Nazi marching anthem banned at end of World War II is removed from iTunes | Daily Mail Online comments Row erupts as millions of concentration camp victims are remembered Apple has been left red-faced in Germany after it emerged it was allowing music lovers to download a famous Third Reich anthem. The German press revealed the online giant was breaking the law by allowing iTunes customers to download the Horst Wessel Song. Germany forbids anything that is seen as glorifying Hitler’s regime and it is still illegal there to publish the lyrics. Even more embarrassing for Apple, the row erupted on Holocaust Memorial Day as people around the world remembered the millions butchered by the Nazis. Liberation: The row came on Holocaust Memorial Day as wreaths were laid at Auschwitz for the millions killed by the Nazis Poignant: A single red rose lies on the track at Grunewald train station in Berlin which many of Germany's Jews passed through on their way to death camps Horst Wessel Song is named after a brown-shirted storm trooper who joined the movement in 1926, seven years before Hitler became chancellor of Germany and was raised to martyrdom after his murder.

A university drop out who fell in love with a prostitute, Wessel was a loser headed for a life of obscurity until he died at the age of 22 following a brawl in February 1930. He was shot dead by a Communist, Albrecht Hohler. Notorious: Horst Wessel who had one of the Nazi Party's marching anthems named after him Before his death he had written the lyrics for a new song about the Nazis’ struggle for power, and both he and the song became icons of the party thanks to the work of Nazi party propaganda minister Joseph Goebbels. Goebbels airbrushed Wessel’s history - ignoring his sordid love affair and the fact that his killer was said to have been his lover‘s former pimp - and made him Nazism‘s first martyr with his own anthem which everyone from the Hitler Youth to the generals had to learn. The lyrics included: ‘Soon will fly Hitler-flags over every street; Slavery will last only a short time longer.’ The song became immensely popular and still many Germans know the tune to this day.

While a loophole in the German law exists allowing for the dissemination of songs and literature if it is for 'educational purposes,“ no such checks existed in the iTunes shop. But many other Nazi-era tunes are still available for download which could mean legal troubles in the future if German prosecutors choose to act. The Apple spokesman said it had been taken off iTunes along with another album of Nazi numbers called S.S. Protection Squad which was put on a government blacklist as being of particular danger to youth since 2008. But others remain for sale, sometimes in obscure sections such as ‘world music‘ with titles like ‘The Fuehrer Calls‘ and the triumphalist wartime version of the German national anthem which has the lyrics ‘Germany, Germany above everything!‘ In 2001 there was a big crackdown on the trading of Nazi songs over the internet in Germany with prosecutions against 103 German computer fanatics and Nazi sympathisers.

Symbolic: German President Christian Wulff prepares to lay candles at a memorial ceremony at the Auschwitz-Birkenau concentration camp Memorial: German President Christian Wulff, third right, and Poland's President Bronislaw Komorowski, second right, pass under the infamous gate at Auschwitz bearing the inscription Arbeit Macht Frei (Work Will Set You Free) Commemorations: The Hall of Names in the Yad Vashem Holocaust memorial in Jerusalem Since then the far right has satisfied its urges for the stirring music of the time it adores from a variety of obscure serves in America and elsewhere. Puritan Apple, which acted swiftly last year to remove anything with a whiff of sex or sexuality from being downloadable on its products, seems to have been caught unawares with the ultra-nationalist songs available from its German shop. Experts in Germany say music is one of the main magnets with watch to draw gullible youth into the right-wing scene - still a major problem in the modern-day state. Apple had no further comment on Thursday about the incident. Amazon took off the Horst Wessel Song from its site on Wednesday.

Another Nazi song that was still available until recently on Apple was ‘Germany Awake!‘ which goes makes a direct attack on Jews. Adolf Hitler salutes a solder from his car in Nuremberg in 1934 as the Nazi Party rose to power Horst-Wessel-Lied - Wikipedia, Photos and Videos Horst-Wessel-Lied NEXT GO TO RESULTS [51 .. 100] WIKIPEDIA ARTICLE Problems playing this file? See media help . "Horst-Wessel-Lied" (English: "The Horst Wessel Song"; pronounced [hɔʁst ˈvɛsl̩ liːt] ), also known by its opening words, "Die Fahne hoch" ("The Flag on High"), was the anthem of the Nazi Party from 1930 to 1945. From 1933 to 1945 the Nazis made it a co-national anthem of Germany , along with the first stanza of the " Deutschlandlied ".

[1] Contents History[ edit ] Horst Wessel, credited as writing the lyrics of "The Horst Wessel Song" The lyrics to "Horst-Wessel-Lied" were written in 1929 by Sturmführer Horst Wessel , the commander of the Nazi paramilitary " Brownshirts " (Sturmabteilung or "SA") in the Friedrichshain district of Berlin . Wessel wrote songs for the SA in conscious imitation of the Communist paramilitary, the Red Front Fighters' League , to provoke them into attacking his troops, and to keep up the spirits of his men. [2] Horst Wessel[ edit ] Wessel – the son of a pastor, with a university education but employed as a construction worker – became well-known among the Communists when – on orders from Joseph Goebbels , the Nazi Gauleiter (regional party leader) of Berlin [3] – he led a number of SA incursions into the Fischerkiez, an extremely poor Berlin district where Communists mingled with underworld figures. Several of these agitations were only minor altercations, but one took place outside the tavern which the local German Communist Party (KPD) used as its headquarters.

As a result of that melee, five Communists were injured, four of them seriously. The Communist newspaper accused the police of letting the Nazis get away, while arresting the injured Communists, while the Nazi newspaper claimed that Wessel had been trying to give a speech when shadowy figures emerged and began the fight. [3] Wessel was marked for death, with his face and address featured on Communist street posters, [2] and the slogan of the KPD and the Red Front Fighters' League became "Strike the fascists wherever you find them." [3] Wessel took up with an ex-prostitute, Erna Jänicke, in a room on Grosse Frankfurter Strasse [4] in the house of the widowed Frau Salm, whose husband had been a Communist. When conflicts arose between the couple and the landlady, she appealed to the Communists for help. Shortly thereafter, on 14 January 1930, Wessel was shot by two Communist Party members, one of whom was Albrecht "Ali" Höhler. [2] [5] [6] Seriously wounded, Wessel died in hospital on 23 February from blood poisoning he contracted during his hospitalisation.

