Returning Serve to the Nazis: Britain’s WWII Radio Propaganda Machine

International Relations, Media & Communications, Military history, Regional History
History stopped in 1936 – after that, there was only propaganda
~ George Orwell

We want to spread disruptive and disturbing news among the Germans which will induce them to distrust their government and disobey it
~ Sefton Delmer

Previous blogs on this site talked about how the Nazis used expat Britons and Americans to launch a blast of psychological warfare against the Allies with the objective of undermining their forces’ morale in WWII, the means utilised, the ‘weapon’ of powerful radio transmission (voiced by role-playing figureheads, in particular the so-called “Lord Haw-Haw” and “Axis Sally”). It wasn’t long into the World War before Britain decided it too would infiltrate the enemy airwaves in a counter-attempt to try to mess with German military minds.

𝔓𝔯𝔬𝔭𝔞𝔤𝔞𝔫𝔡𝔞 𝔴𝔞𝔯𝔣𝔦𝔢𝔩𝔡, 𝔚𝔚ℑℑ (𝔯𝔢𝔡𝔦𝔱: 𝔉𝔩𝔦𝔠𝔨𝔯)

Es spricht der Chef
To undertake the task the Political Warfare Executive (PWE) was formed with the brief of disseminating ”black propaganda”a against the enemy.The idea involved setting up a number of fake German radio stations—the first called Gustav Siegfried Eins (shortened to GS1) using shortwave frequency, harder for the Nazis to jam—as the propaganda vehicle for deceiving the Fatherland. From May 1941b every day at 1648 hours a broadcaster purporting to be an old school Prussian officer known as der Chef would come on the air on German radio and, predictably, denounce the enemy, the ‘Brits’, the ‘Ruskies’ and the Jews, but then launch into a full-blown rant castigating Nazi officialdom too…in “profanity-laced tirades” the Chief would lambast Nazi officials’ “buffoonery, sexual perversity and malfeasance…condemning their incompetence and their indifference to the deprivations” suffered by the German volkc. Because he sounded ‘legit’ the impression many listeners got from the disillusioned Chief’s on-air ‘sprays’ was that there must be a rift within the German high command (‘The Fake British Radio Show That Helped Defeat the Nazis’, Marc Wortman, Smithsonian Magazine,28-Feb-2017, www.smithsonianmag.com).

𝔓𝔥𝔬𝔱𝔬: 𝔞𝔪𝔞𝔷𝔬𝔫.𝔠𝔬𝔪

Other little parcels of poison delivered by “the Chief” via the radio waves included insinuations that the supposedly ‘Ayran’ army of the Third Reich was being contaminated by the influx of foreign troops in its ranks. He also alleged that injured German soldiers were receiving infusions of “syphilis-tainted blood” of captured Slavs. Another unsubtle avenue pursued by the Chief was to play on German officers’ fears of spouse infidelity at home.

𝔊𝔖1 𝔞𝔡𝔦𝔬 𝔖𝔱𝔞𝔱𝔦𝔬𝔫 𝔞𝔱 𝔐𝔦𝔩𝔱𝔬𝔫 𝔅𝔯𝔶𝔞𝔫 (𝔖𝔬𝔲𝔯𝔠𝔢: 𝔅𝔢𝔡𝔣𝔬𝔯𝔡 𝔅𝔬𝔯𝔬𝔲𝔤𝔥 𝔬𝔲𝔫𝔠𝔦𝔩)

In truth, the voice they heard belonged not to a disaffected Prussian army veteran but to Peter Seckelmann, a refugee from Nazi Germany acting out the role of der Chef. The panicked Nazi commanders combed the Reich to try to locate what they thought must be a maverick German general on the loose, all the time Seckelmann was secretly housed in England, in a small radio studio tucked away in quiet Bedfordshire.

