Het was oorlog en bij oorlog hoort propaganda. Radiocabaret leek daarvoor een goede vorm. De bezetter gebruikte hiervoor Nederlandse artiesten — niet direct de meest vooraanstaande, wel degenen die het Duitse denken konden onderschrijven, al ging dat niet altijd van harte. De uitzendingen waren vooral bedoeld om de Nederlanders in de nieuwe orde te laten passen, om de hoop op een geallieerde bevrijding te smoren en om het verzet tegen te werken. Daartoe werden niet-Duitsers — geallieerden, Nederlanders — belachelijk gemaakt. Of dat alles veel zoden aan de dijk heeft gezet, is nog maar de vraag. Hoe het oorlogsverloop een propagandacabaret dat uiteindelijk ten onderging, beïnvloedde.----'Carrot up'. Paulus de Ruiter 's SUNDAY AFTERNOON CABARET, 1941-1944During the occupation of the Netherlands (1940-1945), the Germans have tried to colonise the minds of the Dutch as well. They wanted to convince the Dutch that it would be an excellent idea if the Netherlands were incorporated in a huge Aryan empire: the big third reich in construction. In order to achieve this, and to counter the propaganda of the allied forces and the Dutch resistence, they put all kinds of propagandistic means to good use. Paulus de Ruiter's SUNDAY AFTERNOON CABARET which was broadcasted by the nazificated government's radio the Dutch Broadcasting Company, has been one of these means. Besides the antisemitism, already discussed elsewhere, Maaike Wermer analyses the anti-Mies, anti-British, anti-American, anti-Dutch, and the anti-resistance propaganda of the radio-cabaret. Content and tone of the programme reacted to the war developments. There was, however, much criticism as to the quality of the cabaret. Whether or not the programme has had any effect worth mentioning on the Dutch public, remains a big question.

Netherlands Institute for Sound and Vision
Tijdschrift voor Mediageschiedenis
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TMG Journal for Media History; Vol 4, No 1 (2001); 3-32

Noordegraaf, Julia. (2006). La Vérité par l’image: De Nuremberg au procès Milosevic - C. Delage. Tijdschrift voor Mediageschiedenis, 9(2), 112–114. doi:10.18146/tmg.665