Source:
https://www.renegadetribune.com/the-jew-in-culture/
There
is no creative jewish culture. The jew is always only imitative, and in specific
jewish ways. The jew has never had a creative relationship with his host people.
Jews in culture are always destructive, foreign, and harmful. Main jewish
activity: Exploitation and misuse of the creative intelligence of the peoples,
then slandering and ultimately destroying them. The people have never had any
kind of relationship to jewish art. Background: One of the naturally
recurring National Socialist anti-semitic campaigns began in May 1943. Goebbels
introduced it with a lead article in Das Reich titled “The
War and the Jews.” Soon after, this remarkable
document appeared. The Deutscher Wochendienst was a weekly publication
aimed at magazine editors, providing more in-depth treatment than the
Zeitschriften-Dienst (also intended for magazine editors). Both came from
the same office.
The
source: Deutscher Wochendienst,
21 May 1943
THE JEW IN
CULTURE
International
jewry’s international agitation claims that a new age of dark barbarism and
cultural destruction has begun in Germany because of the National Socialist
revolution. We have often provided examples of the rise of German cultural life
since 1933. Each German can see that for himself.
We now
want to examine the effects of the jews in German cultural life before 1933,
showing jewish cultural decay. All magazines – particularly scholarly
publications – have a wealth of material available for a lively discussion of
this important theme. Illustrated magazines have a particularly good opportunity
to have a strong impact on their readership by contrasting jewish and German
works of art.
Emphasis:
STRESS:
There is no creative jewish culture. The jew is always only imitative, and in
specific jewish ways. The jew has never had a creative relationship with his
host people. Jews in culture are always destructive, foreign, and harmful. Main
jewish activity: Exploitation and misuse of the creative intelligence of the
peoples, then slandering and ultimately destroying them. The people have never
had any kind of relationship to jewish art.
AVOID:
Discussing religious-philosophical questions. Mentioning examples of cooperation
between Aryans and jews. Do not criticize a people by mentioning its willingness
to follow jewish “art”; that is and remains the fault of the nation’s
intellectual leadership.
Themes
and Suggestions:
Beginning of the jewdification of spiritual and moral life in Germany with
advancing jewish emancipation.
– Börne
praises Goethe’s death as the “liberation of Germany.”
–
Development of the spiritual-moral jewish question.
–
Decisive foreignness in jewish spiritual and emotional life.
– By the
end of the nineteenth century, jews had a dominant role in all areas. The
corruption of German cultural life was already visible:
“No one can deny that jewry has had a leading role in the dissolution and
corruption of all relationships. A jewish character trait is the determination
to produce words without labor . . .” (Conrad
Alberti [Sittenfeld, jew] in Gesellschaft, 1899.
Hand in
hand with cultural destruction goes the suppression of all German values and any
German defense against jewry:
“One of the most dangerous and specifically jewish characteristics is brutal,
almost barbaric intolerance – a strange contradiction in a tribe that is always
crying for tolerance. There is no worse tyranny than that of the jewish clique.
He who dares to oppose this jewish clique it attempts to beat down with bestial
brutality.
The jew usually tries to destroy his opponent in the intellectual sphere by
ruining his livelihood, undermining his comfortable existence, or concealing as
much as possible his opponent’s existence and efforts, to lie about him. He
simply ignores those who think differently. Killing with silence, the most
despicable of all methods of combat, is specifically jewish . . .””
(C. Alberti, previously cited).
Through
these methods, the domination of the jew was almost complete before the
beginning of the World War. The jewish “administrators” of German culture proved
themselves absolutely incapable of sensing anything at all of the powerful age
of the World War and transforming it into creative art.
The
greater part of them certainly did not even wish that: consciously wanting to
destroy, they saw “their” opportunity in the World War. There was cultural
decline everywhere, mocking plays about “soldiers,” lying “heroic literature and
visual arts” as predecessors of intentional cultural decay. Open support for
revolt after November 1918. Rejection of patriotic thinking and affirmation of
the International. That included jews who had previously claimed to be
“national.”
Transformation of jews from imperialist warmongers to cautious waiting as the
war situation changed, to determined pacifists after 1918. That included
contempt for all ethical values of Prussia and the German military spirit and
its achievements in the war. Portraying German culture as barbarism.
After
the revolution of 1918, tremendous increase in cultural decay, the crassest
revelation of the jewish “spirit” now free from all restrictions, since he has
achieved absolute dominance of German cultural life. The jewish spirit was most
evident in its leading representatives, who were recognized and praised by
international jewry.
