Adolf Hitler: In the Thicket of the Forest at Artois, 1916

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In the Thicket of the Forest at Artois
(Direct English Translation)

It was in the thicket of the Artois Wood.
Deep in the trees, on blood-soaked ground,
Lay stretched a wounded German warrior,
And his cries rang out in the night.
In vain … no echo answered his plea …
Will he bleed to death like a beast,
That shot in the gut dies alone?

Then suddenly …
Heavy steps approach from the right
He hears how they stamp on the forest floor …
And new hope springs from his soul.
And now from the left …
And now from both sides …

Two men approach his miserable bed
A German it is, and a Frenchman.
And each watches the other with distrustful glance,
And threatening they aim their weapons.
The German warrior asks:
“What do you do here?”
“I was touched by the needy one’s call for help.”

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Published in: on September 22, 2017 at 7:50 am  Leave a Comment  

Nordic National Socialists March Through Gothenburg

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According to the police, around 50 people participated in the march through central Gothenburg, many of them waving Nordic Resistance Movement (Nordiska motståndsrörelsen, NMR) flags.

Media reports indicate that a minor fight broke out between a antifa counter demonstrator and some of the march participants, but police quickly intervened and calmed the situation.

“We have not made any arrests,” police spokesperson Jenny Widén said.

The demonstration, for which the patriots did not have a permit, was first reported to the police at 12.30pm. Some two hours later, the crowds had dispersed.

The true nationalist NMR group has announced plans to stage a march near a synagogue in Gothenburg on the Jewish holiday Yom Kippur. Sweden’s main organization for Jews is appealing the police decision to allow the September 30th demonstration to go on as planned.

Published in: on September 22, 2017 at 7:46 am  Leave a Comment  

Max Wünsche

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SS-Sturmbannführer Max Wünsche of the Leibstandarte Division photographed at Berghof, in the Obersalzberg of the Bavarian Alps, Germany in the spring of 1943. In June that year, Wünsche was transferred to the newly formed 12. SS Panzer Division Hitlerjugend, where he became the leader of SS-Panzer-Regiment 12.

Published in: on September 21, 2017 at 8:16 am  Leave a Comment  

!! Auf Wiedersehen !!

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Does this man look like a threat to America? ApperantlyMichael of PzG , seller of Third Reich collectibles, and thousands more across the land of the brave are being directly targeted and their livelihoods attacked as credit card companies and web host are shooting down their ability to do business online.

I have purchased products from Michael’s family business in the past and he is not only a straight shooter when it comes to keeping his customers satsified, but I believe he is a man with the kind of integrity and honor that frankly is getting hard to come by.

Below is a link to his website and information on how one can order by mail. I suggest checking his site out before it is gone, show your support and get on his mailing list before it is too late.

http://www.pzg.biz/

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His beautiful dogs Leni and Heidi.

“Anyone can deal with victory. Only the mighty can bear defeat.” ~ Adolf Hitler

Published in: on September 21, 2017 at 7:53 am  Leave a Comment  

Loyal like German Oaks

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If all become unfaithful, we remain loyal
So that there will always be a banner for you on Earth.
Comrades of our youth, you are a picture of a better time
That consecrates us to manly virtue and a death for love’s sake.
You will never leave but always be close to us,
Loyal like German oaks, like moon and sunshine!
Once it will again be bright in all brothers’ minds,
And they will turn to the source in love and loyalty.
This grace have the heroes well wrested,
And now, as victory is ours, Satan practices new treachery.
Yet, come what may in our life,
You, o dream of glory, shall never grow old on us.
You stars looking down calmly, be our witnesses,
When all brothers fall silent and trust in false idols.
We will never break our word, never become fools,
We will preach and speak of the holy German Reich.

Annual midnight swearing-in of Nazi SS troops, Feldherrnhalle, Munich, 1938

Published in: on September 19, 2017 at 8:35 am  Leave a Comment  

Music in the Third Reich-Part 3

THE RECASTING OF WILHELM FURTWÄNGLER

It was only a matter of time, of course, before the Jews were alerted to the popular renaissance of this recalcitrant ‘Nazi musician’. Banning his recordings or even making them quietly disappear by pressuring C.D. companies into discontinuing them would have lost the shrewd shysters new revenues generated by such sales. Instinctually unable to forego a financial profit, they took over the Furtwängler revival themselves.

