Radio in The Third Reich…

It was in the mid-1920s that a national broadcasting network, Grossdeutscher Rundfunk (Greater German Radio), was established in Germany and Funkstunde Berlin, was the first regional station to begin broadcasting on the 29th October 1923…and Berlin’s ‘Radio Hour’ became the first well-known programme of this new medium, with some 500 Berliners registered to receive it.The following year saw a number of regional radio stations (Reichssender) set up on medium wave under the Grossdeutscher Rundfunk umbrella in the cities of Leipzig, Munich, Frankfurt, Hamburg, Stuttgart, Königsberg & Münster.

Two years later Berlin found itself with a second radio station, Deutsche Welle, established in 1926 and this expansion in radio broadcasting captured the imagination of the German public and the number of registered & licensed radio listeners soon rose to an incredible 500,000. By the end of 1926 this figure had risen to well over one million Germans who were eagerly paying their 2 Reichsmarks (2 shillings or ten pence) a month to receive regular radio broadcasts in their own home!

Though the art of radio broadcasting & programme production was still fairly primitive, music was very much at the heart of this new fledgling form of entertainment, and there was a good variety & mix: from opera & operetta  to symphony orchestras & solo recitals which filled the regular evening broadcasting slots.

Then on January 30th 1933, Berlin radio carried a news-flash stating that Leipzig, Munich, Frankfurt, Hamburg, Stuttgart, Königsberg & Münster. leader, Adolf Hitler, had been promoted to the position of Reich Chancellor. With this brief message, radio broadcasting in Germany moved into a whole new era, to become a vital tool in the hands of the new propagandists! The following day, January 31st, Reichskanzler Hitler made his inaugural national radio address to the Third Reich, the first of some 50 broadcasts that he would make in his first year of office!

On March 15th 1933, the German Government assigned all broadcasting rights to the newly-formed Ministry for Education & Propaganda under Minister-in-Charge, Joseph Goebbels, who viewed radio as ‘the eighth wonder of the world’. He triumphantly declared: ‘We will create the first modern broadcasting system in the world has ever seen…and so take our National Socialist demands to the people…’ 

However the Nazi take-over did not, as one would have imagined, immediately change the tone of broadcasting from entertainment to blatant political propaganda; the reason for this can be attributed directly to Goebbels, who was not a stupid man and, along with Adolf Hitler, had quickly realised the power of radio & its influence over a population.

He was determined to ensure that radio retained its impact on the German people and not lose the appeal of National Socialism. He therefore issued an order at a conference of radio officials in March 1933 that radio output should….‘never become boring! Avoid dreariness and don’t put your convictions on the turntable, Do not think that you can serve the our government best by the sound of blaring marches evening after evening! Broadcasting should never suffer from the misused word!’

Nevertheless, Goebbels managed very successfully to balance entertainment with the political message, and in April 1933 he introduced a new programme called ‘Stunde der Nation’ (Hour of the Nation), which was relayed to all German regional radio stations each evening between 7 & 8 pm. Containing a professional mix of lectures, radio plays and politically inspired music and opera, it fulfilled Goebbel’s desire that radio should also:“saturate the people with the spiritual content of National Socialism!”

Two very astute observations from the Minister for Propaganda, but his approach seemed to work, for later that same year, at the tenth Broadcasting Exhibition in Berlin the People’s Receiver, the Volksempfänger 301 (derived from the date of the Nazis’ ascension to power on January 30th 1933), was launched, selling a staggering 100,000 sets on the first day at a cost of 76 marks (£5.8s.10d or £5.44p), almost half the cost of its nearest rival!

Radio broadcasting in Germany had certainly come of age, and by the following year an incredible 5 million German radio listeners were registered and though home ownership of the new radio receivers was growing rapidly, Goebbels was anxious that all Germans had access to radio broadcasts. He therefore ordered that radio loudspeakers be immediately installed in all factories and on street corners across the Reich to ensure that the political speeches of the nation’s leaders would reach the widest audience possible…

Under the slogan ‘a radio in every home’, he also decided that a low- cost radio set should now be made available to the German masses.

