernster Zeit,” Deutsche Theater-Zeitung, September 24, 1939; Best, Dramaturgie, 46–7.
231. Goebbels, Tagebücher Diktate, vol. 7, 608; vol. 8, 515.
232. For expansion: Goebbels, Tagebücher Fragmente, vol. 4, 509; Goebbels, Tagebücher Diktate, vol. 1, 428; vol. 2, 151; vol. 10, 381; Meldungen aus dem Reich, vol. 5, 1,680; vol. 9, 3,372; vol. 10, 3,937; vol. 12, 4,766–7; Schlösser, “Lebendiges Theater,” 3; Heyde, Presse, 31–2; Drewniak, Theater, 86.
233. Goebbels, Tagebücher Diktate, vol. 4, 300; Meldungen aus dem Reich, vol. 5, 1,681; vol. 9, 3,371; Dussel, Theater, 245.
234. Goebbels, Tagebücher Fragmente, vol. 4, 422; Goebbels, Tagebücher Diktate, vol. 1, 124; vol. 4, 579; Künkler, “Probleme,” 197, 206. Rosenberg’s fiercely anti-Semitic troll Elisabeth Frenzel even expressed fears that German theater, lacking new blood, might still be clandestinely Jewish (Jude, 2, 8; on her see Klee, Kulturlexikon, 147).
235. Those names were advertised by the Nazis’ own publisher Franz Eher Nachfolger. Equally insipid but probably less virulent politically were names publicized by publishers Vertriebsstelle Berlin and Capitol-Verlag Berlin.
236. Wapnewski, Auge, 53; Ruppelt, Schiller, 41–4, 113–14.
237. Goebbels, Tagebücher Fragmente, vol. 4, 152 (quote); Schlösser, “Lebendiges Theater,” 3; Dussel, Theater, 284.
238. Paul Kersten, “E. E. Dwinger: ‘Der letzte Traum’: Uraufführung der ‘deutschen Tragödie’ in Stettin,” Deutsche Theater-Zeitung, November 2, 1941; Drewniak, Theater, 238; Klee, Kulturlexikon, 111. On Dwinger in World War II, see Baird, Hitler’s War Poets, 151–9.
239. Mühr, Mephisto, 193–5.
240. In Das Dorf bei Odessa (“The Village near Odessa”) German-Soviet officials have to choose between service for the Moscow government and loyalty to their village community: See Reinecker, Dorf, e.g. 71, 75; Deutsche Dramaturgie 2 (1943): 83; Drewniak, Theater, 239.
241. Schoeps, Literatur, 154–5.
242. Gritzbach, Göring.
243. Goebbels, Tagebücher Diktate, vol. 3, 376; vol. 4, 507; Meldungen aus dem Reich, vol. 3, 582; vol. 4, 949; vol. 5, 1,492; von Schirach, Kantaterede, 10; Adam, Lesen, 296–7; Friedländer, Memory, 258.
244. Meldungen aus dem Reich, vol. 5, 1,576.
245. Goebbels, Tagebücher Diktate, vol. 5, 94; vol. 7, 542; vol. 11, 47; Meldungen aus dem Reich, vol. 10, 3,970; vol. 12, 4,662; Leopold Gutterer in Deutsche Allgemeine Zeitung, August 5, 1942; Wezel, “Wunschzettel,” 27–30; Strothmann, Literaturpolitik, 188; Barbian, Literaturpolitik, 247–8, 372; Adam, Lesen, 171.
246. Raschke, Erbe, esp. 114–15, 120, 144, 215, 242, 246, 249–50, 255. The quotes are 215 and 242.
247. See von Kardorff’s sympathetic characterization in Aufzeichnungen, 15, 85–6; Fischer-Gravelius, “Erinnerungen,” 343. A typical contribution praising people’s art is Raschke, “Grenzen der Volkskunst,” Das Reich, December 6, 1943. See Haefs, “Werkchronik,” 239–40.
248. Raschke, Pomeranzenzweig, esp. 7, 19, 24, 99, 116–20.
249. Langenbucher, Volkhafte Dichtung, 290. See also Steinborn, “Erzähler,” 61–4; Langer, Dichtung, 139.
250. Raschke, “Europa,” 152–3; Raschke, “Briefen,” 338, 341; Haefs, “Zeit,” 94–6, 100–1; Haefs, “Werkchronik,” 259–64.
251. Spezialkatalog Martin Raschke, Neue Deutsche Biographie Online.
252. Stöve, “Dichtung,” 149; Denecke, “Grenzen,” 155; Goebbels 1942 as cited in Strothmann, Literaturpolitik, 404; Barbian, Literaturpolitik, 366.
253. Deploring the losses: Wilhelm Haegert, “Zum Dichtertreffen 1941,” in Die Dichtung, 5–6; idem, “Eröffnungsrede zum Dichtertreffen 1942,” in Erckmann, Dichter, 5.
254. Rosenberg, Tagebucher, 383.
255. Manfred Hausmann, “Das Grossdeutsche Dichtertreffen in Weimar: Ein Überschlag und Ausblick,” Das Reich, November 3, 1940.
256. See Hesse, “Beitrag,” 28, 34; Erckmann, “Sinn,” 7; Burte, Reden, 30.
257. See Johst’s published poem “Dem Führer,” in Velmede, Führer, 56; and his homily to both Hitler and Todt, in Todt, 15, 48.
258. Johst, Ruf, esp. 8, 19, and 63 (quotes).
259. Goebbels, Tagebücher Diktate, vol. 6, 110.
260. Johst aphorisms were published in Casper, Johst, see e.g. 7, 35, 68, 92–3. Johst received lame recognition from radio and literary reviews: Meldungen aus dem Reich, vol. 10, 3,953; Künkler, “Probleme,” 199. On Johst and SS see esp. Düsterberg, Johst, 302–5; with Himmler: Himmler’s corr. in Himmler privat, e.g. 337. See also Steinweis, Art, 28; Klee, Kulturlexikon, 258.
261. Sebald, Luftkrieg, 125. See Jünger’s books In Stahlgewittern and Das Wäldchen 125, as well as Der Arbeiter, e.g., on the archetype of the fascist soldier, 107–8.
262. Kiesel, Jünger, 280–2; Martynkewicz, Salon Deutschland, 426.
263. See the comment on rabble behavior in Jünger, Strahlungen, 119.
264. Examples from World War II: Jünger, Gärten, 107–8, 129–31, 177 from the Weimar Republic; Jünger, Kampf, 14.
265. Friedländer, Years, 381.
266. Jünger, Gärten, 109, 196 (quote); Jünger, Strahlungen, 223.
267. Jünger, Strahlungen, 39–41.
268. De Mendelssohn, “Gegenstrahlungen,” e.g. 164–6.
269. Böll, Man, 28–80.
270. Ernst Jünger, “Aus den Tagebüchern von 1939/40,” Das Reich, February 9, 1941.
271. Jünger, Strahlungen, 138–9. See de Mendelssohn’s criticism, “Gegenstrahlungen,” 157.
272. Jünger, Auf den Marmorklippen.
273. Hesse, “Beitrag,” 32.
274. Goebbels, Tagebücher Diktate, vol. 2, 315–16.
275. Beumelburg, Kampf, 127–30.
276. Manfred Hausmann in Bade and Haacke, Jahr, 159–63.
277. Curt Strohmeyer ibid., 374–6; Moser, “Am Rande,” 30–2.
278. Horst Merkwitz in Bade and Haacke, Jahr, 246–7; Josef Magnus Wehner, ibid., 411–13; Rexroth, Wehrmutstrauch, 205; Slesina, Soldaten, 84.
279. Friedrich Wilhelm Hymmen in Bade and Haacke, Jahr, 178–80; Enno W. Müller-Waldeck, ibid., 263–8; Otto Voigtel, ibid., 393–4.
280. On French colonial troops, see Alfons von Czibulka in Bade and Haacke, Jahr, 66–8. On a perceived French racial mix: Fritz Fröhling, ibid., 123.
281. On the physiognomy of Soviet troops, see Rexroth, Wehrmutstrauch, 214, 218–19; Dwinger, “Bolschewismus,” 13–14; Slesina, Soldaten, 23, 76. On Russian POWs, see the authoritative volume by Streit, Keine Kameraden, esp. 83–190.
282. Bauer, Kraniche, esp. 48, 115–17, 124, 126, 131–2, 189, 197–8; Rexroth, Wehrmutstrauch, 146–55; Dwinger, “Bolschewismus,” 15; Slesina, Soldaten, 26; Brehm, Geschichten, 184. On the collusion between the SS and Wehrmacht against Jews on the Eastern Front, see Browning, Origins, 215–24, and Jürgen Matthäus in Browning, Origins, 247–67.
283. For a paradigmatic sampling of thoughts and concepts, see Brand, Domen, 48–50, 74, 124, 142–3, 160, 254–6; Burte, Reden, 29; Wirsing, Zeitalter, 26, 31–2, 42, 55, 62, 77–9, 120–3, 129–31; Dwinger, “Bolschewismus,” 21; Ehmer, “Wirkungen,” 26–30, 37–8; Frenssen, Recht, 14, 45–6; Nachenius, “Solidarität,” 9–10; Schumann, “Krieg,” 70–1; von Heiseler, “Oktober 1939,” 33–4.
284. See Carossa’s contribution to Velmede, Führer, 14 (quote), and his post-1945 skin-saving attempt in Welten, 117–27. On the ill-fated writers’ union and his helmsmanship there, 1941–3, see Martin, New Order, 227–62.