[5] [6] Höhler was tried in court and sentenced to six years imprisonment for the shooting. [7] Three years later, after the Nazi accession to power in 1933, Höhler was taken out of prison under false pretenses by the SA and executed. [2] [8] Nazi Party anthem[ edit ] Joseph Goebbels , the Nazi Gauleiter and owner and editor of the newspaper Der Angriff ("The Attack"), had made several attempts to create Nazi martyrs for propaganda purposes, the first being an SA man named Hans-Georg Kütemeyer, whose body was pulled out of a canal the morning after he attended a speech by Hitler at the Sportpalast. Goebbels attempted to spin this into an assassination by Communists, but the overwhelming evidence showed it to have been suicide, and he had to drop the matter. [9] Thus, Goebbels put considerable effort into mythologizing Wessel's story, even as the man lay dying. He met with Wessel's mother, who told him her son's life story, his hope for a "better world", and his attempt to rescue a prostitute he had met on the street.

Goebbels saw Wessel as an "idealistic dreamer". [4] Wessel himself had undergone an operation at St. Joseph's Hospital which stopped his internal bleeding, but the surgeons had been unable to remove the bullet in his cerebellum . Wessel was brought to his mother's home to die. In his diary, Goebbels described Wessel's entire face as being shot up and his features distorted, and claimed that Wessel told him "One has to keep going! I'm happy!" After a period where his condition stabilized, Wessel died on 23 February. [4] Goebbels consulted with Hermann Göring and others in the party on how to respond to Wessel's death. They declared a period of mourning until 12 March, during which party and SA members would avoid amusements and Wessel's name would be invoked at all party meetings. Wessel's unit was renamed the Horst Wessel Storm Unit 5. [4] From a mashup of fact and fiction, Goebbels created what became one of the Nazi Party's central martyr-figures.

He officially declared Wessel's march, renamed as the Horst-Wessel-Lied ("The Horst Wessel Song"), to be the Nazi Party anthem. [10] Wessel's funeral was elaborately staged to be as provocative to the Communists as possible, [2] and the KPD cooperated by staging a counterdemonstration, which resulted in battles outside the cemetery after the funeral. [4] "The Horst Wessel Song" was sung by the SA at the funeral, and was thereafter extensively used at party functions, as well as sung by the SA during street parades. When Nazi Führer ("leader") Adolf Hitler became the Chancellor of Germany in January 1933, "The Horst Wessel Song" became a national symbol by law on 19 May 1933. The following year, a regulation required the right arm be extended and raised in the " Hitler salute " when the (identical) first and fourth verses were sung. Nazi leaders can be seen singing the song at the finale of Leni Riefenstahl 's 1935 film Triumph of the Will . Hitler also mandated the tempo at which the song had to be played.

[11] Post World War II[ edit ] With the end of the Nazi regime in May 1945, "The Horst Wessel Song" was banned. The lyrics and tune are now illegal in Germany , with some limited exceptions. In early 2011, this resulted in a Lower Saxony State Police investigation of Amazon.com and Apple Inc. for offering the song for sale on their websites. Both Apple and Amazon complied with the government's request, and deleted the song from their offerings. [12] Lyrics[ edit ] The words to "The Horst Wessel Song" were published in September 1929 in the Nazi Party's Berlin newspaper, Der Angriff (The Attack) which Joseph Goebbels owned and ran. They were attributed to Der Unbekannte SA-Mann (the unknown SA-Man)[ citation needed ]: Hitler Youth giving the Hitler salute ; Germans were required by law to make the salute during the singing of "The Horst Wessel Song" [13] Die Fahne hoch! Die Reihen fest geschlossen! SA marschiert mit ruhig festem Schritt.

Kam'raden, die Rotfront und Reaktion erschossen, Marschier'n im Geist in unser'n Reihen mit. Kam'raden, die Rotfront und Reaktion erschossen, Marschier'n im Geist in unser'n Reihen mit. Die Straße frei den braunen Batallionen. Die Straße frei dem Sturmabteilungsmann! Es schau'n aufs Hakenkreuz voll Hoffnung schon Millionen. Der Tag für Freiheit und für Brot bricht an! Es schau'n aufs Hakenkreuz voll Hoffnung schon Millionen. Der Tag für Freiheit und für Brot bricht an! Zum letzten Mal wird Sturmalarm geblasen! Zum Kampfe steh'n wir alle schon bereit! Schon flattern Hitlerfahnen über allen Straßen. Die Knechtschaft dauert nur noch kurze Zeit! Schon flattern Hitlerfahnen über allen Straßen. Die Knechtschaft dauert nur noch kurze Zeit! Die Fahne hoch! Die Reihen fest geschlossen! SA marschiert mit ruhig festem Schritt.

Kam'raden, die Rotfront und Reaktion erschossen, Marschier'n im Geist in unser'n Reihen mit. Kam'raden, die Rotfront und Reaktion erschossen, Marschier'n im Geist in unser'n Reihen mit. The flag on high! The ranks tightly closed! The SA marches with quiet, steady step. Comrades shot by the Red Front and reactionaries March in spirit within our ranks. Comrades shot by the Red Front and reactionaries March in spirit within our ranks. Clear the streets for the brown battalions, Clear the streets for the storm division! Millions are looking upon the swastika full of hope, The day of freedom and of bread dawns! Millions are looking upon the swastika full of hope, The day of freedom and of bread dawns! For the last time, the call to arms is sounded! For the fight, we all stand prepared! Already Hitler's banners fly over all streets. The time of bondage will last but a little while now! Already Hitler's banners fly over all streets. The time of bondage will last but a little while now. The flag on high! The ranks tightly closed!

The SA march with quiet, steady step. Comrades shot by the Red Front and reactionaries, March in spirit within our ranks. Comrades shot by the Red Front and reactionaries, March in spirit within our ranks. The Rotfront, or "Red Front," was the Rotfrontkämpferbund , the paramilitary organization of the Communist Party of Germany (KPD). The Nazi Sturmabteilung (SA, also known as the "brown shirts") and the Communist Red Front fought each other in violent street confrontations, which grew into almost open warfare after 1930. The "reactionaries" were the conservative political parties and the liberal democratic German government of the Weimar Republic period, which made several unsuccessful attempts to suppress the SA. The "servitude" refers to the 1919 Treaty of Versailles , in which the victorious powers imposed huge reparations on Germany, stripped her of her colonies in Africa, Asia and the Pacific Ocean, some of which were mandated to the United States and the Empire of Japan , and gave parts of Germany to Belgium , Denmark , France , Poland , and Lithuania . The line "Kameraden, die Rotfront und Reaktion erschossen" is technically ambiguous.

