Orff's relationship to German fascism and the Nazi Party has been a matter of considerable debate and analysis. His Carmina Burana was hugely popular in Nazi Germany after its premiere in Frankfurt in 1937, receiving numerous performances. But the composition with its unfamiliar rhythms was also denounced with racist taunts. He was one of the few German composers under the Nazi regime who responded to the official call to write new incidental music for A Midsummer Night's Dream after the music of Felix Mendelssohn had been banned — others refused to cooperate in this. Defenders of Orff note that he had already composed music for this play as early as 1917 and 1927, long before this was a favour for the Nazi government. Critics, however, note that writing music for the play in those years, when the Nazis were not in power, is not the same as writing such music in response to a request from the Nazi party, following the party's racist attacks on Mendelssohn because he was a Jew.
Carmina Burana made Orff's name in Nazi cultural circles. After some initial official discomfort about the work's frank sexual innuendos, Orff's cantata was elevated to the status of a signature piece in Nazi circles, where it was treated as an emblem of Third Reich "youth culture". The Nazi newspaper, the Völkischer Beobachter, once pointed to Orff's cantata as "the kind of clear, stormy, and yet always disciplined music that our time requires".
Orff was a personal friend of Kurt Huber, one of the founders of the resistance movement Die Weiße Rose (the White Rose), who was condemned to death by the Volksgerichtshof and executed by the Nazis in 1943. Orff by happenstance called at Huber's house on the day after his arrest. Huber's distraught wife begged Orff to use his influence to help her husband, but Orff denied her request. If his friendship with Huber came out, he told her, he would be "ruined". Huber's wife never saw Orff again. Wracked by guilt, Orff would later write a letter to his late friend Huber, imploring him for forgiveness. 
O Fortuna is a medieval Latin Goliardic poem composed early in the thirteenth century, part of the collection known as the Carmina Burana. It is a complaint about fate, and Fortuna, a goddess in Roman mythology, is a personification of luck. In 1935–36 O Fortuna was orchestrated by the German composer Carl Orff for his twenty-four-movement cantata Carmina Burana. It is the most famous movement and opens and closes the cycle. Orff's setting of the poem has become immensely popular and has been performed by countless classical music ensembles as well as popular artists. The composition appears in numerous movies and television commercials and has become a staple in popular culture, setting the mood for dramatic or cataclysmic situations. See Carl Orff's O Fortuna in popular culture.
Latin: O Fortunavelut lunastatu variabilis,semper crescisaut decrescis;vita detestabilisnunc obduratet tunc curatludo mentis aciem,egestatem,potestatemdissolvit ut glaciem.Sors immaniset inanis,rota tu volubilis,status malus,vana salussemper dissolubilis,obumbrataet velatamihi quoque niteris;nunc per ludumdorsum nudumfero tui sceleris.Sors salutiset virtutismichi nunc contraria,est affectuset defectussemper in angaria.Hac in horasine moracorde pulsum tangite;quod per sortemsternit fortem,mecum omnes plangite!
English: O Fortune,just as the moonStands constantly changing,always increasingor decreasing;Detestable lifenow difficultand then easyDeceptive sharp mind;povertypowerit melts them like ice.Fate—monstrousand empty,you whirling wheel,stand malevolent,well-being is vainand always fades to nothing,shadowedand veiledyou plague me too;now through the game,my bare backI bring to your villainy.Fate, in healthand in virtue,is now against medriven onand weighted down,always enslaved.So at this hourwithout delaypluck the vibrating string;since through Fatestrikes down the strong,everyone weep with me!
In 1935–36 O Fortuna was orchestrated by the German composer Carl Orff for his twenty-four-movement cantata Carmina Burana. The composition appears in numerous movies and television commercials and has become a staple in popular culture, setting the mood for dramatic or cataclysmic situations. For instance, it is used to portray the torment of Jim Morrison's drug addiction in the film The Doors.
Sung every year at the matriculation ceremony at the University of Oslo.
Used in Michael Jackson's teaser "Brace Yourself" on Video Greatest Hits - HIStory.
Used in the summer of 2008 as the Milwaukee Brewers came up to bat at Miller Park.
Featured in a Gatorade and Old Spice after-shave commercial.
Featured in a Carlton Draught beer ad called Carlton Draught: Big Ad. 
Played at New England Patriots home games prior to the team exiting the tunnel. It is accompanied by team highlights and more recently, a scene from the film 300.
It is used as bumper music on The Sean Hannity Show on talk radio.
Often used on The Tonight Show with Jay Leno and Late Night with Conan O'Brien when a video or picture of former U.S. Vice President Dick Cheney is shown, suggesting that he is evil, demonic or satanic.
Played as background music when the Evil Puppy is introduced on Late Night with Conan O'Brien.
Used in the soundtracks of the films Excalibur and The General's Daughter.
It has been recently use in the trailer for the film Paul Blart: Mall Cop.
A stirring rendition performed by the Boston Pops Orchestra and conducted by John Williams appeared on the Summon the Heroes album.
A version of "O Fortuna" was used in a trailer for the anime film The End of Evangelion.
It is the music that the Doncaster Rovers enter The Keepmoat Stadium to.
It is performed by a convent of nuns in the episode "Gone Maggie Gone" of The Simpsons
It is played in the beginning and end of Jackass: The Movie
It is played in the movie Cheaper by the Dozen at the end of Dylan's party scene.
A version is played at the beginning of a Pakistani documentary End of Times, The Hidden Truth.
Irish boxer and WBA World Super Bantamweight Champion Bernard Dunne enters the ring to a mix of O Fortuna and the Irish song The Irish Rover.
It is the entrance music of UFC Fighter Nate "The Great" Marquart when he enters the Octagon.
It is played in the British sit-com Only Fools and Horses, whenever Rodney sees his young nephew Damien.
It is played during a video on the Jumbotron before every home Pittsburgh Pirates home game.
It is used as the theme tune for the The X Factor (TV series).
It is used in the "mugging" scene in Detroit Rock City.
A version of it, sung by the Harlem Boys Choir, was used in the Assault on Fort Wagner Scene in "Glory".
Rachel Maddow has had great fun on her show on MSNBC showing "O Fortuna's" uncanny ability to send politicians into paroxysms of cowardice and self-doubt (known as OFII; O Fortuna Induced Insanity) in a parody of commercials from the Republican Party attacking the Democratic Party.
The Howard Stern Show has used a parody of the song in its endless series of fan-submitted baba-booey songs whenever show producer, gary dell a'bate, enters the studio.
Used as the intro to Vital Remains's Dechristianize album.
The Final Fantasy VII song and theme for Safer Sephiroth (later became Sephiroth's main theme) One Winged Angel was derived from and inspired by O Fortuna.
Shortened and used as the background music for Code Lyoko's fourth season's trailer.
Was used as background music during and episode of Survivor while Coach wasstreatching in the water, marking the first time Survivor used a nonoriginal piece of music for the show.
Was featured in the end credits of Attack of the Note II: Schworld War, the sequel to Return of the Note by writer Conor Jansen.