THE USE OF MUSIC

IN PSYCHOLOGICAL OPERATIONS

SGM Herbert A. Friedman (Ret.)

The Hebrews blowing trumpets at the battle of Jericho. The use of music in warfare goes back to Biblical times. Joshua won the battle of Jericho using trumpets. The ancient Greeks went to war led by flutists playing songs of patriotism and praising the Gods and their military heroes. Legend says that Athena created the flute to imitate the wailing of the Gorgons when Medusa was killed. A Spartan Flutist in the midst of the battle The Spartans marched to war to the sound of flutes and used bugles to signal military commands. On the attack, the Spartan Army moved forward while their king sang one of their many marching-songs. He was complemented by pipers. According to Thucydides, the songs and tunes kept the marching line in order, which helped the Spartans close in a solid, unbroken line. The Death Whistle There is reason to believe that when the Aztecs went to war they played a death Whistle that made piercing noises resembling a human scream. They sound like the scream of 1,000 corpses. At the beginning of a battle, the whistles unnerving sound would break the resolve of the enemy. Some experts believe that these death whistles allowed listeners to enter a trance state. We're not entirely certain what the whistles were used for, however. They may have been used as an intimidation tactic in war, but there's one aspect of Aztec society in which they certainly played a role: human sacrifice. Twenty years ago, archaeologists unearthed two of these skull-shaped instruments in Mexico. They were clutched in the hands of a sacrificed man at the temple of the wind god. Initially believed to be toys, the whistles were used in rituals and war. Some insist that death whistles were used in sacrifices and to guide the recently deceased to the land of the dead. Others believe that their main use was psychological warfare. The Spirit of 76

By Archibald Willard George Washington apparently thought so much of martial music that he demanded his own fife and drum corps practice regularly and get better with the threat of demotion and loss of pay if they failed. Music gave instructions for advance or retreat and helped keep order on the battlefield. Drummers would play beatings telling soldiers to turn right or left as well as to load and fire their muskets. There was a tune called Cease Fire that fifers and drummers played to instructs troops to stop firing. American General Andrew Jacksons troops advanced to drum roles written by Beethoven. In 1836, when General Santa Anna wanted to frighten the defenders of the Alamo into either fleeing or surrendering, he played El Degüello, a song that appealed to the enemy to surrender or die by the sword. It signified that no quarter would be given. According to various English-Spanish dictionaries, El Degüello means no mercy. The literal translation is "slit-throat." During the Korean War, the Chinese Peoples Volunteers often attacked the UN forces in mass blowing bugles or played funeral dirges from their loudspeakers at night hoping to dishearten the American and South Korean troops. In one instance the Chinese played a particularly eerie version of the Hank Williams song, Your Cheatin Heart that fit well into the fog shrouded night-time battlefield. Its a long way to Tipperary This single-sided German WWI propaganda leaflet paraphrases the British marching song and now states that the Americans rule the show in Britain. The song now ends: Its a long way to dear old England

Now the Yankees are here. When I first enlisted during the Korean War we had bugle calls that woke us up, told us the flag was being raised (reveille) or lowered (retreat) and gave us everyday messages such as chow or mail call. I still remember them all. Everyone has seen the charge of the Air Cavalry in Apocalypse Now where Lieutenant Colonel Kilgores helicopters played The Ride of the Valkyries as they approached a Viet Cong controlled hamlet. Remember Kilgores orders? Put on PSYWAR Ops make it loud Shall we dance? Strangely, there may be some truth to that scene since it has been reported that near the end of WWII, the Germans sometimes played that song to their soldiers to motivate them to continue the fight. Loudspeaker tank The American public was introduced to music in battle in a more comical manner in the 1970 war comedy movie Kellys Heroes when Sergeant Oddball (played by Donald Sutherland) showed Kelly (Clint Eastwood) the loudspeakers on his Sherman tank. Oddball the Hippy says: We got our own ammunition, it's filled with paint. When we fire it, it makes... pretty pictures. Scares the hell outta people! We have a loudspeaker here, and when we go into battle we play music, very loud. It kind of... calms us down. In 1986, Paramount Pictures offered Top Gun with Tom Cruise. It has been called the greatest enlistment movie ever made. In this movie, the hot-shot young naval fighter pilot goes to war playing loud rock and roll music through his headphones. The idea seemed ridiculous at the time, but today many soldiers going into battle listen to hard-rock music, so the movie was a harbinger of things to come. Perhaps the best music in the movie was the Kenny Loggins song Danger Zone. To show the power of music, enlistment for naval aviators jumped 500 percent after the film's release and it was reported that 16,000 young people enlisted in the United States Navy in the year after the release of "Top Gun." Lots of kids believed they could go to war listening to loud music. By the way, on the subject of Top Gun, during Desert Storm movies were shown to the Iraqi prisoners to keep them calm and occupied while they were behind the wire. The prisoners favorite movies were found to be Top Gun and Superman. In 2013, we find that a Ugandan pop star by the name of Chameleone urges the terrorist followers of the Lords Liberation Army and Joseph Kony to leave the murderous cult and return to their homes under amnesty. His song is entitled Come Home and is aimed to motivate Kony, who he says is a fan, out of the bush. In the song, he urges LRA members: Your mother, father and family are waiting for you