285. Agnes Miegel, “An den Führer,” in Miegel, Ostland, 5–6; Wilhelm von Scholz, “Deutsche Wünsche,” in Scholz, Gedichte, 316–17; Ina Seidel, “Lichtdom,” in Velmede, Führer, 16.
286. Strauss, Lebenstanz, 37, 109, 154, 177, 185, 232–3, 289–90, 330, 438–9.
287. Lorenz, Unrast, 5, 15–16 (quote), 31, 51, 58, 61, 67.
288. Christoph, Sehnsucht, 16, 46, 48, 60,162, 166, 284–5, 310–11, 412.
289. Speer, “Vorwort,” esp. 9, 13.
290. See Wilhelm Grebe, “Wiedergesundung und Neuausrichtung des ländlichen Bauwesens: Zu dem Bauernhof-Wettbewerb, 1941–42” (September 1942), in Teut, Architektur, 277–9.
291. Goebbels, Tagebücher Diktate, vol. 4, 418.
292. All figures from Meckel, Animation, 39–40.
293. Meldungen aus dem Reich, vol. 5, 1,754–6; vol. 12, 4,835.
294. Meldungen aus dem Reich, vol. 4, 1,038; Thomae, Kunst, 159.
295. Petropoulos, Faustian Bargain, 93. See also Schlenker, Salon, 130–7.
296. Brantl, Haus der Kunst, 100–2, 106–8. On Gerdy Troost see Schlenker, Salon, 139–43.
297. Brantl, Haus der Kunst, 102.
298. Meldungen aus dem Reich, vol. 5, 1,340–1, 1,485, 1,754–6; vol. 7, 2,345–6; Goebbels, Tagebücher Diktate, vol. 2, 440; vol. 4, 415; Rathkolb, Führertreu, 68–78; Petropoulos, Artists under Hitler, 184–9.
299. Meldungen aus dem Reich, vol. 12, 4,804–5, 4,836–7.
300. Search www.gdk-research.de.
301. Meldungen aus dem Reich, vol. 12, 4,444.
302. Schlenker, “Art,” 103.
303. Eber, Sie kommen, in Westecker, Krieg, 62; artroots.com/art5/elkeberarticle.htm.
304. Willrich, Oberst Mölders, in Westecker, Krieg, 27; www.cimilitaria.com/WolfgangWillrich.htm.
305. Spiegel, Tank, in Merker, Künste, 288; Hoffmann, Kunstausstellung, 19; Ferdinand Spiegel in www.germanartgallery.eu.
306. Eichhorst, Feuernde Geschütze bei der Beschiessung von Warschau, in Westecker, Krieg, 47; galleria.thule-italia.com/franz-eichhorst/?lang=en; www.google.ca/search?q=eichhorst+erinnerung+an+stalingrad; Hoffmann, Kunstausstellung, 17.
307. Wilhelm Petersen, Der Stosstruppführer, in SS-Leitheft 9 (April 1943): 28; Der Stosstruppkämpfer, and Der Nahkampf, in SS-Leitheft 9 (May 1943): near 8; Posten im Niemandsland, in Merker, Künste, 293. For more on Petersen, see galleria.thule-italia.com/wilhelm-petersen/?lang=en; Christiansen and Petersen, Petersen, 5–20.
308. Adam, Art, 153.
309. Harm Wulf, Sepp, der Bauernmaler, artroots.com/art2/sepphilzarticle3.htm; reproduction of Bäuerliche Venus, ibid.
310. Goebbels, Tagebücher Diktate, vol. 4, 587; vol. 8, 259, 526 (quote); galleria.thule-italia.com/sepp-hilz/?lang=en; Hoffmann, Kunstausstellung, 8.
311. Puchinger, Brunnenplatz im Berge, reproduced in Hoffmann, Kunstausstellung, 24; Berann, Bergheuer, ibid., 31. Interestingly, Adam, Art, 153, has reproduced a Hilz picture similar to Venus, entitled Eitelkeit (Vanity), and confused it with the original Peasant Venus. Although an act of scholarly impropriety, one can hardly blame him for the confusion.
312. Goebbels, Tagebücher Fragmente, vol. 4, 558.
313. Goebbels, Tagebücher Diktate, vol. 2, 357; vol. 8, 259, 515, 548; Hoffmann, Kunstausstellung, 12; Kriegel in hausderdeutschenkunst.de; Merker, Künste, 167; www.germanartgallery.eu/m/Webshop/0/product/info/Willy_Kriegel.
314. Petropoulos, Faustian Bargain, 261.
315. Padua, Mars und Venus, www.artnet.com/artists/paul-matthias-padua/mars-und-venus-kuA1uoL3z7LuwUyDLifUMQ2; Goebbels, Tagebücher Fragmente, vol. 4, 445; Klee, Kulturlexikon, 404; Schlafende Diana, reproduced in Hoffmann, Kunstausstellung, 11–12; Der 10. Mai 1940, reproduced in Merker, Kunste, 256.
316. Abeiter, Bauern und Soldaten, reproduced in Adam, Art, 162–3.
317. Hinz, Malerei, 77, 84; Petsch, “Malerei,” 251–2.
318. Goebbels, Tagebücher Diktate, vol. 8, 548; www.gdk-research.de/db/apsisa.dll/ete?action=addFilter&filter=filter_kunstler&term=Schmitz-Wiedenbr%FCck.
319. Amtliche Mitteilungen der Reichskulturkammer, October 15, 1943, BAK, RD 33/2-2; corr. regarding Kreuder (April–December 1943), BAK, R 55/126; Hinkel to Tiessler, May 4, 1944, RKK Peter Kreuder, BAB (former BDC).
320. www.gdk-research.de/db/apsisa.dll/ete?action=addFilter&filter=filter_kunstler&term=Gerhardinger,Constantin; Goebbels, Tagebücher Diktate, vol. 8, 258, 526 (quote); Klee, Kulturlexikon, 162, 616; Spotts, Hitler, 179; Schlenker, Salon, 212–14. Petropoulos, Faustian Bargain, 260, writes that a second reason for Ziegler’s treatment was that he had been found out as someone who wanted peace feelers with the Western Allies.
321. Goebbels, Tagebücher Fragmente, vol. 4, 52; Goebbels, Tagebücher Diktate, vol. 4, 417.
322. See the following Thorak reproductions: Francisca da Rimini (Hoffmann, Kunstausstellung, 33), Hannele (Hoffmann, Kunstausstellung, 35), [Man and Horse in Giant Studio] (Adam, Art, 204); also text in Hoffmann, Kunstausstellung, 24, 32; Goebbels, Tagebücher Diktate, vol. 1, 132; vol. 4, 572; Merker, Künste, 167; Petropoulos, Art, 169, 242; Petropoulos, Faustian Bargain, 266–7. The website for Grosse Deutsche Kunstausstellungen München lists no exhibition for Thorak in 1943 and after: www.gdk-research.de/db/apsisa.dll/ete?action=addFilter&filter=filter_kunstler&term=Thorak.
323. Goebbels, Tagebücher Fragmente, vol. 4, 52.
324. As most convincing proof of Breker’s war style, see his three bas-reliefs, from the 1940 and 1941 Munich exhibitions, reproduced in Spotts, Hitler, 108–9. Also Schreitende, in Hoffmann, Kunstausstellung, 34; Adam, Art, 203.
325. Grothe, Breker, 1; Petropoulos, “Seduction,” 211.
326. Petropoulos, Art, 35; Petropoulos, Faustian Bargain, 223–39.
327. Spotts, Hitler, 325–7.
328. Petropoulos, Faustian Bargain, 233.
329. August, “Stellung,” 171–3; Baranowski, Strength, 203–4; Drewniak, Theater, 87–9; Klee, Kulturlexikon, 315.
330. According to Vossler, Propaganda, 83–4.
331. Goebbels in Die Bühne, no. 15 (August 10, 1940): 1.
332. Vossler, Propaganda, 81–2.
333. Goebbels, Tagebücher Diktate, vol. 3, 382.
334. Although in the ideological-literature category, Hitler’s book topped the charts for the soldiers.
335. Hauptmann Dr. Wernecke’s lecture about “Aufgabe und Methodik des Einsatzes der RWU-Filme bei der Truppenbetreuung,” published in Film und Bild 8, no. 2 (February 15, 1942): 17.
336. Vossler, Propaganda, 215 (soldier quoted), 216; Adam, Lesen, 297–9; Barbian, Literaturpolitik, 364–5; Meldungen aus dem Reich, vol. 12, 4,506.
337. Soldatensender Belgrad: Drewniak, Theater, 89; Kater, Drummers, 126, 176–7.
338. Boelcke, Kriegspropaganda, 425; Goebbels, Tagebücher Diktate, vol. 2, 340, 523 (quote); Ernst Hellwig in “Soldaten zum Thema Film,” Film-Kurier, December 24, 1943; Baranowski, Strength, 207.
339. Leopold Gutterer’s review, “Unser Kulturschaffen im Kriege,” in Deutsche Allgemeine Zeitung, August 5, 1942.
340. Goebbels, Tagebücher Diktate, vol. 2, 114, 525; Vossler, Propaganda, 82–3, 297, 317–18, 362; Drewniak, Theater, 87–8; August, “Stellung,” 188; Baranowski, Strength, 205–6.