𝔖𝔢𝔣𝔱𝔬𝔫 𝔇𝔢𝔩𝔪𝔢𝔯 (𝔓𝔥𝔬𝔱𝔬: 𝔎𝔲𝔯𝔱 𝔲𝔱𝔱𝔬𝔫/𝔓𝔦𝔠𝔱𝔲𝔯𝔢 𝔓𝔬𝔰𝔱/𝔲𝔩𝔱𝔬𝔫 𝔄𝔯𝔠𝔥𝔦𝔳𝔢𝔰/𝔊𝔢𝔱𝔱𝔶 𝔪𝔞𝔤𝔢𝔰)

Sefton Delmer at the helm
The mastermind behind Britain’s black propaganda campaign was Denis Sefton Delmer, born in Berlin of Australian parents. Recruited by PWE in 1940 because of his fluency in German and familiarity with the Nazi leadersd, Delmer had a thing for colourful descriptions of what his black propaganda unit did…”psychological judo” and “propaganda by pornography”e. The former German-based Daily Express journalist moulded PWE “special operations” into a “veritable fake news mill”, assembling an efficient team of artists, writers and printers who worked tirelessly to create thousands of phoney German newspapers and leaflets (not to neglect the role of American bombers who dropped two million units of the bogus literature every day over enemy territory)f. Gathering information from various sources (British intelligence, German POW interrogations, resistance operatives, bomber debriefings), PWE deceived and bewildered the Axis enemy through a carefully measured mix of lies and fact (Wortman). The tactics of ‘black’ radio were “short-term, rumour-filledg and deceptive” (Nicholas Rankin, Churchill’s Wizards: The British Genius for Deception 1914-1945 (2008)).

𝔩𝔞𝔫𝔡𝔢𝔰𝔱𝔦𝔫𝔢 𝔄𝔰𝔭𝔦𝔡𝔦𝔰𝔱𝔯𝔞 𝔱𝔯𝔞𝔫𝔰𝔪𝔦𝔱𝔱𝔢𝔯 𝔞𝔱 𝔚𝔞𝔳𝔢𝔫𝔡𝔬𝔫 𝔗𝔬𝔴𝔢𝔯 (𝔖𝔬𝔲𝔯𝔠𝔢: 𝔩𝔦𝔳𝔦𝔫𝔤𝔞𝔯𝔠𝔥𝔦𝔳𝔢.𝔬𝔯𝔤.𝔲𝔨)

The fake news network
Soddatensender Calais (G9) was another, British-run, faux Nazi radio station. ‘Aspidistra’, a medium wave radio transmitter located in Crowborough, East Sussex, conveyed the Sefton Delmer blend of music, innocuous information (appealing to German servicemen) together with the manipulated, ‘black’ kind of information (‘Fake News is Nothing New: 5 ‘Black Propaganda’ Operations From the 1930s and 1940s’, Jeanette Lamb, History Collection, 24-Mar-2017, www.historycollection.com).

𝔅𝔯𝔦𝔱𝔞𝔦𝔫𝔰 𝔭𝔰𝔢𝔲𝔡𝔬𝔊𝔢𝔯𝔪𝔞𝔫 𝔫𝔢𝔴𝔰𝔭𝔞𝔭𝔢𝔯

Getting back to “the Chief”, Seckelmann under the direction of Sefton Delmer made in all 700 broadcasts to the German population. The Nazis tried to jam the broadcasts coming through the GS1 station but to no avail. Delmer, having decided to close down GS1, orchestrated a dramatic denouement for der Chef charade, having him ‘assassinated’ on-air in the final episode in 1943 (transforming “the Chief” into a kind of martyred loyalist to the Führerh).

Backlash to Delmer’s black propaganda approach
Not everyone in Britain including those within government were on board with Delmer’s black radio activities. There were critics inside Churchill’s war cabinet, like Richard Stafford Cripps, who condemned PWE for taking the moral low ground … serving up a cocktail of outrageous lies and dirty tricks – from inventing military sex orgies to discredit the SSi to fake news of American ‘miracle’ weapons like the new, non-existent ”phosphorus shells” to abrade the morale of German listeners [‘Black Propaganda in WW2’, The History Room, YouTube video, 2014). Delmer himself was a forthright, controversial and sometimes polarising figure, he had no compunction about exploiting sex in its most extreme manifestations including ”beastly pornography” and even pederasty, fabricating atrocities including the rape of German soldiers’ wives and sisters. Delmer was eyed with suspicion by both sides, some Germans thought he was a British spy and some Britons thought he was a Nazi spy (Rankin).


