Issue 2, 2006   

New movements in the internet?

Jürgen Reiche, Myth Rock. Politics and rockmusic, FJ NSB 3/2006, pp.13-19.

Asking in how far rockmusic has been and still is political the author deals with the history of rockmusic. In 1965, when the Rolling Stones played their first concert in Germany, there was politcal trouble guaranteed. Rock is mainly considered as the kind of music which was able to change the world. But only when Bob Dylan appeared it has become political in the strict sense. Afterwards it fell apart in different. Rock has been always more than just music: It's lifesyle as well as a buisiness. The attacks of 11.09.2001 changed again the world of rockmusic. But it's harder for the protagonists by now. Rockmusic lives by a myth - but there are also new hopes. Everything stays different - but the great years are gone.

Jens-Uwe Nieland, From Music to Politics or from Politics to Music? German Artists comment the change in politcal popmusic, FJ NSB 3/2006, pp. 20-29.

Civic engagement and political protest have been always connected. The civic rights movement, the anti-Vietnam movement, fighting poverty (Live 8) or the impacts of 9/11 are only examples. In all cases you can find the tension in popmusic: on the one hand pop artists are part of social movements(‚from music to politics'), on the other hand parties and politicians create their image by using popartists(‚from politics to music'). Also in Germany there are connections between politics and (pop)culture. Analyzing statements of two politically engaged artists in the election campaigns in 2002 the article asks if ‚From Music to Politics or from Politics to Music' is an appropiate description.

Alexander Zollondz, Hip-Hop - success by exclusion? Interview with Hannes Loh and Murat Güngör, FJ NSB 3/2006, pp. 30-38.

How do immigrants influence the culture of hip-hop? Murat Güngör and Hannes Loh observe German hip-hop from beginning. Their thesis: Hip Hop in Germany has become successful only due to an ‚ethnic component' - but creating the label ‚Deutschrap' in the midnineties excluded those, who built the scene. Though this has slightely changed there is still exclusion. Racism, poor education and family structures are no subject in the so called Gangstarap, women are reduced to bitches. Nevertheless it's quite attractive for young people. The interview shows the development from the early days of hip-hop to Gangsta Rap.

Stephanie Schmoliner, Let's riot - Riot Grrrls between feminism, subculture and social movement, FJ NSB 3/2006, pp. 39-46.

Feminist and political engagement appears in different forms 35 years after the second feminist movement. Using the Riot Grrrls as an example Stephanie Schmoliner describes a movement, which is especially concerned about bodypolitics in order to create a new way to deal with definitions of gender. Starting with the founding and classifying you have to analyze the societal background, especially within the subcuture of hardcore and punk. Referring to social movements a classification between movement, subculture and feminism is discussed. New cultural practices are used parallel to old forms of protest. In the end you have to take a look what is left 15 years after the foundation of the Riot Grrrls.

Christian Dornbusch/Jan Raabe, RechtsRock, FJ NSB 3/2006, pp. 47-53.

'RechtsRock' has been reduced to music of nazi-skinheads within the last 15 years. But this term, which is defined by content, does not refer to a certain genre but the development within different types of music. Poltically offensive several styles help to form an identity. There has grown an independent scene around these styles within the last years.Both are pivotal for social movements from the radical right: The music creates collective identity while the infrastructure of the scene supports political protagonist's mobilization. Recipients become familiar with this, since there is a clandestine realization of concerts, which is similar to techinques of mobilisation used by movements.

Susanne Witt-Stahl, Pop and War - and unrestrained escapade, FJ NSB 3/2006, pp.54-61.

Ever since Woodstock popular music has been considered a culture of freedom and peace. After September 11th, however, a lot of mainstream pop stars supported calls for war and showed an extreme patriotism. Has popular music changed sides? The commitment of pop to peace has always been a lie of the culture industry. There is a genuine link between pop culture and war. It is true that since World War II popular music has not played an important role in manifest war-propaganda but it still serves as soundtrack for a staging of war as Gesamtkunstwerk.