In an irony typical only of unscrupulous Jews, the same clique who fulminated against him in the 1930’s and banned him in the 1940’s are peddling his recordings today. As the most politicised creatures on the planet, however, they are not content with the vast revenues his C.D.’s net them. They must distort his memory to conform with their own perverse notions of political correctness. In justifying sales of his music and using their twisted image of him to propagandise their Gentile customers, the Great Masters of the Lie are now depicting Furtwängler as an anti-Nazi who secretly hated Hitler and stayed in Germany only to help save Jews from being gassed! While such a bald-faced misrepresentation would have flabbergasted the Allied Occupation authorities who banned him from performing, it is just one more piece of the deceitful chutzpah for which the Jews have long been infamous.

No one should then be surprised that the loudest spokesman on behalf of a de-Nazified Furtwängler is Hebrew Henry Fogel. He laments that this “righteous goy, oops, Gentile” was mistaken for a Fascist. The conductor actually loved Jews and risked his life to save them from Hitler, before whom Furtwängler gave his best performance on the Führer’s birthday! Such demented ‘logic’ could only come from die profit-fevered brain of a crazed Jew. Now that his reputation has been sanitised in the mikvah of political correctness, we no longer need trouble our conscience when buying a Furtwängler recording. The past has been re-arranged to make things work for the Jews in the present. Such insidious duplicity recalls one of the brain-washing slogans concocted by Big Brother in George Orwell’s prophetic novel, 1984: “Who controls the present, controls the past; who controls the past, controls the future.”

But the revival of Aryan music under National Socialism spread through the 1930’s and early 1940’s beyond the borders of the Third Reich. Helga Rosswänge, Askel Schiotz and Thorsten Raif, who made their careers in Hitler’s Germany, were, bar none, the greatest tenors Denmark ever produced, before and especially since the end of World War II. Years before the war, Belgium’s greatest tenor, Marcel Wittrich, cut a recording of the concert aria “God Bless our Führer!”, which topped the best-seller charts for most of the 1930’s. Kirstin Flagstad, among the most important Wagnerian sopranos of the 20th Century, left the Metropolitan Opera, where her success in Die Valkyrie had been nothing short of stupendous, to join her husband in Norway. He was not only the country’s leading conductor, but a high-ranking officer in the Nasional Samlung, the Norwegian National Socialist Movement. When a post-war return engagement at the Met was scheduled for her, Flagstad was prevented from performing by hysterical mobs of incensed New York Jews. They openly and successfully prevented a world-class artist from publicly performing for ideological reasons, the very thing for which they had so long falsely condemned the Nazis.

THE VENGEFUL GHOST OF WILLEM MENGELBERG
Mengelberg was dedicated heart and soul to Adolf Hitler. Like Furtwängler, Josef Willem Mengelberg’s reputation was world-wide!

Furtwängler’s only contemporary to approach and even perhaps surpass him on occasion was the Dutch conductor, Willem Mengelberg. His recordings, too, have witnessed a spectacular comeback, although in his case the Jews are far more uncomfortable. Henry Fogel cannot bring himself to utter a dispensatory word on his behalf. While Furtwängler was little more than emotionally or artistically sympathetic to National Socialism, Mengelberg was dedicated heart and soul to Adolf Hitler. we coined 1940’s German invasion of Holland as his country’s liberation from Jewish tyranny. Like Furtwängler, his reputation was world-wide and he would have been welcomed in the United States, where he could have lived out his life in safety. Instead, he publicly endorsed the greatness of National Socialism at every occasion and performed all over the Reich. Even so, he was a vigorous champion of Dutch music and all of Holland’s best modern composers owed their early success to him.

No less importantly, Mengelberg moulded the Amsterdam Concertgebouw Orchestra into what many regarded as the finest symphonic ensemble ever put together. The man’s contributions to music are staggering and far exceed the limitations of this newspaper article to describe. Even so, he never joined any National Socialist organisation (Dutch or German), and did not work for the war effort, save to perform concerts for troops on R&R., German as well as Dutch, and all the other Aryan nationalities who banded together under the Swastika to fight Soviet Communism. He was content to lend the weight of his legendary reputation to support National Socialism and did what he could for it with the thing he knew best — conducting great music better than anyone else in the world!