It could either mean Kameraden, die von Rotfront und Reaktion erschossen wurden ("Our comrades who were shot dead by the Red Front and Reactionaries") or Kameraden, welche die Erschießung von Rotfront und Reaktion durchführten ("Our comrades who have shot the Red Front and Reactionaries dead"). In spite of this obvious syntactic problem, which was mentioned by Victor Klemperer in his LTI – Lingua Tertii Imperii , the line was never changed. The following line Marschier'n im Geist in unser'n Reihen mit (March in spirit within our ranks) however indicates that the aforementioned comrades are deceased, advocating the first interpretation.

Some changes were made to the lyrics after Wessel's death: Stanza 1, line 2 Bald flattern Hitlerfahnen über Barrikaden Schon/bald flattern Hitler-Fahnen über allen Straßen Soon Hitler's banners will flutter above the barricades Already/Soon Hitler's banners will flutter above all streets The dropping of the reference to "barricades" reflected the Nazi Party's desire in the period 1930–33 to be seen as a constitutional political party aiming at taking power by legal means rather than as a revolutionary party. After Wessel's death, new stanzas were added, composed in his honour. These were frequently sung by the SA, but did not become part of the official lyrics used on party or state occasions. Sei mir gegrüßt, Du starbst den Tod der Ehre!

Horst Wessel fiel, doch tausend neu erstehen Es braust das Fahnenlied voran dem braunen Heere SA bereit, den Weg ihm nachzugehen Die Fahnen senkt vor Toten, die noch leben Es schwört SA, die Hand zur Faust geballt Einst kommt der Tag, da gibts Vergeltung, kein Vergeben wenn Heil und Sieg durchs Vaterland erschallt. Receive our salute; you died an honorable death! Horst Wessel fell, but thousands newly arise The anthem roars ahead of the brown army The storm-divisions are ready to follow his path. The flags are lowered before the dead who still live The storm-division swears, his hand clenched into a fist, That the day will come for revenge, no forgiveness, When Heil and Sieg will ring through the fatherland. Melody[ edit ] After Wessel's death, he was officially credited with having composed the music, as well as having written the lyrics, for "The Horst Wessel Song". Between 1930 and 1933, however, German critics disputed this, pointing out that the melody had a long prior history.

" How Great Thou Art " is a well-known hymn with a similar tune for example. Criticism of Horst Wessel as author became unthinkable after 1933, when the Nazi Party took control of Germany and criticism would likely be met with severe punishment. The most likely immediate source for the melody was a song popular in the German Imperial Navy during World War I , which Wessel would no doubt have heard being sung by Navy veterans in the Berlin of the 1920s. The song was known either by its opening line as Vorbei, vorbei, sind all die schönen Stunden or as the Königsberg-Lied, after the German cruiser Königsberg , which is mentioned in one version of the song's lyrics. The opening stanza of the song is: Vorbei, vorbei sind all die schönen Stunden die wir verlebt am schönen Ostseestrand Wir hatten uns, ja uns so schön zusamm'n gefunden es war für uns der allerschönste Ort. Gone, gone are all the happy hours that we spent on the beautiful Baltic shore. Things were so beautiful between us all and it was for us the finest place of all.

Another German song, Der Abenteurer (The Adventurer), begins: Ich lebte einst im deutschen Vaterlande Bei goldner Freiheit achtzehn Jahr dahin. Da zog die Neubegierde mich zum Strande, Und ich bestieg ein Schiff mit frohem Sinn. Once I lived in the German fatherland In golden freedom for eighteen years. Then curiosity lured me to the beach And I boarded a ship in cheerfulness. In 1936, a German music critic, Alfred Weidemann, published an article in which he identified the melody of a song composed in 1865 by Peter Cornelius as the "Urmelodie" (source-melody). [14] According to Weidemann, Cornelius described the tune as a "Viennese folk tune." This appeared to him to be the ultimate origin of the melody of "The Horst Wessel Song". [15] Far-right use outside Germany[ edit ] During the 1930s and 1940s, "The Horst Wessel Song" was adapted by fascist groups in other European countries.

[16] One of the marching songs of the British Union of Fascists was set to the same tune, and its lyrics were to some extent modelled on the song, though appealing to British Fascism. Its opening stanza was: Comrades, the voices of the dead battalions, Of those who fell, that Britain might be great, Join in our song, for they still march in spirit with us, And urge us on to gain the fascist state! In Spain, the Falange fascist movement sang to the same tune: Por el honor, la Patria y la justicia, luchamos hoy en este amanecer. Y si la muerte llega y nos acaricia, ¡Arriba España! Diremos al caer. For honor, Fatherland, and justice, we fight today in this dawn, And if death comes and caresses us, Spain be raised! We shall say in falling. (Note that this was a Traditional Falange march (Movimiento Nacional), and not a march of the original Falange.

It was sung by some of the volunteers of the 250th division, the División Azul , after the death of José Antonio Primo de Rivera .) In Vichy France the members of the Légion des Volontaires Français sang: Nous châtierons les juifs et les marxistes, Nous vengerons nos frères tués par eux, Afin que l'idéal national-socialiste Puisse être un jour fier et victorieux. We shall smite the Jews and the Marxists, We shall avenge our brothers killed by them, So that the National Socialist ideal Should one day be proud and victorious. In modern Greece, Golden Dawn , an extreme right-wing party , uses "The Horst Wessel Song" with Greek lyrics [17] [18] in its gatherings or events, such as the occasional, public distribution of food "to Greeks only", [19] while its leader, Nikolaos Michaloliakos , often uses the song's key stanzas (e.g. "The flags on high!") in his speeches.

[20] The lyrics of their version are: [21] Από του Ολύμπου τη γρανιτένια όψη μέχρι της Κύπρου τη σκλαβωμένη γη. Απ' τη μεγάλη του ονείρου μας την Πόλη ως τη Χειμάρρα , που είναι Ελληνική!(2x) Ορθό το λάβαρο κι η νίκη μας προσμένει. Ψηλά το μέτωπο και η καρδιά σκληρή.

Στον κόσμο αυτό εμείς θα δείξουμε πώς μένει το θάρρος άπαρτο και φρούριο η τιμή!(2x) Χτυπάτε αλύπητα, με λύσσα, με φοβέρα με θάρρος, σύντροφοι, τα τείχη των εχθρών. Με την Χρυσή Αυγή θα γίνουμε μια μέρα εκατομμύρια στρατός αγωνιστών(2x) From the granite face of Olympus To the enslaved land of Cyprus , |: From the great City of our dream to Himara , which is Greek! :| The flag on high, victory awaits us. [Keep] the head held high and the heart tough.

|: To this world, we will show how these [the following] remain, the courage unplucked and our honor [tough like] a fortress! :| Beat mercilessly, with awesome fury with courage, comrades, the walls of [our] enemies. |: One day, with the Golden Dawn, we will become an army of millions of struggling people! :| The All-Russian Fascist Organization , founded in 1933, largely consisted of émigrés of the White Movement. It was led by Anastasy Vonsyatsky and was based in Connecticut , USA. The organization dissolved after the United States entered World War II, and Vonsyatsky was arrested for violating the 1917 Espionage Act. The lyrics of their version are: [22] Заря близка, Знамёна выше, братья! Смерть палачам свободы дорогой! Parodies[ edit ] Before 1933, the German Communists and the Social Democrats sang parodies of "The Horst Wessel Song" during their street battles with the SA.