do not suffer out there thinking nobody cares about you Rapper Amir Tataloo recorder a video with the Iranian Army In 2017, it was reported that the youth of Iran no longer reacts to the tedious anti-American chants of the Ayatollah and the Republican Guard. So instead, the propaganda is now being sung as part of rap music on very well-done patriotic videos. Iranian clerics have long insisted that rap music is the devils work, but they had no complaints when Amir Tataloo, a rapper with a hard-partying, gangster-style reputation, turned into a nationalistic admirer of Irans military effort in the Persian Gulf. Mr. Tataloo rapped that an armed Persian Gulf is Irans absolute right. Another famous Iranian singer by the name of Hamed Zamani sings in a song entitled U.S.A.: Our injured throat is familiar with your claw, next to a version of the Statue of Liberty as a skeleton holding up a menorah instead of a torch. In 2017, a producer of music anthologies that specialize in history was preparing a collection of music inspired by the Korean War. He asked me to share some of my Korean War data for the booklet that will accompany the CDs. That book with four CDs was published in 2018 as Battleground Korea: Songs and sounds of Americas Forgotten war. In 2018, I was called by the History Channel to comment on sonic warfare that seemed to have been used against American diplomats in Cuba and China. That story was eventually published by Eric Niiler on 25 May as Sonic Weapons' Long, Noisy History. The U.S. Army teaches it troops about the history of martial music in lessons on Army heritage and traditions. Some of the comments are: Military music dates back to early Romans, when it was used to control the military formation. The Romans found out that soldiers moved with a little more spirit and efficiency when they marched to a cadence, even outside of battle formation. At first, only drums were used to keep the marching cadence. Over time, however, armies learned to march to much more elaborate music. Even when large armies (and their music) disappeared from Europe , Asian civilizations and their armies continued to move to music. A good example of music that is uniquely military is the bugle call. Bugle calls have been used for hundreds of years to alert troops on the march. Using military calls to direct soldier movement has been done since ancient times. Cadence calls, better known as Jody Calls, are a hallmark of the American soldier Most of them will bring good memories of teamwork, comrades, and esprit de corps. What is it about this music? What magic does music create? Why are humans so affected by it? Kimberly Hess talked about the magic in an article entitled The Beautiful Life of Your Brain, published in the September 2014 issue of Readers Digest. She says in part: First, the sound hits your ear, activating a series of structures from the cochlea (where vibrations are turned into electrical impulses) to the brains cortex. When you recognize the tune, your auditory cortex is connecting with regions that handle memory retrieval. Then, if you are starting to tap your foot, youve activated the motor cortex in a very particular way because youre tapping the exact beat of the song. Finally, if the song has you feeling good, the song has turned on your brains reward system, ancient powerful circuitry triggered by essentials for survival like eating and sex. Why does something seemingly nonessential like music engage that life promoting system? Scientists are still trying to figure that out, but what happens to your brain when you hear a song you love may provide some crucial insight. Music increases cross talk between brain structures in old reward centers that handle pleasure and newer areas at the cortex that handle prediction and anticipation. says Robert Zatorre, PHD, professor of neuroscience at the Montreal Neurological Institute and Hospital at McGill University. In one study he found that the brain released dopamine, a chemical linked to pleasure and reward, in anticipation of a subjects favorite part of the song. So it may be that music fuels your brains innate desire to detect patterns and solve problems. A German Public Television Documentary Crew This three-man German television team flew in to interview me about music as an instrument of psychological operations during conflict situations at Ft. Bragg, North Carolina. Because of War on Terror restrictions, the German nationals were not allowed to enter the military base. They got their interview for a documentary with the working title Songs of War, but in a civilian setting. From left to right the three A&O Buero Filmproduktion Germany artists are: Bernhard Wagner, Director of Photography; Max Kielhauser, Sound Engineer and Tristan Chytroschek, Director. I was shocked that I could not get the three friendly foreign nationals onto Ft. Bragg, but later was told by a PSYOP Colonel that he was unable to get another friend of mine, Indian Arunkumar Bhatt, author of Psychological Warfare and India onto the base. Apparently the War on Terror is taken seriously at Bragg. Director Tristan Chytroschek wrote to me in October of 2012 to tell me that the documentary film had been nominated for an International Emmy. The documentary Songs of War was nominated for an International Emmy in 2012 and presented with the award on 19 November 2012 at the International Emmy Awards Gala in New York City. What I find interesting is the number of academics that are fascinated by music in warfare. Besides the TV crew mentioned above, in a period of several weeks I was approached by a British University professor who wanted a lecture on music in interrogation and crowd control, a Texas University professor who wanted me to lecture on music in military operations, and an American TV production company that wanted me to talk about "heavy metal" music in warfare. Years later, In 2014, I was approached by Radio Television Suisse for a program about music and its effects on human behavior. The Director told me: This is a scientific program called Specimen. We will discuss many aspects of music, its effects and uses, and why it affects us the way it does. The majority of our program deals with the beneficial nature of music, and there is also a brief chapter dealing with the negative effects of music, and notably the use of music in psychological warfare (Vietnam) and the use of music as an instrument of torture. Our commentary deals with what was done, and why (to instill fear, disorientate), we do not discuss the resulting psychological effects. The BBC also called on 9 March, 2014 after it was reported that Ukrainian military forces were countering Russian propaganda loudspeaker messages with songs by the American artist Cher. Im from the BBC in London  the Today program, which is the UKs leading, and most influential news and current affairs program broadcasting to over seven million listeners weekly. Ive just been reading your work on music and war, its incredibly interesting and insightful. We were hoping to find someone we could interview about the issue, drawing on recent examples of how music is used in war and which songs were used. The same day I was called and was also interviewed by the BBC world news show Newsday. They said: I was hoping we could discuss - in a light hearted way  the relative value of propaganda and Cher as tools in these circumstances, as well as the more serious question of what blasting music at someone can hope to achieve. The following day I was called a third time by the BBC: I heard your lovely interview on the Today program this morning and we were wondering if you might be available for a BBC World Service radio interview with our program Newshour this morning to talk over the same/similar issues? On 12 March I was called by a producer at in the news department of Czech TV Barrandov, and asked to comment further on the Ukrainian situation. This concept of music in war really seems to stir up the news people. In 2014, I was contacted by A German TV documentary maker from ZDF who was preparing a film entitled The Power of Music. She said in part: I´m currently preparing a documentary film about music and it´s cognitive, motivational and physical effects on human beings. One aspect is how music has been employed by the military for psychological operations. I read in your articles about these operations and the long history of music and the military. Thank you for the interesting and enlightening summaries, but I still have some questions and maybe you can kindly answer them. At just about the same time I heard from China: I am attending a Military Staff College in China and I would like to show the class that music and poetry is also a motivator in having the strong will, the courage to psyche oneself and the troops to face whatever circumstances they are faced with in this high tech warfare... In July 2015 I heard from a Veterans Administration psychologist who said: I am seeking permission to copy your extensive presentation as background for a research project about this war, I am a psychologist working with the Veterans Administration on the long term impacts of music and other sounds on military personnel during wartime. At the VA, we are finding that some of the impacts of PTSD are traceable to techniques used in PSYOP in WWII, Korea, and Vietnam. This research includes an investigation of the role of music in the Bunker fortifications on the Jamestown line (Korea) during 1952-53, in which both sides used music to agitate and pacify troops during the long negotiation periods of the Korean War. In November 2015 I was interviewed by another documentary maker who wanted to talk about the use of music in warfare. She said: As my producer told you, I am a film-maker based in Berlin. I am working on a documentary on the use of rock music by the military with a focus on Panama. After reading of your expertise I was wondering if you could give me a general overview on the history of the use of music in military. In March 2017, a music producer wrote to say: I am a producer of music anthologies that specialize in history. I have produced a set on the Vietnam and the Cold and I am currently working on a collection of music inspired by the Korean War. I was wondering if you would be willing to share your North Korean propaganda leaflets scans for the booklet that will accompany the CDs? In August 2017, I was called by the Daily Beast, an American news and opinion website focused on politics and pop culture. The Newsweek Daily Beast Company was an American media company, and owner of Newsweek and The Daily Beast. It was established in 2010 as a merger between the two media outlets. The Daily Beast won a Webby Award for "Best News Site" in 2012 and 2013. The reporter was interested in the Cuban use of sound to irritate U.S. diplomats. He also asked about the use of music in wartime in the offense and defense and as a tool of interrogation. Most of these writers seem to think that the use of music is a major theme, and yet it is quite rare. In fact, looking through dozens of military manuals I found hardly any comments on the subject. I did find one minor comment about tactical PSYOP that said in part: PSYOP teams can broadcast music and messages that create nostalgia in the adversary soldiers mind. The use of female voices may increase these effects. A United States Army Special Forces trooper told me that he arrived in Panama in July 1962 assigned to the 7th Special Forces, and then the 8th Special Forces in 1963 at Fort Gulick, Canal Zone. He said: Our Special Forces A Teams had to go through a Prisoner of War and an Escape and Evasion Course. That training really prepared me for my two tours in Vietnam. Once we were captured, and placed in a dungeon at Fort Sherman, Canal Zone, all our clothing and foot gear were taken away from us. They would hose us down with cold water all night so that we could not sleep, and then blasted loud speakers, with different types of American music. So, although this might seem like a major propaganda theme to those who study music, it is rarely used as PSYOP (compared to other themes like surrender or hand in your weapons), and often the music originates from a combat soldier or line unit rather than a PSYOP unit. During WWII both the Axis and the Allies used propaganda radio stations as a form of psychological warfare as they played popular music to build audience among the enemy. On the Axis side Tokyo Rose and Axis Sally played American jazz between their messages of the hopelessness of the Allied cause and calls to surrender. Some of the songs on the German broadcast were Bye Bye Blackbird parodied as Bye Bye Empire, The Sheik of Araby parodied as Im Afraid of Germany, and I cant give you anything but love parodied as I cant go on building ships and ships, Winnie. Marlene Dietrich The Americans and British did exactly the same thing using both white and black radio stations. Perhaps the most famous song to come out of the war was Lili Marlene. Marlene Dietrich became famous the world over when she recorded this song for the American Office of Strategic Services. It was a favorite of both German and Allied troops. It is a strange that a sentimental song that speaks of such pure love can be written about a woman that seems to be a prostitute leaning against a lamp pole. Underneath the lantern,

By the barrack gate

Darling I remember

The way you used to wait

T'was there that you whispered tenderly,

That you loved me,

You'd always be,

My Lilli of the Lamplight,

My own Lilli Marlene Marlene Dietrich in London on Sept. 25, 1944, in the uniform

of USO Camp shows - a WAAC outfit with forage cap Author Richard J. Evans Mentions Lili Marleen in The Third Reich at War, Penguin Press, N.Y., 2009: The song encapsulated the personal anxieties as well as the lingering hopes of the men far away from their loved ones. Further piquancy was added by the fact that, while the words were those of a man, they were sung by an attractive woman. Yet Goebbels disliked its pessimistic and nostalgic tone. At the end of September 1942, he had Andersen arrested for undermining the troops morale Goebbels had her banned from making further public appearances. Eventually, from the middle of 1943 onwards, she was allowed to sing again in public, provided she did not put Lili Marleen on the program. At her first concert after the ban was lifted, the audience yelled for her to sing the song, and when it became clear that she was not going to, they sang it themselves. In August 1944 it was finally banned altogether. Long before this, British and American troops had started listening to the song as it was broadcast from the powerful German forces' radio transmitter in Belgrade. The Allied military authorities had it translated into English. My Lili of the Lamplight was sung by Marlene Dietrich, Vera Lynn and (in French) Edith Piaf, and toward the end of the war the British forces radio broadcast the German version across the enemy lines to the German troops trying to depress them, thus perhaps inadvertently confirming Goebbels' belief that it was damaging to morale. One of the most effective Office of Strategic Services Morale Operations (MO) against the Germans in Europe was the Muzak project which started in July 1944. Muzak was a coded abbreviation for musical action. I should say here that it is also sometimes called "Muzac" or Musac. The name apparently even confused OSS agents. The story is mentioned in Sisterhood of Spies: The Women of the OSS by Elizabeth P. McIntosh. The author says that based on the concept of the potency of music in propaganda operations, the program was run jointly by the British Political Warfare Executive and MO London, with support from MO New York. A German-language program called Soldatensender West was broadcast from England to Germany and German-occupied countries. The German Army was the primary target. The British produced the slanted news while the Americans supplied the music. German lyrics were written for popular American songs and show tunes. Some of the singers that were used by the OSS to record these songs were Lotte Lenya, Marlene Dietrich, and a number of other popular and operatic singers. A fake corporation was funded by the OSS and produced 312 recordings which were played over Soldatensender West. Marlene Dietrich Commercial Record At the end of WWII Marlene Dietrich somehow got permission from the U.S. Government to publish some of the songs she had song in German for the OSS. One Columbia album entitled American Songs in German for the O.S.S. features: Lilli Marlene; Mean to Me; Annie Doesnt live here Anymore; The Surrey with the Fringe on Top; Time on my Hands; Taking a Chance on Love; Miss Otis Regrets; and I Couldnt Sleep a Wink Last Night. The WWII classified magazine Outpost News; U.S. Office of War Information Outpost Service Bureau mentions music in a number of its issues. Some of the comments are; September 1943: The Axis prisoners song of WWII probably will be Youd be so Nice to Come Home To, if OWI Algiers has its way. A cable just received here requested a new recording of this song with Dinah Shore singing lyrics rewritten in German, to be used as a signoff on broadcasts to German prisoners. On Friday, 23 July, we gave our first Mobile Unit musical recording it was composed mostly of Arabs They enjoyed our records in English, French and Arabic. April 1944: Scheduled for early production are Fighting Songs and Folk Songs of the United Nations by the American Soldiers Chorus and the navy Band May 1944: A new half hour French music show is relayed by OWI Algiers in addition to Hungarian; Rumanian and Bulgarian programs All announcements are set to music. Special shipments of recorded music were made to Algiers , Leopold, Teheran and London . Clayton D. Laurie mentions another OWI campaign in The Propaganda Warriors, University Press of Kansas, Lawrence, KS, 1996: The output of the Voice of America was supplemented by broadcasts of the new OWI American Broadcasting Station in Europe, which opened five weeks before D-Day. ABSIE operated twelve transmitters in England eight hours daily. The station followed OWI central and regional directives and devoted one-third of its air time to German air time that included news and musical features such as Music for the Wehrmacht featuring Bing Crosby and Doris Day. The reader will find Doris Day mentioned again later in this article. She was also a favorite of the North Koreans. Im Sitting on Top of the World Surprisingly, the Germans did not prepare leaflets that used American songs or lyrics. However, in at least one case they used an American song title to implore Americans to surrender and sit out the war. This leaflet was coded 49/A 10 and was disseminated in Western Europe starting in December 1944. The original song, I'm Sitting on Top of the World, was written by Ray Henderson, Sam Lewis and Joe Young in 1925 and popularized by Al Jolson. The Germans used the theme of having no worries in a leaflet telling of all the joys of being a prisoner of war. At the siege of Stalingrad in 1942, it is reported that the besieged Soviets rolled giant loudspeakers to their front lines and played Argentinean tangos to their German attackers to keep them on edge through the long winter nights. Leaflet 19-F-6