341. Dillmann, Hilpert, 154–5.
342. Goebbels, Tagebücher Diktate, vol. 3, 80, 376–7, 395; vol. 5, 161; vol. 10, 106; vol. 11, 582; Meldungen aus dem Reich, vol. 9, 3,372–3; Vossler, Propaganda, 84, 290–6, 302, 307; Drewniak, Theater, 89; Baranowski, Strength, 208–9; Goldhagen, Executioners, 244.
343. Hörbiger SD entry, July 2, 1943, RKK Paul Hörbiger, BAB (former BDC); Klee, Kulturlexikon, 232; Hörbiger, Ich.
344. Tschechowa in Siska, Wunderwelt, 84 (quotes); Tschechowa, Uhren, 179; Klee, Kulturlexikon, 559. A similar representation on her own behalf is in the memoirs of grande-dame actress Lil Dagover, Dame, 238–9.
345. Von Naso, Leben, 718; Klee, Kulturlexikon, 387; protocol of author’s interview with Gertie Schönfelder, Lindau, June 2, 1988, YUA, CA ON00370 F0456. On Jewish ghetto members’ craft productions such as cabinets, gloves, and shoes, before deportations to extermination camps, see Browning, Origins, 153–4.
346. Gründgens quoted in Michalzik, Gründgens, 104–5; Kitchen, Third Reich, 187–9.
347. Werner, So, 111–13.
348. Hielscher quoted in Adrian Prechtl, “Deutschlands letzte Diva, Filmstar und Entertainerin: Margot Hielscher,” Abendzeitung, Munich, August 22, 2017.
349. Protocol of author’s interview with Margot Hielscher, Munich, June 4, 1988, YUA, CA ON00370 F0456.
350. “Ballade von Leben, Liebe und Tod: Bericht von der Formung des Ufa-Films ‘Das Herz einer Königin’,” Filmwelt 49 (December 8, 1939): 6–7; Fox, Film Propaganda, 167; Tiedt, Sterne, 115; Quadflieg, Wir spielen, 110–11.
FIVE – ARTIST ÉMIGRÉS
1. Easton, Count, 398–406.
2. Brecht’s second wife was the actress Helene Weigel, whom he married in 1930.
3. Gay was born Peter Joachim Fröhlich in Berlin, in 1923; he entered the United States with his parents in 1941, eventually becoming a distinguished historian at Yale University.
4. Röder and Strauss, Handbuch, XIII, XVII.
5. Röder and Strauss, Handbuch, XIX. Against these figures, Anthony Heilbut’s compilation appears too high (Exiled, 26).
6. Clark, Moscow, 156–61; Albrecht et al., Lexikon, vol. 2, 480–2.
7. Wegner, Klabund, 168–81; Clark, Moscow, 151, 211; Lars-Broder Keil, “Deutschlands schönste Frau starb im Gulag,” Die Welt, February 3, 2017. After 1945, Wangenheim played an important role in the movie industry of the Communist German Democratic Republic.
8. Frankenthal, Fluch, 227, 232.
9. Müssener, Exil, 61–72, 92, 95; Röder and Strauss, Handbuch, XL.
10. Röder and Strauss, Handbuch, XLI; Bermann Fischer, Bedroht, 120; Frankenthal, Fluch, 220; Mann and Mann, Escape, 237; Pritzker-Ehrlich, Emigrantenlos; Krispyn, Writers, 59–62; Mäusli, “Music Scene,” 259–70; Palmier, Weimar, 154–61.
11. Friedländer, Nazi Germany, 220–3; Barron, “Artists,” 15–16; Du Closel, Stimmen, 268–77; Holz, “Artists,” 355–7.
12. Carsten, “Emigranten,” 140, 148–50; Wasserstein, Britain, 9–10, 81–2, 94, 119–20, 345–9. See also Berghahn, Refugees, 121, 129–30, 137; Berstl, Odyssee, 182; Fend, “Hans Gál,” 174–7; Heilbut, Exiled, 26; Hirschfeld, “Great Britain,” 4–6, 9–12; Haffner, Engländer, 31–2, 102–3.
13. Röder and Strauss, Handbuch, XXVIII; Gradenwitz, “Ben-Haim,” 120–1.
14. Abella and Troper, None, 36, 50–1, 144.
15. Zur Mühlen, Fluchtziel, 43–4, 53–9, 75, 86, 96–102.
16. Gay, Question, 149–50, 156–9; Friedländer, Nazi Germany, 299–300.
17. Röder and Strauss, Handbuch, XXIX.
18. Röder and Strauss, Handbuch, XXIX; Durzak, “Exilsituation,” 147–8; Davie, Refugees, 16–17, 21–5, 29, 33–6, 44, 63, 88; Friedrich, City of Nets, 47.
19. Möller, Exodus, 47.
20. Mann and Mann, Escape, 237.
21. Carsten, “Emigranten,” 139; Müssener, Exil, 96; Davie, Refugees, 287–8.
22. Carsten, “Emigranten,” 139.
23. Davie, Refugees, 257–9.
24. Ollendorf-Reich, Reich, esp. 48–64; pre-1933 history in Hoeres, Kultur, 64.
25. Frankenthal, Fluch, 203–45.
26. Reifenberg, “Jahre,” 44; Gillessen, Posten, 173.
27. Gumpert, Hölle, 276–8; Kater, Doctors under Hitler, 211.
28. Der Lühe, Erika Mann, 178–80.
29. See Heilbut, Exiled; Taylor, Strangers; Merrill-Mirsky, Exiles; Brinkmann and Wolff, Driven into Paradise.
30. For whatever reasons, Walter has overstated the degree of his positive acculturation in America, see Thema, 441–3.
31. Werfel quoted in Jungk, Werfel, 287.
32. For émigré historians in the United States, this has been done exemplarily by Catherine Epstein, “Schicksalsgeschichte,” 116–17.
33. Taylor, Strangers, 174.
34. Gay, Freud, 631; Tergit, “Exilsituation,” 138.
35. Koestler, Writing, 513–14; Cesarani, Koestler, 145–6, 156–7, 160–2, 170–1.
36. Palmer, Lilli, 132–56. See also Berghahn, Refugees, 92, 104–5.
37. Bergner, Bewundert, 190–1.
38. Milton, “Culture,” 87; Gradenwitz, “Ben-Haim,” 120–1; Müssener, Exil, 293.
39. Raab, “Internierung,” 294; Raab Hansen, Musiker, 144, 151, 154, 176–8, 218; Du Closel, Stimmen, 302, 307, 311–14; Scheding, “Tendencies,” 249–50, 255–6; Haas, Music, 252–5.
40. Flavell, Grosz, 95; Krenek, Tagebücher, 105–6.
41. Türcke, “Klänge,” 20–1.
42. Bergner, Bewundert, 114–15, 147, 180; Kortner, Tage, 274–5; Mann and Mann, Escape, 60, 352–4.
43. Viertel, Kindness, 247; Zuckmayer, Stück, 408.
44. Bergner played Catherine the Great once (with a Saxe-Anhalt German accent?); Dietrich and Lenya were more typically femmes fatales. See Bergner, Bewundert, 115; Spoto, Blue Angel, 130, 172.
45. Weill to Jolles, May 27, 1949, WC, Weill and Jolles correspondence.
46. Davie, Refugees, 351.
47. See Willett, “Künste,” 186; Karl Stern’s observation in Berghahn, Refugees, 98; Pross, Emigration, 58.
48. Mann and Mann, Escape, 303 (quote); Feuchtwanger, “Schriftsteller,” 548–50. See also Walter, “Literatur,” 84.
49. Vaget, “Wetter,” 72; McGilligan, Fritz Lang, 293; Kortner, Tage, 278; Heilbut, Exiled, 34.
50. Zweig, Welt, 394; Zweig quoted in Prochnik, Exile, 144; Mann, Tagebücher, 1935–1936, 218.
51. Cesarani, Koestler, 145, 178; Heilbut, Exiled, 34.
52. Heilbut, Exiled, 206; Vaget, “Wetter,” 72–3.
53. Zuckmayer, Stück, 409–10, 417, 414–15, 424–5.
54. Berstl, Odyssee, 178.
55. Stefan Wolpe in Stefan Wolpe, 112 (quote). See also Clarkson, “Stefan Wolpe,” 219–44.
56. Entry for March 9, 1939, in Krenek, Tagebücher, 105 (quote); Brinkmann, “Letter,” 3–20.
57. Wingler, Bauhaus, 198–9; Hahn, “Bauhaus,” 14–16; Findeli, “Ästhetik,” 34–6, 40–1; Engelbrecht, “Moholy-Nagy,” 55–7.
58. Schwitters as quoted in Willett, “Künste,” 190; Berghahn, Refugees, 95–6, 103; Müssener, Exil, 296–7.
59. Bergner, Bewundert, 193–5; Willett, “Künste,” 197.
60. Kater, “Weill und Brecht,” 62–7; Heilbut, Exiled, 183–5.
61. McGilligan, Fritz Lang, 210, 212, 215, 231, 262; Heilbut, Exiled, 256–7.
62. Wicclair, Kreuzburg, 126.
63. Loewy, Babelsberg, 59, 61, 71; Horak, Fluchtpunkt, 3–4, 22, 27–8; Doherty, Hollywood, 202, 338–45. On refugee composers in Hollywood, see Haas, Music, 265–7.
64. Heilbut, Exiled, 224; Palmier, Weimar, 526–8; Mann and Mann, Escape, 300–2; Taylor, Strangers, 65–7, 215–18; Kortner, Tage, 320; Bergner, Bewundert, 230–2; Reinhardt, Genius, 304–8.