Some versions simply changed the political character of the song: Die Fahne hoch, die Reihen fest geschlossen Rotfront marschiert mit eisenfestem Schritt Genossen, die vom Stahlhelm Hakenkreuz erschossen Marschier'n im Geist in uns'ren Reihen mit. The flag high! The ranks tightly closed! Red Front marches with iron-firm pace. Comrades, shot dead by the Steel Helmet Swastika March in spirit in our ranks. The Stahlhelm , or "Steel Helmet," was a nationalist veterans' organisation closely aligned with the German National People's Party . Others substituted completely new lyrics: Ernst Thälmann ruft uns auf die Barrikaden! Bauer, steh auf! Erheb dich, Arbeitsmann Gewehre nehmt! Gewehre gut und scharf geladen! Tragt rote Fahnen hoch im Kampf voran! Ernst Thälmann calls us to the barricades Farmer arise, workman lift yourself up To arms! Load the guns well with live ammunition Carry high red flags onward into the fight! Ernst Thälmann was the KPD leader.

These versions were banned once the Nazis came to power and the Communist and Social Democratic parties suppressed, but during the years of the Third Reich the song was parodied in underground versions, poking fun at the corruption of the Nazi elite. There are similarities between different texts as underground authors developed them with variations. Below are several versions. Die Preise hoch, die Läden dicht geschlossen Die Not marschiert und wir marschieren mit Frick, Joseph Goebbels, Schirach, Himmler und Genossen Die hungern auch doch nur im Geiste mit. The prices high, the shops tightly closed poverty marches and we march with it Frick, Joseph Goebbels, Schirach, Himmler and their comrades they go hungry as well, but only in spirit. Die Preise hoch die Läden fest geschlossen Die Not marschiert mit ruhig-festem Schritt. Es hungern nur die kleinen Volksgenossen, Die Großen hungern nur im Geiste mit. The prices high, the shops are tightly closed Poverty marches with a quiet, firm step. Only the little folk are hungry The bigwigs hunger only in spirit.

Wilhelm Frick was the Interior Minister, Baldur von Schirach was the Hitler Youth leader and Heinrich Himmler was head of the SS and police. Another version was Perhaps he's a fat cat , Who will get millions tomorrow, But that just means, Brown fetid dirt to us. [23] In the first year of Nazi rule, radical elements of the SA sang their own parody of the song, reflecting their disappointment that the socialist element of National Socialism had not been realised: [24] Die Preise hoch, Kartelle fest geschlossen Das Kapital marschiert mit leisem Schritt. Die Börsianer sind nun Parteigenossen Und für das Kapital sorgt nun Herr Schmitt. The prices high, the cartels are tightly closed Capital marches with a quiet step. The stockbrokers are now party comrades And capital is now protected by Herr Schmitt. Kurt Schmitt was Economics Minister between 1933 and 1935. One of the best-known parodies was included in Bertolt Brecht 's play Schweik in the Second World War (1943).

Hanns Eisler composed a score for the "Kälbermarsch" (Calves' March): [25] Der Metzger ruft. Die Augen fest geschlossen Das Kalb marschiert mit ruhig festem Tritt. Die Kälber, deren Blut im Schlachthof schon geflossen Sie ziehn im Geist in seinen Reihen mit. The butcher calls! The eyes tightly closed The calf marches with quiet, steady step. Calves whose blood has already been spilt at the slaughterhouse They march in spirit within its ranks. Following the dismemberment and division of the Reich into occupation zones at the end of the World War II , with the eastern provinces annexed by Poland and the USSR and their millions of inhabitants driven from their homes into what remained of Germany, a version of 'Die Preise hoch' became popular in the Soviet zone, targeting Communist functionaries: [26] Die Preise hoch die Läden fest geschlossen Die Not marschiert mit ruhig-festem Schritt. Es hungern nur die kleinen Volksgenossen, Die Großen hungern nur im Geiste mit.

The prices high, the shops are tightly closed Poverty marches with a quiet, firm step. Only the little folk are hungry The bigwigs hunger only in spirit. The most notable English-language parody was written by Oliver Wallace to a similar melody and titled " Der Fuehrer's Face " for the 1942 Donald Duck cartoon of the same name. It was the first hit record for Spike Jones . The opening lyrics give the flavor of the song: When der Fuehrer says we is de master race We "Heil!" (pffft), "Heil!" (pffft) right in der Fuehrer's face Not to love der Fuehrer is a great disgrace So we "Heil!" (pffft), "Heil!" (pffft) right in der Fuehrer's face [27] Each "Heil!" is followed by a Bronx cheer .

In popular culture[ edit ] The melody of the song was used various times in the Wolfenstein series of video games , which feature an Allied agent infiltrating Nazi German installations.[ citation needed ] Music of Third Reich & Military Marches Music of Third Reich & Military Marches Military Marches and Music from the Third Reich and WW2-era. On the eve of Victory Day, RBTH remembers the most renowned songs from the war years ï¿½ songs whose popularity helped to inspire the Soviet Union in its fight against Nazi Germany. (rbth.com) Conflict-Series: A highly rated strategy game series for Android If you love classic PC war games and legendary strategy board games make sure to check out the highly rated Conflict-series for Android. Some of the WWII Campaigns include D-Day 1944, Operation Barbarossa, Invasion of Poland 1939, France 1940, Kursk 1943, Market Garden, Iwo Jima, Okinawa, Rommel's North African campaign, the Battle of Bulge, and the Battle of Berlin 1945. In addition there are American Civil War, First World War and American Revolutionary War scenarios available.

(available on Google Play & Amazon App Store) Auschwitz survivor on how cello saved her life - and playing for Nazi doctor Josef Mengele With an Auschwitz camp number tattooed on her arm, 18-year-old Anita Lasker-Wallfisch was dragged away to audition for her life. As a new arrival to the Nazi death camp in 1943, she faced being murdered in the gas chambers within weeks. But the 90-year-old holocaust survivor knows there was just one reason she made it out of the horror alive ï¿½ her cello. `I was asked what I did before the war and mentioned I used to play. Unbelievably this woman said, ï¿½Fantastic, you will be saved.`" She joined the Women`s Orchestra Of Auschwitz ï¿½ a 40-strong group set up by order of the SS as a distraction from their role as mass murderers. On one occasion Angel Of Death Josef Mengele demanded to hear Schumann` s Trï¿½umerei.