For this harmless involvement in the Movement, Willem Mengelberg was sentenced to death in absentia (i.e., condemned without a hearing) by Holland’s Allied-dominated supreme court after the war. Fleeing for his life, he found refuge in Spain. It is to Francisco Franco’s eternal credit that he refused to turn over the proscribed musician to the Dutch authorities for extradition and execution. Broken in spirit and health, the maestro never again lifted his baton to call forth the incomparably magnificent sounds only he knew how to conjure from an orchestra. He died in exile six years later, condemned and despised by his own countrymen, but cherished and protected by beloved foreigners. The once supreme Amsterdam Concertgebouw he created declined under the mediocrity of more politically correct directors like bland Bernard Haitink, until the orchestra scarcely rated as a world-class organisation. Yet, his ghost is avenging itself on all these post-war no-accounts, who are rapidly being forgotten, while Mengelberg’s recordings enjoy a resurgence of unprecedented popularity.

MUSIC’S DEBT TO FASCISM
Mascagni was also a dedicated follower of Benito Mussolini from the early days of the Duce’s struggle. Pietro Mascagni one of Western Civilisation’s last great creators.

A similar tragedy befell Pietro Mascagni. His Cavalleria Rusticana is one of the most often performed staples in the whole repertoire, and, with I Pagliacci, among the best-known operas in existence. Mascagni was also a dedicated follower of Benito Mussolini from the early days of the Duce’s struggle. Through the 1920’s and 30’s and into the war, he held various posts in the Fascist cultural hierarchy and did much to promote the glory of Italian music. His long-time loyalty was proved during adversity, when he joined Mussolini (imprisoned by traitors in 1943, but rescued through the daring heroism of SS commandos) in the north.

With the catastrophic end of the war, Mascagni’s name was posted on a death-list circulated by the same Communist partisans who murdered the Duce. Old and alone Italy’s greatest living composer died of starvation and exposure to sub-zero temperatures while hiding from his would-be assassins in an unheated garret during the bitter winter of 1945. The death of one of Western Civilisation’s last great creators was another legacy that belonged to the Allies’ dishonourable triumph of brute force over culture. The legions of opera-lovers who continue, year after year, to applaud Cavalleria Rusticana are ignorant of the Fascist identity and deplorable fate of its composer.

They also applaud regular performances of music by Antonio Vivaldi, whose Seasons, particularly, has become an often-heard concert-piece. Recordings of the 18th Century Venetian’s music sell in the millions, and it is recognized throughout the world as a pillar of Western art. Yet, were it not for the diligent research of a famous American Fascist working in Mussolini’s Italy, Vivaldi’s name and great achievements would be just as unknown today as it was before Ezra Pound made his discovery of the lost compositions. For this incomparable work of rescue, one of the greatest poets the U.S. ever produced was starved and tortured in a so-called ‘tiger-cage’ by his fellow countrymen after the war. His incarceration consisted of an unheated cell so tiny he could neither stand erect nor lay down full-length, a difficult ordeal even for a man younger than his 61 years. Do the Itzak Pearlmans of this world pay homage to the work of Ezra Pound, without whom they could not perform Vivaldi’s music?

Victor de Sabata, a measure of the greatness of the Fascist era. Fascist Italy also inspired some of the finest conductors of all time, and the best may have been Victor de Sabata.

Fascist Italy also inspired some of the finest conductors of all time, and the best may have been Victor de Sabata. Like Furtwängler and Mengelberg, recordings of his intelligent, dynamic interpretations, especially of Respighi, Beethoven and Puccini, are highly prized by collectors. As a measure of the greatness of the Fascist era in which he flourished, no Italian conductor since the liberal-Marxist take-over of 1945 has begun to approach de Sabata’s achievements. Fascism inspired many extraordinary composers; among the greatest was Gian-Francesco Malipiero, who was also the most important musicologist of the 20th Century, largely because he restored the complete creative output of Claudio Monteverdi, the 16th Century founder of Italian opera. The huge, meticulous edition, nearly twenty years in the making, until its completion in 1942, is still sought after by musicians throughout the world as the most invaluable sourcebook of its kind. Malipiero’s own 1936 opera, Julius Caesar, was based on Shakespeare’s play and is a triumphant Fascist revival of the Roman origins common to all Western civilisations.