65. Mahler-Werfel, Mein Leben, 367.
66. Taylor, Strangers, 148.
67. Friedrich, City of Nets, 58; Jungk, Werfel, 297; Kater, Composers, 65.
68. Jungk, Werfel, 297.
69. Heilbut, Exiled, 182.
70. Flavell, Grosz, 85, 88, 91, 98, 213, 230–1; Reinhardt, Genius, 309.
71. Zuckmayer, Stück, 400, 418, 419 (quote); Krenek, Tagebücher, 105–6; Maurer Zenck, “Challenges,” 175.
72. Cesarani, Koestler, 100; Der Lühe, Emigration, 336; Berstl, Odyssee, 177–8, 183.
73. Pfanner, Exile, 86–7; Heilbut, Exiled, 183–4.
74. Taylor, Strangers, 9; Gay, Question, 179; Bergner, Bewundert, 195 (quotes).
75. Davie, Refugees, 58.
76. Symonette and Kowalke, Speak Low, 436; McGilligan, Fritz Lang, 217; Viertel, Kindness.
77. Spoto, Blue Angel, 111.
78. Wegner, Exil, 102.
79. Willett, “Künste,” 186; Berghahn, Refugees, 92; Prochnik, Exile, 10, 168.
80. Willett, “Künste,” 189–90.
81. Zweig, Welt, 356–7, 390 (quote), 391; Wegner, Exil, 94–5.
82. Zweig, Insulted, IX–X; Durzak, “Diaspora,” 48; Wolf, “Stationen,” 214–15.
83. Said, Reflections, 178.
84. See Feuchtwanger, Exil; Mann, Vulkan; Mann, Der Wendepunkt, and Möller, Exodus, 14.
85. Schoenberg circular, December 25, 1934, LBI, AR-A7049/10.
86. Weill to Lenya, July 1943, in Symonette and Kowalke, Speak Low, 369.
87. Paul to Gertrud Hindemith, March 27, 1939, in Rexroth, Hindemith, 224 (quote); Symonette and Kowalke, Speak Low, 209.
88. Jungk, Werfel, 302–3; Engelbrecht, “Moholy-Nagy,” 57; McGilligan, Fritz Lang, 216–17. Remarque witnessed the whistling (von Sternburg, Remarque, 312).
89. Willett, “Künste,” 187–8 (Zweig quoted 187).
90. Carr, Hollywood, 238–47.
91. Röder and Strauss, Handbuch, XXVI; Heilbut, Exiled, 45; Taylor, Strangers, 114–15; McGilligan, Fritz Lang, 219, 288, 290; Kortner, Tage, 304, 347–8; Reinhardt, Genius, 304.
92. Heilbut, Exiled, 300; Lehnert, “Repräsentation,” 398; Mann, Memoiren, 132 (quote); Kater, Composers, 117–19. Brecht and Mann differed (after summer 1943) over who bore ultimate responsibility for National Socialism in Germany, with Brecht blaming solely the upper, capitalist, classes (Borchmeyer, Was, 873–92). See below at n. 210.
93. Grosz, Little Yes, 317–21; Flavell, Grosz, 117–19.
94. Koestler, Writing, 454–6; Cesarani, Koestler, 143; Hans R. Vaget in Thomas Mann, Agnes Meyer, 30 (quote).
95. Mann, Tagebücher, 1940–1943, 445, 546, 775; Viertel, Kindness, 279–80.
96. Mann, Wendepunkt, 430; Gregor-Dellin, “Exilromane,” 460; Lehnert, “Repräsentation,” 398; Kurzke, Thomas Mann, 474–81. Spotts’s most recent Cursed Legacy is suffused with striking examples.
97. Rexroth, Hindemith, 208–10, 222; Brinkmann, “Letter,” 12. On the precariousness of exalting German music see the contributions to Applegate and Potter, Music.
98. Horowitz, Artists, 77–160. See also Heilbut, Exiled, 127–8, 160; Ryding and Pechefsky, Walter, 187, 274, 320; Lehmann and Faber, Serkin, 77–150; Kater, Drummers, 28, 33.
99. Gay, “Jews,” 29; Goehr, “Music,” 78; Danuser, “Composers,” 160; Kater, Composers, 83–5.
100. Gilliam, “Opera Composer,” 223–5; Korngold, Korngold, 92–7.
101. Berstl, Odyssee, 164; Mann and Mann, Escape, 252–3; Heilbut, Exiled, 137–8; Flavell, Grosz, 90, 166–7, 214.
102. Wegner, Exil, 89, 96; Feuchtwanger, “Nachwort” in Exil, 789; Reich-Ranicki, “Feuchtwanger,” 443, 446, 450.
103. Viertel, Kindness, 210; Crawford, Evenings, 4–8, 32; Korngold, Korngold, 69.
104. Maurer Zenck, “Challenges,” 184–5; Kater, Composers, 189–99.
105. Mahler-Werfel, Mein Leben, 367.
106. Entry for April 8, 1933, in Pfeiffer-Belli, Kessler, 358.
107. Zweig, Insulted, X.
108. Easton, Count, 406–8; Barzantny, Kessler, 275–83.
109. Mahler-Werfel, Mein Leben, 350, 361; Giroud, Mahler, 151, 154 (Mahler-Werfel’s quote); Junck, Werfel, 317–18. Apart from her cynicism, Mahler-Werfel had a point: Diabetes is, and was, proportionately higher among Jews. See Efron, Medicine, 132–42.
110. Albrecht et al., Lexikon, vol. 2, 229–30; Wegner, Exil, 100; Bronsen, “Sonderfall,” 67–9, 76, 81–2.
111. Zuckmayer, Stück, 450; Flavell, Grosz, 299–300.
112. Koestler, Writing, 512–13; Cesarani, Koestler, 161–2; Arendt, Men, 170–1 (quote).
113. The New York Times, March 4, 1983; Klee, Kulturlexikon, 294.
114. “Memorial Gathering Honors Stefan Zweig,” The New York Times, March 1, 1942; Heilbut, Exiled, 44; Junck, Werfel, 294–5; Wegner, Exil, 98–9; Mann, Briefwechsel, 305.
115. Mann, Wendepunkt, 450–1.
116. Schaenzler, Mann, 520; Erika Mann to Lehmann, Zurich, June 1949, GC.
117. As well as for acting in the 1927 film The Way of All Flesh (Telegraph, May 16, 2016).
118. Spoto, Blue Angel, 53–66; Bach, Dietrich, 290–308.
119. Palmier, Weimar, 591; Bach, Dietrich, 290, 308.
120. Table 2.1 in Falter, Hitlers Wähler, 25.
121. Kulturinterview/Archiv, April 1, 2005, deutschlandfunkkultur.de; Spoto, Blue Angel, 53–66.
122. Jelavich, Berlin Cabaret, 101–4; Bemmann, Musenkinder-Memorien, 146; Bach, Dietrich, 74.
123. Dietrich’s citizenship was granted in 1939. Spoto, Blue Angel, 139–40.
124. Von Sternburg, Remarque, 61–134; Eksteins, Rites of Spring, 283.
125. Von Sternburg, Remarque, 147–79; 240; Eksteins, Rites of Spring, 276, 287, 298; Longerich, Goebbels, 150–1; Ullrich, Hitler, 243.
126. Von Sternburg, Remarque, 227–8, 241–5; 269–84.
127. Busch memorandum, March 8, 1933, RKK Fritz Busch, BAB (former BDC); Busch, Pages, 192–215; Busch, Busch, 52–129.
128. German Embassy at The Hague to Auswärtiges Amt, October 18, 1933, incl. memorandum of October 17, 1933, BAK, R55/1181.
129. Lüddecke et al., “Denkschrift,” March 18, 1933, RKK Fritz Busch, BAB (former BDC); Busch, Pages, 192–208; Busch, Busch, 52–62; Münchner Neueste Nachrichten, January 19, 1933; Deutsche Kultur-Wacht, no. 7 (1933), 13; Stargardt-Wolff, Wegbereiter, 283.
130. Posse to Adolph, March 15, 1933, RKK Fritz Busch, BAB (former BDC); Bauer to Strauss, March 20, 1933, RG (quote).
131. Bauer to Strauss, March 20, 1933, RG.
132. Bosse, “Führerverantwortlichkeit,” 484–5.
133. Busch, Pages, 196–8 (quote 197); Busch, Busch, 62–3.
134. Furtwängler to Rust, June 4, 1933, RKK Wilhelm Furtwängler, BAB (former BDC); Melos 12 (1933), 257; Busch, Pages, 206–15; Rathkolb, Führertreu, 101; Prieberg, Musik im NS-Staat, 42; Prieberg, Kraftprobe, 109–10; Spotts, Bayreuth, 170–1.
135. Busch, Pages, 211; Busch, Busch, 66.
136. Hinkel to Demann [?], October 1933, RKK Fritz Busch, BAB (former BDC); Beussel, “Zeichen,” 670; Prieberg, Kraftprobe, 110–13; Scanzoni and Kende, Prinzipal, 198–9; Shirakawa, Music Master, 393.
137. Braun to Hinkel, April 10, 1933; Busch to Hinkel, April 26, 1933; Brandt to Hinkel, September 22, 1933, RKK Fritz Busch, BAB (former BDC).
