Thanks to Heathen Women for publishing this reblogged article. I think Third Reich Books would probably get all my sheqalim if I had any.
In my opinion, music and the fine arts are two of the most important, yet underestimated battlefronts. Perhaps the latter may result because art must be experienced, not only read about in a book (as important as that is). Most people to-day have neither actually seen great art in its natural setting, nor heard European classical music performed by non-Jewish, non-Judaized performers.
That last makes a difference which cannot be believed without experiencing it oneself; and it was quite the revelation for me when I discovered it. Out with the cheap, kitschy Jewish performers who have what I nicknamed the „Fiddler on the Roof Effect“; and in with the Aryans and their deeply passionate, yet orderly and rigorous musical interpretations of Aryan music!
I speak of fine art and music as one principle, though I have more to say about the latter simply because I know more about it. I grew up on a diet of Itzhak Perlman (who has said he plays the Beatles for his own children; surprise, surprise). I have always loved good music; but I could somehow never quite get into Beethoven symphonies before I heard the early-1940s Furtwängler renditions (download at above link). Note, it is not only a matter of Jewish performers, but also of Jewish control of musical training. My first serious childhood music lessons came from a „Mrs. Cohen“, so I should know. As to professional performers, and not wanting to name names, I have heard e.g. Bach partitas performed by an ostensibly German violinist who explicitly proclaimed that „Sir“ Yehudi Menuhin was her musical role model—and Beethoven sonatas performed by another alleged German, who likewise praised Jewish performers to the sky. Later comparison with older German virtuosos blew me away.
Note that it cannot be my bias speaking; for when I first discovered the Jewish factor in music, I was still making the transition away from being a pathological Judeophile. Indeed, my discovery of how the Jews had corrupted my beloved music was a large factor fueling my newfound „anti-Semitism“. It was like seeing in colour for the first time, and realizing that my previously limited range of perception had been deliberately inflicted on me.
Wagner was right. And the same principles will apply to any art: Painting, sculpture, architecture, or poetry and literature. Not to mention that art as a whole has been explicitly devalued. Few to-day are aware that the 1936 Berlin Olympics held competitions in fine arts, music, poetry, and architecture on equal footing with athletic competitions. Mind, body, and spirit were all treated as important. But I digress…
Now dear readers, please enjoy this excerpt of what a real Third Reich National Socialist had to say about fine art versus „crazy miscarriages“, and the destruction by the Jews via „cultural Bolshevism“ of the connection between art and Folk.
Excerpted from the translation of Deutsche Kunst und entartete “Kunst”: Kunstwerk und Zerrbild als Spiegel der Weltanschauung, which was published by Dr. Adolf Dresler in Munich in 1938. In comparison, more successful and, above all, more enduring was the confusion, achieved by slogans and phrases, of the views about the essence of culture in general and of German cultural life and cultural decline in particular.
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