Adolf Hitler in Munich in 1923. Photograph: Hulton Archive/Getty Images.
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Early recollections of Adolf Hitler: “Eccentric but quite a pleasant fellow”

In a profile from the New Statesman archive, literary scholar and social critic William Walter Crotch remembers his days in Munich, and the "militant edition of charlie chaplin" he encountered on the streets and in the local bierkeller.

This profile by the literary scholar and social critic William Walter Crotch (1874-1947) was first published in the NS of 29 July 1933. Hitler had become chancellor in January.

The first time I heard the name of Adolf Hitler mentioned was shortly after the end of the war, when a man named Franz Xavier Huber, a veteran who had a leg shot away before Verdun in 1917, told me the stories of a curious fellow who had been in his regiment at the front. He was a garrulous chap, and, sitting in that same Bürgerbraü Keller in Munich (where in 1923 Hitler took his first plunge into revolutionary activities by firing off his army revolver at the ceiling and declaring the morrow would see him victor or dead although it saw him neither the one nor the other, but unscathed, a helter-skelter fugitive in the Bavarian hills), he used to tell tales tragic and humorous of his campaign experiences.

The thing that had struck him about “Private Hitler” was his grandiloquence. He was neither popular nor the reverse with his fellows; they just smiled at him and his vague rambling speeches on everything in the world and out of it. He acquired the reputation of being what in the British Army is called “an old soldier”. That is, he showed distinct talent in avoiding disagreeable tasks, but he knew on which side his bread was buttered. He interested himself particularly in the important question of seeing the officer’s washing was done or doing it himself. This secured for him the good graces of the colonel, who removed him from the more constant dangers of the trenches and appointed him runner between regimental headquarters and the front line.

These duties brought him frequently in contact with the men and he would sit for hours in a dug-out and hold forth on Socialism, of which it was evident he had only very hazy notions. Old Social Democrats used to laugh at him, but no one debated seriously with him. He could not brook contradiction and used to fly into terrible rages if anyone ventured a word of dissent. Though he got the Iron Cross of the second class, no one in the regiment ever looked upon Hitler as any sort of a hero; indeed they rather admired him for the skill with which he avoided hot corners. The regimental records contain not a line concerning an award of the Iron Cross of the first class to Hitler, though in latter years he has taken to wearing it prominently on his self-constructed uniform.

In those days in Munich I lived in the Thiersh Strasse, and I frequently noticed in the street a man who vaguely reminded me of a militant edition of Charles Chaplin, owing to his characteristic moustache and his bouncing way of walking. He always carried a riding whip in his hand with which he used incessantly to chop off imaginary heads as he walked. He was so funny that I inquired from neighbours who he might be: most of them, owing to his Slav type, took him to be one of these Russian émigrés who abounded in Germany at that time, and they freely talked of his being probably a trifle mentally deranged. But my grocer told me it was a Herr Adolf Hitler from Braunau in Austria, and that he was leader of a tiny political group which called itself the “German National Socialist Workers Party”. He lived as a boarder in the apartment of a small artisan, wrote articles for an obscure paper called the Völkischer Beobachter, and orated in hole-and-corner meetings before audiences of a dozen or two. Out of curiosity I bought the paper once or twice, and found it a scatter-brained collection of wild anti-Jewish stories and articles interlarded with panegyrics on the Germanic race. My obliging grocer closed his information on Hitler by remarking that he frequently purchased things in his shop and was, despite his eccentric appearance, quite a pleasant fellow, though inclined to talk sixteen to the dozen about anything and everything.

Some time later I became a frequent customer of a little wine saloon in the Schelling Strasse. The public in this inn was mostly composed of Bohemians, artists and art students, members of the staff of Simplicissimus, the satirical weekly; musicians and poetasters sat around of an evening and listened to Gulbransson or Thöny giving forth on art, politics and the price of a pound of meat. Discussions lasted far into the night, over tankards of beer and bottles of an excellent Chianti. Hitler was an almost daily visitor; he had, I learned, been a house painter in his early days in Vienna, but he was rather sore on the subject, and posed as an artist. He was very fond of airing his views on art and architecture, which, however, were not taken seriously by any of the artists who frequented the place.