138. Pâris, Lexikon, 104–5; Honegger and Massenkeil, Lexikon, vol. 1, 394–5; memorandum about Busch, March 12, 1934, BAK, R55/1181; Mann, Tagebücher, 1933–1934, 84, 261, 271, 290, 375; Mann, Tagebücher, 1940–1943, 138; Otto Erhardt, “Fritz Busch,” in Müller and Mertz, Diener, 141; Busch, Busch, 77–252; J. Hellmut Freund in Heister et al., Musik, 75.
139. Lehmann to Wolfgang zu Putlitz, June 20, 1966, APA; Putlitz, Laaske, 231–2.
140. Lehmann, “Göring,” 187–99.
141. Fragment, Völkischer Beobachter, [November 1933], GC. For the 1933 Bayreuth season Toscanini, already an enemy of Fascist Italy, canceled a planned guest conductorship in protest against Hitler’s coming to power (Sachs, Music, 227).
142. Gary Hickling, Lotte Lehmann Chronology (Kailua, 2004–6), LLFA.
143. Else Walter to Lehmann, November 29, 1933, ATW/15.
144. See Lehmann-Heger-Furtwängler-Tietjen-Göring-Krause correspondence (1933–4, 1955; Göring’s quote according to Tietjen to Lehmann, April 26, 1934, ATW, 17), in ATW/15; ATW/17; ATW/18.
145. Davenport, “Song,” 22; “Reich Ban Decreed on Lotte Lehmann,” The New York Times, November 10, 1935; Lehmann to Hansing, April 10, 1935; September 5, 1936, GC; Lehmann to Lachmann, December 10, 1938, ATW/TNLL; Marboe memo, November 10, 1955, LLFA; Lehmann to Burgau, July 31, 1956, GC; Lehmann to Walter, January 14, 1956, GC; Lehmann to Erika Mann, November 28, 1968, EMA/914/78; Lehmann to Hecht, February 14 and November 23, 1938, GC; Lehmann to Bundestheaterverwaltung, January 18, 1955, LLFA; Lehmann to Klee, February 28, 1955; Lehmann to Shawe-Taylor, November 22, 1974, GC; Lehmann to Marboe, December 29, 1955, CG; Sheean, Love, 238; Emmons, Tristanissimo, 160; Ewen, Men, 148; Geissmar, Musik, 244; Erika Mann in Mann, Briefe, 622; Varnay, Years, 6; Glass, Lehmann, xvi; Rasponi, Prima Donnas, 484; and, lastly, Kater, Muse, 120.
146. Mann to “Frau Sonne” [Lotte Lehmann], August 2, 1941, GC; Mann, Tagebücher, 1940–1943, 118 (quote), 281, 303, 447–8.
147. Mann, Tagebücher, 1937–1939, 387; Mann, Tagebücher, 1940–1943, 121–2; Remarque quoted in von Sternburg, Remarque, 312; Vaget, Amerikaner, 362. On Hesterberg and Mann: PEM, Heimweh, 230; Klee, Kulturlexikon, 219–20.
148. This affair, with its background and consequences, has been exhaustively treated in Vaget, Erbe, 249–327.
149. This is a point emphasized by Katia Mann after World War II in her Memoiren, 107, and Mann himself in interview with The New York Times, February 22, 1938.
150. See the telling example for May 1935 in Ebermayer, Deutschland, 532–3.
151. The letter is published in Mann, Vater, 104–7 (quote 106). See also Mann, Memoiren, 100, 105, 107; Ebermayer, Deutschland, 101–2; Krüll, Netz, 357–9; Vaget, Amerikaner, 60–3, 120, 241.
152. The New Yorker (May 6, 1938): 5; Mann, Tagebücher, 1937–1939, 305, 383; Mann, Tagebücher, 1940–1943, 239, 343, 347, 399; Vaget, Amerikaner, 221–5, 238–47, 254, 280–1.
153. Mann, Tagebücher, 1937–1939, 207, 224, 493; Mann, Tagebücher, 1940–1943, 224, 226–7; Vaget, Amerikaner, 149; Krüll, Netz, 383; von Sternburg, Remarque, 322–3.
154. Mann, Tagebücher, 1940–1943, 285, 414, 433, 464, 500; Mann, Tagebücher, 1944–46, 119; Vaget, Amerikaner, 181–7, 207–8, 214–15, 259.
155. Mann, Tagebücher, 1940–1943, 63, 332, 399.
156. Mann, Tagebücher, 1937–1939, 393; Vaget, Amerikaner, 67–156.
157. Mann, Tagebücher, 1940–1943, 80, 227, 294; Mann, Briefwechsel, 286.
158. Entry for June 30, 1941, in Mann, Tagebücher, 1940–1943, 288.
159. Mann, Briefwechsel, 212, 219.
160. Mann, Tagebücher, 1940–1943, 130, 133, 290.
161. Entry for April 6, 1938, in Mann, Tagebücher, 1937–1939, 204. “Colin” was Mann’s live-in male secretary at the time.
162. Mann, Tagebücher, 1937–1939, 423.
163. Mann, Tagebücher, 1937–1939, 242–3; Mann, Tagebücher, 1940–1943, 655.
164. Entry for February 26, 1939, in Mann, Tagebücher, 1937–1939, 365 (1st quote) and for June 19, 1939, ibid., 409 (2nd quote).
165. Mann, Tagebücher, 1940–1943, 506.
166. Mann, Tagebücher, 1937–1939, 310; Mann, Tagebücher, 1940–1943, 37, 151, 346; Mann, Briefwechsel, 307.
167. Mann, Tagebücher, 1937–1939, 226, 311; Mann, Tagebücher, 1940–1943, 5, 102, 404, 572, 595, 617; Mann, Tagebücher, 1944–46, 15; Mann, Memoiren, 52, 146–7; Krüll, Netz, 201; Vaget, Amerikaner, 443–78. On Mann and music, consummately Vaget, Seelenzauber, 21–47.
168. Mann, Tagebücher, 1937–1939, 221, 270, 436; Mann, Tagebücher, 1940–1943, 38, 125, 144, 293, 335–6, 386, 526, 616. See also Kershaw, Hubris, 481–2. Adorno used his mother’s Corsican maiden name in order to emphasize non-Jewishness.
169. Mann, Tagebücher, 1937–1939, 251, 259, 417.
170. Vaget, Amerikaner, 250.
171. Vaget, Amerikaner, 101–2, 126; Krüll, Netz, 375.
172. Printed in Mann, Briefwechsel, 301–2.
173. Nagler, “Internment,” 75–9 (Roosevelt quoted 75).
174. See the case of Lotte Lehmann: Lehmann to Hope, April 24, June 4 and 10, 1942, CU/2; Rauch to Lehmann, June 4, 1942, GC.
175. Entry for September 27, 1940, in Mann, Tagebücher, 1940–1943, 155.
176. Entry for March 7, 1941, in Mann, Tagebücher, 1940–1943, 229; Klee, Kulturlexikon, 295.
177. Mann, Tagebücher, 1940–1943, 257–8.
178. Mann, Tagebücher, 1940–1943, 279, 281.
179. Entry for July 14, 1943, in Mann, Tagebücher, 1940–1943, 600.
180. See, e.g., Mann, Tagebücher, 1937–1939, 193.
181. Mann, Tagebücher, 1940–1943, 153.
182. Entry for February 11, 1941, in Mann, Tagebücher, 1940–1943, 220.
183. Mann, Tagebücher, 1940–1943, 223.
184. Mann, Tagebücher, 1940–1943, 437.
185. Mann, Tagebücher, 1944–46, 122.
186. Mann, Tagebücher, 1937–1939, 427; Mann, Tagebücher, 1940–1943, 393, 444–5; Mann, Tagebücher, 1944–46, 7, 67.
187. Mann, Tagebücher, 1940–1943, 458; Mann, Tagebücher, 1944–46, 34.
188. Mann, Tagebücher, 1940–1943, 247, 250, 259; Mann, Tagebücher, 1944–46, 26, 154.
189. Mann, Briefwechsel, 286.
190. Mann, Vater, 47.
191. “Mann Opens War on Nazi Concepts; Asks Recruits in Moral Struggle,” The New York Times, August 15, 1937 (quotes); Vaget, Amerikaner, 157–9.
192. “Thomas Mann Speaks in Favour of the Weimar Republik (1922),” alphahistory.com/weimarrepublic/thomas-mann-speaks-in-favour-of-the-weimar-republic-1922; Mann, Republik.
193. Mann, Ansprache, esp. 11–21, 25–6.
194. “Mann Finds U.S. Sole Peace Hope,” The New York Times, February 22, 1938.
195. Mann, Tagebücher, 1937–1939, 187, 193, 227, 249, 277. Quote is from entry for May 30, 1938, ibid., 230.
196. Langer, Encyclopedia, 988, 1,128; Kershaw, Nemesis, 229.
197. Mann, Tagebücher, 1937–1939, 288, 301, 379; Kershaw, Nemesis, 95–6.
198. Mann, “Brother,” 31, 133.
199. Anne O’Hare McCormick, “Two Brilliantly Revealing Studies of Hitler’s Life,” The New York Times, May 24, 1936. The books’ titles included Hitler in both cases, Heiden’s having been published in New York by Mann’s own publisher, Alfred A. Knopf.
200. Ullrich’s quote in Hitler, 122.
201. Heiden, Fuehrer, 87–182.
202. See, correctly, Jäckel, Hitlers Herrschaft, 26, 151. On the charisma of “prophets and heroes, magicians and demagogues, doctors and quacks, leaders of mobs or orchestras or robber bands” in the Weberian sense see Reinhard Bendix’s chapter, “Charismatic Leadership and Domination,” in his Max Weber, 298–328, esp. 299 (quote).