Image courtesy of www.war-images.com When the U.S. Army hit the beaches of the Philippines Islands to drive out the Japanese occupiers, an entire series of F leaflets were prepared and disseminated. The U.S. Army leaflet is clearly marked and therefore white. There is no doubt that it is from the United States government. The first number in the code indicates the number of a particular series, the F indicates Filipino, and the final number indicates the army, in this case the 6th U.S. Army. This leaflet bears the lyrics of the song Heaven Watch the Philippines , written by Irving Berlin and dedicated to General Douglas MacArthur. The general in accepting the dedication said: The Commander in Chief appreciates greatly the distinction of the dedication of a song by such a distinguished author and producer as Mr. Irving Berlin. He is deeply grateful to him not only for that, but for the magnificent aid he is rendering the Allied cause. Mabuhay When the United States returned to the Philippine Islands the Psychological Warfare Branch published a full-color magazine called Free Philippines . The issue of 1 January 1945 depicts General MacArthur coming ashore and the words I have returned. Inside the magazine the PWB have printed a song sheet for Mabuhay. This is the Filamerican version, originally chosen as the theme song for the propaganda radio broadcast Philippine Hour from San Francisco and Australia and later taken over by military bands that played it in a bright march tempo. Some of the stirring lyrics are: Under the blue sky we raise a cheer

High greeting in friendship

Comrades united

We raise our voice and sing Mabuhay! While reading Report on Psychological Warfare in the Southwest Pacific Area 1944-1945 I found a mention of the above song. There is a description of the American propaganda radio broadcast to the Philippines on 24 September 1944. I will just mention a few of the features: Music: Mabuhay (to end) Intro: This is the United States of America calling the people of the Philippines Music: Philippine National Anthem. Announcer: This is the Philippine hour from the Headquarters of General MacArthur We present the regular Sunday program of music, news and commentary According to a military report entitled Combat Propaganda against the Japanese in the Central Pacific by William H. Vatcher, music was also collected for use against the Japanese in Okinawa: Japanese music intended to create nostalgia, other types of music known to be favorites among the Japanese forces, and weird sounds at night to harass the enemy were included in the materials to be made available at Okinawa Of course, music was not just an offensive weapon. It could be used as a defensive weapon to help save lives. This daily newspaper Target was published on Saipan by the Information and Education Section of the Western Pacific Base Command. The 1 May 1945 issue is of interest because it mentions music being used to bring injured B-29s safely home to Saipan. Some of the text is: RETURNING SUPERFORTS WING IN TO SWING To crews of B-29s returning from attacks on Japan, staying on the beam means being right in the groove. The OWI transmitter stationed in the Marianas, set up to release American propaganda to Japan, has been carrying musical programs for the listening pleasure of the B-29 crews as they make the long journey home to the Marianas. That the radio beam could also be used as an emergency beam to save crippled planes was discovered when a Superfortress, hopelessly lost, its homing equipment smashed, used the OWI beam to reach its base. The high point of this round-the-clock broadcasting to bombers was realized when four B-29s were saved in one week by following the beam. The flyers now wing homeward to Bing Crosby crooning When youre a long, long way from home, Dinah Shore coaxing Come to Mama, come to Mama, do  and the King Cole trio reminding them to Straighten up and fly right. Harvest Dance Of course, the Japanese retaliated. Tosio Okazaki and Sinpei Nakayama wrote a propaganda song for the Philippines entitled Harvest Dance. The song mentions the idyllic life of a farmer. Some of the text is:

Rice sprouts

Hands that hold them and feet that stump beside the plants.

All have gathered along with the country folk 

And all minds united as one 

For the harvest dance. The rice

It is the treasure of the country and my brother is its proud shield.

The path was filled with people and flags waving when he went away to the front This song appears in the July 1943 Japanese propaganda magazine Shin Seiki Bagong Araw (New Era) published in the Philippines by Manila Sinbun-Sya. Other propaganda articles include: The Flame Thrower, Bringing the Army to the people, Music Concurs and Filipino Delegation to Japan. Other propaganda songs sheets printed by the Japanese and disseminated to the Filipinos were: Pambansang Awit ng Pilipinas (National Song of the Philippines).

Martsa ng Bagong (The New Philippines March).

Awit sa Paglikha ng Bagong Pilipinas (Hymn of the Birth of the New Philippines). Awit sa Paglinka ng Bagong Pilipinas Teodoro A. Agoncillo mentions the song in The Fateful Years  Japans Adventure in the Philippines, 1941-1945, Garcia Publishing Company, Quezon City, Philippines, 1965. He says: The most popular song of the occupation period was Padilla de Leons Awit sa Paglinka ng Bagong Pilipinas. The Japanese authorities sponsored a contest for the lyrics of a song whose burden would embody the longings and aspirations of the Filipinos under Japanese guidance and control The Japanese were so satisfied with both the score and the lyrics that they introduced the song in a special concert at the Metropolitan Theater on 20 December 1942. Some of the lyrics are: Arise my Motherland,

select race of the Orient,

leave our past behind,

embrace the new life Work build up and suffer,

to establish the Greater East Asia

Co-prosperity Sphere. Japanese Liberation Leaflet Curiously, when the Japanese granted the Philippines their version of Independence, they handed out these leaflets that actually bore a reduced copy of the song Pambansang Awit ng Pilipinas (National Song of the Philippines). The two words over the flag are Independence and Freedom. A Filipino wrote on the side of the note: The Puppet flag was given to us by the Japanese when they gave us the Puppet Independence of last October 14, 1943. The Propaganda Corps of the Imperial Japanese Army also printed some of their own songs for Japanese troops and collaborators in the Philippines, Indonesia and elsewhere. Examples are: Kimigajo (The Japanese National Anthem).

Jaesjio (In Honor of Great Asia). Song of the Decisive Battle of the Greater Pacific War Like the Germans, during WWII the Japanese printed a great number of military postcards that featured patriotic songs. These were internal propaganda meant to stiffen the morale and will to fight of the civilian population. The card above depicts an American battleship being sunk by Japanese aircraft. Unfortunately for the Japanese there were some decisive battles of the Pacific war; the Battle of Midway and the Battle of the Philippine Sea (AKA the Great Marianas Turkey Shoot) come to mind, but the Japanese lost them all. So, this card would seem to celebrate an event that never occurred. The cards were sold in envelopes that bore the printed text: Use to send to Imperial Army. The Song of Air Raid on the Mainland of the United States This is another beautiful Japanese picture postcard bearing an anti-American name and image. It was the prize winning song in a competition by the Japanese magazine The Business World. The image depicts the Japanese an Asian people attacking an American octopus with the face of President Roosevelt with a spear. The lyrics are: Talk about their justice, Talk about their humanity.

The brutal America, exerting their insatiable evil power.

Now is the time to destroy them, this autumn.

Yes, Devoting Yamato Damashii [Japanese spirit] to

the Sun Flag mark on the airplane wings,

Yankee, we will do it, the great air raids. The islands at the bottom bear the text: The Greater East-Asian Co-Prosperity Sphere The New Germany March

Image courtesy Lee Richards, PsyWar.Org This leaflet is a black Office of Strategic Services leaflet. It is not coded, shows no sign of being from the Americans, and purports to be from an anti-Nazi German organization on the Continent. The title was also used for a black newspaper that was published and disseminated behind German lines. The leaflet was most likely printed by the OSS in Rome and disseminated in Northern Italy . The New Germany

Marching Song New life is growing from ruins,

New life will rise again!

We all will serve the New Germany ;

The Third Reich will then be destroyed!

No class struggle! No racial hatred!

No Führer, no monarch!

Serving Germany as free individuals;

The New Germany will remain forever! A PhD candidate at UCLA researching music used as a psychological weapon during WWII was interested in the OSS Muzak project and the possibility that East Germany used the same general theme for their national anthem (Risen from the Ruins) as the OSS had produced in their Das Neue Deutschland Marschlied. The candidate said: The two compositions really have an uncanny set of similarities. I think it may be possible that Hanns Eisler , the German composer of their National Anthem Auferstanden aus Ruinen (Risen from the Ruins) had seen the Neue Deutschland publication. Risen from ruins

And facing the future,

Let us serve you for the good,

Germany, united fatherland.

Old woes are to be overcome

And we overcome them united

Because we so must succeed,

[So] that the sun beautiful as never [before]

Over Germany shines,

Over Germany shines. Christof Mauch also noticed the similarity in his 1999 book: The Shadow War Against Hitler, Columbia University Press, New York. He said: Coincidently, the OSS text displays certain similarities with what would later be the National Anthem of the German Democratic Republic. How Much longer? Information in OSS documents states that at least two other songs were printed and disseminated: 30,000 copies of Wie lange noch (How much longer) and In Grinzing drausst (Out there in Grinzing). The first song was a common theme asking the Germans how much longer they were going to put up with the Nazi nonsense. As for the second song, Grinzing is a district of Vienna, Austria. There is a song titled Ich muss mal wieder in Grinzing sein (I have to be in Grinzing once again) by a composer named Ralph Benatzky (1884-1957). Possibly the OSS parodied this song. Curiously, the song sheet shows that the words and music were written by Friedrich Lindner. We know the name of the American OSS agent that actually wrote the words, Eddie Lindner, codenamed Eddie Zinder. It appears that as a joke Eddie placed his own name on the song sheet changing the first name to his own middle name, Friedrich. This has to be against every regulation on the subject of security and secrecy, but the odds are no Americans even noticed the gag or preferred to just look the other way. In 2015, a small collection of black OSS Morale Operation leaflets was offered for sale and one of the items was the song sheet entitled Wie lange noch - Langsamer Foxtrott (How Much Longer - Slow Foxtrot). The collection was formed by Corporal Arthur Baker whose discharge states: Radio Operator  Served with the Office of Strategic Service for six months in Italy. Operated and maintained high speed radio equipment used code. Received and sent international Morse Code. Set up and maintained radio communications. It appears that the corporal had nothing to do with leaflets, but like all Americans he was an avid souvenir collector and brought home about 30 of the Rome OSS Propaganda leaflets. The leaflet lot eventually sold for $233, or about $7 each. Clayton D Laurie mentions more about O.S.S. Morale Operations in the Propaganda warriors: The most popular gray propaganda station of the war, Soldatensender Calais, was a joint U.S. Morale Operations  British Political Warfare Executive venture that began in 1943 and for which the OSS provided twelve writers and six musicians The program broadcast, news, music, nostalgic stories and anti-Nazi propaganda to enemy troops and civilians, many of whom suspected the broadcasts were of Allied origin but whose suspicions were never confirmed. By April 1944 MO agreed to produce entertainment in an operation code-named the Muzak Project. [Author: now we know where all that elevator music got its name]. MO recruited Hollywood writers, an eight-piece orchestra, and big name talent such as Marlene Dietrich. The branch opened a music department in New York City and wrote and recorded black lyrics for 312 German and American songs as well as specially written pieces Even Josef Goebbels recognized its potentially negative effects, acknowledging that its clever job of propaganda was a cause for worry. Mauch adds: In February 1945 a German war reporter noted that the Wehrmacht soldiers were still listening to Allied radio stations, partly because they preferred the kind of music broadcast by the Allies. A telegram from the OSS outpost in London reported that Berlin was passing off Rhapsody in Blue as a German melody  According to OSS internal evaluation, hundreds of German prisoners of war testified that the musical entertainment provided by the Anglo-American Soldiers Station was largely responsible for the stations high listener rating. How Much Longer ?! This black OSS song written to attack the followers of Hitler and to hint that the end has almost come was written by Rome-based Austrian-born OSS agent Eddie Linder. Here are the lyrics in his own hand-writing. It was on a day years ago

that you promised me great happiness.

