The Michelangelo of the Third Reich

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Arno Breker (1900 – 1991) was a German sculptor, best known for his public works in Third Reich Germany, which were endorsed by the NSDAP as the antithesis of degenerate art. During his time in Paris in the twenties and early thirties he was influenced by Jean Cocteau, Jean Renoir, Pablo Picasso and Aristide Maillol, who was later to describe Breker as ‘Germany’s Michelangelo’. He maintained personal relationships with Albert Speer and with Hitler. In 1937 Breker joined the National Socialist German Workers’ Party and was made ‘official state sculptor’ by Hitler. He was given a large property and provided a studio with forty-three assistants. As main sculptor and more or less number one on the Gottbegnadeten list, he was exempted from military service. His twin sculptures The Party and The Army held a prominent position at the entrance to Albert Speer’s new Reich Chancellery.
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Arno Breker was represented at the Great German Art Exhibitions with 42 works. The neoclassical nature of his work, with titles like Comradeship, Torchbearer and Sacrifice, typified Party ideals, and suited the characteristics it’s architecture. On closer inspection, though, the proportions of his figures, the highly colorful treatment of his surfaces (the strong contrasts between dark and light accents), and the melodramatic tension of their musculatures perhaps invites comparison with the Italian Mannerist sculptors of the 16th century. While nearly all of his sculptures survived World War II, more than 90% of his public work was destroyed by the Allies after the war. Arno Breker had 10 sculptures displayed at the XXI Venice Biennale, 1938 and the XXII Venice Biennale, 1940, including ‘Pronti’ (‘Bereitschaft’, GDK 1939), ‘Ricardo Wagner’ (‘Bust of Richard Wagner’, GDK 1941), and ‘Ponderazione’ (‘Berufung’, GDK 1941). Four works by Breker were part of the art collection of Hermann Göring and destinated for the ‘Norddeutsche Gallery’. In 1946 Breker was offered a commission by Joseph Stalin but he refused.
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After the war he continued to receive commissions for sculptures, producing a number of works in his familiar classical style, working for businesses and individual patrons. He also produced many bronze female sculptures, in smaller sizes. Some of these were casts from original models designed before 1945.

“Today, humanity is only occupied with various materials. Someone takes a piece of railroad track and sets it on a lawn, and that’s supposed to be art.” – Arno Breker

“If you look at history, you’ll see there are no schizophrenic sculptors. … We sculptors are too close to the material. We have to deal with stone, with the material. The overcoming of the material is a monumental task, one that challenges me from the moment my day begins.” – Arno Breker

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Published in: on September 30, 2017 at 5:09 am  Leave a Comment  

NS Poster Collection – Hitler Jugend & BDM

Here are some great recruiting posters for the Hitler Jugend and their girls wing, the Bund Deutscher Mädel.

Source: NS Poster Collection – Hitler Jugend & BDM

Published in: on September 25, 2017 at 1:10 am  Leave a Comment  

“Hitler Was a Nice Uncle”

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Albert Speer Jr., son of Adolf Hitler’s chief architect, who had his own accomplished architectural career, died Friday in Frankfurt at age 83. His death was announced by his architectural firm, AS & P, in Frankfurt. It said the cause was complications of surgery he had undergone after falling at his home.

The younger Mr. Speer’s impact on urban landscapes was ultimately far greater than that of his father, whose architectural plans for the Third Reich were never realized. Albert Jr.’s firm designed master plans for Expo 2000 in Hanover, Germany; the Nigerian capital city, Abuja; and a so-called Automobile City on the outskirts of Shanghai, close to a large Volkswagen factory.

He had a particularly strong impact on Frankfurt, his home city, where he served as an adviser to the municipal government for many years and worked on master plans for the European Central Bank, as well as for a new section of the city known as the Europaviertel, which was built on land reclaimed from railroad freight yards.

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Speer was 12 when his father was convicted in Nuremburg of “war crimes” and sentenced to 20 years in prison, where he was for much of his son’s childhood.

In a 2010 interview with German newspaper Sueddeutsche Zeitung he said: “I’m always being asked about my father. It’s annoying. I have tried my whole life to distance myself from my father, but it’s hard for young journalists to accept that.

“From the perspective of a young boy,” he recalls, “Hitler was a nice uncle to me. Visits to Hitler were joyous events. I was allowed to play with the dogs, I got sweets. ”

Professionally, Speer Jr. concentrated on designing environmentally sound and energy-efficient buildings. Many of his projects, however, were never implemented.

In preparation for the Beijing Olympics in 2008, Speer was criticized for a design that looked too similar to that of his fathers. “What I’m trying to do to Beijing is to take a 2,000-year-old city and move it into the future.”

His firm was selected to design the stadiums for the 2022 World Cup in Qatar.
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Published in: on September 24, 2017 at 10:32 pm  Leave a Comment  

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.”

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