The Berlin-style operetta coexisted with more bourgeois, charming, home-loving, and nationalistic German operettas – some of which were called "Volksoperetten" (folk operettas). A prime example is Leon Jessel's extremely popular 1917 "Schwarzwaldmädel" ("Black Forest Girl"). These bucolic, nostalgic, home-loving operettas were officially preferred over Berlin-style operettas after 1933, when the Nazis came to power and instituted the "Reichsmusikkammer" (State Music Institute), which deprecated and banned "decadent" music like jazz and similar "foreign" musical forms. In the beginning of twenty-first century, German revival of operetta was an unforeseen theatrical development.