Hitler was often accompanied by one or two friends who, I was told, were members of his little political group. The most sensible of the band was a chemist named Gregor Strasser, a very sound fellow with whom I often spoke. Hitler’s closest friend at that time, however, seemed to be an ex-army captain named Roehm, who later became chief of the Storm Troops, while his friend, Baldur von Schirach, was entrusted with leadership of the “Hitler Youth”, the boy scout organisation of the National Socialist movement.

One thing that struck me about Hitler was his extreme abstemiousness. He ate every night a dish of vegetables, and mineral water was his only drink. He never smoked. This reminds me of an amusing incident when Hitler became Chancellor. The German vegetarians have a central organ of their league, and this paper came out with flaming headlines:

FIRST GREAT VICTORY OF GERMAN VEGETARIANS. HITLER BECOMES CHANCELLOR.

Sometimes instead of regaling us with chaotic speeches, Hitler would sit for hours on end in front of his mineral water, staring into space, not uttering a word, and apparently quite oblivious of his surroundings. If on these occasions someone suddenly addressed him, he would start as if out of sleep, and stroke his forehead with his hand several times before coming back to reality.

Apart from politics and art, Hitler’s chief topics of conversation were Italy and clairvoyance. He had never visited Italy, but had apparently read a great deal about it, and he would sometimes talk for half an hour on end about the glories of ancient Rome and the greatness of the Caesars. There was something about his talk that made one think of the prophets of the Old Testament: he spoke as if he believed himself to be inspired. The only thing that dispelled the illusion was his frequent use of words that are not found in the dictionary of a cultivated German.

One day I remember a man came in who, for the price of a plate of soup, read hands and told fortunes. Hitler retired with the soothsayer into a corner and spent a whole hour with him in earnest conference. When he got back among us, he turned with anger upon a student who had made a slighting remark about clairvoyance, and launched out upon an eloquent defence of occultism of every kind, and especially of astrology.

He made a confidant, too, of a Jewish charlatan named Steinschneider who had taken to himself the name of Hanussen, and consulted him frequently. Hanussen, who subsequently founded and ran a weekly newspaper on astrology, devoted to indirect propaganda for Hitler, became for a few weeks after Hitler’s accession to power almost as important a factor in Germany as Rasputin had been in Russia. But his end was a tragic one. He was found murdered in a field in the environs of Berlin. Accounts vary regarding his death. However, the incident does not appear to have shaken Hitler’s faith in astrology, and one of Hanussen’s chief rivals, a man named Mücke, has been appointed by Hitler “Federal Commissary for Occultism”. This, I believe, is the first time in modern ages that a state has officially recognised soothsaying and turned it into a government department.

But there is one extraordinary feature about Hitler’s faith in the occult which gives rise to intriguing speculation. As everyone knows, he has adopted the Swastika as the emblem not only of his party but of the State. But curiously enough this Swastika is reversed, and anyone acquainted with Eastern beliefs knows that this is to be regarded with positive horror. An inverted Swastika is indicative not of endless life but of the flood and flame of life leading to a violent destruction. Did Hitler know this when he foisted it upon the German nation? Is the reversed Swastika just another sign of the man’s half-baked conception of things? Or is this a last vestige of the irony of his political faith?

Hitler was not without devoted adherents in the “Osteria Bavaria”. Some students became seized with a sort of hero-worship regarding him, and hung on to every word he said with wrapt attention. But his chief admirers were the two waitresses, buxom Bavarian wenches, who listened openmouthed to him and danced attendance on him in a way that formed the subject of many jokes among the habitués of the place.

Hitler’s relations with women indeed are a strange and obscure chapter. I saw a great deal of him at that time, and I can certify that he was in these matters as abstemious as in regard to food and drink. The only woman he seemed to care for at all was the lady to whose villa in the hills he fled after his inglorious collapse in November, 1923. He used to correspond with her a great deal and spent frequent week-ends at her place. Latterly he is said to have fallen in love with Winifred Wagner, but I can hardly imagine the Hitler of 1921 in love.

Another thing that struck me was the man’s utter incapacity to deal with important details. When he spoke of Italy, or the German race, or occultism, or the Jews, his talk was a succession of vague generalities, couched in attractive if flowery language, but showing in every case either complete ignorance or at least complete contempt for detail.