I believed in you and followed you;

But now I am deeply regretting that step. The world is so large and you are so small;

You cannot be omnipotent over everything!

The game is now over, the dream is gone 

In a short time I will be free again! Chorus Why didn´t I understand  that you were lying to me?

And didn´t suspect,  that you were cheating on me?

I don´t want to wait any longer to renounce you,

I don´t want to bear this fate any longer!

How much longer?! How much longer?! The Morale Operations Section of the OSS produced a series of sixteen leaflets entitled Wie lange noch? (How much longer?). The plan was to convince the populace that there was a strong anti-Nazi underground movement within Germany. Besides the leaflets, posters and gummed labels using a large "W" as a symbol were placed on German vehicles, on walls, on doors and windows, in books and other appropriate places, by agents operating behind enemy lines. Some of the satirical leaflets asked questions like: How much longer will our soldiers be forced to fight side by side with the dregs of Europe?, How much longer will they deny that that the Eastern Front is a common grave?, and How much longer will we be left behind while the Party bosses flee the bombs? Eddie Linder (Eddie Zinder) Declassified documents show that Edmund Friedrich Linder was an Austrian born in Vienna 11 May 1908. His father was an American citizen working for Republic Steel in Cleveland, Ohio. After the Germans entered Austria, Linder first went to Switzerland and later Belgium while awaiting papers to allow him to enter the United States. He eventually joined the American OSS assigned to the Algiers MO section 1 August 1943. An October 1944 letter to the Chief of Morale Operations describes Linder using his code name and says in part: Eddie Zinder, Austrian, is now applying for American citizenship...Eddie is a remarkably versatile young man, having written many leaflets, the song Wie Lange Noch, acted as a doctor at various times and is the supreme master of briefing, preparation of documents and preparing prisoners of war for infiltration. Curiously, after discovering that Linder wrote the Wie lange noch Song, I went back and read my old correspondence with him. In a letter dated 18 September 1996 he mentioned writing the song Das Neue Deutschland Marschlied. So, almost by accident we find that Linder wrote the last two songs that we depict above. Freedom is Calling The United States Office of Strategic Services printed a 5-stanza anti-Nazi song called Die Freiheit Ruft, (Freedom Calls) during WWII and disseminated it in Germany and wherever German troops were stationed. Notice that the OSS has coded and filed this leaflet with the number 23. All the OSS black propaganda received such a code, sometimes a letter, more often a number. The song was to be sung to the tune of the patriotic Horst Wessel Song. Some of the lyrics are: Freedom is calling After the Horst Wessel song Freedom is calling, the hour has come

for the revenge that we have awaited so long.

Finally the bigwigs are in for it

and Hitler prepares for his last walk. A free Germany has to be created now

the dark tyranny is broken.

We dont want to see the Nazis again

Goering, Goebbels and Ley will be hanged. And Himmler, this most dreadful hangman

will soon experience first hand

what he did in the land of the poets and philosophers

we will do the murderer in now ! I note that although the song is coded 23 on a bright red paper above, it was also found on a plain white paper on the back of OSS leaflet 22, entitled: How does it look on the Eastern Front! Geographic truths. That leaflet bears a map of the Russian gains against Germany from the start of the war until November 1943. The OSS Rome Final report of Production and Distribution from 15 July 1944 to 15 May 1945 lists two musical propaganda items. We do not know which one is the song sheet above. 152,500 copies of Music were prepared and forwarded to Algeri, Bari , Brindisi , North Italy, France and used in Special campaigns. At the same time, another 21,000 products labeled as songs were sent to Brindisi and used in special campaigns. One of the New German March sheets was found behind the German lines in Italy , believed to have been carried by collaborating German POWs working with the Allies as part of Operation Sauerkraut. Perhaps this operation is what the OSS called special. When the golden evening sun The British Political Warfare Executive (PWE) prepared black propaganda leaflets, letters, posters and even song sheets to be used against the Germans. British forger Ellic Howe produced hundreds of types of subversive literature including the song sheet above coded H.83 in the form of a postcard. This implies that it was the 83rd product produced by Howe. The song is a parody of a SA fighting song entitled When the golden evening sun written by Karl Muschalla describing the funeral of a soldier who had died for Hitler. The parody claims that the Nazis are hiding the true casualty numbers from the German public. 10,000 copies of H.83 were delivered to the Special Operations Executive on 7 May 1942. The original song was made up of six verses and some of the lyrics are: When the golden evening sun

sent out its latest light,

a regiment of Hitler

arrived in a little city. Their songs sounded sadly

through the quiet small city

Because they just buried

a Hitlers comrade. When the golden morning sun

sent out its first light,

a regiment of Hitler

proceeded further into the fight The title of the British parody is When the golden morning sun, and the lyrics of the five stanzas of the propaganda song are: When the golden morning sun

sent out its first light,

a telegram from Russia

arrived in the little city Lieutenant Schulze wrote:

Your son was hit by a bullet today

He was the twelfth in the vicinity

the newspaper reported only three. When the golden evening sun

sent out its latest light,

a hundred British bomber aircraft

flew into the German homeland. And they dropped many bombs,

smashed our city to rubble.

A hundred people had to die

but the radio reported only three. Yes, since 1933

they keep on lying all the day;

for if we knew the truth

we would kick out Hitler! Songs of the BBC

Image courtesy Lee Richards, PsyWar.Org During WWII, the British produced a 48-page propaganda song book for the French and dropped it over occupied France from March to August 1944. The cover of the book depicts a Free French sailor standing near a soldier playing an accordion, the French flag in the background, the code F.177 and the text: Songs of the BBC Two songs from Songs of the BBC BBC of course stands for British Broadcasting Corporation. The back of the booklet depicts Winston Churchill in a British aircraft making the V for Victory sign. The text is: The songs that you heard on the radio Brought by your friends in the RAF RAF is the British Royal Air Force. One of the patriotic and anti-Fascist songs in the booklet is The song of V with a drawing of a young French boy placing the V for Victory sign on the wall and also the Morse code version dot, dot, dot, dash. Another page depicts the Italian dictator Benito Mussolini running for his life and the title, It has fallen, Benito. The song tells of the loss of Sicily by the imbecile Mussolini to the Allies. A Black British Song Postcard During WWII the Germans produced dozens of postcards that displayed patriotic pictures and the lyrics of songs. Examples are The Horst Wessel song, The song of the lord of lies,  England will fall, and Were sailing on England . The British retaliated with a black propaganda leaflet made to look like a German postcard. 80,000 copies of the postcard were delivered on 15 March 1945. The British propaganda card pictures German war dead on a snowy field in the Bastogne area during the Battle of the Bulge. The title below the picture is, The Song of the 9th People's Grenadier Division. Directly beneath the title of the song is a note that reads: The commander, Colonel Party-Comrade Werner Kolb, found the following lyrics written on the pages of a military pay book of one of his Grenadiers. The postcard attacks the German leadership for being enthralled with medals and awards, and for having little regard for the welfare of their troops. The propaganda message is in the form of a song. The first and last stanzas are: People's Grenadiers attack! Attack!

We must close with the enemy!

Don't hesitate! Rise up! March, March!

Otherwise the Lieutenant will kick you in the ass!

- And the Colonel will get the swords! People's Grenadiers jump up! Jump up!

The entire Division is wiped out.

When the bullet hits you be proud!

You get a wooden cross of fir!

- The Colonel gets his swords! The reference swords is to one of the high military decorations, such as the German Order mit Schwertern (with swords) or the Knights Cross with swords. The official PWE translation actually says, The Colonel wants his medal! Fighting Songs of the R.W.A. This card is one of three black British sabotage postcards featuring pictures of marines or sailors accompanied by the text of a song. Each card has a different song but all are headed Kampflied der R.W.A. / Text H. Nackers, Musik Prof Walther Brandt. The RWA was the Reichsamt für Wirtschaftsausbau, an authority that supported research & development of chemical technology in Germany . In 1938, the RWA strongly recommended the use of poison gas in a coming war. 700 copies of each card were delivered on 9 April 1942 for dissemination to the enemy. The text is: Fighting Song of the R.W.A. Text: H. Nackers

Music: Prof. Walther Brandt Put sand or water into the lubricating oil.

Mix oil or sea water into the batteries.

Put sand, lubricating oil or steel chips

into the high compressed air equipment.

Put bolts or pieces of metal in the main engines

And forget to fasten the screws. Refrain: Save the U-boat comrades from certain death!!

Make sure that no submarine will be able to put out to sea,

Or, if this is not possible, force its quick return!

Put needles into the main engines

And make sure that the splint pins get lost

Throw cotton waste into oil tanks and pipes

And spread sand into them.