How effective were PWE’s black propaganda broadcasts?

PWE’s sheer weight of rumours, lies, half-truths and disinformation from PWE certainly no doubt took some toll on a already sagging German morale in the latter stages of the conflict, but did Delmer’s ”psychological judo” “disrupt the enemy’s will and power to fight on”? (‘Propaganda – A Weapon of War’, NLS, www.digital.nls.uk). It is not possible to definitely answer this question in the affirmative or negative. At the end of the war PWE was disbanded and all its records and documents were shredded. The deficit of data precludes any firm idea of how big and widespread the Germany wartime audience for the phoney radio transmissions was. Praise for PWE’s work however came from on high in the enemy camp, Minister of Propaganda Goebbels no less who conceded that Britain’s black Soldatensender had accomplished a “very clever job of propaganda” (Goebbels’ 1943 diary entry).

𝖁𝖔𝖑𝖐𝖘𝖊𝖒𝖕𝖋ä𝖓𝖌𝖊𝖗 (𝖑𝖎𝖙. “𝕻𝖊𝖔𝖕𝖑𝖊𝖘 𝕽𝖊𝖈𝖊𝖎𝖛𝖊𝖗”) (𝕾𝖔𝖚𝖗𝖈𝖊: 𝕮𝖔𝖔𝖕𝖊𝖗 𝕳𝖊𝖜𝖎𝖙𝖙 𝕮𝖔𝖑𝖑𝖊𝖈𝖙𝖎𝖔𝖓)

Footnote: ‘Black’ v ‘white’ propaganda
Black propaganda is distinguished from the more common type ‘white’ propaganda. The ’White’ kind is propaganda that does not hide its origins or nature, that emanates from bodies from government international information services (eg, BBC, The Voice of America). A third variant, ‘grey’ propaganda, straddles the other two – the origin of the information and messages is concealed so it can’t be discerned, eg, during the Cold War the CIA beamed grey propaganda into the Eastern Bloc through the intermediary of radio stations like Radio Free Europe/Radio Liberty (’Grey Propaganda’, www.powerbase.info).

______________________________

a a form of propaganda (used by both sides in the war) which “is presented by the propagandizer as coming from a source inside the propagandised” (Becker, H. (1949). ‘The Nature and Consequences of Black Propaganda.’ American Sociological Review, 14(2), 221–235. https://doi.org/10.2307/2086855) , ie, by those it is supposed to discredit (Wikipedia)


b the onset of Der Chef’s broadcasts coincided with the defection of the Nazi deputy leader Rudolf Hess to Britain


c the Chief’s main target for ”character assassination” were ”lower-level Nazi functionaries” and their presumed corruption, ‘His Majesty’s Director of Pornography’, Stephen Budiansky, HistoryNet, www.historynet.com)


d Delmer met Hitler himself while inspecting the Reichstag fire in Berlin


e he even referred to himself irreverently as “HMG’s Director of Pornography”


f producing “agitprop masquerading as inside dirt” (‘Fighting the Nazis With Fake News’, Matthew Shaer, Smithsonian Magazine, April 2017, www.smithsonianmag.com)


g one baseless rumour spread by the bogus German stations that led the Gestapo on a wild goose chase concerned a resistance group of anti-Nazis supposedly inside the Reich called “Red Circle” ‘Undermining Hitler (Part One of Three)’, Providentia, 07-Feb-2016, http://drvitelli.typepad.com)

h Seckelmann‘s dissident officer in his radio diatribes had been careful to exclude Hitler himself from any blame, suggesting that it was the subordinates who had betrayed the Führer


i the PWE artists’ role in the Brits’ deception was to skilfully forge documents which falsely incriminated Nazi personnel in the SS and other arms of the forces


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Labelled ‘Degenerate’: Nazi Germany’s War on Modern Art

Comparative politics, Popular Culture, Regional History, Society & Culture

In 1937 the Nazi regime organised two art exhibitions in Munich concurrently, separated only by a park and a few hundred metres. One was intended to hammer home to the German volk the inequity of the type of art that the führer Adolf Hitler found abhorrent, ie, anything in art that even hinted of modernity. The other representing all that Hitler found good in art was the complete antithesis of this – a paean to traditional, realistic painting and sculpture and art that conformed to classical themes and forms.