Though he insisted in season and out of season on the greatness of “pure Germanism”, I never met a German who was so entirely un-German. His speech, his thought, his outlook were far more Slav than Teutonic. He loved everything foreign while he denounced it. His race theories came from the Frenchman Gobineau and the English renegade Houston Chamberlain. His famous phrase “the Third Reich” was the invention of the Dutchman Moeller van den Bruck. The party salute was an Elizabethan stage convention—a subterfuge adopted by actors to imitate Romans. His regimental standards were a pale imitation of Roman eagles. His uniforms are anything but Germanic. They are a sort of cocktail of French, Austrian and English uniforms with most of the bad points to all three.

But I will say this, as the result of these long evenings spent with him: he was, and probably still is, passionately, almost ferociously, sincere in all he says and does, even when it appears hypocritical and insincere.

This article appears in “The New Statesman Century”, our 250-page anthology of the best and boldest writing from the first 100 years of the NS. To order a copy visit: newstatesman.com/century 

MATTHIAS SEIFARTH FOR NEW STATESMAN
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Moby: “The average American IQ is around 98”

Moby, the vegan king of chill-out pop, talks wealth, David Bowie’s hat and the average intelligence of his fellow Americans.

In January 2012, two women walking their nine dogs on the hill beneath the Hollywood sign found a man’s severed head wrapped in a plastic bag. His decomposing feet and hands were discovered nearby. First theories pointed to the work of a Mexican drug cartel, or the murderous Canadian porn actor Luka Magnotta. The story piqued the interest of the electronic dance music mogul Moby, who wrote about it in a New Statesman diary in May this year.

Today, the smell of cedar and pine hits you on the canyon path, which is hot, steep and sandy – an immediate wilderness in one of LA’s most exclusive areas. The Griffith Observatory shines like a strange white temple on the hill. Brad Pitt, a local resident, was doorstepped after the head was discovered: he lives near Moby on the streets of Los Feliz, near Griffith Park, where the only sounds are hedge strimmers and workmen’s radios. Moby’s 1920s mansion is all but obscured by Virginia creeper.

As we sit down at his kitchen table, Moby tells me that the body parts were found to belong to a 66-year-old Canadian flight attendant called Hervey Medellin. Shortly before Medellin’s disappearance, his boyfriend, Gabriel Campos-Martinez, had used a computer in the flat they shared to find an article titled, “Butchering of the human carcass for human consumption”. The head, feet and hands showed signs of having been frozen: the rest of the body was never found. He says it was one of those rare times in life where reality was more intriguing than the conspiracy theories.

Moby, of course, eats no meat. Fifteen minutes’ drive away in the hipster neighbourhood of Silver Lake, his vegan bistro, Little Pine, serves a variety of plant-based dishes, proceeds from which go to animal rights organisations including the Humane Society and Peta. His own music is never played there. We are meeting to talk about his new album – but, he says: “It’s 2016 and people neither buy nor listen to albums. And they certainly don’t listen to the 16th album made by a 51-year-old musician. I don’t care if anyone gives me money for this music or for live shows ever again. Once a record’s released, I couldn’t care less what happens with it. I liked making it, but I don’t care.”

He is currently working his way though the stages of grief outlined by the psychiatrist Elisabeth Kübler-Ross. To denial, anger, bargaining, depression and acceptance he has added a new phase: Schadenfreude. On the night of the US election, he left the house at 6pm west coast time to watch the coverage with some friends. He checked his usual round of sites on his phone: CNN, the New York Times, the Washington Post, Nate Silver’s FiveThirtyEight, the Guardian, the Huffington Post, the BBC, politico.com. He was concerned to see that no one was calling any of the early states; with Obama’s election, exit polls suggested the victory by noon. Days earlier, Moby had been predicting humanity’s “wake-up call” in the form of the destruction of Greenland or a zoonotic virus – but not this. He is softly spoken, with a quick laugh and the kind of intelligence that seems to warm him up from the inside when he talks, but today he is angry.

“It is disturbing on so many levels,” he says. “One, that we have elected an inept racist as president. Two, just seeing how dumb and delusional so many Americans are. Because really – in terms of the subsets of people who would vote for Trump – you have to be delusional, or racist, or stupid. I am so confused as to the fact that such a high percentage of Americans are either really stupid or incredibly bigoted.”