203. Freud is not mentioned in Mein Kampf, nor is psychology or psychiatry.
204. Mann, Tagebücher, 1937–1939, 390, 452, 456, 461.
205. Langer, Encyclopedia, 1,036, 1,135; Kershaw, Nemesis, 210–11.
206. Mann, Briefwechsel, 240.
207. Mann, Tagebücher, 1937–1939, 474, 483; Mann, Tagebücher, 1940–1943, 8, 60, 73–5, 103, 142.
208. Mann, Listen, 102–6 (quote 103). See also Mann, Briefwechsel, 273; Mann, Tagebücher, 1940–1943, 254, 261, 266, 275, 293, 475, 484, 487.
209. I am indebted for my knowledge of Mann’s sources to Professor Hans R. Vaget of Smith College (written communication of October 30, 2017).
210. Vaget, Amerikaner, 427–9. Declaration quoted 428.
211. Mann, Tagebücher, 1940–1943, 590; Mann, Tagebücher, 1944–46, 6, 74, 145.
212. “Mann Finds U.S. Sole Peace Hope,” The New York Times, February 22, 1938.
213. Mann, Tagebücher, 1937–1939, 291, 327; Mann, Tagebücher, 1944–46, 8.
214. Mann, Tagebücher, 1940–1943, 4, 25; entry for October 3, 1940, ibid., 159 (quote).
215. Mann, Tagebücher, 1940–1943, 597, 600; entry for November 2, 1943, ibid., 645 (quote).
216. Mann, Tagebücher, 1944–46, 6.
217. Mann’s acceptance speech partially cited in Krüll, Netz, 341.
218. “Mann Opens War on Nazi Concepts; Asks Recruits in Moral Struggle,” The New York Times, August 15, 1937.
219. “Mann Finds U.S. Sole Peace Hope,” The New York Times, February 22, 1938.
220. Entry for September 26, 1938, in Mann, Tagebücher, 1937–1939, 298.
221. Mann, “Brother,” 31, 132.
SIX – TRANSFER BEYOND ZERO HOUR, MAY 1945
1. Goebbels, Tagebücher Fragmente, vol. 1, 36, 45–6, 145, 483, 489, 492, 504; Longerich, Goebbels, 708, n. 99.
2. Chamberlin, Kultur, 41. Alfred Andersch was one young writer who welcomed Mann’s return for guidance (Vaget, Amerikaner, 496).
3. Thiess quoted in Sarkowicz and Mentzer, Literatur, 52.
4. Mann quoted in Sarkowicz and Mentzer, Literatur, 53.
5. Mann, Ansprache, esp. 4, 7, 16; Josef Marein, “Thomas Mann: Goethe-Preisträger östlich und westlich,” Die Zeit, June 23, 1949; Kater, Weimar, 213–15.
6. Sarkowicz and Mentzer, Literatur, 54.
7. Vaget, Amerikaner, 376–415.
8. Schnell, Geschichte, 67–112; Kaiser interviewed by Georg Diez and Dominik Wichmann in Süddeutsche Zeitung Magazin: sz-magazin.sueddeutsche.de (quotes).
9. For the music scene, one might mention only Hanns Eisler and Paul Dessau. For the literary scene, Stephan Hermlin (Rudolf Leder) and Stefan Heym.
10. Krüll, Netz, 391–2; Spotts, Legacy, 256.
11. Von Sternburg, Remarque, 354, 365.
12. Sarkowicz and Mentzer, Literatur, 54, 61–2.
13. Sirk quoted in Hardt, Caligari, 174.
14. Kreimeier, Ufa-Story, 440–1.
15. Vincent Canby, “Film: 1951 ‘Lost One,’ Directed by Peter Lorre,” The New York Times, August 1, 1984 (quote); Hardt, Caligari, 174.
16. Wicclair, Kreuzburg, 87.
17. Ganz et al., Bois, 16.
18. Schäche, Architektur, 87–9 (quote).
19. “Studies in Twelve-Tone Counterpoint.” See Drüner and Günther, Musik, 342–3.
20. Drüner and Günther, Musik, 341. On Hartmann’s Third Reich struggles, see Kater, Composers, 86–110.
21. Kaiser interviewed by Georg Diez and Dominik Wichmann in Süddeutsche Zeitung Magazin: sz-magazin.sueddeutsche.de (quotes).
22. Bergengruen himself vitiated his post-war claim of clandestine resistance through anti-Nazi literature by claiming the existence of a “secret language” the “clumsy” (!) SS was unable to read and then by saying that “people in the Propaganda Ministry knew how to read” (Schreibtischerinnerungen, 192, 200). See also Lewy, Harmful, 192.
23. An example would be Paul Scheffer (1883–1963), who was chief editor of the Nazi-coordinated Berliner Tageblatt but in 1936 was fired. He left for the United States, and after 1940, rather than joining the émigré diaspora, served as the freelancing America correspondent for Das Reich and other Nazi dailies (Scheffer, in Deutsche Biographie: www.deutsche-biographie.de/sfz111236.html#ndbcontent). See Chapter 4 at n. 162.
24. Kater, Ahnenerbe, 145–90; Martin, New Order, 149–262.
25. Grassi quoted in Martin, New Order, 250.
26. Ebermayer’s observation on October 15, 1933 (Deutschland, 187).
27. This listing owes much to Martin Kitchen’s exhaustive register in Third Reich, 185. Quarrels between Himmler and Rosenberg are discussed, at length, in Bollmus, Amt Rosenberg, and Kater, Ahnenerbe. On Atlantis, see Chapoutot, Greeks, 35–6.
28. Potter, Most German, 225–6, 131–55; Kater, Ahnenerbe, 11, 28, 136, 193–4, 401, 409; Bollmus, Amt Rosenberg, 77, 88.
29. Hitler at Führer headquarters on August 31, 1944, quoted in Heiber, Lagebesprechungen, 277.
30. Meinecke used the term “Afterkultur” (Katastrophe, 170–3 [quote]).
31. Joachim Kaiser interviewed by Georg Diez and Dominik Wichmann in Süddeutsche Zeitung Magazin: sz-magazin.sueddeutsche.de.
32. Adorno, “Terms,” 115.
33. On Hölderlin and Nazis, see Martynkewicz, Salon Deutschland, 304–5; Chapoutot, Greeks, 138–9.
34. Schäche, Architektur, 86–7. An example of this home (from the inside) may be seen in the German heath house shown in the 1954 Deutsche London Film Verleih film Geständnis unter vier Augen by André Michel, with Hildegard Knef and Ivan Desny.
35. Drüner and Günther, Musik, 341 (esp. Hartmann’s quote); Haas, Music, 280.
36. Honegger and Massenkeil, Lexikon, vol. 3, 137–8; vol. 4, 74–5.
37. Krempel, “Moderne,” 332–3; Konstanze Crüwell, “Die Freiheit von Blau, Weiss und Grün,” Frankfurter Allgemeine Zeitung, March 28, 2017.
38. Kreimeier, Ufa-Story, 438–43; Krützen, Albers, 285–6.
39. Bark and Gress, Shadow, 93–346; Frei, Adenauer’s Germany.
40. Stockhorst, Köpfe, 156, 310–11; Klee, Personenlexikon, 186–7, 441.
41. Ulrich Herbert, “Als die Nazis wieder gesellschaftsfähig wurden,” Die Zeit, January 10, 1997, ZEITONLINE; Ronen Steinke, “Im Bonner Justizministerium arbeiteten besonders viele Nazis,” October 9, 2016, Sueddeutsche.de; Sascha Zoske, “Verwaltungswissenschaft: NS-Belastung ist ‘immer noch ein heisses Eisen’,” September 10, 2017, faz.net; Stockhorst, Köpfe, 156, 310–11. The SRP was banned in 1953 as unconstitutional (Wehler, Gesellschaftsgeschichte: Fünfter Band, 9, 288, 405).
42. Fröhlich, “Rückkehr,” 107.
43. Kater, “Reeducation,” 105.
44. Herf, Divided Memory, 201–333.
45. Note the alliteration to Streicher’s Der Stürmer. See Böhme’s anthology of Nazi poems, Rufe, in which he himself is represented eleven times: 16, 28, 114, 119, 132, 165, 201, 293, 320, 336, 361. See also Klee, Kulturlexikon, 58–9.
46. Sarkowicz, “Schriftsteller,” 203; Zimmermann, “Literatur,” 382; Sarkowicz and Mentzer, Literatur, 58–64; Klee, Kulturlexikon, 133, 179, 227, 295–6, 500–1; Kater, Weimar, 278. Fechter was typical of many German conservative intellectuals: He initially adored National Socialism and esp. Mein Kampf, but later became more critical of the regime. Yet his right-wing stance was unbroken beyond 1945 (Zuckmayer, Geheimreport, 110–12).
47. Paret, Barlach, 99–100 (quotes); Petropoulos, Artists under Hitler, 43, 277.
48. Klee, Kulturlexikon, 504.
49. Lauzemis, “Ideologie,” 67; Klee, Kulturlexikon, 31–2.
50. Speer, Erinnerungen, 385–6; Brechtken, Speer, 366–576 (Posen: 462–3).
51. Simpson, “Historical Context,” 151–2, Noelle quoted 152.
52. Elisabeth Noelle, “Wer informiert Amerika? Journalisten, Radiosprecher, Filme,” Das Reich, June 8, 1941 (quotes); Simpson, “Historical Context,” 154–61; Becker, Noelle-Neumann, 7–132; Claudia Haas and Henriette Löwitsch, “Neue Vorwürfe gegen Frau Noelle-Naumann,” Die Welt, September 1, 1997.