A Hitler, landscape (Source: Widewalls)

Hitler’s early experiences and his perceived emotional pattern suggest a motive of personal revenge contributing to the Nazis’ fanatical war on the modern and the avant-garde in art. As a young man Hitler dreamed of a career as an artist but a double rejection by the Vienna art academy saw those aspirations dashed. His paintings were summarily dismissed as passe by the art establishment in favour of abstract and modern styles (Burns), leaving the future Reich leader with a bitter aftertaste and a grudge①.

In Mein Kampf Hitler avers that “Cubism and Dadaism are symptoms of biological degradation threatening the German people”, Werckmeister, O. K. “Hitler the Artist.” Critical Inquiry, vol. 23, no. 2, 1997, pp. 270–297. JSTOR www.jstor.org/stable/1343984. Accessed 2 March 2021.

The purging of so-called “degenerate art
The Degenerate Art Exhibition (Entartete Kunst) in 1937 was the culmination of a concerted campaign waged by the Nazis to root out all manifestations of avant-garde art in Germany. The first efforts by Hitler’s henchmen were a reaction to the preceding liberal and permissive Weimar era which had embraced the modern style in art and especially Expressionism. In 1933 the Nazis held their first art exhibit of the supposed “degenerate art” in Dresden. Allied to this, the systematic confiscation of modern artworks from museum across Germany took place. Hundreds of thousands of the plundered art pieces including works by modern masters were sold by the Third Reich (some of the proceeds were siphoned off into armament production)②. Much of the minor, less marketable art works were ultimately burnt.

Beckmann: ‘The Night’

The “wrong type” of art
Hitler rejected the avant-garde and modernity in part for aesthetic reasons. Hitler like many of his Nazi followers had an innate conservative aesthetic taste in art. Politics and ideology also played a part, the führer associated modernism with Jews and communism, and by extension, with democracy and pacifism. Jewish influences, Hitler held, had contaminated the classical art styles so beloved by him. At the same time he denounced what he called “cultural Bolshevism” for weakening German society. Modern art, the Nazis believed was an evil plot against the German people, a “dangerous lie” which would poison German minds. In chilling words given the Nazis’ later unbridled lethal use of eugenics Hitler stated that “anyone who paints a green sky and fields blue ought to be sterilised”.

Kokoschka: ’Portrait of a Degenerate Artist’

“Sick art” and culture as a propaganda tool
Hitler and the Nazis believed that art played a critical role in defining society’s values. Expressionism③ and the group Die Brücke (“The Bridge”) and artists like Oscar Kokoschka and Ernst Kirchner got singled out for extra repressive measures. The Nazis depicted avant-garde art as the lowest of the low—”impure and subversive”, it’s artists ‘diseased’ specimens corrupted by mental, physical and moral decay—conversely they elevated classical Greek and Roman art to a sublime place, the highest of cultural planes.

Hitler viewing the ‘Degenerates’

The Degenerate Art Exhibition
The Nazis’ 1937 exhibition was carefully stage-managed as a propaganda vehicle to mock and deride the modern art Hitler so detested. The exhibition comprised Expressionist, Dada, Cubism, Abstract (allocated its own room designated the “Insanity Room”) and New Objectivity artworks. Paintings were hung in a careless, haphazard fashion, with graffiti scrawled on the walls which defamed the artists. Actors were hired to prowl through the gallery loudly denouncing the “Modernist madness”. Adolf Ziegler, the Reich”s top arts bureaucrat and Hitler’s favourite artist, declared the displayed works “monstrosities of insanity, insolence, incompetence and degeneration”. And to ram home the degeneracy point, the vilified artworks were juxtaposed alongside paintings by the enfeebled and the disabled, by psychotic patients and the like. According to the Nazis, degenerate art was the product of Jews and Bolsheviks, but interestingly only six of the 112 artists whose work was displayed in the exhibition were Jewish. The 650 paintings, prints and sculptures included works by Grosz, Dix, Klee, Beckmann, Nolde, Chagall, Picasso, Wandinsky, Marc and Mondrian.