Mix the colors in a way that they will not quickly dry

But block up the safety valves. The Genuine Song of the Lying Lords Postcard The Russians did a similar propaganda parody of a legitimate German song postcard. The genuine German card was called The Song of the Lying Lords and depicted Winston Churchill, Anthony Eden, Lord Halifax, and Duff Cooper. The Russians replied with a card entitled The Song of the Lying Pack with portraits of Joseph Goebbels, Joachim von Rib­bentrop, Hermann Göring, and Adolf Hitler. 300,000 cards were printed on 30 September 1941. The Russian version of the propaganda song was also printed with nine other rewritten German songs in a brochure entitled The New Soldiers Song Book. The last verse of the Russian parody card mentions Hitler and says in part: And who is leading this gang? It is Hitler the charlatan.

He is Europe s evil ghost and is as false as bold.

Just naked fear and cowardice is speaking from his dull face.

He knows very well that the time will come when the glory has to end The Song of the Louse The Russians also prepared another song postcard that attacked Adolf Hitler. The card was entitled The Song of the Louse. Two versions were printed, one showing a small bust of Hitler on a large louse. The second has a large face of Hitler almost covering the back of a large louse, with red blood at lower left. Each has a four stanza song on the address side.Some of the lyrics are: Soldier, where is your hiding place?

In ice and snow, in dirt and mud

With curse of people heavy laden

You travel alone so far from home

You travel alone with your comrade

The poisonous fat louse Who drives you into death and frost?

What fans the war in the East?

In blind greed, in wantonness

Hitler through your death and agony

Is growing fat on your blood

The big thick brown louse The New Lili Marlene

Photo courtesy www.war-images.com The Russians also produced a propaganda parody postcard of the German Lili Marlene song. This was one of the most famous songs of WWII and we mention the lyrics earlier in this article. The Russian postcard depicts Lili standing by her faithful lamp pole while her German lover lies dying on the battle field. The Russian made a mistake in the title which should be Die neue Lili Marleen rather than Das neue Lili Marleen. Such mistakes can sometimes be fatal in propaganda since the writer immediately loses all credibility. Some of lyrics are: The new Lili Marleen

Words: A soldier at the front in the East.

Music: Norbert Schulze. ...We are almost buried, we soon suffocate

It was the Führers wish, he blows the tattoo (bugle call) today,

God knows what will happen to us, we will perish here.

Good bye, Lili Marleen, good bye, Lili Marleen.

We all wish, each for his own reasons,

That the brown dog (the Führer) will hang from the street lamp.

He will twist while he dies and everyone will see it,

You too, Lili Marleen, you too, Lili Marleen. Comrades in Song In October 1941 the USSR disseminated a folded leaflet entitled Comrades in Song that depicted three happy German soldiers on the cover in a green meadow and a cold German sentry looking at a skull in the snow on the back. A raven representing death cries at the sentry. The two inside pages have the printed text of a song called Winter Campaign at the left and the same song in a music sheet format at the right. This claims to be the 13th issue of this leaflet series and was allegedly published by the Military High Command for the soldiers. At the bottom of the inside left page there are safe conduct passes in both German and Russian. The German text is: This leaflet is intended for surrendering to the Red Army. Text on the inside tells the soldiers to Read and share! Some of the lyrics of the five stanzas are: Winter campaign

Hitler leads us to Russia,

Where will his evil end?

Alas, in the snow,

in Russia's deep snow.



Why were we sent here?

We hunger in the hard winter.

Alas, in the snow,

in Russia's deep snow. If we do not turn our guns around,

we will all perish

Alas, in the snow,

in Russia's deep snow. The Korean War Leaflet 7516 I added this 8 July 1952 leaflet because in it the Americans parody a pro-Communist song with their own anti-Communist words. The satire was recommended by friendly Chinese prisoners of war. The front of the leaflet shows a Russian wolf devouring the Chinese people. To the Chinese the wolf was a creature regarded as ruthless and deadly. The text on the front is: ARE YOU WILLING TO LET THE FIERCE RUSSIAN WOLF DEVOUR CHINA ? C.A.S. Williams says about the wolf in the classic edition of Outlines of Chinese Symbolism and Art Motives: The wolf is regarded as the emblem of cupidity and rapaciousness. The wolf might be compared to an official who exacts money unfairly from the people in the shape of unauthorized taxation. The original Red Chinese song was entitled Resist America  Help Korea . Some of the parody song lyrics that appear on the back of this Allied leaflet are: The bloody red flag is playing havoc everywhere since China has fallen into the hands of the Communists. Since the Soviet wolf staged his revolution a hated wolf has seized our Port Arthur and Dairen . March forward! March forward! You Anti-Communist and Resist Russia  patriots. To fight Communism we have to fight Chou and Mao. To protect our family we have to wipe out the Russian wolf Leaflet 8319 Patriotic music leaflets were used by the United States Psychological Warfare Division of the Eight U.S. Army during the Korean War. Leaflet 8319 dated 8 August 1952 targeted South Koreans living in occupied areas. Its purpose was to commemorate Liberation Day, 15 August. It depicted a liberty bell on one side and the Song of Liberation Day on the other. The first stanza of the lyrics is: Lets touch the soil of our Fatherland once more.

Even the sea foams on this glorious occasion.

Our ancestors and patriots longed to see this day.

But alas, they are gone!

For this day we have fought with blood for forty years.

Lets preserve this precious day forever!

Lets preserve this precious day forever! Other US music propaganda leaflets prepared for Korea are 8408 (Korean Love Call); 8410 (Bouquet of Songs) and 8206 (no translation - drawing of a doctor and patient on one side and a song sheet on the other side). Leaflet 8408 Leaflet 8408 depicts a Korean woman by an open window looking into a mirror. It was prepared 6 March 1953 for North Korean troops facing the Eighth U.S. Army. The back of the leaflet was left blank because it was believed that the North Korean soldiers were short of writing paper. It later wars the United States would darken the back of leaflets so they could not be used by the enemy for propaganda retorts. The song lyrics are: Listen, I call to thee,

my heart is burning.

I am sad and melancholy,

for I cannot live without you. If the moon, my only friend,

would wish to leave me

I could not let her go

As I cannot let you go either. My clothes will be torn from me sooner

then I could be forced to leave your side. Leaflet 8410 Leaflet 8410 depicts a Korean woman in a dancing costume. It was prepared 6 March 1953 for North Korean troops facing the Eighth U.S. Army. Like 8408 above, it is meant to stimulate a longing for female companionship and to foster disillusionment against his government which denies him furloughs. The back of the leaflet is blank. The text is: Bouquet of Song Ah me!

On the streets of Chonan

you may see the weeping willow

braches hanging gracefully

in full swing.

My heart is breaking.

Ah me! Note: Chonan (or Cheonan) is a city in South Chungcheong province, Western South Korea . It is a railroad hub and a mining and agricultural center. Leaflet EUSAK 8194 Eight U.S. Army (Korea) leaflet 8194 depicts a happy woman and child looking at a Korean guerrilla who is returning home to live in peace. The leaflet was produced at the requests of the Republic of Korea Army Psywar Section. The text is: Friends: The guerrillas who have troubled us for a long time are returning to their homes. Is there anyone from our village who has gone off into the mountains? If there is, lets invite him to return and help in rehabilitating our lovely hometown. Of course, it is the back that interests us since it depicts two verses and two refrains of a patriotic Korean song. Some of the lyrics are: Song of June 25th Ah, how can we forget that day?

The day that the enemy trampled our fatherland,

and the day we defended our fatherland,

against the enemy with our empty hands and red blood,

and the day that we trembled with indignation. We can have revenge now!

We must chase and chase the enemy,

until we eliminate the last one

and glorify our nation and our race. Leaflet 8610 This EUSAK leaflet is similar to the above. The front depicts 6 cartoon panels showing Chinese soldiers being leafleted by US aircraft. Two of the Chinese soldiers read the leaflets and are convinced. The surrender to U.N. forces and are well treated. The front has nice images that could be understood by an illiterate finder. The back is of interest and features a jingle that I assume rhymes in Chinese. The U.N. leaflet is your life saving charm

Every sentence tells you the truth; no lies

Look at the picture, read the text and pass it to your comrades

Come over to the U.N. lines and enjoy good treatment. Leaflet 8566 This EUSAK leaflet depicts a Chinese soldier freezing in the Korean Winter. His light uniform bears patches. It is an anti-morale leaflet and contains a letter from Chinese prisoner-of-war Chang Lien-chung telling of the terrible time he had spent in Korea fighting against the UN; the cold, the starvation the disease, and the realization that the Communist leaders cared nothing for their lives. Of course, we are interested in the musical part of the message and just as in the leaflet above; there is a short four-line jingle for the unhappy troops to sing: Winter comes early in Korea.

Cold air and frozen earth are unbearable.

What pitiful creatures are Chinese volunteers

When they are hungry and have poor clothes. Leaflet 8206 We do not have an official data sheet for leaflet 8206. One side depicts a doctor working on a patient with a nurse in the background. You can actually see the image on the other side since the paper is thin and the ink has bled through. The back contains a text message and the lyrics of a song. The song is entitled My Fatherland, and glorifies Mt. Baekdu , a sacred mountain and the birthplace of North Korean leader Kim Jong Il. One North Korean writer says about the glorious leader: General Kim Jong Il is a rare great man of Baekdu type who was born at Mt. Baekdu , the sacred mountain of our nation The mountain lies along the border of China and North Korea and has been the site of some legendary battles between Korea and China , and ownership is still debated today. I assume that the finder of the leaflet would recognize that the reference to the mountain also implies that China is a historical enemy. Some of the lyrics are: This is My Fatherland

Play softly, beautifully Wonderful Mount Baekdu range, morning glory peninsula

Beautifully spread as rightfully so  historically 3,000,000 to withstand the enemy

Unforgettable this our homeland  brightly shining 3,000,000 rhee

Beautiful mountain ranges live long and prosper At the bottom the leaflet says: Produced by Army 773rd Mobile Education Unit The U.S. Army 1st Leaflet and Loudspeaker Company printed two song leaflets in February 1953 as the Korean War neared its end. Both leaflets were requested by the Republic of Korea forces. One actually has a Korean code number, CZ-7. Both leaflets show South Korean soldiers in heroic poses. In one leaflet a soldier prepares to throw a grenade; in the other a soldier takes aim with his rifle. They were found in a 1st Leaflet and Loudspeaker Company Monthly Report without translation. 30,000 copies of CZ-7 and CZ-8 were printed on 20 February 1953. The lyrics of the first song are: The Unification March We are liberated from oppression and grief