Jews in Literature:
Best-selling books are almost all written by jews: Emil Ludwig, Stefan Zweig,
Alfred Döblin, Franz Werfel, Jacob Wassermann, Lion Feuchtwanger, Georg Hermann,
Kurt Tucholsky (alias Peter Panter, Theobald Tiger, Ignaz Wrobel, Kaspar
Hauser), Ernst Toller, etc.
By the
end of 1930, 2,010,000 copies of Emil Ludwig’s (Cohn) books had been sold,
800,000 in Germany and 1,210,000 in translations into 25 languages. A typical
example of jewish intellectual production, pushed by the cleverest advertising:
He
“treated” nearly all great men of world history. He was interested in
psychological nonsense about the tiniest human emotions and viewed everything
from that standpoint. Whether Goethe or Christ, Michelangelo or Bismarck – all
were only men following their psychological drives. He was not interested in
their great historic achievements.
His
‘historical’ method and approach to things is clear from his self-evaluation of
his Goethe volumes: One of the leading Goethe scholars spent an entire year
pointing out “minor errors (about Goethe) that were unavoidable given my rapid
style.” “That is how long it took me to write the book”! Among other things, he
says this about Bismarck: “All of these defiant characteristics are those of a
freedom-loving soul who, had he been born in the lower class, would have carried
the red flag.” Aside from the bad German, truly terrible historical
falsification.
Georg
Hermann, author of the well-known Berlin Biedermeier novel Jettchen Gebert,
affirmed the internationalism during the World War:
“As a jew I belong to too old a race to fall victim to mass suggestion. Words
like people, war, and state are hollow and meaningless to me. For me, only the
words person and serf have meaning, but the other races are apparently still too
young to sense their majesty…. We must learn to put humanity above nationality.”
The
overthrow of all ethical values and relationships can hardly be described more
clearly than by this jew:
“States are states. In the concept of state, as formerly known in the world,
lies war, murder, expansion, subjection, sacrifice by the masses, blood, lust
for power and land, never being satisfied, longing for fame. Fame? What is fame,
really? That a million people and billions in goods are sacrificed for the power
of a man so that the country can become larger and the individuals in it still
more miserable, poorer, uneducated, enslaved, with the result that later because
of these million that he sacrificed, the other side will sacrifice new millions
of human lives, new billions of value … and so on in a never-ending chain cum
gratia in infinitum…
That is the fame of the ruler. That is what one calls history. The directors of
this bloody world theatre are called kings, field marshals, generals, admirals,
and are honored with monuments. Our children must learn their names, details,
and dates by heart… and no one tells them what a miserable, blood-soaked,
worthless thing this fame is and what beasts are crowned with it. I am convinced
that in 5000 years, rulers, field marshals, and kings will be spoken of in the
same way as Schinderhannes, Orsini, Rinaldo, and other talented murders…”
The
quintessence of this jewish spirit:
“How ridiculous: Life is not the most valuable thing. I reject that and wait for
the proof.”
–
“Better a coward for five minutes than to be dead for the rest of one’s
life.” That is naked jewish materialism, with no mask! That is how they
were and are! Georg Hermann is the best evidence against the lie of “decent
jews.”
Before
the World War they were “patriotic” – after the World War traitors. Some of the
“great jewish minds” before the World War were the worst imperialists – Harden,
Kerr, etc. – After the World War the purest international pacifists.
Alfred
Kerr (Kempner), model of those without reverence or tradition, absolutely
ambitious, educated jews, depraved in intellect and character, filthy from need:
“What is a character? Often the opposite…; we are characters … for
several minutes.” His biographer Joseph Chapiro, in the book Für
Alfred Kerr. Ein Buch der Freundschaft. Berlin, 1928:
“Always a son of his time, always of his time, always at the side of this time,
he is led by no tradition, by no deep respect for Homer or Shakespeare or
Moliére…. Now he stands in his time, in ‘the universe,’ as a ‘strong
personality,’ with a deep belief that the individual is the driving force of the
community. Next he is a heretic … soon a fanatic admirer of the people, the
masses, the great city … He lacks, as previously said, any prejudice; he never
has a fixed worldview from which he judges the world….”
The
affirmation of friendship speaks volumes for the effects of the jewish spirit. –
Hatred against everything Aryan is Kerr’s basic principle: “The Greek Prometheus
is a Kaffir over against Job. Job was the Prometheus of the soul – not merely a
young scamp like Prometheus….” Many of Kerr’s “poems” display the lowest
attitude toward women: “Beware of women, they clutch and hold, attach miserable
chains, to male life.” – From there to pornography – the jewish approach to eros
– is only a small step.