Führer taking in the “good art”

Exhalting in the “pure Aryan art”
To provide Germans with a favourable point of comparison, the Nazis simultaneously held the Great German Art Exhibition in the same Munich neighbourhood. This displayed ‘Ayran’ art➃, the type of art Hitler approved of. Often gargantuan in scale⑤ – statuesque blond nudes, idealised heroic and duty-bound soldiers and imagined pastorals and idyllic landscapes (reflecting Hitler’s predilection for realistic paintings of outdoor rustic settings). Characteristically the favoured Nazis’ male figures in art represented the concept of the Übermensch (an idealised ‘superman’). Hitler’s intention was that the Groß deutsche Kunstausstellung propaganda would help mobile the German people behind the Nazis’ values.

Footnote: The outcome of the dual 1937 exhibitions was not anticipated by Hitler and the Nazis: Entartete Kunst proved wildly popular, attracting more than two million visitors, whereas Groß Kunstausstellung only managed less than a third of this number. The “Degenerate Art” show was such a hit that it was toured on display throughout the German Reich after the Munich premiere closed.

Postscript: German artists deemed ‘degenerate’ understandably were more at risk of persecution from the Nazis from those outside the country. Special attention was given to artists like George Grosz and Oscar Dix who were openly critical of the totalitarian regime. Grosz mocked Hitler on canvas while Dix earned the enmity of the Nazis for his excruciating depictions of the horrors of war. As one writer put it, “the Nazis labeled Dix a ‘degenerate,’ but the term is better applied to the society he depicted—cannibalizing itself and hurtling toward destruction” (Alina Cohen).

Dix’s ‘Seven Deadly Sins’ (1933)

•━ ━ ━ •━ ━ ━ •━ ━ •━ ━ ━ ━•

① Hitler’s own preference for subject matter as an artist was for painting buildings and largely unpopulated pastoral landscapes (the future “world leader” had no talent for capturing the human form)
② Hitler and the National-Socialists’ notion of modern art as being the product of entartung (degeneracy) can be traced to a Jewish Austro-Hungarian social critic Max Nordau who decried the new art and literature in 1890s Europe as being the work of diseased minds
③ the focus on Expressionism as a target for the Nazi “culture police” proved a particular problem for Joseph Goebbels. The propaganda minister had early on championed the Expressionist movement and had to backtrack swiftly on this to avoid the führer’s opprobrium
➃ Ayran art uniformly infuses a celebration of youth, optimism, power and eternal triumph
⑤ the Nazi taste for mega-scale art reached its apogee in architecture, massive structures like ‘Germania’. “Monumentality and solidity (exuding power), simplicity and timeless eternity” were the bywords of Nazi architecture

𓇬 𓇬 𓇬

Bibliography
‘Degenerate art: Why Hitler hated modernism’, (Lucy Burns), BBC News, 06-Nov-2013, www.bbc.com
‘Degenerate Art: The Attack on Modern Art in Nazi Germany, 1937’, (Jason Farago), The Guardian, 13-Mar-2014, www.theguardian.com
‘Degenerate art’, Wikipedia, https://en.m.wikipedia.org
‘Nazi architecture’, Wikipedia, https://en.m.wikipedia.org
‘Why “Degenerate” Artist Otto Dix Was Accused of Plotting to Kill Hitler’, (Alina Cohen), Art Sy, 11-Feb-2019, www.artsy.net
‘Art as Propaganda: The Nazi Degenerate Art Exhibit’, Facing History and Ourselves, (Video, 2017)
‘Adolf Hitler’s war against modern art’,
The Canvas, (Video, 2019)