The stupidity of Americans is, he says, a matter of “anthropological curiosity” – or simply demographics. “The average American IQ is around 98,” he notes. “So that honestly means – in a vaguely non-pejorative way – that there are a lot of really, really dumb people. The nonsense that people were spouting before the election – that Trump was a good businessman, for example? This phenomenon has been particularly egregious of late: people have an almost adversarial relationship with evidence. Climate-change deniers are another example.”

As a self-described old-timey alcoholic, Richard Melville Hall (nicknamed Moby by his father in honour of his great-great-great-uncle Herman) has a pervasive interest in neurochemistry. He uses it to explain much of the past six months in Western politics. Our failing political systems – the subject, in fact, of the album he doesn’t want to talk about – are underpinned by “a kind of delusional motivation, which is basically to ignore the countless things that are actually going wrong in the world and focus all your attention on things that are arbitrary. In the United States, you have people who have perfectly good jobs in safe communities who are obsessed about Mexico, crime and unemployment. We have these quasi-Orwellian responses to stimuli, and they come from a place of fear and scarcity. Humans are still built to amass as much wealth as possible, and fight off the enemies as quickly as possible, but the only threats are the ones we generate ourselves.”

There’s a dishcloth on the table, a few magazines, a bit of a draught and Moby in a black hoodie pouring two glasses of water.

Fear and scarcity pervade American society, he says, because social policy is an extension of corporate process and “nothing is free from the cadres of professional lobbyists”. Meanwhile the ravenous news consumption that helped drive Trump reflects a human addiction to the “neurochemical jolt” of engaging with the media.

“People have a profound and almost feral attachment to that which makes them feel good in the moment,” he says. “Without thinking of long-term consequences, does their belief give them a shot of dopamine right at this second? If so, they hold on to it. Eating junk food, voting Brexit and voting for Trump.”

 

***

 

Moby is the model of an addictive personality well-practised at controlling itself. He was a fully fledged alcoholic by his early twenties: at ten, he’d been given champagne and made himself the promise, “I always want to feel this good.” Now, he cannot touch a drink, but his modern-day addiction, he says without a beat, is his phone. Every thought is pursued to extremes. He recently released an animated video for a new song, “Are You Lost In the World Like Me?”, showing a procession of grotesque, phone-addicted cartoon characters filming a girl as she throws herself off a skyscraper and hits the ground.

The house is vaguely baronial, airy and open-plan: all dark wood and furniture polish. An Annie Hall poster in the pool house; a coyote postcard on the kitchen wall.

This particular property is a result of serious downsizing: Moby has a habit of buying very big places, doing them up and then moving out. When he was still in New York, he bought a remote mountaintop retreat in Kent Cliffs, 50 miles north of Manhattan. He created a magnificent bedroom of 1,500 square feet with ten skylights – but quickly learned he could only get a decent night’s sleep when he pulled his mattress into the cupboard. He told the New York Times that, living all alone in the big house, he “felt like Orson Welles at the end of Citizen Kane”.

He moved to LA in 2010, swapped vodka for quinoa smoothies and took the keys for another large building – the Wolf’s Lair, the turreted, 1920s Gothic castle in Hollywood once inhabited by Marlon Brando, with the swimming pool historically used for porn movies and the hidden tiki bar. He bought it for $4m and sold it for $12.5m four years later – allegedly to Banksy. He rattled around in that house, too. Right on cue, he tells me: “I felt like Orson Welles at the end of Citizen Kane.”

On the one hand, these were sensible ­investments for the man who’s sold 20 million records; on the other, large impersonal spaces appealed to Moby long before he was in a position to buy them. Raised by his single mother on food stamps and welfare in Darien, Connecticut, he started his adult life squatting an abandoned lock factory, where he could ride his moped around his bedroom, piss into a bottle and read battered Star Trek paperbacks while working on early demo tapes, rather like a ragged, vegan version of the boy in the movie Big.

He was very happy in his penniless state, as he records in his memoir, Porcelain. He’d like to propose something he calls the End of Wealth – but we’ll come back to that.