(mirror.co.uk) The Nazis` 10 Control-Freak Rules for Jazz Performers: A Strange List from World War II While it`s no great surprise that Nazis hated jazz, it seems they expressed their disapproval in a very oddly specific way, at least in the recollection of Czech writer Josef Skvorecky. He recounts from memory a set of ten bizarre regulations issued by a Gauleiter, a regional Nazi official, that bound local dance orchestras during the Czech occupation. (1) Pieces in foxtrot rhythm (so-called swing) are not to exceed 20% of the repertoires of light orchestras and dance bands. (4) o-called jazz compositions may contain at most 10% syncopation; the remainder must consist of a natural legato movement devoid of the hysterical rhythmic reverses characteristic of the barbarian races and conductive to dark instincts alien to the German people (so-called riffs). (openculture.com) Anita Lasker Wallfisch, a surviving member of the Women`s Orchestra in Auschwitz, told BBC Newsnight that her ability to play the cello saved her life.

(bbc.co.uk) Vienna Philharmonic and the Jewish musicians who perished under Hitler On 23 March 1938, the violinist Viktor Robitsek received a curt note from the management of the Vienna Philharmonic orchestra. It told him he was being fired. Robitsek`s "crime" had nothing to do with his musical talents: he was Jewish. 11 days earlier Hitler`s troops had marched into Vienna. On the 75th anniversary of Austria`s fateful Anschluss with Germany, the world`s most famous orchestra is finally revealing some of its dark secrets. A panel of historians allowed access to its archives has discovered that five Jewish musicians perished in Nazi death camps or ghettos. Two more died after persecution. In total 13 Jews were driven from the orchestra. (guardian.co.uk) Arshanskaya sisters survived Holocaust by playing piano for Nazi Generals On a frigid December day in 1941, German soldiers stormed into the house at 48 Katsarskaya Street, rounded up Zhanna`s entire family and shoved them into a long line of Jews forced to march out of Kharkov.

During the death march her father Dimitri Arshansky, realizing that he could not save both his girls, pulled out his gold pocketwatch and flashed it in front of a guard. He told the guard: please let his little girl go. He knew Zhanna, the adventurous one, had a chance to survive. As the guard took the bribe and she fell out of line. A few days later Zhanna was reunited with her sister Frina. To this day she does not know how Frina escaped. Later a piano tuner at the orphanage heard her play one day and offered them jobs with a musical troupe that entertained the Nazis. (cnn.com) Legendary D-Day piper Bill Millin passes away Under the fire of Nazi guns and wading through a sea red with the blood, Bill Millin struggled towards the D-Day invasion beach with the commandos of the 1st Special Service Brigade. Amid the noise of battle and cries of the injured, Millin only just caught the five words. "Give us `Highland Laddie` man!" shouted Lord Lovat, the charismatic Chief of Clan Fraser and Brigadier of the 2,500 commandos, who was determined to put some backbone into his forces.

Obediently, Millin put the mouthpiece of his bagpipes to his lips, ignored the thundering crash of gunfire - and played as he had never played before. (dailymail.co.uk) The Terezï¿½n ghetto was home to a remarkable array of musicians, composers and theatrical artists After the Terezin ghetto was set up and the first "transports" arrived in 1941, cultural life sprang from the the talent confined in the camp. With time, the concerts, cabarets, plays, schooling and lectures came to be tolerated by the Nazis, as a means of pacification - and in 1943 even encouraged. In 1944, the SS "beautified" the camp and invited the Red Cross to tour the camp and see a performance of the children`s opera Brundibï¿½r, written by one of the camp`s leading composers, Hans Krï¿½sa. A Nazi propaganda film was made - The Fï¿½hrer Gives a City to the Jews - featuring the performance. (guardian.co.uk) Photographs of German Musikkorps - thread at the Axis History Forum.

(forum.axishistory.com) World War II veterans hunted down in Russia to pay for the WWII songs they sang in an event Music played an important part during World War II. It was used to boost the morale of soldiers, and ever since war songs have lived on with those that survived the combat. In 2009 a WW2 veterans choir held a concert in Samara, singing the nostalgic songs that helped them through the fighting. Now the Russian Authors Society (RAS) has filed a claim: since the war songs the veterans sang are copyrighted, fees have to be paid. The veterans are angry, many simply don`t understand what is happening. "It is unacceptable that those who sing the wonderful songs of WWII will have to pay a bribe," said Communist Party leader Gennady Zyuganov. (torrentfreak.com) Famous Irish musician Sean Dempsey played for Adolf Hitler in 1936 - And fï¿½hrer loved it Newly released historical photos reveal that Irish musician Sean Dempsey played for Adolf Hitler in 1936, and the Nazi dictator loved his music.

Dempsey, an uileann piper, was invited to play for Hitler and Joseph Goebbels during a visit to Berlin after being told that Hitler was an Irish folk music fan. But when he arrived there was no room for him to sit, which he needed to play. However, Hitler jumped up and ordered a SS member down on his hands and knees and that Dempsey sit on him while he played. After he performed, Hitler gave him with a gold fountain pen while Goebbels applauded wildly. (irishcentral.com) Exhibit explores the use of classical music in the Third Reich An exhibit "Blood and Spirit: Bach, Mendelssohn and Their Music in the Third Reich", at the Johann Sebastian Bach Museum in Eisenach, focuses on classical composers Richard Wagner, Felix Mendelssohn and Johann Sebastian Bach, whose works were tied into Nazi idealism. Blood and Spirit explores the Nazi`s use of musicians for political and social manipulation. "Most visitors are very surprised, because they didn`t know about Bach`s role under the Nazis. They had no clue... that he was played at Nazi party rallies," said museum director Joerg Hansen. 15,000 visitors, including many foreign tourists, have seen the show after it opened.

(beatcrave.com) Music in Desperate Times: US group re-creates Nazi death camp orchestra When Gustav Mahler`s niece greeted new arrivals at a Nazi death camp, she knew that any woman who got off the train with a musical instrument had a chance to live. Women in Alma Rose`s orchestra were forced to play for SS officers at the Birkenau concentration camp. All the women survived, except Rose. Now, an American orchestra ( is honoring to those musicians with concerts in the US and Germany titled "Music in Desperate Times: Remembering The Women`s Orchestra of Birkenau." During the 18 months the Birkenau orchestra existed it also played marches for emaciated prisoners as they struggled to walk to their forced labor tasks. (usatoday.com) Adored by Adolf Hitler, Gay Tenor with Jewish wife thrived in Third Reich A new release highlights the strange career of Max Lorenz, Adolf Hitler`s favorite tenor. Though homosexually inclined and married to a Jew, he flourished in Nazi Germany. Had Lorenz been a singer of Mozart or Puccini he and his wife would have ended up in the Nazi camp Theresienstadt.