Technical & programme production development continued apace,and in 1936 a new and improved version of the VE301 was introduced at a lower cost of 65 marks (£5.5s.4d or £5.27p), followed in 1938 by the smaller Deutscher Kleinempfänger (German Compact People’s Receiver), which was introduced to great acclaim and (and no little excitement!), at an even lower and much more affordable price of just 35 marks (£2.17s.7d or £2.88p).

By 1938, light entertainment music, so-called ‘Unterhaltungsmusik’, was accounting for nearly two thirds of all music output, and in this pre-television era, German radio was winning the plaudits of its listeners for its variety of music from opera to musicals and for its willingness to experiment and play the latest in the new dance music, such as that of Barnabas von Geczy.

Broadcasting hours had risen from 14 hours a day in 1932 to 20 hours in the year before the outbreak of war, and with the expansion of the whole German broadcasting network, Berlin’s own ‘Radio Hour’ developed into a programme called ‘Germany’s Hour’ which was broadcast on the national network. In addition, each regional station in the German broadcasting network hired its own professional musicians, with the Berlin Funkstunde, for example, employing a 75-strong radio orchestra, a chamber orchestra of twenty-eight musicians and a twenty-five man choir.

By the outbreak of war in 1939, the number of domestic German listeners had risen to some 10 million, and with the extension of broadcasting hours, the demand for Unterhaltungs musik grew to such an extent that Goebbels actively ordered more of it be played on the radio. In September 1941, with a total audience of just over 50 million listeners now tuning in to some 15 million sets, he went a step further in establishing a Deutsches Tanz und Unterhaltungs Orchester.

Throughout the war years, Joseph Goebbels, as Reichspropagandaminister, continued to personally vet all musical content and weed out any records or performances that he thought inappropriate, but rather surprisingly, however, was how little Adolf Hitler actually interfered or meddled within the field of German civilian & military musical entertainment.

During his leadership of the Reich, he appeared to have issued only two direct music-related dictums, both on February 6th 1939: firstly that the infamous Horst Wessel Lied, (the alternative Nazi anthem), be played at a faster tempo… and that his beloved German National Anthem (Deutschlandlied) be played at crochet = 80..!

Copyright @ Brian Matthews 2014

 

Dance Music of the Third Reich…

Aha, somebody has been featuring ‘Charlie and His Orchestra’ on television or radio I thought, judging by the sudden increase in sales for Tomahawk Film’s album of the same name…but whom I wondered..? I had recently sent a review copy up to a BBC contact of mine who I know is thinking about producing something on the phenomenon that is Third Reich military music… but this was too early in his creative process to have actually been aired!

Then I got a confirming e-mail from a customer ordering one of our Charlie CDs in which he exclaimed that he was somewhat surprised to see BBC 4 including the subject of Nazi music in a Swing documentary at the week-end!! Happily, I was able to respond that this is not something new, for ’Auntie’ has recently included some of the Reich’s finest music in its programming output, not least on BBC Radio Two a short while ago, when some of our archival material got a very welcome & rather popular airing:

The late Malcolm Laycock, (who presented a really superb late night swing & jazz show on Sunday evenings, of which I was a great fan), contacted us here at Tomahawk a few years ago after we had released 4 further albums of Third Reich civilian music to say he was interested in acquiring those titles for his own collection: Lale Andersen, Wilhelm Strienz and Zarah Leander.. but particularly our Dance Music of the Third Reich which featured the music of Barnabas von Géczy, who was incidentally, Adolf Hitler’s favourite civilian band-leader.

