(1) All persons shall be equal before the law.

Article 5[Freedom of expression, arts and sciences] (1) Every person shall have the right freely to express and disseminate his opinions in speech, writing and pictures, and to inform himself without hindrance from generally accessible sources. Freedom of the press and freedom of reporting by means of broadcasts and films shall be guaranteed. There shall be no censorship. (2) These rights shall find their limits in the provisions of general laws, in provisions for the protection of young persons, and in the right to personal honour. (3) Arts and sciences, research and teaching shall be free. The freedom of teaching shall not release any person from allegiance to the constitution.

Other contemporary German artists include Jonathan Meese, Daniel Richter, Albert Oehlen, Markus Oehlen, Rosemarie Trockel, Andreas Gursky, Thomas Ruff, Blinky Palermo, Hans-Jürgen Schlieker, Günther Uecker, Aris Kalaizis, Katharina Fritsch, Fritz Schwegler and Thomas Schütte.

Therefore the best that can be understood about German Music during the war is the official Nazi government policy, the level of enforcement, and some notion of the diversity of other music listened to, but as the losers in the war German Music and Nazi songs from World War II has not been assigned the high heroic status of American and British popular music, although as the music itself goes, it is considered by many as being above the level of the latter, which is also true of Fascist Italian music of the time.

it is also known that Germans sang songs in Nazi sponsored events; but it would be difficult to determine the relative popularity of this music in the current context of shame concerning the war.

In Germany, World War II is generally seen as a shameful period; it would be difficult to imagine a band playing 'all the old favorites' of World War II in a public place.

Approved Germanic music The Nazi were determined to the concept that German Culture was the greatest in history, but as with all parts of art Hitler took an interest in suppressing the work of all those considered unfit while promoting certain composers as proper Germans. Therefore the Government officially acknowledged certain composers as true Germans, including: Ludwig van Beethoven Anton Bruckner Hans Hotter singer Herbert von Karajan conductor Richard Wagner

Unapproved Germanic music The Nazis felt a need to identify all art that was somehow degenerate or Entartete though degenerate is probably a poor translation of the use the Nazis made of this sign, for to them it included all things Jewish, Communist, along with mental illness, gay and lesbian behavior, transgender, and expressionist and modernist. Along with exhibitions of Degenerate Art Entartete Kunst the Nazi government identified certain music, composers and performers as Entartete Musik, these included: Berthold Goldschmidt Ernst Krenek Erich Wolfgang Korngold Arnold Schoenberg Bruno Walter Anton Webern In 1938 Nazi Germany passed an official law on Jazz music. Not surprisingly it deals with the racial nature of the music and makes law based on racial theories. Jazz was “Negroid”; It posed a threat to European higher culture, and was therefore forbidden except in the case of scientific study.

Popular music permitted under the Nazis Degrees of censorship varied, and the Germans were likely more concerned with the war than styles of music. But as the war went poorly the objectives of the government moved from building a perfect German state to keeping the population in line, and the relative importance of morale-raising songs would have increased. Popular songs were officially encouraged during the war including: Berlin bleibt doch Berlin (Berlin is still Berlin) this was a popular with Joseph Goebbels near the fall of Berlin. A strange note is that Goebbels commissioned a swing band called "Charlie and His Orchestra" which seemed to have existed for propaganda purposes [edit] Polish songs of World War II See also: Polish music in World War II There were specific songs of Polish resistance, Polish Armed Forces in the West and Polish Armed Forces in the East. Notable ones included Siekiera, motyka, the most popular song in occupied Poland; Rozszumiały się wierzby płaczące - the most popular song of the Polish partisans; Czerwone maki na Monte Cassino - the most popular song of the Polish Armed Forces in the West; and Oka, the most popular song of the Polish Armed Forces in the East.

They played a few American records first. I don't remember everything she said. She said, "Your wives and girlfriends are probably home in a nice warm building, dancing with some other men. You're over here in the cold." It was cold and it was snowing. Dent Wheeler on Axis Sally during the battle of the Bulge [3] "There is no 'Tokyo Rose'; the name is strictly a GI invention. The name has been applied to at least two lilting Japanese voices on the Japanese radio. ... Government monitors listening in 24 hours a day have never heard the words 'Tokyo Rose' over a Japanese-controlled Far Eastern radio."

The Expressionism movement was centered in Germany from 1905 until the time of its destruction in the late 1930s. The end of the first world war in 1918 brought the disappearance of the ruling dynasties from the political scene and Germany became a Republic. The collapse of the structure of ruling power was expected to bring with it a new world. But the artistic and political ideology of Expressionism peaked in 1923. By the end of that year, politically motivated attacks against modern art had begun.

4. Apocalypse & War - Ludwig Meidner depicted the devastation of war prior to 1914. And all of the artists who served in combat were irrevocably scarred by the experience.

5. Disillusionment & Revolution - after the war some artists turned to religious themes. Biblical suffering became a metaphor for the suffering of the German people. The defeat, uncontrollable economic chaos, the hungry, maimed and wounded, and orphaned children were common themes.

6. Old Utopia: New Harmony - After their initial political activity, many of the Brücke artists retreated to country studios seeking a harmony they could not find in the cities. They sought a calmness and balance in their work that had previously been characterized by tension and violence.

7. Toward a New order - By the end of the 1920s the artists had found that the political revolution was headed in the opposite direction of an artistic revolution. Some of the artists pioneered a new style that portrayed diffidence and skepticism. But the fascination with the night life of the big city and the marginal and often grotesque people who inhabited it remained a major theme.