But Lorenz focused in the heroes of Richard Wagner, especially Siegfried. "Max Lorenz: Wagner`s Mastersinger, Hitler`s Siegfried" is a welcome combo set of a biographical DVD and a CD of highlights from a 1938 "Siegfried" performance in Buenos Aires. The DVD includes archival footage, interviews, and documents. (bloomberg.com) Nazi lies, hate emerge in film about Carmina Burana composer Carl Orff Carl Orff`s 1937 cantata "Carmina Burana" celebrates the joys of life. It also hides a dark secret, as documentary "O Fortuna" by Tony Palmer reveals. After its premiere in front of the top Nazis, "Carmina Burana" catapulted Orff (1895-1982) into the ranks of the Third Reich`s most favored composers. While he privately viewed the National Socialists philistines, he still accepted their flattery. At the end of the war, a de-Nazification officer told that if Orff could prove he had helped to overthrow the Nazi regime his name would be cleared as a Nazi sympathizer. Orff lied that he`d been a member of the White Rose underground resistance group.

(bloomberg.com) Joza Karas recovered music from the Terezin concentration camp Joza Karas, who tracked down music and stories of composers who managed to do masterly work in a Nazi concentration camp, passed away at the age 82. His book "Music in Terezin, 1941-1945" recorded the prospering musical life in the horrible Terezin concentration camp. Karas collected over 50 pieces of the music written there and produced editions that have been widely performed. The Nazis made propaganda use of the 4 concert orchestras and many chamber groups at Terezin. In a legendary deception, when the Red Cross went to inspect the camp in 1944, the Nazis sent the old and sick to gas chambers and even opened a chocolate shop. (nytimes.com) The story behind the song Lili Marlene In 1915, as a soldier in WWI, Hans Leip wrote a poem to express the anguish of separation from a girl named Lili. On sentry duty at night, he would get a wave from a nurse going off duty; her name: Marleen.

Before WWII broke out, composer Norbert Schultze read Leip`s poems, he caught their mood and composed a melody for the Young Sentry poem. The song was regularly turned down, but by 1939 Schultze had modified the song and singer Lale Andersen reluctantly recorded it. Joseph Goebbels hated the song for not being "military" enough, and banned it. But Field Marshal Erwin Rommel requested Radio Belgrade to play Lili Marlene every night for his Afrika Korps. (telegraph.co.uk) The Stalin hymns that are best forgotten - The revival of propagandistic cantatas Music fans may wonder about the sudden reappearance of a number of classical hymns to Stalin. Around 2003, the 50th anniversary of the death of Sergey Prokofiev, a number of his propagandistic works were played in London and New York, and recorded. These included works such as the Zdravitsa (Hail to Stalin), a cantata for chorus and orchestra written to celebrate ("You are our beloved guide") the 60th birthday of the dictator.

Other pompous Prokofiev works lately revived include Flourish Mighty Land!, a 1947 cantata which honoured the 30th anniversary of the October Revolution. (guardian) Music in Exile: A Toronto ensemble tours revives composers banned by Third Reich The 75th anniversary of Adolf Hitler`s rise to power doesn`t look like a good topic for commemoration with a concert series. Yet Toronto`s Artists of the Royal Conservatory ensemble has found a fitting way to mark the occasion, touring with "Music in Exile" -program, playing music written by composers who fled Nazi Germany. Many were Jewish, but not all, as the Nazis banned anything they deemed "entartete Musik" ("degenerate music"). "The ï¿½migrï¿½s went everywhere, not just New York and Hollywood," says Simon Wynberg, artistic director of the ARC ensemble.

(theglobeandmail) Documentary films explore life under Nazi Germany and Soviet Union The latest from director Bruno Monsaingeon are 2 hour-long films on 20th-century Russian music: "The Red Baton: Scenes of Musical Life in Stalinist Russia" and "Gennadi Rozhdestvensky: Conductor or Conjurer?" "The Red Baton" explores the psychic torture artists suffered in a society so insane that Rozhdestvensky, looking back, doesn`t know whether to laugh or cry. --- Enrique Sanchez Lansch`s well researched film "The Reichsorchester: The Berlin Philharmonic and the Third Reich" reveals the Berlin Philharmonic`s history as both a Nazi propaganda tool and a morale booster for German citizens. (nj) German archive focuses on music silenced by the Nazis Numerous Jewish musicians were forbidden from performing during the Nazi years. Now, a Center for Ostracized Music plans to recover these lost musical voices. After the race laws in 1933, the German Music Chamber (Reichsmusikkammer) set up a register of all musicians. As a result, many musicians had their work suppressed because their race or music offended the Third Reich.

Works by composers such as Gustav Mahler, Felix Mendelssohn, and Arnold Schoenberg were prohibited. As the Nazis occupied more countries, the numbers of banned musicians grew. At the moment the archive holds 400 works from 50 ostracized composers. (dw-world) 104-year-old Nazi-era singer returns to stage: Performed for Adolf Hitler 104-year-old Dutch cabaret singer Johannes Heesters has given a concert in the Netherlands for the first time in 4 decades - with protests and tight security around the theatre. Although Heesters says he never embraced Nazi politics, he performed in Nazi Germany for Adolf Hitler and visited the Dachau camp. Many Dutch people have never forgiven him. "He kept singing for the Nazi regime, for the Wehrmacht, and he earned millions," said Piet Schouten, of a committee formed to protest against performance. Heesters was never accused of being a Nazi propagandist, and the Allies let him to continue performing after the war.

(bbc) The Nazis` favourite composer Wagner played at Berlin`s Nazi arena Adolf Hitler and Wagner will "turn in their graves" when an orchestra of Jews and Muslims performs the Valkyrie by the Nazis` favourite composer Richard Wagner. The production is to be staged at the Waldbuhne, the outdoor arena built for the Berlin Olympics in 1936 at which some athletes gave the Nazi salute in front of Hitler. Conductor Daniel Barenboim said his production would have stunned the Nazi leader and his muse: "Can you imagine that? The Waldbuhne was built by Hitler. The music is Wagner. Played by us!" (telegraph.co.uk) Book Tells of Philharmonic`s Nazi Ties - Das Reichsorchester The Berlin Philharmonic became a privileged servant of Nazi propaganda after Adolf Hitler`s 1933 takeover, making a deal with the new regime that won it financial security. That`s according to a book recounting how the orchestra lent its gloss to the Nazis. The arrangement saw the orchestra touring abroad as an example of German cultural superiority and serenading Hitler on his birthday.

