Against their wills, some of these students joined, or were forced to join, the Hitler Youth organization, and later, others ended up in the military fighting for the National Socialist cause. They retained, however, their resisting spirit, and became involved in various secret underground activities to lessen the effectiveness of Hitler’s government.
The film’s plot is both gripping and moving. But is it accurate? Despite the massive destruction of the war, which obliterated some of evidence, and despite intervening seventy or eighty years between current readers and the events in question, there is enough data to allow for a critical examination of the movie’s storyline.
To be sure, many of the upper-level National Socialist leaders, who were charged with the task of sorting out which parts of popular culture were compatible with Naziism and which parts weren’t, viewed jazz with suspicion. This form of music had three strikes against it: it was associated with the United States, it was associated with African-Americans, and it was associated with Jews.
Historians routinely cite the 1938 exhibition, staged in Düsseldorf, and its accompanying poster and pamphlet titled Entartete Musik. Hans Severus Ziegler, better known as Staatsrat Dr. H.S. Ziegler, organized the event to promote the National Socialist view of music.
The Nazis had used the word Entartete - usually rendered 'decadent' - to describe the paintings they rejected as inappropriate. Now they applied it to music.
The poster designed to promote the event has become famous as a symbol of Hitler’s racism and hatred: it features a cartoonish and unkind image of an African-American, with a Star of David on his lapel, playing a saxophone. The image, which was also used for the cover of Ziegler’s pamphlet describing the exhibition, contains multiple ironies, intended or unintended: the saxophone is an instrument of German invention, and the number of jazz musicians who were simultaneously Jewish and African-American was probably zero at the time.
The National Socialist government condemned jazz music and swing music - the two terms can be understood as slightly different - as degenerate. In August 1941 in Hamburg, over 300 jazz fans, mostly teenagers, were arrested. The majority were released soon thereafter, but kept under surveillance; at least one was sent to a concentration camp.
So we have an official Nazi condemnation of jazz music, followed by police actions to disrupt jazz parties and arrest jazz fans: basic facts which seem to justify the narrative of Disney’s Swing Kids, and a romantically powerful narrative of an evil dictatorship oppressing a free-spirited art form.
But as is often the case in history, the facts are more complicated than this simple narrative.
Quickly after the National Socialists took over the German government in 1933, the principle of Gleichschaltung sought to bring all areas of life under the totalitarian control of Hitler’s government. Totalitarianism acknowledges no private sphere and subjugates all matters to the state.
The Nazis were keenly aware of the power of the media - radio and film. While technologically primitive in comparison to the electronic media which are in use nearly a century later, the media of the 1930s were nonetheless powerful in shaping attitudes.
Joseph Goebbels was aware of the popularity and power of ‘swing’ dance music. Rather than eliminate it, his Reichskulturkammer - a government office overseeing both highbrow and popular entertainment - actually organized jazz groups.
The Nazis hoped to have their own swing bands, and thereby displace audience demand for Glenn Miller, Benny Goodman, and the Dorsey brothers. Less than a year after Hitler grabbed power, a jazz group called Die Goldene Sieben was organized by the Reichskulturkammer in 1934.
At least one member of Die Goldene Sieben, pianist Willi Stech, was a member of the National Socialist party. In a totalitarian state, with media utterly controlled by the government, a jazz band formed by a government bureau and allowed to record, to give live performances, and to broadcast on the radio was a strong statement.
While some Nazis, like Hans Ziegler, may have found jazz to be ‘decadent,’ other - and more powerful - Nazis like Goebbels and his bureaucracy apparently felt that it was in the interests of the National Socialist government to produce swing music and promote it.
Die Goldene Sieben produced a string of hits and had a career over at least six or seven years. In May 1935, they recorded their hit “Sieht eine Frau Dich an” and in November 1936 they scored again with “Donner, Blitz, und Sonnenschein.” In addition to live performances, radio, and records, they were also filmed.
In May 1937 they had a hit with “Jawohl, Meine Herren.” Their last recordings seem to have been made in 1940. Their career faded when almost all public dancing came to an end as the war grew more serious. The abandoning of dance covered all forms - not only jazz.
Other swing acts were recording and performing at the same time as, and later than, Die Goldene Sieben. Peter Kreuder had success with “Gemeinsam” in 1938. Given the abandonment of dance after 1940, some of the swing artists turned to less danceable types of jazz, comparable to Benny Goodman’s work with small ensembles.
Theo Reuter’s “Wolgawellen,” recorded in 1940, got attention, and he recorded “Pergamino” in 1941, which was also popular.
Willy Berking was in the studio recording “Hallo Fräulein” in April 1943, after the devastating Battle of Stalingrad, and his “Tip-Top,” recorded in September 1943, was also a hit.
As late as March 1944, Ernst Landl, an Austrian, recorded “Tanz Mit Mir,” although wartime shortages made wide distribution impossible.
Historian Matthias Tischer writes that “In Hitlerdeutschland war Swing zwar nicht konsequent verboten” - “In Hitler’s Germany, swing music was never seriously forbidden.”
The teenagers harassed by the National Socialist police in Hamburg were possibly harassed merely because they were unruly teenagers, not because of the type of music they enjoyed.
While it is true that there was some rhetoric about jazz being ‘decadent’ - the Nazis certainly weren’t happy that some jazz musicians were either Jewish or Negro - it is also true that the powerful media offices of the government put energy into producing and distributing their own jazz and swing products.
