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While I have been mostly writing about food, I did not intend this column to be solely on the culinary arts. Could not help but post this gem sent to me by a former bandmate. Now, I did not write this, and I certainly cannot subscribe to rule #10.
Nazi Rules For Jazz Performers
Josef Skvorecky on the
Nazis’Control-Freak Hatred of Jazz.
Famed Czech radical Josef Skvorecky recently
died at 87 in his adopted land of Canada. J.J. Gould remembers Skvorecky
through his memoirs, including a detailed list of the rules for jazz performers
during the Nazi occupation. The Reich’s Gauleiter for the Nazi Protectorate of
Bohemia and Moravia issued a 10-point regulation that Gould calls “the single
most remarkable example of 20th-century totalitarian invective against jazz.”
1.
Pieces in foxtrot rhythm (so-called “swing”) are not to exceed 20% of
the repertoires of light orchestras and dance bands;
2.
In this so-called jazz type repertoire, preference is to be given to
compositions in a major key and to lyrics expressing joy in life rather than
Jewishly gloomy lyrics;
3.
As to tempo, preference is also to be given to brisk compositions over
slow ones (so-called “blues”); however, the pace must not exceed a certain
degree of allegro, commensurate with the Aryan sense of discipline and moderation.
On no account will Negroid excesses in tempo (so-called hot jazz) or in solo
performances (so-called “breaks”) be tolerated;
4.
So-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”);
5.
Strictly prohibited is the use of instruments alien to the German spirit
(cowbells, flexatone, brushes, etc.) as well as all mutes which turn the noble
sound of wind and brass instruments into a Jewish-Freemasonic yowl (so-called
“wa-wa,” “hat,” etc.);
6.
Also prohibited are so-called drum breaks longer than half a bar in four-quarter
beat (except in stylized military marches);
7.
The double bass must be played solely with the bow in so-called jazz
compositions;
8.
Plucking of the strings is prohibited, since it is damaging to the
instrument and detrimental to Aryan musicality; if a so-called pizzicato effect
is absolutely desirable for the character of the composition, strict care must
be taken lest the string be allowed to patter on the sordine, which is
henceforth forbidden;
9.
Musicians are likewise forbidden to make vocal improvisations (so-called
“scat”);
10.
All light orchestras and dance bands are advised to restrict the use of
saxophones of all keys and to substitute for them the violin-cello, the viola
or possibly a suitable folk instrument.