In "Das Reichsorchester" historian Misha Aster writes that the relationship between the Nazis and the orchestra was complex, and each side exploited the other - although Nazi propaganda minister Joseph Goebbels held the upper hand over conductor Wilhelm Fuertwaengler. (washingtonpost) The Navy B-1 Band : The black Navy band made WWII history To the tune of the solemn "Navy Hymn," photos appear of 44 World War Two sailors in dress uniforms. Calvin Morrow is among 14 of the 44 who survive. Age, not combat, reduced the numbers. Instead of guns, the sailors fought for America with clarinets, French horns, trumpets, drums and trombones. They believe their music hastened integration a tad. They belonged to the Navy B-1 Band, an all black group formed in 1942. It was the first time the Navy let black sailors rise above orderlies, say Morrow and Alvin Albright. The band traveled to parades, war bond rallies and ship christenings.

(ncmuseumofhistory.org) Saved from scraps, music of the death camps - Listen samples Scribbled in notebooks and diaries they provide a remarkable history of the music played and sung by the victims of the nazi era. Scores for thousands of waltzes, tangos, operas and folk songs will be made available by Francesco Lotoro, a professional pianist who for 16 years has been scouring cities to amass his collection. Much of the music is sad and plaintive, the lyrics of one song by Josef Kropinski read: "In Buchenwald, the birch trees rustle sadly, as my heart sways languishing in woe." Despite the privations of life, there are several upbeat songs and plenty of wry humour: "There`s no life like life at Auschwitz!" (telegraph.co.uk) Music composed or played in dark places 1933-1945 Scribbled on diaries, loose pages or even toilet paper, these are the notes left behind by people who lived and died in the prisons and camps of WW2.

Italian researchers hope thousands of nearly forgotten works will find new life as they assemble a library of music from those dark places 1933-1945. He has been collecting originals, copies and recordings of everything from operas composed in the depth of the Nazi death machine to jazz pieces written in Japanese POW camps in jungles. The library, at Rome`s Third University, will offer scholars 4,000 papers and 13,000 microfiches including music sheets, letters, drawings and photos. (usatoday) Composers in Nazi camps wrote music for three reasons (Article no longer available from the original source) Composers in Nazi camps wrote music for 3 reasons: to document camp life, as a distraction from reality and to uphold musical traditions. The most famous opera written at Terezin is "The Emperor of Atlantis" by Victor Ullman, who wrote 22 works in the camp. The Emperor is Adolf Hitler, the Loudspeaker and Drummer-girl cast as Joseph Goebbels and Hermann Goering. Terezin was a "model camp" where artists spent time before being shipped to Auschwitz. An SS officer who watched a rehearsal recognized the piece`s allegorical nature.

The next morning, Ullman and the cast departed for Auschwitz. The opera was never performed until after the war. (oregonlive) Germany patriotism fight focuses on national anthem Germany`s patriotism debate has taken a new turn. The latest issue is over the national anthem. A regional teachers` union said that the 19th century verses are tainted by Germany`s Nazi past and should be replaced by a new anthem. Most Germans seem to have trouble remembering anthem`s words beyond the first two lines: "unity and justice and liberty for the German fatherland." The first verse, which begins with "Deutschland, Deutschland ueber alles" and outlines a rather oversized Germany, was popular under the Nazis. After WWII, West Germany kept the anthem, despite some debate. Communist East Germany produced its own national song, "Risen from the Ruins." (taipeitimes.com) Third Reich and Music - Nazi attempt to manipulate music The exhibit "The Third Reich and Music" at the Neuhardenberg Castle Foundation features the Nazi attempt to manipulate music. Two hundred items, including letters, music scores, films and recordings make up the exhibit that illustrates how important music was in National Socialist Germany.

The exhibit also shows how the Nazi regimeï¿½s music propaganda was contradictory. Monumental music was to accompany monumental projects ï¿½ from grand-scale architecture to huge military parades. Richard Wagner and Anton Bruckner were Hitlerï¿½s favourite composers ï¿½ their music laden with an ever increasing, slow build-up of glorious sounding, awe-inspiring crescendos. (ejpress) The Third Reich and Music - Exhibit (Article no longer available from the original source) Them Nazis sure knew how to roll up a bunch of symbols at once in their propaganda. Above is a poster advertising their 1938 "Degenerate Music" exhibition, highlighting the destructive effects of jazz and "negro music" in general, among others. Schloss Neuhardenberg outside of Berlin is hosting an exhibit called "The Third Reich and Music," combining creepy-kitsch like this poster with the various art forms the Nazis outlawed ï¿½ principally modern and non-Aryan music (as opposed to classical Wagnerian stuff), plus paintings, letters, sculptures, and historical documents.

(gridskipper) Marlene Dietrich DVD: The Glamour Collection With Marlene Dietrich: The Glamour Collection Universal taps into one of the biggest stars of the 1930s and one of the truly most glamorous women of the 20th century, a mysterious creature of a million male daydreams. Marlene Dietrich became the Trilby to Josef Von Sternberg`s Svengali for a series of exotic romances. And she was one of the most beloved figures of WW2, reportedly associated with the song Lily Marlene by soldiers on both sides of the conflict in Europe. (dvdtalk) Anna Marly wrote the anthem of French Resistance Anna Marly, who wrote the melody to the song that became the anthem of the French Resistance in WWII and whose whistling and singing on the radio were an inspiration to the anti-Nazi underground, died on Feb. 15 in Alaska. She wrote the melody to "Chant des Partisans," or "Song of the Partisans," which became an unofficial French anthem in the last years of WWII. Gen.

Charles de Gaulle called Miss Marly the "troubadour of the Resistance." (nytimes) Nazi swing music from the 30s FMU`s terrific blog presents mp3s of songs by Charlie and His Orchestra, a big band assembled by Hitler`s minister of propaganda, Joseph Goebbels, to spread the Nazi message abroad even while trying to stamp out jazz and swing domestically. "Leave it to Goebbels to take the music of The Andrews Sisters, Paul Whiteman and Irving Berlin and fill it with venomous rants." (mf) Horst Wessel - Making a martyr Horst Wessel became a member of the Bismarck-Jugend and joined the Nazi Sturmabteilung (SA Stormtroopers). Horst Wessel was a lowlife, but in death he proved useful to his Reich. After his death, Goebbels set about making a martyr of him with a speech "Die Fahne Hoch!" - Raise high the flag - after the first line of a poem written by Wessel. He was exalted as a example of Nazi virtue; the seedier aspects were played down and his murder was portrayed as National Socialism`s struggle against Marxism.

