Instead of rebellion only conformism in pop and rock culture
"The fact that Wolfgang Niedeckecken von Bap exhibited approximately with Joseph Fischer for NATO missions in Yugoslavia, shows that this volume (and with her dedicated, peacekeeping rock culture, for which she once stood) has taken the same development that the greats as Party took," Write Martin Busers in his book: How does the new middle sound? Rock and pop music now have the "Aura in terms of rebellion and societal threat lost", It was almost "a subversive act", When the Youth Gustav Mahler instead of Prodigy Hore.
To take it in advance: the author, born in 1968, has a manifest presented that the (new) center has pulled almost all the Zwillings of rock and pop music nearly all the teeth. The CDU modernized on the last Popkomm. (see. Heart for national pop) And today’s governing parties, it really drove wildly and colorful by means of an Beders on the sound. The fact that the Love Parade danced by the Brandenburg Gate in Berlin in 1998, evaluates Busers as "Symbolic perfidicity", which the established politics propagated as a positive Germany picture, which is well defeated by the pruginal and fire-murdering neo-Nazi.
For busser became "Using pop conformism" generated, "at the same time as the opposite for sale wife". Doing "Pop also attractive for companies and parties." After all, he quoted Florian Koerner of Gustorf, musician of the band’s mother, be it frightening, "that Bill Clinton has torched the smart pop prasident and having a distract of it, that the death penalty has been practiced as self-resistant among him" as with all other US prasides before.
Martin Busers, known for its theoretical treatises on the pop culture in magazines such as Intro, concrete or in the book series of TestCard he published has submitted an interesting book. On the basis of the time travel from the Rolling Stones to the video clip detection stations MTV or Viva, he has shown the flattening of the POPS. The new German hardness of Rammstein is only one "Cartoon from gestures of manhood, strength and strong." That "Fascist" be at that entertainment culture "Not so much the game with fire and the rolling ‘R’", but that Rammstein the critical viewer "The close to the Neoliberal survival champion and social carnivism could help" – The band-asthetics stand for "Victory and consideration".
So far it had to come first. To sketch this, Busers also go into the subcultural depths of two special scenes, which were somewhat affected by the right or their members of this detour to the new right or the steps. To the Gothics and their random phrase of the Apocalyptic Folk, Busers find that the preference of that scene for the esoteric room for the "Anti-Semitic Consistency Theories of a Lars Van Helsing (meant Jan Van Helsing; MK)" bot, the "How a thriller consumes (became) without the anti-Semitic propaganda was perceived in it?."
Ideologically softly tilted in the brain, the scene was proven to be on for bands like Death in June or Josef Maria Klumb Alias Jay Kay], who preached from the middle of the 1990s of that scene itself Van Helsings conspiracy theories and almost as Sanger the band Weissggulut Via Sony Music Mainstream have been analyzed goods. Only after Harscher criticism in the openity chased band and record label Klumb to the hell. So the right-wing extremist scene is still propagating its identity by music not as well as aware of the social center.
The second subculture, based on the busers, the flattening of a sudden anarchic scene is the "unpolitic" Streetpunk scene, the "Musical Aquivalent to Garden Garens and Hakelleckchen" For the skinheads. The emergence of the – then not racist! – Skinheads goes to the year 1969, around 1980 the scene experienced a tremendous revival. Ex-punks became glosscops, partly from protest against the rebellious and anarchic honeycomb of the punks. The skins were full of politicization, the muzzle, discovered again the values of the parents and the Stammtisch, Horten OI!-Music – and praised henceforth a one "unpolitic" attitude.
Just those "Unpolitik" is the actual for bussers "virus", also the mainstream infected. The way inss – supposedly! – "unpolitical" opened ergo of the middle policy – "and that is tend to right" (BusSer) – Tur and gate to use the pop and rock music. And not only in the subcultures, but only quite via Ballermann-Pop and DJ Otzi "as a teacher who has not chosen the remaining proletariat to demand, but encrustation of the language itself." Who this "criticized, is made of good cause of education abrasiveness."
Now I did not like to get into a false suspicion, but Martin Busers essay covers a weak of the author by presupposing completely unpadagogical expertise as general education. It still lights up who "Joseph Fischer" It is meant, it becomes tricky when bussers cited about the appd, without concretizing what that was, namely a punksatire on the established politics that "Anarchist Pogo Party Germany". Again, that Ole Seelemeyers statement from "Genocide at German rock music" because of the "Flood on (…) Foreign shelf" quoted. Buser does it fail to name SeeleMeyers exposed position as a boss of the German Rock and Pop Musician Association.
Martin Busers: How does the new middle sound? Rights and reactionar tendencies in pop music. Valve Verlag; Mainz 2001, 142 S., 11.90