53. See text in Chapter 4 at n. 283.
54. Wirsing, in Christ und Welt, April 16, 1959. See also Dietrich Strothmann, “Mörder im weissen Kittel,” Die Zeit, April 1, 1966; Köhler, Publizisten, 299–315; Klee, Kulturlexikon, 604; SS im Einsatz, 369.
55. Berg, Holocaust, 203; Abendroth, “Fest der musikalischen Volksgemeinschaft,” Berliner Lokal-Anzeiger, May 24, 1938; Abendroth, in Munzinger Archiv, www.munzinger.de/search/portraits; Klee, Kulturlexikon, 13. Abendroth’s Jew hatred shines through his correspondence with his close friend, the grossly anti-Semitic composer Hans Pfitzner, 1933–45, OW, F68 Pfitzner.
56. Holthusen, in Munzinger Archiv, www.munzinger.de/search/portraits; Klee, Kulturlexikon, 240.
57. Holthusen, Welt, 6. See E. M. Leissner’s review in The Germanic Review (December 1950): 303–5.
58. Holthusen, “Aufbruch,” 106.
60. Dovifat in: Konrad Adenauer Stiftung: Geschichte der CDU, www.kas.de/wf/de/37.8079/; Köpf, “Elend,” 28–9; Köhler, Publizisten, 65–6, 78.
61. Riethmüller, “Stunde Null,” 81. See also Potter, Most German, 135, 252; Klee, Kulturlexikon, 381. See Müller-Blattau’s Geschichte.
62. Chamberlin, Kultur, 51 (quote), 150.
63. Meinecke, Katastrophe, 170 (quote), 71. See the contributions in Applegate and Potter, Music, and Applegate, Necessity of Music.
64. Thacker, Music, 52, 79; Haas, Music, 282.
65. Harlan, Schatten, see e.g. 213–18; Hull, Film, 269; Klee, Kulturlexikon, 196–7.
66. Riefenstahl, in Klee, Kulturlexikon, 440–1; Holocaust Encyclopedia, www.ushmm.org/wlc/en/article.php?ModuleId=10007410.
67. Chamberlin, Kultur, 46, 67; Dagover, Dame, 254; Rühmann, Das, 160–3; Moeller, “Filmstars,” 165; Klee, Kulturlexikon, 92, 150–1, 331, 456–7; Blumenberg, Leben, 206–7.
68. Which is when I saw them as a young boy. The films were part of an ambulant film-screening effort in the countryside, organized, in this case, in the British occupation zone. On the banning: Kelson, Catalogue, 62, 70, 79.
69. Kelson, Catalogue, 88; Werner, So, 182; Chamberlin, Kultur, 67; Klee, Kulturlexikon, 260, 594. Nonetheless, Jugo’s film Königskinder, 1950, was her last assignment.
70. Söhnker, Tag, 271. The married Demandowsky was shot by a Soviet military tribunal in October 1946 (Klee, Kulturlexikon, 97, 287).
71. Protocol of author’s interview with Hielscher, Munich, June 4, 1988, YUA, CA ON00370 F0456; “Hallo Fräulein,” Der Spiegel (March 20, 1948): 24; Kater, “New Democracy,” 174–8.
72. Hardt, Caligari, 190; Schmitz, in www.imdb.com/name/nm0773525/bio; Klee, Kulturlexikon, 482–3.
73. “Geschichten zwischen Gestapo-Keller und Buchenwald,” WeltOnline, January 3, 1998; Klee, Kulturlexikon, 514.
74. “Harlan im Zwielicht,” Der Tagesspiegel, Berlin, April 5, 1949; Rentschler, Ministry, 166; Reichel, “Nationalsozialismus,” 36; Niven, Hitler, 167–71.
75. Adorno, “Terms,” 116.
76. Reichel, “Nationalsozialismus,” 28. The film writer Ernst von Salomon (a co-conspirator in the murder of Walther Rathenau 1922) expressed his extreme discomfort with “denazification” by OMGUS in his autobiography, Fragebogen, e.g. 624–808.
77. The writer Ernst Wiechert vented this sentiment: Jahre, 210. More on self-victimization in Jarausch, Broken Lives, 188, 191–2, 231–2, 238, 250–1.
78. Meinecke, Katastrophe, in particular 170–3. On early anti-Semitism, see Wehler, Gesellschaftsgeschichte: Vierter Band, 718.
79. Mitscherlich and Mitscherlich, Unfähigkeit, esp. 13–85, 249–62.
80. Klee, Kulturlexikon, 527.
81. Die Mörder sind unter uns, Sovexport 1946, DVD reissue by Kino-Legenden, vol. 6. Follow-up films were Irgendwo in Berlin (“Somewhere in Berlin”), 1946, In jenen Tagen (“During those Days”), 1947, or Liebe 47 (“Love in 1947”), 1949.
82. Helmut Käutner, “Demontage der Traumfabrik,” Film-Echo, vol. 1 (June 1947): 33; Gustav Zimmermann, “Filmtheater kein Forum Academicum,” Film-Echo, vol. 1 (July 1947): 49; Kersten et al., Staudte, 13; Kreimeier, Ufa-Story, 444; Clemens, Kulturpolitik, 140–1; Kramer, “Wiederkehr,” 286–7; Heins, Melodrama, 196–200; Rentschler, Use, 6–7, 136–7, 143, 160. Paradigmatic of the Heimatfilm genre is the Berolina production Grün ist die Heide (Green is the Heath) from 1951 by Hans Deppe, with Nazi-period holdovers Rudolf Prack as forester and Sonja Ziemann as his prospective bride (reissued by filmjuwelen DVD). As a sub-theme, this film bemoaned the recent fate of east German refugees.
83. Author’s interview with Professor Jankuhn in Göttingen, May 14, 1963, IfZ, Archiv, ZS/A-25/1-183; Kater, Ahnenerbe, 155–58; Klee, Personenlexikon, 283.
84. Niven, “Thing,” 88.
85. Petropoulos, “Seduction,” 212; Petsch, “Malerei,” 275.
86. The book appeared in 1957. See Nolde’s Jahre (1957), where, for example his earlier mention of the Jewish Dr. Schapiere is missing (original 1934 version: “In art this was my first conscious meeting with a person of a different race” [101]), and he omits the favorable mention of an anti-Semitic student club (original version: 160).
87. See Haftmann, Nolde, 12–18, quotes 15; Fulda, “Nolde,” 183–8.
88. Schmidt’s address of February 10, 1982, is printed in Bulletin: Presse- und Informationsdienst der Bundesregierung, 19 (March 4, 1982): 150–1.
89. Lewy, Harmful, 166–7; Klee, Kulturlexikon, 245.
90. Chamberlin, Kultur, 126.
91. Author’s recorded interview with Elisabeth Hartmann, Munich, December 13, 1994, YUA, CA ON00370 F0456.
92. Viertel, Kindness, 282. See the chapter on “Inner Emigration” in Hermand, Culture, 143–68.
93. Sarkowicz, “Schriftsteller,” 204.
94. “Drei Zentner Wetterhexe,” Der Spiegel (September 15, 1949): 32.
95. “The Weavers.”
96. Lewy, Harmful, 180–4 (quotes 182); Ebermayer, Deutschland, 262–3.
97. Lewy, Harmful, 180–3; Sprengel, Abschied, 375.
98. Rathkolb, Führertreu, 143.
99. Goebbels, Tagebücher Diktate, vol. 4, 500.
100. Petropoulos, Artists under Hitler, 121; Rathkolb, Führertreu, 74; Lewy, Harmful, 181–3 (Hauptmann quoted).
101. Ebermayer quoting Hauptmann in Deutschland, 263; Lewy, Harmful, 184.
102. Albrecht et al., Lexikon, vol. 1, 331.
103. Strobel in minutes of public proceedings, Spruchkammer München-Land, October 17, 1947; Egk to Spruchkammer München-Land, August 5, 1946 (quote); Gsovsky deposition under oath, July 10, 1946; von Borresholm to Kommission für Kulturschaffende, July 12, 1946; Egk in “Anlagen zum Fragebogen,” [1947], all in AM, Egk; Egk to Schüler, January 27, 1946, BS, Ana/410.
104. This was a scheme Egk had concocted with Gertrud Orff, Carl’s wife at the time. She later denounced it as fictitious in conversation with the author. See Gertrud Orff and Paul Eckstein’s depositions under oath, both March 4, 1946, AM, Egk (as samples for several others, all identical); Egk’s own description of the scheme in minutes of public proceedings, Spruchkammer München-Land, October 17, 1947, AM, Egk; protocol of author’s interview with Gertrud Orff, Munich, August 5, 1992, YUA, CA ON00370 F0456.
105. Author’s recorded interview with Elisabeth Hartmann, Munich, December 13, 1994, YUA, CA ON00370 F0456; Hartmann’s deposition under oath, March 11, 1946; Hartmann to Spruchkammer München-Land, September 5, 1947, AM, Egk.
106. Author’s recorded interview with Newell Jenkins, Hillsdale, NY, March 20, 1993, YUA, CA ON00370 F0456; entry for January 19 and March 5, 1946, in “Gertrud Orffs Tagebuch,” CM; Isenstead to Orff, February 28, 1946; Jenkins to Orff, March 26 and November 26, 1946; Preussner to Orff, July 26, 1946; Ley to Orff, May 13, 1947, CM, Allg. Korr.; Evarts to Bauckner, July 16, 1946, BH, Staatstheater/14395; Slonimsky, Music, 837; Monod, Settling Scores, 54, 65, 67–8, 113.