We founded our country after fighting and fighting

Attacked by the communist beast

Attacked by the communist beast

We, the free people, are bleeding. Whether dead or alive we are the people of the nation

The soldiers who fought and fell are the people of the nation

People in the north want the suffering country

People in the north want the suffering country

We have to fight and take back our national unification and independence (Refrain) Let our countrys people wake up for our country

Hand in hand let's fly our national flag on the Baekdu-san Mountain Located on the border between North Korea and China, Baekdu-san is the highest mountain on the Korean Peninsula. A dormant volcano, the mountain has been considered sacred ever since the legendary first Kingdom of Korea. The Korean name Baekdu-san means White-Head Mountain, because the summit area is never without some snow-ice-cover and the treeless crags there are grey-white. White is the most sacred color to Koreans and the mountain is sometimes referred to as the holy sacred White Head Mountain of North Korea. The lyrics of the second song are: Victory Song Defeat the barbarian no matter how many millions

In front of the Koreans they are only straw Defeat the communists no matter how many millions

They will be defeated in front of Korean soldiers United Nations soldiers are brave fighting with us

They are dashing to the enemy trenches like brave tigers. (Refrain) Forward, Forward on the path to victory

Forward, Forward on the path to victory The Communist Chinese used music against American troops on several occasions during the Korean War. Soldiers from the U.S. Army 2nd Infantry Division recalled that when the enemy played Joni James rendition of Hank Williams Your Cheatin Heart, on dark and foggy nights it gave soldiers some reason to pause and think of home. Other soldiers recalled that the Chinese playing of taps during combat engagements gave some soldiers the creeps. One squad leader reported that when the Chinese played American music to his men late at night he ordered machine gun squad to fire in the direction of the speakers. He claimed success; no more records were played! Doris Day The Americans had their own secret weapon. Dr. Charles H. Briscoe says in an article entitled Volunteering for Combat  Loudspeaker PSYWAR in Korea, Veritas Volume 6, No, 1, 2010: When caught in a crossfire Roses team played its ace in the hole  Doris Day. "For some reason, the Americans and Chinese loved listening to Doris Day. So, when our efforts had really stirred them up, resulting in artillery and mortar and barrages and machinegun fire being directed at us, and in turn from the American lines, we quickly switched to Doris Day to quiet things down. We once tried the Chaplains church music, but Onward Christian Soldiers didnt have much impact on the Chinese or the American GIs. Only Doris Day worked. Briscoe also mentions one of the missions of a loudspeaker team in the same article: The loudspeaker team mission was to: 2. Beam broadcasts, musical, and feature programs by means of the platoons primary psychological warfare medium to enemy front line troops in static tactical situations. Stephen E. Pease mentions in the use of music in his book Psywar - Psychological Warfare in Korea 1950-1953, Stackpole Books, Harrisburg , PA , 1992: Operation Slowdown was a leaflet-loudspeaker effort involved a series of eleven tapes of nostalgic music with Korean narration broadcast from voice aircraft and from jeeps, combined with special leaflets. Something similar had been tried earlier in an exercise called Operation Harvest Moon. Its purpose was to make enemy soldiers homesick and lonely. The soldiers were encouraged to slow down and listen to the pleasant music The Chinese didnt use their loudspeakers until the front lines stagnated in 1952. Then they broadcast music and long lectures about how this war was not a U.S. war. Some of the music was nostalgic, making the soldier think about home Edward Hanrahan I never heard the bugles, but I remember hearing loudspeakers playing music. I think the song was When the Moon comes over the Mountain. The Command Report  1st Loudspeaker and Leaflet Company also mentions the Communist use of music in Korea and how it came across clearly while the enemy loudspeaker message was often garbled. A May 1953 entry tells of 31 broadcasts. The messages were generally unintelligible, but the music could be heard. In June 1953, fourteen enemy broadcasts were heard. One attacked Syngman Rhee; another invited the Korean soldiers to cross the lines to talk. The remainder was unintelligible except for the music selections. EUSAK Combat Propaganda Operations adds: Operation Heartache, launched in the middle of 1952, sought to lower morale and combat effectiveness by increasing the Chinese soldiers anxiety over loved ones at home. Loudspeaker broadcasts featured letters from mom and music from home. The approach was systematic. First programs sought to build up a listening audience by playing news and music. Once the nostalgia had settled in the good treatment and surrender so you can live for your families themes were woven into the broadcasts. The 7th PSYOP Group Unit History of 1967 mentions another song for Korea : The most surprising success in a new development came when a song, written and produced by two members of the 15th PSYOP Detachment became an overnight success in Korea . The song, The Ballad of Kim, was broadcast in July 1967 over the Voice of the United Nations Command radio station. Immediately, inquires and requests for tapes and recording copies of the song were flowing in from all over Korea . Copies of the tape were supplied to many local broadcasting stations in Korea and it became even more popular. One might get the mistaken impression that music was a major part of the American PSYOP campaign against the North. Actually, the use of music was a minor component of that plan. Hundreds and possibly thousands of different leaflets were prepared and disseminated and those that used music are probably less than a dozen. Looking through the formerly classified secret Operations Research Office report Strategic Radio PSYWAR in Far East Command  31 January 1951, I searched for music in the Allied broadcasts to the Communists. The vast amount of radio propaganda was news broadcasts and commentary in Korean, Mandarin and Cantonese. The U.N. radios transmitted from 6 p.m. to 2:00 a.m. and the total amount of music mixed in with all the news and commentaries was exactly one hour. It was broken up into three segments with the recommendation: Music. Spice this with propaganda comment. Of course, I must point out that this report was written early in the war and the amount of music broadcast might have changed later. We also know from this report that the Communists were using musical troupes to raise morale and foster loyalty among their people. This would be copied by the Vietnamese later when they sent Armed Propaganda Teams into the populace. The report says: Considerable emphasis is placed on the role of travelling theatrical troupes in consolidating the opinion of the masses of the people around the government of the Republic. Since the troupes are to perform this function in areas in which modern transportation is scarce, mobility is stressed as well as simplicity and variety of material Every performance is to contain some political discussion, but the players are cautioned against developing political content to the point where entertainment suffers . I like that last line. The Communist bosses are telling their players to add a bit of propaganda to the show, but not so much that people get bored of being lectured and walk away. That shows some unexpected flexibility on their part. POST WAR KOREA Korean Musical Demonstrators In 2016, the people of South Korea turned against their President Park Geun-hye and about one million protesters paraded on a regular basis each Saturday trying to get her to step down. As part of these demonstrations they sang various songs that attacked her. The songs are often modified versions of hits from South Korea's long and vibrant protest culture, which came of age rallying against military dictatorship in the 1980s. Where the old songs of defiance tended toward somewhat monotonous chants by militant, fist-swinging protesters, however, the new tunes are often short and funny. They are often sung by families and young couples. Protesters, for instance, cheerfully sway as they sing a tune that mostly just repeats the word Resign! One song is called What Kind of Country is This? and calls Park, her allegedly corrupt confidante Choi Soon-sil, members of the conservative ruling party and the media criminals, treacherous servants and ugly accomplices who have made peoples lives hell. The chorus goes: Resign! Resign! Resign! Resign now!

Park Geun-hye, immediately resign!

Imprison! Imprison! Imprison! Imprison now!

Imprison Park Geun-hye! A second song is called Haya. It is from a decades-old song South Koreans sing while rooting for sports teams at stadiums. Haya means resignation in Korean. The song goes on to describe Park as a puppet who screwed the nation. It adds: Arrest Park Geun-hye. Cough out all the money you have gobbled up. A third song is called The Truth does not Sink. The lyrics include: Darkness cannot defeat the light; Lies cannot defeat the truth; the truth does not sink; We do not give up. THE COLD WAR Hail to our Genuine Homeland... Kim Il-sung (Become the Sun) was the Communist leader and dictator of the Peoples Democratic Republic of (North) Korea from 1948 until his death on 8 July 1994. Like many dictators before him such as Stalin, Mao, and Hitler, the Great Leader and Eternal President developed a cult of Personality and used North Korea s mass media to create a heroic public image through unquestioning flattery and praise. Leaflets would always depict him in a heroic pose as the defender of the Korean people and enemy of the hated capitalists. During his reign, millions of leaflets were sent into the Republic of (South) Korea in an attempt to undermine that government. Since he is called Premier in the song below, it was probably disseminated prior to 1972 when he became President. The North Korean Communist propaganda leaflet above depicts the Democratic Republic of Korea flag on the front and the text: Hail to our genuine homeland, the Peoples Democratic Republic of Korea ! The back of the leaflet bear the lyrics of a propaganda song of the type we would expect from a dictatorship with a cult of personality. The lyrics are: ALL HAIL PREMIER KIM IL SUNG BELOVED BY 4 MILLION KOREAN PEOPLE Branching, branching Changbai Mountain; winding, winding Yalu River

Even today peace and prosperity grows stronger and stronger

The power is provided by our beloved General

Our brilliant General Kim Il sung Song of Camaraderie This North Korean Cold War propaganda leaflet coded 0-0583 depicts five individuals looking toward a beautiful sky. Curiously, this song was apparently popular enough that it was placed on YouTube entitled DPRK Music 03. The text is: Song of Camaraderie Not fast, solemnly - Romantically and ardently

Words by Lee Chongsoon - Composed by Sung Dongchoon The road to our destination may be rocky but we shall overcome it.

Even if wind of fire blows we will live and die together

Our camaraderie is priceless. Let's not change our oath. I see our star. Let's not change our oath. Follow our star.