Ernst
Toller, typical example of the revolutionary jew. His transformation from
enthusiastic soldier to Marxist revolutionary. – In 1919 he headed the workers
and soldiers council of the Munich Soviet. – characteristic of the lack of deep
connections and relations of the jews to a fatherland. His play Die Wandlung,
Potsdam, 1919, is the clearest confession of the eternal jew.
This
drama was thought to be one of the most important pieces of modern literature
until 1933. The denigration of the idea of the fatherland can hardly be
expressed more clearly. Clear proof of the inability of the jew to engage in
ethnic and political thinking.
Leon
Feuchtwanger has the honor of providing the clearest portrait of the jew in his
novel Jud Süß, known throughout the world. In is significant that the
whole international press praised this filthy work in long reviews!
“He completely incorporates the jewish nature, and one is almost surprised by
the cynical openness with which Feuchtwanger develops the character of his
racial comrade. There is a paradoxical alternative. One is not sure if one
should be most astonished by the shameless style in which the jewish writer
Feuchtwanger describes everything from the highest to the lowest, or by the
disgusting, repulsive character of the jew Süß. This novel – indirectly –
provides an unintended self-portrait of the Jew in the character of jew Süß. –
No more revolting picture could have been provided by the worst enemy of the
jew.
Jew Süß is one of those typical characters who can bear any humiliation,
tolerate any degradation, accept any insult if it serves his hunger for money
and power. If he is thrown out today, he returns smiling tomorrow, one of those
jews who sucks the blood from the people..; one of those jews who under the
mantle of friendship is the enemy of all Christians; who ruthlessly injures and
exploits the ‘foreigner’ and seduces and defiles his women, but claims for
himself the right of inviolability and invulnerability.”
(Die Juden in Deutschland, Berlin 1936.)
Mocking
of religion and moral anarchy. The jew Tucholsky wrote:
“The most disgusting and evil laws are still in force: the law against sodomy –
The Hammer of Witches [a Medieval treatise on witches] cannot have been worse –
and the one on prostitution, which sticks people’s noses in other people’s beds
– and the one on blasphemy – and – and –and –and –.”
(Weltbühne, 17.7.1919.)
Jews in Theatre:
From the
director of the Prussian State Theatre, the jew Leopold Jeßner, down to the
provincial stage: jews everywhere, nothing but jews. The key positions in
theatre: the theatrical agents, entirely in jewish hands. Instead of promoting
young and promising talent, there is exploitation and spiritual and moral
blackmail characteristic of the jewish agency:
“A significant number of them (the jews) were brokers, earning their way by
trading….. Why not also trading in people? The international connections of the
agencies, which first gained transcontinental and international power with the
film agencies of unpleasant memory, fit well with the international
interconnectedness of the modern Eastern jewish movement.
A
knowledge of things and people, skepticism in the right place and courage when
called for, insolence against those in authority and shamelessness in exploiting
those seeking work, all this characterizes not only the agencies, but also an
entire group that would have been parasitic if its activities had not been, as
we already showed, absolutely necessary under today’s cultural and economic
conditions….
Every actor remembers the degradation of this slave market. With some agents,
even those who provided musicians for concert halls, the way to the stage passed
through the beds of the oppressor. Dreadful creatures stood in the way of
artists, who only after paying tribute and accepting the worst consequences
could begin a career.” (Arnold Zweig in his
book Die Juden auf der deutschen Bühnen, Berlin 1929.)
The
jewdification of the theatre is shown by the Deutscher Bühnenspielplan,
Winter 1929/30, which has the following list of theatre directors in the Reich
capital:
Berliner
Theater: Robert Klein
– Deutsches
Künstler-Theater: Robert Klein
– Deutsches
Theater und Kammerspiele: Max Reinhardt (= Moses Goldmann)
– Großes
Schauspielhaus: Artur Schwelb
– Komische
Oper: Martin Zickel – Komödie: Max Reinhardt
–
Komödienhaus: Viktor Barnowsky (= Isidor Abrahamowsky)
–
Lessing-Theater: Heinz Saltenburg
–
Lustspielhaus: Martin Zickel
–
Metropol-Theater: Rotter (= Schai)
–
Renaissance-Theater: Gustav Hartung (= May)
– Theater
am Nollendorfplatz: Ludwig Klopfer
– Theater
am Schiffbauerdamm: Ernst Joseph Aufricht
– Theater
des Westens: Rotter
– Theater
in der Stresemannstraße: Viktor Baranowsky.
The jew
Reinhardt mentioned here was at the same time director of the “Theater in der
Josefstadt,” “Professor” at the Vienna State Academy for Music and Visual Art,
and later took on the Große Schauspielhaus.
