This article deals with one of the darkest chapters in the history of popular music: the way in which it was pressed into the service of the cynical and ultra-reactionary goals of German fascism between the years 1933 and 1945. The aim, however, is not simply to fill a gap in historical accounts, which hitherto have always ignored this period. The subject is far from being merely of historical interest: it concerns the mechanisms whereby popular music can be socially and politically misused – mechanisms to which it can more easily fall victim, the more professionally it is produced. It is a fatal error to assume, for example, that popular music serving reactionary interests unmasks itself self-evidently as such. Rather, at no time has the lack of political responsibility on the part of performing musicians and composers been so clear, and had such disastrous eventual consequences, as was the case in Germany between 1933 and 1945. And this is what makes the subject as topical today, forty years after the ending of fascist tyranny in Germany, as it was then. ‘Continuity and change’ requires that the bitter experience of the past be combined with the urgent call to learn lessons from it now, after so long. The next time could be the last time!