Like our patriotic forefathers, put together our ambition for independent unification

Unite the whole nation! Bring the dawn of unification closer. Flowers grown on the rocks are from His devotion

Life after death is from His love, to achieve our revolution through rain and snow

Let's not change our oath. I see our star. The North Koreans were glorifying their supreme leader Kim Jong Il when they spoke of Our Star. We returned the musical favor. Retired Major Ed Rouse told me: We would sometimes play loud rock and roll music over our loudspeakers on the Korean DMZ to counter (drown out) the North Korean propaganda broadcasts. During the 1960s, American propagandists on Okinawa dropped airborne and floated seaborne leaflets into North Korea. Looking over a list of items that were meant to be placed on the propaganda floats I find the following listing: Song Book: A collection of popular well-known songs, printed on quality paper. Most North Korean songs are propagandist in nature. This would demonstrate economic progress due to high quality paper, a prosperous lower class due to the nature of songs, and demonstrate that in a free society music is for enjoyment and not for furthering the aims of the Communist Party. The Chosunilbo newspaper mentioned current propaganda music of the South aimed at the North. The article says in part: An old-fashioned style of Korean pop music called trot is South Korea's most powerful psychological weapon against North Korea. Most songs the military has broadcast to North Korean soldiers across the military demarcation line along the DMZ were trot (pronounced teuroteu and short for foxtrot).> They stopped in June 2004, but on 24 May 2015, after the North sank the Navy corvette Cheonan, the military started airing propaganda programs on FM radio frequencies beamed across the border. Songs by Na Hoon-a, a big-time trot star in the 1960s and 70s, were broadcast most frequently during the 1980s. Many of the jaunty tunes were still at the top of the list in the 1990s and 2000s. The FM radio programs targeting North Korean soldiers are broadcasting a playlist of 184 songs that North Korean residents would like, many among them sung by new-generation trot singers such as Jang Yoon-jung and Park Hyun-bin. Did David Bowie's Music Bring down the Berlin Wall? David Bowie died on 10 January 2016. The following day the German Foreign Minister thanked the British music legend for what he called his role in helping topple the Berlin Wall in 1989: Good-bye David Bowie. You are now among Heroes. Thank you for helping to bring down the wall. Bowie wrote the song Heroes while living Berlin for three years in the 1970s. While at the Hansa Studios in West Berlin, next to the border where East German guards had shoot-to-kill orders, he spied a young couple kissing. The scene gave rise to the songs lyrics: I can remember

Standing, by the wall

And the guns, shot above our heads

And we kissed, as though nothing could fall

And the shame, was on the other side

Oh we can beat them,forever and ever

Then we could be heroes,just for one day He later played the song during a 1987 televised concert in front of the Reichstag building in West Berlin next to the Wall that drew young East Berliners to rush to the border to listen to the superstar. At the 25th anniversary celebrations of the Wall falling in November 2014, British singer Peter Gabriel was invited to sing a stripped-down version of Heroes, sharing the stage with rock bands from East and West Germany and former dissidents. The various American broadcast services used music as a form of friendly persuasion all through the Cold War. Cedric Larson mentions this in an article entitled Music: America s Global Ambassador of Good Will, in a 1952 issue of Etude. He mentions the Voice of America and their many musical series such as American composers, show tunes, symphonic, semi-classical and popular music. The experience of the past five years has shown again and again that the planned and extensive use of music in our international programs has demonstrated that music is the universal language, which is above politics and international strains, and has a healing power for a disturbed world What kind of musical fare does the Voice of America provide for its overseas listeners? The Music Section has found over the years from practical experience is that the best bet is to give its overseas audience a balanced diet. His most interesting anecdote tells of two Russians who had escaped from slave-labor camps that the Soviets claimed did not exist: They recorded songs song by the slave laborers and by their very nature listeners knew these songs were genuine. They mentioned names and places, and the songs had a sad lyricism of music and text that could not have been hoked up.The music was recorded as it was heard from their lips. Then the leader of a choral group of Russian refugees was called in and the songs were recorded  there were six of the slave labor camp songs. They were then broadcast in every language, telling to the peoples of the world the sad story of the slave labor camps. The effect was tremendous. Czechoslovakian Calendar for 1955 The Crusade for Europe was a CIA sponsored group that broadcast and sent leaflets by balloons into Eastern Europe during the 1950s. The radio campaign was run by Radio Free Europe and the leaflet campaign was run by Free Europe Press. Most of the leaflets were just long political text in the European tradition. However, on rare occasions the FEP did something different and in 1955 they produced a calendar for Czechoslovakia that contained comments for every month of the year. Many were satirical, for instance we find under January: The Peoples Democracy is a state where people have to stand in line for everything, and sit in jail for nothing. In several cases we find political songs. Here is one from February: New fighters will come  they did.

Ministerial seats  they got.

One could not continue to live in the old way.

Lucrative business started in February.

However  they did not have enough;

They ate from each others troughs. I cannot guess the meaning of that song but suspect that the Czechs would have recognized corrupt new Communist politicians taking office, making money and they stealing from each other. There is another political ballad in March that seems to mention Stalins death and perhaps the brutal Soviet actions in Poland after the Poznan uprisings: Too soft is the earth of Letnas plain to hold a monument.

Someone got under Stalins skin

Miraculous things take place at midnight.

As if Kamenev had motioned to Bukharin.

They set up new dossiers  whats in them?

Bearers of the Red Star on the cemetery.

The heavy stone boot  a new habit.

A skull looks down on Prague . The First Cavalry attacks in Apocalypse Now VIETNAM The American public was probably introduced to the use of music in psychological operations in the movie Apocalypse Now, when Colonel Kilgore ordered his pilot to Put on PSYWAR Ops, make it loud Shall we dance? and for the first time we heard the stirring notes of Richard Wagners The Ride of the Valkyries as the American First Cavalry attacked a Viet Cong occupied village with machinegun fire and rockets. I am sure that many viewers of this movie believed that the scene was fictional and music was never used in such a way. In fact, it has often been used to draw the attention of, intimidate or terrify the enemy. It has also been used to draw the fire of the enemy and identify his location, not unlike the old military concept of reconnaissance by fire. The Tactical PSYOP Smart Book says: Loud music or other sound effects can distract or annoy the enemy. Harassment broadcasts deny the enemy the ability to communicate between units within a defensive position and can be used to deny the enemy sleep or rest. Monta L. Osborne was the Chief of Field Development Division in the Joint United States Public Affairs Office (JUSPAO) in Saigon in charge of the Chieu Hoi (Open Arms) program during the Vietnam War. In a March 18, 1966 dairy entry Osborne said: We are putting together a Chieu Hoi Songbook for use in the Chieu Hoi Centers. When the Viet Cong come in, they know only the VC words to old Vietnamese songs. So we are providing good, democratic, nationalistic lyrics to the old folk tunes and our staff is producing new songs. In 1968 he was asked to explain his program to the top officers of the United Nations Command and the top officials of the Government of the Republic of Korea . During his talk he mentioned the use of music. Vietnamese songs are often used as PSYOP media. They are composed by the most competent and best known composers in South Vietnam . Many of these songs are, in effect, appeals from Vietnamese young ladies to their erring husbands and lovers who are with the Viet Cong to come back home and resume their marital responsibilities. Songs are printed as sheet music and they are tape recorded by the foremost singers of Vietnam for broadcast by radio stations and loudspeakers, both aerial and ground. They are produced as films featuring attractive young female singers for television showings and are released as 35 mm. films for the theaters and 16 mm. films for showing in rural areas. In fact, songs are one of the most effective mediums. In the case of the 1968 TET (Lunar New Year) Nguyen Song, the South Vietnamese Army Staff advised against playing it where it could be heard by GVN troops, since it might make them so homesick they would desert. I want to add that after studying the psychological operations of every war since WWI I have never seen the number of songs prepared against the enemy as I have during the Vietnam War. Perhaps it was believed that song had greater effect on the Vietnamese, but there are an amazing number of songs. I should add that the same thing can be said for poetry. Perhaps the Vietnamese are lovers of poetry, but for some reason the Americans produced dozens of leaflets with poems written to bring being on sadness, homesickness and depression. Sometimes music and poetry were combined. Such an example is found in the PSYOP Newsletter, 11 December 1967. An article titled Addition of music to Chieu Hoi Loudspeaker appeals says in part: North Vietnamese Army defectors felt that an extremely effective device to maintain attention would be to set the appeals to the music of popular Vietnamese folk songs, sung by a North Vietnamese girl. Another device the defectors thought would be effective would be to write the appeals in the form of short poems and have them read by a North Vietnamese girl. There is a traditional manner of reading poetry (Kieu style) in a special musical tone which is very popular among the North Vietnamese. Four separate tapes in the style of Kieu poetry for use against North Vietnamese troops. The U.S. Army Special Warfare School manual ST 33-150 explains the military rules in regards to music in 1964. It says in part: Music provides great flexibility, interest and color. The new U.S. Psychological Warfare Organization has a music librarian. Music is used in dramatic programs to subconsciously regulate the mood. A steady increase in pitch, tempo and volume builds a feeling of tension increasing to a climax with a fortissimoor silence. Music is used to gain and hold an audience by identifying the station with the culture of the audience. If you have musicians who can play and sing the music of the listeners region, this is superior to recordings of the same music. It is human interest and creates nostalgia with a feeling of nationalism. Music is cultural propaganda. Music is sometimes criticized as a waste of time which could be used for verbal persuasion, waste of electricity, and worst of all, entertainment of the enemy. But a sophisticated, experienced audience with a free choice will not listen to very much propaganda. There is a limit to politics. If you do not provide music, your enemy will; you will lose the large part of the audience that considers itself non-committed. There are numerous cases during the Vietnam War where the music was meant to frighten or demoralize the guerrillas. In some case it worked to an extent, and in fact was considered so dangerous that some tapes were specifically not to be played near friendly Army of the Republic of Vietnam (ARVN) troops because there was fear that they might be so frightened that they would leave the battlefield. In other cases, when the enemy fired on the aircraft playing the music, a trap was set where they would be attacked as soon as their location was identified. Some examples of Vietnam War operations involving music are as follows. Vietnamese Funeral Procession When it was desired to frighten the enemy, the music chosen was usually funeral music or sounds that invited thoughts of death or those who had passed on. One example of such an operation appeared in the 29 October 1965 overseas edition of Time: Tucked away in their hammocks beneath the dripping rain-infested canopy, the Viet Cong guerrillas could hardly believe their ears. Out of the night sky came an ominous, warbling whine, like bagpipes punctuated with cymbals. It was Buddhist funeral music - a dissonant dirge cascading from the darkness. Then a snatch of dialogue between a mother and child: Mother, where is daddy? Don't ask me questions. I am very worried about him. But I miss Daddy very much. Why is he gone so long? Then the music and voices faded slowly into the distance and the platoon settled back to a restless sleep. Vietnam War Helicopter with loudspeakers This dirge and others like it came from the fertile imaginations of officers like Captain Blaine Revis, Commander of the 24th PSYOP Detachment. He told me that when queried by the Commanding General of the 1st Cavalry Division about what PSYOP could do to help win battles he answered: One idea that I presented was to mount loudspeakers on some helicopters and to play tapes of the Vietnamese funerary dirges. (Really strange sounds but very effective in producing a mood of finality and defeat in the Viet Cong) The idea was represented in the movie Apocalypse Now, but in the movie instead of the funeral dirge they played the Ride of the Valkyries. I suppose the director thought it was more identifiable to a western audience. The dirge is played on a small instrument that looks and sounds like a miniature clarinet. From my past assignment in Vietnam I had noted that when a funeral procession went by and the dirge was played, even people who did not know the deceased became agitated and would sometimes cry openly. When I asked why, they would explain that even if they were young, it soon it would be their turn. I had recommended the use of the dirge to Major General Harry W. B. Kinnard along with painting some of the helicopters to look like the beast that carries people to heaven or Hell from this life. I do not know if he acted on the recommendation. First Lieutenant William Tyner told me about playing music in 1968 in the Mekong Delta. He was assigned to the Litter Bugs of the 10th PSYOP Battalion in Can Tho. He flew in the small U-10 Helio Courier single engine aircraft called Speak. He said: We held the Sony cassette player on our lap. When we had a dual role mission the pilot had to operate the cassette while maintaining an orbit somewhere near the target area. As the leaflets were drifting in, we would drop down as low as 1500 ft (over safe targets) and play the propaganda tape. Rock and Roll recorded off of AFVN was my favorite and seemed to attract the most ground fire. Fire by Robert Brown was the clear winner. Mostly though, the tapes were professionally made discordant funeral music, wailing women and rude comments meant to ruin morale, comments like: You didnt see that B-52 coming did you? Specialist 4 Norm McDonald of the 1st Air Cavalry told me that during a combat air assault in Late December 1970 or early January 1971 in the area of the Parrots Beak, Vietnam, a nearby PSYOP helicopter with a giant set of loudspeakers started playing Sympathy for the Devil by the Rolling Stones. At the time he was at Firebase Snuffy. He said: The music could be heard above the explosions, automatic fire and the choppers. I could clearly hear: Please allow me to introduce myself