He also asked if it would be possibly to air a track or two from this latter album on his Sunday show, if we were agreeable? Agreeable!…with an audience measured in the many millions, what a wonderful shop-window for Tomahawk’s Archival CDs… and to play to such a knowledgeable & learned audience as those that regularly listened in to his wonderful late night Radio Two Show…

But what of this particular album of German Dance Music that Malcolm was so keen to acquire? Well there were a total of 93,857 professional musicians under contract across Germany when the Third Reich came into existence in 1933 and by war’s outbreak in 1939 this number had grown to a staggering 172,443, thanks to Propagandaminister Joseph Goebbels realising the power that music and radio had on a population; and  within a year of the Nazis coming to power, he had personally taken charge of this vital propaganda tool for the German government, which eventually led to some 5 million German homes receiving state radio broadcasts across the Reich..!

Goebbels skilfully & successfully balanced the world of entertainment with the field of politics and by 1938 light entertainment music, (Unterhaltungsmusik), accounted for nearly two thirds of all music output across the Third Reich and German radio was very popular for its willingness to play the latest dance records… and by war’s outbreak in 1939, the number of listeners had risen to 10 million!

In fact the demand for Unterhaltungsmusik grew so much that Goebbels actually ordered more of it to be played and broadcast to the ever growing radio audience… and so it was that this very talented Hungarian musician, Barnabas von Géczy (1897-1971), already an accomplished band-leader & violinist in 1930s’ Berlin, took a starring role in this wonderful musical renaissance that was taking place across the Third Reich.

As the personal favourite of Adolf Hitler, Barnabas soon became a Nazi favourite across the Reich, leading his own talented orchestra & dance-band and by 1941, over 50 million listeners were tuning in to his highly popular broadcasts. So Tomahawk Films were delighted when, after many months of searching, we located a 78rpm schellack record collection of Barnabas von Géczy’s most popular music in Dachau… and even more delighted when, one dark winters’ night some months later, we heard the lively & joyous ‘Kautschuk’ happily bursting forth from our radio, courtesy of Malcolm’s fabulous show on BBC Radio Two…

Copyright @ Brian Matthews 2013

German Music in The Movies – Pt 1

Great to see the superb 2002 WW-II Prisoner-of-War Hollywood movie Hart’s War, (starring Bruce Willis & Colin Farrel), getting another welcome airing on the BBC last night.. and so giving Tomahawk another equally welcome double-credit as the archive supplying the main German musik tracks to the film, the Deutschlandlied and the Horst Wessel Lied as performed by the Musikkorps of the Leibstandarte-SS Adolf Hitlerand taken from our album of the same name…

Both the Horst Wessel Lied, (often known as the alternative Nazi National Anthem), and the ‘true’ German National Anthem, were both supplied to Metro-Goldwyn-Mayer in Los Angeles on disc, where both tracks were then beautifully re-worked by MGM’s audio department and dubbed into the sound-track to appear as if coming directly from loud-speakers of the POW camp that Bruce Willis’ character found himself in… and it was most interesting to hear how the movie’s dubbing team were able to suppress and alter our original high quality re-mastered recordings to give that very ‘tinny’ effect of schellack 78rpm records playing on a wind-up record player via an old 1940s metal loudspeaker over a large area…great work!

Actually in addition to the marketing of our CDs & DVDs to collectors & enthusiasts around the world, as a full-time professional German Archive, Tomahawk is now regularly involved in helping, advising & supplying our original music to similar movie & television production companies for use on their documentary & movie soundtracks and latterly, the incredibly moving and thought-provoking 2008 Disney-Miramax, Mark Herman-directed movie ‘Boy in the Striped Pajamas’ (US spelling), also contacted us for help with their soundtrack..

The movie is based on the isuperb 2006 novel ‘Boy in the Striped Pyjamas’ as penned by Irish author John Boyne and which was recently required reading on the history syllabus in schools & colleges here in the UK; and we were contracted to supply two of our tracks, (the Horst Wessel Lied which is actually now one of the most popular tracks for producers, again due to that ‘alternative’ Nazi National Anthem tag), as performed by the Musikkorps der SS-Leibstandarte ‘Adolf Hitler’ and ‘Mein Regiment, mein Heimatland’ as performed by the Musikkorps des Infanterie Regiments Grossdeutschland’ and which can be found on our Third Reich Favourites CD.

