If Hitler said shit was shit, the jew would say it was fine Swiss chocolate.

Entartete Musik
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A year or so after the opening in Munich of the exhibition "Entartete Kunst" (Degenerate Art), the cultural politicians of the Nazi regime put on another, much less well-known show: this exhibition, entitled "Entartete Musik", was staged in Düsseldorf in 1938.

The scientific term "degenerate" was adopted by the Nazis to defame atonal music, jazz arrangements and, above all, works by Jewish composers. The concept of "degeneracy" became fixed to a new norm, namely the ideal of a music dictated by laws of racial origin.

The music branded and decried by the Nazis as being "degenerate" embraces a wide variety of styles, for their single-minded aim was simply to ensure the integrity and pre-eminence of German musical life as a whole, from the most popular operetta through to the avant-garde. Béla Bartok considered the label "Degenerate Music" as a title which did him honour, and, in 1938, he courageously demanded that the Nazi government should include his own compositions in the Düsseldorf exhibition. Most of the musicians affected by this absurd censorship - performers, composers, musicologists and teachers - were forced to emigrate or killed, causing a serious drain of talent in European musical life, the consequences of which have scarcely been recognized or appreciated even today.

The plea for tolerance, for free speech and dialogue in the arts, is what constitutes the significance for Decca today of the historical concept of "Entartete Musik". From a purely musical point of view, the "Entartete Musik" series has, with unanimous international critical acclaim, brought back to life more than 30 forgotten key works from the first half of this century by composers such as Braunfels, Goldschmidt, Haas, Korngold, Krása, Krenek, Ullmann and Waxman. These recordings may help the listener imagine what the musical life in Europe was before its destruction by the Nazis, and what it might have been if these great branches had not been abruptly cut off.

Virtually every "composer" in this serious is a jew. Why is that? Is art & "art" a function of race? Why does the jew produce art that is different from the Aryan? Of course this is true of visual art as well.

But why are these musical jew "composer"/"artist" not famous like their visual art counterparts. Maybe because is it much harder to claim something that sounds terrible is "art" than it is to claim something that looks terrible is art. By the nature of music, if you say it is great, you would expect one to listen to it daily. But if one says some visual art is great, they are only expect to look at it a couple times a years at most.

[ame="http://en.wikipedia.org/wiki/Walter_Braunfels"]Walter Braunfels[/ame]
[ame="http://en.wikipedia.org/wiki/Berthold_Goldschmidt"]Berthold Goldschmidt[/ame]
[ame="http://en.wikipedia.org/wiki/Pavel_Haas"]Pavel Haas[/ame]
[ame="http://en.wikipedia.org/wiki/Korngold"]Erich Wolfgang Korngold[/ame]
Hans Krása
[ame="http://en.wikipedia.org/wiki/Ernst_Krenek"]Ernst Krenek[/ame]
[ame="http://en.wikipedia.org/wiki/Viktor_Ullmann"]Viktor Ullmann[/ame]
[ame="http://en.wikipedia.org/wiki/Franz_Waxman"]Franz Waxman[/ame]
[ame="http://en.wikipedia.org/wiki/Wilhelm_Grosz"]Wilhelm Grosz[/ame]
[ame="http://en.wikipedia.org/wiki/Stefan_Wolpe"]Stefan Wolpe[/ame]
[ame="http://en.wikipedia.org/wiki/Kalman"]Charles Kalman[/ame]
[ame="http://en.wikipedia.org/wiki/Erich_Zeisl"]Erich Zeisl[/ame]
Karol Rathaus
[ame="http://en.wikipedia.org/wiki/Zemlinsky"]Alexander von Zemlinsky[/ame]
[ame="http://en.wikipedia.org/wiki/Erwin_Schulhoff"]Erwin Schulhoff[/ame]
[ame="http://en.wikipedia.org/wiki/Hanns_Eisler"]Hanns Eisler[/ame]

Of course, several of these jew "artist" "composers" are being "rediscovered", or at least that is what jew music critics tell us who quote jew musicologist and write for jew owned classical music magazines as jew owned classical music companies produce CDs of these "forgotten" works of jew "artist".