The racial-nationalist Finns, whose blue Swastika flag flew alongside Adolf Hitler’s crusade against Soviet Russia, produced the most important composer in the history of their country and one of the finest of the 20th Century, Jean Sibelius. Another comrade-country, Latvia, enjoyed its golden age of composition from its independence in 1918 until its take-over by the Soviets in 1940, then again during the German liberation from 1941 to 1944. With the recent return of Latvian freedom, the splendid works of such composers as Janis Medich, who wrote during the 1930’s and early 40’s, are being heard with greater frequency by the outside world. Spanish Fascism lasted long after the post-war period with an equivalent endurance of great composition, as evidenced by the extraordinary guitar concertos by Joaquin Rodrigo in the 1950’s.

 THE UNMUSICAL ALLIES

Meanwhile, in the Allied countries, wracked with capitalist exploitation pitted against communist subversion, all the arts fell into decline. The lamentable condition of American music was examined in Issue #120. The situation was not quite as bad in England, but the country had nothing to look forward to under its increasingly Jew-dominated democracy of cultural sterility. Ralph Vaughn Williams, Arthur Bliss, Arnold Bax, Gustav Holst and their colleagues from the early part of the century were rapidly ageing with no one to match or exceed their monumental genius, save only Benjamin Britten, certainly the last English composer of any importance, who died in 1976. French musical creativity was sustained during the 1930’s by one man, Florent Schmitt, a passionate Fascist, whose compositional greatness foreshadowed the Impressionists. Only his old age and status as France’s greatest living composer saved him (barely!) from the post-war hangman’s noose. His successor, Francis Poulenc, carried on the torch of great Gallic music. But since his death in 1963, the history of French musical composition is blank.

In the Soviet union, that Frankenstein monster of the Jews, their ludicrous efforts to mass-produce ‘proletarian art’ failed miserably. Having eviscerated Russian music in the 1920’s, the Reds were at first alarmed by a strident nationalist style that suddenly burst forth in the work of Gentiles Serge Prokofiev, Rheinhold Gliere, Ipolatov Ivanov and Aram Katchaturian. These outstanding composers were allowed to proceed with their strongly folkish compositions, however, because the Soviet leaders knew that such art could be used to arouse patriotic fervour against the European fascists.

But after 1945, such ethnic sentiments, being no longer needed (indeed, they were dangerous to the Jews), were condemned. The same Russian composers who were honoured for writing ‘patriotic’ music when it was required to stir up national emotions against Hitler were denounced publicly and hounded personally as ‘enemies of the Soviet people.’ Some tried to please their masters by composing inoffensive music; those who could not were tossed into stinking Gulags. As in the allegedly ‘democratic’ societies of England, France and the U.S., serious musical composition died in the ex-USSR with Prokofiev in 1953.

The only bright spots in the musical world were those still illuminated by the sunlight of National Socialism. It is a heritage of which we who carry on in its name can be extraordinarily and justifiably proud. And when our souls are moved as we listen to a Third Reich recording of music heard and enjoyed by Adolf Hitler, we share a living, spiritual kinship with him others cannot understand. Despite the magnitude of the catastrophe that physically destroyed the Third Reich and its heroes, the music of that most glorious epoch survives for us to hear.

And it more than survives! The irrepressible force of its greatness is touching more listeners than ever before. The enduring triumph of the Reich’s music represents a sacred sign, an assurance from God, that not far behind the echoing trumpets conducted by Furtwängler and Mengelberg marches just as invincibly our Movement!

 

Published in: on September 19, 2017 at 8:26 am  Leave a Comment  

Otto Skorzeny

SS-Sturmbannführer Otto Skorzeny talks to commandos from Fallschirmjäger and Waffen-SS who took part in Operation Eiche, the rescue of Mussolini from captivity in the mountains at Grand Sasso, September 1943.

Search this site for a full history written one year ago.