– The
jew Jeßner along with the Bolshevist Piscator experimented with cultural
Bolshevism on the stage of the Prussian State Theater: The transformation of
Schiller’s idealist Die Räuber into a Bolshevist political play was the
greatest theater scandal in the Reich capital.
–
Protests by responsible German-thinking circles in Berlin when Jeßner was
appointed general director of the State Theater. “Here it must be mentioned that
the head of the theater department in the Ministry of Culture was the jew and
former attorney Seelig.”
Degradation of private theater to a business of the worst type. Examples are
Reinhardt and above all the Rotter brothers:
“Under these newcomers, library theater became a naked, crass business
enterprise advertised by vivid posters…. They came from who knows where with
money…. They destroyed the last remnants of the concept of ensemble; they turned
the most prominent actors into the terrible concept of star; they turned stage
sets into toilets and displays of interior decoration; they began by feigning
literary value but soon gave that up. They considered themselves literary
theater directors, and afterwards this or that gentlemen has carried on the
Rotter brothers’ customs as tradition.”
(Arnold Zweig, previously cited)
Jews
completely dominate theatrical criticism. – The political play on stage. Ludwig
Sternaux on the premiere of the jew Toller’s play Feuer aus den Kesseln:
“…his new play is only written to make a political point and also money, and is
not worth getting excited about. It is so confused historically, so
irresponsible, so overdone and cheap in its desire to make the point at any cost
that one almost has to laugh. It is shameless and arouses disgust. I would like
to see the country that would permit such shameless things as we have been
recently subjected to. It is only possible with us….”
From
Toller to the jew Walter Mehring to the jew Ferdinand Bruckner (Theodor Tagger)
and his revolting, pornographic, anarchistic political play Kreatur,
which presents lust as the “meaning of life,” finds “god” in cocaine, sexuality,
hysteria, psychosis; Verbrecher: an anarchistic attack on law and order,
“there is no criminal” or “we are all criminals.” Pimps, blackmailers,
homosexuals, psychopaths, neurasthenics, whores, underworld types and big city
decadence are the marks of his life principle beyond good and evil; Krankheit
der Jugend: Battle against paragraphs 175 and 281 [laws prohibiting
homosexuality and abortion] with unsurpassed shamelessness.
The
jewish nature was particularly clear in the revue. Here the inclination to
unscrupulous immorality, sex, and pornography was most evident.
“The racial origins of the revue are confirmed by actual conditions. All of
Berlin’s revue directors were jews, beginning with James Klein, who has the
claim to fame of being the first to pollute Berlin with his revues, to Hermann
Haller, the Rotter brothers, Rudolf Nelson, and Erik Charell (Löwenberg). The
whole revue system, writers, composers, directors and stars, down to the
committee that shamelessly subjected the girls to a thorough examination of
their physical charms, was almost entirely a Jewish enterprise.”
(Die Juden in Deutschland, previously
cited.)
Characteristic revue titles: Take Your Clothes Off, Lovely and Slender, Off
and On, A Thousand Women, A Thousand Naked Women, Strictly Forbidden, The Sins
of the World, Sinful and Sweet, Houses of Love, and so on. – Newspaper
announcement for James Klein’s review Take Your Clothes Off (1928):
Kömische Oper: James Klein’s powerful new revue Take Your Clothes Off! An
evening without morals in 30 scenes. Including 60 prize-winning nude models.
Hunting for beautiful women. Experiences with a 15-year-old girl. Bathing in
natural water. The enormous heavenly bed. The woman with a whip. Sun and naked
magic…. This reveals jewry in all of its shamelessness:
“… the result is great corruption and demoralization of the German stage;
everything is seen from the perspective of the sex drive. Since the spiritual
connection is lost, satisfying lust fills the inner void and the ‘partner’
ultimately is nothing but a sexual object. There is practically no difference
between a woman and a whore; love is a business and prostitution is the socially
appropriate way to ‘arrange things.’
The man is a sexual animal whom the woman can exploit to meet her need for
luxury – as long as the relations do not change from the ‘cavalier’ to the pimp,
and not only in the underworld, but even more in the ‘upper’ classes where the
rich woman treats her ‘friend’ like she does her automobile. Money and sex are
the driving forces of the revue: what has rotted over time is of value in the
revue.”
(Die Juden in Deutschland, previously cited).
Jews in Music:
The
situation was essentially the same with regards to the domination of music by
the Jews: the Jew Leo Kestenberg was director of music in the Prussian Ministry
of Culture, and also professor at the Hochschule für Musik and head of
the music department at the Zentralinstitut für Erziehung und Unterricht
in Berlin. Nearly all choir directors were jews (“General Music Director” as a
“jewish first name”). Complete control of the entire German concert system by
jewish concert agencies. Monopoly by jewish music publishers. Jewish musical
criticism was all-powerful, and used every means to promote jewish composers and
jewish stars.