In the past few years Moby has broken free from the “Beckettian purgatory of touring”. When his biggest-selling album, Play, was released in 1999, his music career was effectively “over”. Before Play, he had changed creative direction, going from progressive house to ambient to thrashy punk – to which he has just returned – and no one knew what to do with him. The only reason he hadn’t been dropped by his UK label, Mute Records, was that its owner, Daniel Miller, was “an old egalitarian socialist”.

Play sampled slave songs of the Deep South – recorded by the ethnomusicologist Alan Lomax in the 1940s – and wove them into a backdrop of cerebral chill-out. The songs of pain and emotion took on an eerie neutrality, and TV shows and ad companies came calling. He was approached by Will and Grace and Grey’s Anatomy. At that point, selling records and touring were still more lucrative than licensing a song to TV – and licensing a song to TV was still considered selling out. But Moby considers himself an ugly duckling: “If someone who was once unattractive suddenly gets asked out on loads of dates, of course they say yes a lot.” He licensed every song on Play and it became the soundtrack of the millennium.

His memoir was unusual because it concentrated on the ten-year period before he got famous. It captured his enthusiasm – and his strangeness – at its source and showed him to have a sense of humour that may have passed people by the first time round. “I’m in London! London!” he wrote. “Benny Hill, Joy Division, Peter O’Toole!” He visited the vegan café in Covent Garden.

The book is filled with money: or with the constant, practical concern of not having it. Navigating poverty is an everyday routine: he is an “alchemist” turning used beer bottles into nickels at the recycler, and thence into soya milk and oranges. In his early twenties he becomes a Christian, partly so that he can repeat the Sermon on the Mount at Bible classes in the households of Greenwich Village and “judge” the rich children.

Book two, which Faber & Faber is waiting for, is more difficult. The period of his fame and fortune in the 2000s is too much of a cliché. “Ten years ago I was entitled, narcissistic, bottoming out, alcoholic, selfish and feral. Robbie Williams has done that story, so has Ozzy and Mötley Crüe. Who wants to read that? It’s tautological.”

Instead, he has decided to write about the first ten years of his life. It will look into his relationship with his mother, who loved him but raised him in various drug dens. He was at her side when she died in 1997, but he missed her funeral, having woken late in the morning to discover that at some point in the night he must have got up and set his alarm clock three hours late. He took a taxi to the wake, worrying about the fare, and for reasons he can’t really explain, turned up cracking jokes.

He has a strange nostalgia for the kinds of friendships you have in early adulthood, when everyone is equal, “before that point when someone starts making money and they think they’ve won: they’re going to have access to a different kind of happiness”.

In 2003, when he turned 38, he was famous, wealthy and miserable. “I’ve been able to see and inhabit almost every stratum on the socioeconomic scale, from extreme poverty and obscurity to wealth and fame, and it gives me an insight into it,” he says. “Because a lot of people who experience wealth are born into it, and a lot of people who experience poverty never leave it. I can safely say that for me there has been no causal effect between increased fame and wealth and increased basic happiness and well-being.”

When Moby talks about himself, he applies many apologetic epithets: clichéd, meditating, yoga-loving, mealy-mouthed. In 2007 he developed mobygratis.com, a large online resource offering independent film-makers and film students a licence to use his music for free. If their films are commercially successful, the revenue from licence fees must go to the Humane Society. He says he wants to propose a more rational, evidence-based approach to wealth.

“We are still attached to the idea of the redistribution of wealth,” he says. “As progressive lefties, we’re all brought up to think that is a good idea. In the old days, it meant the difference between eating and not eating. Nowadays the person on $30,000 consumes twice the calories of the millionaire, and has a bigger TV and works fewer hours.

“There is an underlying assumption that if wealth were distributed more evenly then people would be happier, but there is unfortunately very little anthropological or sociological evidence to support that idea, unless there are institutions to support the basic needs of community, like food and shelter. Confusing materialism with happiness is the essence of our culture.”

While west LA is plastic surgery and gold-plated toilets, he says, his own neighbourhood is “David Lynch wearing an old T-shirt and mowing the lawn”. Among the millionaires of Los Feliz, conspicuous consumption is frowned upon. He knows several who live “incredibly austere lives. I was having tea with Jim Carrey the other day. He’s basically just giving everything away. He just realised that owning three planes was stressing him out . . .”

In his New Statesman diary, Moby said that life in LA offered him miles and miles of lavender-scented name-dropping.