In fact this past weekend has been a good ‘un in terms of television credits for Tomahawk, thanks also to the airing on the History Channel of the US New Animal Production’s excellent 2-part series Third Reich – The Rise and The Fall… which was first shown in the US and if you have not yet caught it here over in the UK, then you are in for an absolute treat… I certainly enjoyed oit very much indeed!

I must admit that it has been quite a long while, (despite my 40-odd years of working with, and viewing, archival footage) since I last saw so much original German newsreel footage in a single production such as The Rise and The Fall for, sadly these days, many documentaries are now produced on a very limited budget; allied to that, some network bosses seemingly say to their staff: “go out and make me a documentary on such & such” as if they were heading to the supermarket to merely buy groceries. Sadly I have experienced this at first-hand, having been on the receiving end of a regional TV ‘producer’, (deputed to make such a film at a time of a major WW-II anniversary),  who was sent to me to pick my brains..(free of charge..natch! ).

Unfortunately one of the direct results of these ‘docs on a budget’ is that, unable to afford trained film researchers any more, many WW-II or Third Reich documentaries simply include the same old, (and in many cases very tired), German newsreel footage and you get the impression that the unfortunate individual ordered to find the required footage just sticks his or her head into the Archive to grab the cans or tapes nearest the door on an: ‘oh, that’ll do.. the audience won’t notice”..basis!

Thus it is that often these days, no matter what you watch you will just keep seeing the same old recycled footage coming around time and again..! Makes you wonder why people bother to keep producing such docs in the first place when they have nothing new to add to a debate, nor nothing new to illustrate that debate with…. especially given that most tv audiences for such WW-II documentaries are highly knowledgeable & incredibly well-informed and usually know far more about the subject than most producers do… and will have your legs off at the knees if you make a mistake, especially if it is an unfortunate ‘schoolboy howler’..!

To be fair, I know that original ‘unseen’ footage is becoming ever harder to uncover, which is why the new genre of ‘re-enactors’ being filmed in documentaries is now gaining currency, and though not my favourite production trick I’ll admit, the recent superb Channel 5 series on ‘Heroes of the Skies’ accomplished this with great aplomb, to make a most enjoyable run of programmes.

But this lack of new footage was one of the main reasons Tomahawk Films actively ceased being a WW-II Documentary distributor some 20-odd years ago because every single programme we were being offered increasingly included much the same footage as the previous one, (whatever the WW-II topic being addressed), and we felt we could no longer offer collectors & enthusiasts such a range of apparently ’differing’ documentaries if most were now simply containing the same duplicated footage, time after time.. as that was just not the honourable thing to do..!

However with this superb The Rise and The Fall two-parter by the American New Animal team, they really went the whole hog and not only are their production values quite superb but so much of that I saw in terms of Third Reich archival footage is/was actually new to my eyes. Such a genuine treat and this made it equally exciting for us to see so much our archival music, (12 German tracks supplied in total), being purchased for use on the soundtrack, including a welcome airing for several evocative & spine-tingling tracks from our ever popular Third Reich German Christmas Carols CD..

I was also pleasantly surprised by the producer’s attitude to the doc’s archival music needs in that they also opted for differing tracks from the norm and so also include are lovely dance tracks from our CD ‘Komm mit nach Madeira’:  as performed by Hitler’s favourite band conductor the Hungarian, Barnabas von Géczy, (1897-1971), along with several further emotive tracks from my favourite singer, Ms Lale Andersen as supplied from our Wie einst Lili Marleen CD…

Part one of Third Reich -The Rise has just aired on the Military Channel so I shall now be scanning the TV listings to see when Part Two -The Fall is due to air… hopefully another two hours-worth of really exciting, much unseen & certainly thought-provoking original film footage… and with the appearance of yet more German/Nazi-era period music from the Tomahawk Films WW-II German Archive... result!!

Copyright @ Brian Matthews 2012