Jews in Film and Radio:
Jewish
production, jewish distribution, jewish stars, jewish criticism. – Always the
same close cooperation in all areas. – Always the same goal: Suppressing and
destroying German spiritual and emotional life, mocking all ethical and moral
German values, particularly those of the more primitive classes, in order to
build a jewish world dictatorship upon the back of an amoral, dehumanized and
spiritually corrupted mass, the path jewry followed since the Bolshevist
revolution.
Entertainment:
“The
Five Frankfurters” – mocking Gentile stupidity. – Jewish armaments dealers on
the stage (good material in Dr. Elisabeth Fränzel’s book Judengestalten auf
der deutschen Bühne, Deutscher Volksverlag, Munich). – Eberhard Möller,
Rothschild siegt bei Waterloo.
Literature:
Besides
previously cited sources on the jewish question: Dr. Hans Jonak von Freyenwald:
Jüdische Bekentnisse aus aller Zeit und Ländern, Nuremberg, 1941. – Dr.
Peter Aldag, Juden beherrschen England, Berlin, 1939. – Werner Sombart,
Die Juden und das Wirtschaftsleben, Leipzig, 1911 (of only limited
usefulness). – Théophile Malvezin: Historie des juifs á Bordeaux, 1875. –
Rich. Markgraf: Zur Geschichte der Juden auf den Messen in Leipzig von
1664-1839, In.-Diss 1894. – Otto Glagau, Der Börsen- und
Gründungsschwindel in Berlin 1876.
1.
Books: Heinz
Ballensiefen, Juden in Frankreich, Nordland-Verlag, 1939. – Dr. Elisabeth
Fränzel, Judengestalten auf der deutschen Bühne, Deutscher Volksverlag,
Munich, 1939. – Peter Deeg, Hofjuden, Verlag “Der Stürmer,” Nuremberg,
1938. – Werner Sombart, Die Juden und das Wirtschaftsleben, Leipzig 1928
(see particularly p. 54 and following). – Otto Armin, Die Juden in den
Kriegsgesellschaften, Deutscher Volksverlag, Munich 1921 (very important!).
– Wilhelm Meister, Judahs Schuldbuch, Deutscher Volksverlag, Munich. –
Hermann Ahlwardt, Mephistos Kinder bei der Arbeit, self-published. – Same
author, Neue Enthüllungen: Judenflinten, Dresden, 1892. – R. Roderich
Stoltheim, Das Ratsel des jüdischen Erfolges, Hammer-Verlag, 1919. –
Scharfe Patronen für Judenflinten. By a high civil servant and German
officer, Berlin, Paul Heichens Verlag. – Wolf Meyer-Christian: Die
english-jüdische Allianz. Niebelungen-Verlag, Berlin-Leipzig. – Dr. Robert
Körber, Rassezieg in Wien, Verlag Braunmüller.
2.
Magazines: Der
Weltkampf. – Die Judenfrage
Newspaper and Magazine Articles:
Württembergische Landeszeitung,
17.9.1940: “The head of American War Profiteers.”
– Königsberger Allgemeine
Zeitung, 13.3.1941: jew Baruch, Roosevelt’s Chief Adviser.”
– Die Front, Zurich,
1.11.1938: “Finance Jew Baruch and American Rearmament.”
– Deutsche Allgemeine Zeitung,
Berlin, 18.9.1940: “The Rothschilds of Paris and Their End.”
– Frankfurter Volksblatt,
15.6.1940: “The Waterloo Coup: Nathan Rothschild Won the War on the London Stock
Exchange.”
– Same source, 6.6.1938: “The Jew
Rothschild’s Path. From the Frankfurt Ghetto to Europe’s Palaces.”
– Breslauer Neueste
Nachrichten, 21.7.1940: “The Plutocratic World of the Rothschilds.”
– Deutsche Allgemeine Zeitung,
7.8.1940: “Churchill and the Rothschilds.”
– “The Jew Blum’s Economic
Tricks. Millions in Profits for Unusable War Material,” Recklinhauser
Zeitung, 10.1.1941.
– “Profiteering by Blum and Mandel,”
Volksdeutsche Zeitung, 5.11.1940.
– “The Jew Blum’s War Business,”
Der Angriff, 26.9.1938.
– “Leon Blum, Protector of War
Profiteers,” Regime Fascista, 10.1.1941.