I'm a man of wealth and taste

I've been around for a long, long year

Stole many a man's soul to waste As a side note, I remember another Chieu Hoi chopper circling a Firebase and blasting out We Gotta get out of This Place by the Animals. That one I am sure was May or June 1971 on a place called Firebase Jeffries. I was in 2/8th Cavalry. All the guys on the Firebase were singing right along with the chopper The PSYOP-POLWAR Newsletter The PSYOP Newsletter was printed by the United States Military Assistance Command to inform commanders, PSYOP personnel, and PSYWAR advisors of psychological operations in Vietnam and to exchange idea and lessons learned. Later Vietnamese POLWAR personnel were added and the name was changed to the PSYOP-POLWAR Newsletter. Looking through my copy from December 1967 I find the following comment on the subject of music: The Addition of music to North Vietnamese Army Chieu Hoi loudspeaker appeals: This concept was evaluated by the JUSPAO Evaluation Panel. The Hoi Chanh felt that an extremely effective device to maintain attention would be to set the Chieu Hoi appeals to the music of Popular North Vietnamese folk songs, sung by a North Vietnamese female. Another device the Hoi Chanhs would be effective was to write Chieu Hoi appeals in the form of short poems and have them read by a North Vietnamese female. There is a traditional manner of reading poetry (Kieu style) in a special musical tone that is very popular among the North Vietnamese. Tape 125 has been produced for Tet and has four separate poems recorded in the Kieu style for use again the NVA troops. There are some strange stories about music PSYOP missions in Vietnam that may be true or may be just a rumor. One of the best was told to me by a former Specialist Five of the 8th PSYOP Battalion. He flew loudspeaker missions and recalled a mission he had heard about that did not quite go exactly as planned: There was also an incident that as I recall was reported in Stars & Stripes where a field team in IV Corps; I think they were from the 10th Battalion, headed out for an aerial night loudspeaker mission. Once airborne, they discovered they had grabbed their personal tapes rather than the propaganda tapes. So, they performed the mission playing Iron Butterfly's In-A-Gadda-Da-Vida. Apparently, that song terrified the Viet Cong enough that three of them walked out of the boonies and surrendered the next morning. It might have been reported in Credibilis [The 4th PSYOP Group official publication] too. It would have been in 1969 or 1970, I think; in any event it would have been during my time in the Republic of Vietnam. The Vietnamese believed that those who died far from home and were not buried with their ancestors would roam the Earth forever. This theme was used in many Allied propaganda leaflets. After the mysterious death of Pathet Lao general Phomma Douangmala in 1970, the C.I.A. claimed that the North Vietnamese had murdered the general and then left his body unburied. In addition, loudspeaker aircraft flew over Pathet Lao sites playing ghost music (dirges) and a message allegedly in the voice of the dead general. Robert J. Kodosky attacks these campaigns in Psychological Operations American Style  the Joint United States Public Affairs Office, Vietnam and Beyond: Lexington Books, Lanham, MD, 2007. He feels that they were misguided and indicate a belief by the American government that the Vietnamese people were backward and superstitious. He says in part: Americans generated products devised according to the stereotypes they harbored about the Vietnamese as a primitive people motivated primarily by their primitive belief systems. The bombarded their enemies in the field with weird, electronic cacophonies that aimed to raise terrifying images of forest demons among combatants they perceived as superstitious terrorists. Chieu Hoi Symbol Songs were also used in major campaigns like the Chieu Hoi (Open Arms) program. In an attempt to get the Viet Cong guerrillas to return to the National Government a Chieu Hoi theme song was written and played to the Viet Cong. It started with the lyrics, Bird, fly home to your warm nest. The dove was used as an invitation to the Viet Cong to come back home with loved ones. The Vietnamese believed that the birds always returned to their nest. Hence, the campaign added a symbol of the white dove (a universal symbol of peace) flying toward the fire, which to the Vietnamese represents the warmth of family, homecoming and reunion. The Government of Vietnam also supported Cultural Drama Teams. They went out into the general population and acted and sang to the people in an attempt to build their loyalty toward the Republic. Thomas C. Sorensen tells us more about the special JUSPAO teams in The Word War, Harper & Row, N.Y., 1968: JUSPAO helped train six-man Van Tac Vu (Cultural Drama Service) troupes and assisted in the production of their material. The entertainers - among them, attractive actresses unaccustomed to hardship - traveled in black pajamas commonly worn by peasants, and lived with the villagers as they moved around the countryside, performing twenty or more shows a month. The troupes sang patriotic songs ("Vietnam, Vietnam" and "Our House"), amused and indoctrinated the peasantry with primitive dramas about villainous Viet Cong and heroic South Vietnamese soldiers and officials, and off stage distributed medicines, seed, food, and pamphlets, and helped at chores ranging from repairing damaged buildings to bathing infants. The Department of the Army Contact Team in Vietnam Study entitled Employment of US Army Psychological Operations Units in Vietnam, dated 7 June 1969 says: Cultural Drama shows were extremely effective mediums for dissemination of PSYOP messages to rural target audiences in the Republic of Vietnam according to PSYOP leaders. There were 36 Cultural Drama Teams conducting operations within the provinces providing entertainment in the form of songs, dramas, dances and magic shows to audiences in the villages and hamlets. The objectives of the Cultural Drama Teams were to achieve a spiritual identification with the rural masses, to win their favor and to establish a channel of communication between the masses and the GVN. The teams used PSYOP as part of their cultural drama shows to support various government programs and activities. The teams accomplished this task by providing entertainment. Each performance lasted approximately one and a half hours and included modern and traditional songs, magic shows, dances stories and skits. PSYOP themes of virtually all the material was politically oriented, e.g., Chieu Hoi, nation building, the anti-communist effort, social reforms and elections. John R, Campbell, a civilian psychological warfare advisor in Vietnam in 1965 was the Director of Cultural Drama Teams from 1966-1967. He says about this program in Are we Winning? Are they Winning?- A Civilian Advisors Reflections on Wartime Vietnam , Author House, 2004: I ran 15 teams (and they literally had to run every 24 hours to stay ahead of the Viet Cong) of Vietnamese entertainers throughout the whole of South Vietnam s countryside. We taught children pro-government songs and they in turn innocently serenaded us with their well-rehearsed pro-Viet Cong songs We were told repeatedly that they liked our show much better than the similar roving VC propaganda teams because theirs were obligatory and filled with dull and serious rote ideology. Monta Osborne of JUSPAO also mentioned the teams: One day the Vietnamese lad who heads up our Cultural Drama program came to me and said, in effect: Mr. Osborne, you are the real head of the Van Tac Vu teams, but you have never gone with any of the teams on their trips. The teams think that you should make at least one trip out to a village with them. Otherwise, their morale will suffer and the program will suffer. Shortly thereafter I went with one of our teams to a location about fifty miles from Saigon . At a certain point we moved from jeeps to small boats and rowed for some miles up a river to a remote village. During the afternoon the team erected an improvised stage for the evening performance. The young men of the team helped clean up the village, dug an irrigation ditch and built a small bridge across a creek. The young women of the team called on the women of the village, identified the ailing, instructed the women on how they could obtain medical attention, and delivered some medical supplies. At about dark the entertainment started, with the singing of Vietnamese folk songs, dancing and skits. The skits all had antiViet Cong overtones. I was, of course, the only American in the village; in fact, there probably were no other Americans within fifty miles. But nothing untoward occurred. We slept all night in the village, and next morning returned to our boats and paddled back down the little river. Later I repeated this experience a couple of times. The young Vietnamese women depicted are part of the Cultural Drama teams sponsored by both the U.S. and Vietnamese governments. These girls are on the Vietnamese-Cambodian border in December 1971, on their way to entertain the troops during the Tet holidays. The PSYOP Guide also mentions Culture Drama teams: This group, made up of all types of entertainers, provides culture drama shows for Vietnamese military primarily in the Capital Military District. Organic to each POLWAR Battalion in the four Corps is a culture Platoon which provides entertainment throughout the Corps area in the form of songs, dramas, dances and similar activities. In the remote areas, these platoons may provide the only source of entertainment for the people. Kodosky says about the 