The poem quoted by Goebbels was set to music and became a Nazi anthem and SA marching song: Die Fahne Hoch, Horst Wessel Lied or "The Horst Wessel Song." (everything 2) Requiem for the masses - Five orchestras playing at Auschwitz How can music have happened at Auschwitz? At one point there were at least five orchestras playing there. Holocaust: A Music Memorial Film from Auschwitz was a film about music in Auschwitz. Some of the surviving musicians - survivors because they were musicians - talked about having their music stolen from them by the SS officers for their own needs. Eva Adam had to sing as the trains arrived - lively songs so the people getting off those trains would think that it was all going to be all right, although Eva knew most of them would be dead within half an hour. And Anita Lasker-Wallfisch was made to play Schumann on the cello for Dr Mengele. (guardian) Swingtime for Hitler - Banning jazz A few weeks after Hitler came to power in 1933, the German broadcasting authority announced its intention to ban jazz from the airwaves.

It was degenerate, subhuman music, the reasoning went, written by Jews and performed by blacks. Two years later, the authority proudly declared: "As of today, nigger jazz is finally switched off on German radio." Then, in 1940, a jazz band formed in Berlin. The band was the brainchild of propaganda minister Joseph Goebbels, and the lyrics were Axis propaganda, meant only for Allied ears. Any Germans caught listening were subject to "very, very severe punishment". (guardian) International music scene in Germany a Nazi legacy When Josef Goebbels officially outlawed foreign music, he had no idea he was doing the future generations of international artists a huge favour. In banning non-native music such as Swing - branded `impure` because of its African-American origins - the Nazi propaganda minister indirectly gave outside music a cult status. Defying the regime`s urges for them to join local Hitler Youth Brigades, many German teenagers, or self-styled `Swing Babies` played these illegal tunes in public. When reported to the Gestapo, many of these were deported to youth camps where biologists were unrestrained to `sterilize and re-educate` them.

(telegraph) Music Approved of by the Third Reich Under the Nazi regime, all music produced had to fit within certain standards defined as "good" German music. Suppression of specific artists and their works was common, yet musicians were permitted limited artistic freedom. The Nazis attempted to create a balance between censorship and creativity in music to appease the German people. According to Hitler and Goebbels (Hitler`s second in command), the three master composers that represented good German music were Ludwig van Beethoven, Richard Wagner, and Anton Bruckner. All three composers lived prior to the 20th century. (usf-edu) Hitler`s Welsh girlfriend revealed A Welsh woman who married into one of Germany`s most prominent musical families nearly became Adolf Hitler`s wife. By 17, she was married to composer Richard Wagner`s homosexual son Siegfried and met one of Wagner`s greatest fans - future Nazi leader Adolf Hitler. They grew so close that it was actually Winifred who provided the paper on which Hitler wrote Mein Kampf while in jail in the early 1920s.

Following her husband`s death in 1930, Hitler and Winifred`s friendship intensified and he was described as being like a second father to her 4 children. At the time, there was even talk of them getting married. (bbc) Snitching at Shoney’s Snitching at Shoney’s Email The Bush administration, complete with its Homeland (“Heimland”) Security fixation, Gestapo-like TIPS (Terrorist Information and Prevention System) program, and continuous war preparations and sabre rattling, now has its own hero: Eunice Stone of Cartersville, Georgia. The Nazis glorified a young 22-year old man named Horst Wessel. A Nazi thug and whoremonger, Wessel was supposedly killed in his Berlin rooming house by Communists. In fact, Wessel died in a bar room brawl fight over a prostitute. Nevertheless, Horst Wessel became a hero and his song became the official Nazi anthem. Now, the Bush administration and its allies in the corporate media are praising Stone for turning in three young Muslim medical students who stopped at a Calhoun, Georgia restaurant on their way to Miami.

Stone said she heard the men talking about September 11 and that they were running five hours late. Thinking such conversations by foreigners were suspicious, Stone turned them into the authorities. Stone’s vigilantism prompted the closing down of a 20-mile stretch of Interstate 75 and a massive dragnet in the former constitutional state of Florida. The three men who Stone determined were threats were stopped by police and arrested. Finding the men innocent, police and FBI agents had no other choice but to release them but their were signals that either Georgia or Florida’s Obergruppenführer Jeb Bush would charge the men with perpetrating a hoax. It remains undetermined whether hoaxes are considered by Reichsmarshal John Ashcroft as acts of terror and hoaxsters worthy of the designation “enemy combatant.” But no one spoke of charging Eunice Stone with perpetrating a hoax. Because Stone is a portly blond nurse in her mid-forties and the three young men were dark skinned West and Central Asian-Americans, the burden of proof fell on the Muslims to defend themselves against the accusations of a “real American.” Stone is now a hero to the administration and the media. She is being hailed for doing the “right thing” (no pun intended).

Just like Horst Wessel, Eunice Stone will become the symbol for a “vigilant America.” No doubt she will be invited to Washington to participate in opening ceremonies for the Department of Homeland Security. Unofficial Minister of Propaganda Karl (with a “K”) Rove can see the benefits of extolling the virtues of Stone. Like Stone, all Americans should report suspicious foreigners while conducting their normal activities: standing in the checkout lanes of Wal-Mart, buying beer at NASCAR races, and eating at Shoney’s after attending Sunday church services. Eunice Stone may even become glorified in an anthem that could be sung every Patriots’ Day (the September 11 holiday that will soon replace the socialist-sounding Labor Day as the unofficial end of summer). By just changing a few words from the Horst Wessel song, the Eunice Stone Song would be a clarion call for red necks everywhere to turn in their “suspicious-looking” neighbors and co-workers. Flag high, ranks closed, The TIPsters march with silent solid steps. Friends on alert for foreign killers march in spirit with us in our ranks. The street free for the anti-terror battalions, The street free for the TIPsters.

Millions, full of hope, look up at Old Glory; The day breaks for freedom and for bread. For the last time the call will now be blown; For the struggle now we all stand ready. Soon will fly American flags over every country; Our way of life adopted by every human. Flag high, ranks closed, The TIPsters march with silent solid steps. Friends on alert for foreign killers march in spirit with us in our ranks. Wayne Madsen is a Washington, DC-based investigative journalist and columnist. He wrote the introduction to Forbidden Truth . Madsen can be reached at: WMadsen777@aol.com

Question: Named for its writer, what song was the Nazi anthem?
Answer: The Horst-Wessel