“Coldplay played the Rose Bowl recent­ly,” he says. “And the Rose Bowl holds 75,000 people. It’s a struggle for me to sell 2,000. At first, I winced with a little jealousy. But then I thought, ‘If my career was at that Coldplay level, how would that actually affect my daily existence? Would it make my shoes fit better? Would it make the water pressure in my shower better?’ As long as you’ve satisfied the basic hierarchy of needs – enough to eat, clean air to breathe, bears not eating your legs – happiness is all where and how you put your attention.”

***

He goes to his kitchen cupboard and from among the colanders and measuring jugs he extracts a black velvet fedora – size seven, silk-lined, from a London company established in 1879. In green marker around the inside rim are the words “With love from David – Christmas 2005”. Bowie gave it to him over Christmas dinner that year. “It’s the hat that he wore in The Man Who Fell to Earth,” Moby says. “There’s this amazing picture of him wearing it with John Lennon and it’s clearly when he was doing a lot of cocaine.”

Moby lived on Mott Street in Little Italy and Bowie lived on Mulberry Street. “I had a little roof deck, and he had a beautiful roof terrace, and we could wave at each other.” They were neighbours and friends, worked on music together, went on tour together, had barbecues together. He says the title of Bowie’s last album, Black Star, is a reference to the 1960 Elvis Presley song of the same name “about the end of a life” (“And when a man sees his black star,/He knows his time, his time has come”).

“David had been sick for a long time,” he says. “Or ill, as you say in the UK. So, David had been ill for a long time. I was very pleased that . . . after he died, people were asking me, ‘How do you feel?’ and I’m like, ‘Actually, I’m just kind of happy that he lived as long as he did.’ Because I . . . had thought, yeah, I had thought that he was going to die a little before that. So.”

The Radiohead singer Thom Yorke lives just up the street from him in Los Angeles but Moby has never met him “as far as I know”. Apart from Bowie, he claims not to have musician friends.

“Musicians – and I’m sure you’ve encountered this many times – have a sense of self-importance that is off-putting,” he says. “It is very hard to be friends with someone who thinks that just by showing up, they’re doing something special. At the end of the day, you want to say to them, ‘You know what? You wrote a couple of good songs. Let’s put it in perspective.’”

He was born on 11 September 1965, and on his 36th birthday he watched the twin towers burning from his roof deck. He tells me that when the second plane hit and it became clear the first was no accident, he heard “the cumulative effect of ten thousand rooftops covered with people, and the weirdest scream. A scream of horror but also a scream of understanding.”

Fifteen years on, he talks about this year’s politics as a Manichaean thing. “Half the world are motivated by fear and desire to move backwards, and the other half are motivated by optimism and a desire to move forward rationally. It’s religious tolerance versus fundamentalism; it’s racism versus inclusion. I wonder if there’s a way we can make peace with that whole other half of humanity who are holding on to a non-evidence-based approach to the future. But I don’t know what it is.” He has known Hillary Clinton for two decades, was a vocal supporter of hers during the election run and released a pair of anti-Trump tracks for Dave Eggers’s music project 30 Days, 50 Songs.

He says that many celebrity Clinton backers were cautious to come out for her during the primaries “because Bernie supporters wanted to crucify you. Now Trump has united and inspired Democrats more than anything since the Vietnam War.”

The election result, he says, might just be “the equivalent of a crystal meth addict going on one last bender. Maybe this bender will finally convince Americans to stop voting for Republicans. Because they are terrible. There has always been an understanding that if everyone in America voted, there would be no Republican politicians. The reason Republicans win is that most Americans don’t vote.

“Those of us on the left who were brought up to be tolerant of people who had different opinions from us – well that’s great, ­unless the opinions are bigoted and wrong. If someone is a climate-change denier, they are wrong. If someone voted for Brexit, they are wrong. If someone voted for Trump, they are wrong. There is a lot of ambiguity in the world, but not about these things.”

The clock ticks towards 11.15am and Moby, ever punctual, is done.

“These Systems Are Failing” is out now on Little Idiot/Mute

Kate Mossman is the New Statesman's arts editor and pop critic.

This article first appeared in the 08 December 2016 issue of the New Statesman, Brexit to Trump