107. Kater, Composers, 29–30, 138–43; Klee, Personenlexikon, 126; Klee, Kulturlexikon, 115, 400–1.
108. Vaget, Erbe, 249–315; Monod, Settling Scores, 61–2; Klee, Kulturlexikon, 286–7.
109. Knappertsbusch to Leer, December 28, 1947, AM, Pfitzner (quote); Monod, Settling Scores, 61–5, 174–5; Vaget, Erbe, 315–17; Klee, Kulturlexikon, 287.
110. There is much evidence in Ebermayer’s diaries, Deutschland and . . . und morgen, testifying to his closeness to Jews and assumed foes of the regime.
111. Mann, Tagebücher, 1935–1936, 259.
112. Ebermayer, . . . und morgen, 25–6 (quote), 82.
113. Ebermayer ogled Hitler Youths the way Thomas Mann sized up youthful waiters at table. See Ebermayer, . . . und morgen, 127, 136.
114. Klee, Kulturlexikon, 112.
115. Bergengruen, Schreibtischerinnerungen, 201. The objective White Rose biographer Petry, Studenten, 38–9, 57, repeats prepublished memoir fragments by Bergengruen but does not mention the flyer activities. Neither does Bergengruen’s, entirely apologist, post-war so-called documentary, Schriftstellerexistenz. The latest objective history of the White Rose mentions Bergengruen’s closeness to mentors of the student resisters and Hans Scholl, but no distribution of leaflets: Gebhardt, Weisse Rose, 164, 168–9. Jost Hermand, in a chapter ceding credit to a minuscule number of “inner emigrants” such as Ricarda Huch, lauds Bergengruen but does not mention his White Rose involvement (Culture, 153–5).
116. Karl Korn, “Der Hofjude: Veit Harlans-Film ‘Jud Süss’ im Ufa-Palast am Zoo,” Das Reich, September 29, 1940.
117. Karl Korn, “Der Antinihilist: Durch die Feuerzonen der Technik zum kosmologischen Spiritualismus: Rede zum Schillergedächtnispreis für Ernst Jünger,” Frankfurter Allgemeine Zeitung, November 16, 1974; “Schillernde Feder,” Der Spiegel (January 20, 1960): 33. See also Payk, “Amerikakomplex,” 193–9; Klee, Kulturlexikon, 299–300; text in Chapter 3 at n. 133. The self-serving, self-exculpatory use of “slave language” parallels Bergengruen’s employment of “secret language,” see n. 22 above.
118. Neun quoted in “Erich Peter Neumann über Hans Dieter Müllers Faksimile-Band ‘Das Reich’: Der Umstand, Sklave zu sein,” Der Spiegel (October 1964): 140–1.
119. Hubert Neun, “Wiedersehen mit Warschau: Besiegte Stadt zwischen Gestern und Morgen,” Das Reich, March 9, 1941.
120. Klee, Kulturlexikon, 389. Under the name of Erich Peter Neumann he married Noelle, who henceforth called herself Noelle-Neumann. Allegedly, Neumann was his real name, whereas Neun had been a pseudonym.
121. Jünger qua his, now openly published, alleged Paris contacts with Stauffenberg conspirators such as General Hans Speidel. See his entries throughout Strahlungen. See also Sarkowicz, “Apologeten,” 438–9; Michalzik, Gründgens, 115; Stefan Steinberg, “The Rehabilitation of Gustav [sic] Gründgens,” World Socialist Web Site, www.wsws.org/en/articles/1999/12/gust-d29.html.
122. Bergengruen, Schreibtischerinnerungen, 131. On Carossa's assumption of office, see text in Chapter 4 at n. 284.
123. Carossa, Welten, 31, 159; Schnell, Dichtung, 89.
124. See the valid argument in Lewy, Harmful, 187.
125. Waibel, Diener, 71. There are numerous favorable entries about Dorsch in all the Goebbels Diaries.
126. Benn, Doppelleben, 103.
127. As Saul Friedländer, Years, xxi–xxii, has rightly concluded. He quotes Meitner, xxi.
CONCLUSION – CULTURE IN THREE TYRANNIES
1. For the Italian side, see Stone, Patron State, 4–5, 27, 35, 43–54, 65–9, 75; Talbot, Censorship, 145–6; Ben-Ghiat, Modernities, 7, 70–3; Bonsaver, Censorship, 59; Falasca-Zamponi, Fascist Spectacle, 31–3, 70, 142–3; Marchicelli, “Futurism,” 34–7.
2. The painting was Gerardo Dottori’s Anno X, reproduced in Stone, Patron State, 84. See also ibid., 46, 80–2, 85–8, 108, 133, 156–9; Talbot, Censorship, 90, 108, 117, 148–9; Ben-Ghiat, Modernities, 47–8; Sachs, Music, 146; Bonsaver, Censorship, 62, 64, 159, 163; Falasca-Zamponi, Fascist Spectacle, 183–4.
3. See the images in Calvesi et al., Il Futurismo, e.g. 90–1.
4. Ben-Ghiat, Modernities, 120, 125–32; Burdett, Cardarelli, 180–2; Bonsaver, Censorship, 116–17; Berezin, Fascist Self, 207; Falasca-Zamponi, Fascist Spectacle, 167–70.
5. The movie was Francesco de Robertis’s Uomini sul fondo (Men at the Bottom). See Bonsaver, Censorship, 169 (1st quote), 170–2; Ben-Ghiat, Modernities, 9, 26, 121, 148, 156–7, 170 (2nd quote), 173–7, 187, 198; Stone, Patron State, 177–83, 191–4, 197–8, 203–5; Sachs, Music, 95; Burdett, Cardarelli, 8; Falasca-Zamponi, Fascist Spectacle, 143.
6. I could make out at least seven agencies which, to varying degrees and at different times, were responsible for the administration of culture: the Ministry of National Education; the Ministry for Press and Propaganda; the Ministry of Popular Culture; police agencies at national and regional levels; regional governors (podestà); PNF offices (Farinacci); Mussolini personally. For personality variances, see Stone, Patron State, 66; Bonsaver, Censorship, 262–3.
7. Enlightening: Berezin, Fascist Self, 14; Sachs, Music, 53.
8. Kater, Weimar, 140. Alex Ross mentions Richard Wagner’s influence on early Bolsheviks such as Lunacharsky in his chapter “Ring of Power,” in Wagnerism (forthcoming, see n. 13 of Chapter 2).
9. Eisenstein quoted in Berlin, Soviet Mind, 51. Also see Clark and Dobrenko, Soviet Culture, 4; Vasily Rakitin in Günther, Culture, 183–4; Stites, Popular Culture, 39–40, 50–1; Starr, Red and Hot, 7, 40.
10. Clark and Dobrenko, Soviet Culture, 5; John Barber in Günther, Culture, 7; Brooks, Stalin, 3–5, 23, 30–1; Starr, Red and Hot, 45–9, 53; Stites, Popular Culture, 47–9, 57, 62.
11. Stites, Popular Culture, 72; Clark and Dobrenko, Soviet Culture, 50; John Barber in Günther, Culture, 7.
12. Examples of strong Stalin-centredness in the arts and letters until 1941 are provided by Boris Groys in Günther, Culture, 140–1; Jørn Guldberg, ibid., 152, 168; pictures, ibid., near 138; Clark and Dobrenko, Soviet Culture, 117, 141, 291–3, 296–7, 343–4; Frolova-Walker, Music Prize, 26–8, 56; Brooks, Stalin, 113; Clark, Moscow, 304–5, 310.
13. Clark, Moscow, 90–93, 114–15; Stites, Popular Culture, 71; Clark and Dobrenko, Soviet Culture, 5, 108, 120–1, 139–40, 268–9; photographs of Soviet towers in Günther, Culture, near 136.
14. Brooks, Stalin, 108–9; Clark, Moscow, 210; Clark and Dobrenko, Soviet Culture, 139–71.
15. Clark and Dobrenko, Soviet Culture, 146–8, 209, 243–8, 305–7; Berlin, Soviet Mind, 44–45, 72.
16. Clark and Dobrenko, Soviet Culture, 348–9, 364–9, 432–6; Stites, Popular Culture, 107–12, 119; Frolova-Walker, Music Prize, 286; Berlin, Soviet Mind, 33, 52; Brooks, Stalin, 175, 191.
17. On the last-mentioned problem see Brooks, Stalin, 113; Clark and Dobrenko, Soviet Culture, 291, 394; Starr, Red and Hot, 143; Stites, Popular Culture, 73.
18. Enlightening on this aspect: Clark, Moscow, 93.
19. Stalin (on February 26, 1947) quoted in Clark and Dobrenko, Soviet Culture, 441.
20. Frolova-Walker, Music Prize, 40–3, 46, 54, 57, 61, 82, 85, 90–1, 105–6, 113, 122, 231–3, 291–2; Clark and Dobrenko, Soviet Culture, 136, 145–6, 318–19; Starr, Red and Hot, 59, 126, 149, 162; Berlin, Soviet Mind, 7, 22–3; Brooks, Stalin, 121–2; www.bbc.co.uk/radio3/shostakovich/timeline.shtml; David Fanning on Shostakovich in Oxford Music Online.