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