 

Published in: on September 19, 2017 at 8:22 am  Leave a Comment  

Adolf Hitler: The Ultimate Avatar. limited edition

S I D D H A R R E I C H

New release of the deluxe limited edition of Adolf Hitler: The Ultimate Avatar by Miguel Serrano (English Translation). Limited to 25 copies. Green Linen cover with quarter bound black leather with gold intaglio titles. The printed pages are of the finest black ink printing. Archival quality books. Please email:   hermitage75@yahoo.com.au  for purchase inquires. Please no Germanophobes, Third Reich haters, anti-Hyperboreans or anti-Aryans, only genuine individualized Hyperborean Fallen Angels…

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Published in: on September 19, 2017 at 7:42 am  Leave a Comment  

Television Under the Swastika

Over a decade before most Americans even dreamed of having a television, the Third Reich was live broadcasting the Olympics.

Source: Television Under the Swastika

Published in: on September 18, 2017 at 12:55 am  Leave a Comment  

Egypt Revamps Museum Devoted To Rommel

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An old field telephone from the 1940s, a Nazi flag and a map of Tobruk greet visitors to the newly reopened Rommel Cave Museum in Marsa Matrouh, one of Egypt’s lesser known tourist destinations. The items belonged to Erwin Rommel, one of the most celebrated generals of National Socialist Germany.

Rommel was known to the Germans as “the people’s marshal” and to the outside world as the “Desert Fox” for his surprise attacks and unbroken string of successful campaigns. He defeated the British at Gazala in May 1942, followed by his taking of Tobruk and promotion to field marshal. When the German troops entered El-Alamein, a town in the northern Matrouh governorate and 106 kilometers (66 miles) west of Alexandria, Rommel selected a site in the area’s cliffs as his headquarters, where he plotted military operations against the British forces. The two battles of El-Alamein would end with a German defeat on Nov. 4, after which Rommel dispatched his troops to Tunisia.

Rommel remained a highly regarded figure in the eyes of the Matrouh residents because he respected the customs and traditions of the Bedouins and did not violate the sanctity of their homes, keeping his troops at least 2 kilometers (1.2 miles) from their houses at all times. He also refused to poison the wells against Allied forces on the grounds that doing so would harm the local population. The people of Matrouh honored him by naming a nearby beach after him.

On Aug. 25, Egypt’s Ministry of Antiquities and the Matrouh governorate reopened the Rommel Cave Museum after seven years of closure, following a restoration that cost 2.5 million Egyptian pounds (about $142,000).

In 1977, Egypt and Germany agreed to open a museum that would pay tribute to Rommel and display historical items such as clothing, personal photos, war plans and files on soldiers. Rommel’s son, Manfred, who served as the mayor of Stuttgart from 1974 until 1996, donated some of Rommel’s personal belongings as well as weapons and military equipment to the museum. It opened in 1988 and was enriched with new donations in 1991. It was closed in 2010 for extensive renovations.

Ismail Saeed, a restoration specialist with the Supreme Council of Antiquities, who worked on the restoration, said that most of the cracks inside the cave had been fixed. He told Al-Monitor that the cave’s historical importance dates back much further than Rommel’s time. In the Roman era, it was used to store grain waiting to be loaded onto ships in an ancient Mediterranean seaport nearby.

Matrouh is a destination for many Egyptians and foreign residents who enjoy summer holidays on its soft white sand beaches and clear blue water. Saeed said the museum’s reopening will enrich beach vacationers’ experiences with history.

The museum’s director Mohamed el-Sharkawy told Al-Monitor, “The museum will boost tourism and create archaeological awareness among Matrouh residents.” Matrouh includes other sites such as ruins of the ancient Coptic chapel, but it is far less popular than other Egyptian Mediterranean towns.

Sharkawy said that every October, many Germans and Italians come to visit Matrouh to commemorate the battle of El-Alamein and lay bouquets of roses on their relatives’ tombs. He added that the reopening of the museum this year is expected to stir more interest than usual.

The ministry and the local residents hope that the reopening will help boost both domestic and international tourism in Matrouh. At the opening ceremony, Minister of Antiquities Khaled el-Anani lauded plans to develop many of Egypt’s other archaeological areas in Egypt and enhance their role in the tourism industry.

But challenges include the many land mines from two world wars that continue to litter the area, including near the Rommel museum.

With an estimated 23 million land mines clustered in very high concentrations, Egypt is one of the world’s most mine-riddled countries. “Unfortunately, the land mines impede the development efforts in this area,” Sharkawy said. “So we have to take advantage of any chance to provide income to Matrouh.”

Published in: on September 17, 2017 at 4:25 am  Leave a Comment