Berlin (ideal song)

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Berlin
ideal
publication 1980
length 3:20
Genre (s) Neue Deutsche Welle
Author (s) Annette Humpe , Hans-Joachim Behrendt , Frank Jürgen Krüger , Ernst Ulrich Deuker
Producer (s) Klaus D. Müller
Label Vain Imperial
album ideal

Berlin is a song by the band Ideal from 1980, which is considered a song of praise to West Berlin in the 1980s, but also to the Kreuzberg district , which was admired by many rock bands in the city ​​divided by the Berlin Wall . The song pointedly brings together the clichés of that time, in which Berlin appeared as an adventure playground.

Published it's first as a single on the band's own Independent - Label Eitel-Imperial ( We stand on Berlin / Men's dime a dozen ). Ideally, part of it came from the punk movement, but the song is counted as part of the Neue Deutsche Welle , which took up various elements of pop music .

text

The song begins at the Bahnhof Zoo and ends in the “ Dschungel ” disco , which was a meeting point for the scene; David Bowie , Iggy Pop and Nina Hagen, for example, frequented here during this time . The musically rapid movement of the song is also generated linguistically by shortening sentences. The city is enjoyed with all of the senses. The perspective of the song is that of a flaneur who reports her observations, but does not evaluate them. Thus the Mariannenplatz , in the 1970s, a center of squatters , although perceived West Berlin as part of the city, but not described as the center of a conviction.

Bahnhof Zoo, my train arrives,
I'll get out, it's good to be back.
To the subway down past the alcohol,
direction Kreuzberg, the journey is free,

[...]

I feel good, I like Berlin!

(Extract from Berlin )

Berlin expresses an early perception of the heterogeneity of German society in Berlin, which historian Andreas Rödder has noted has been growing since the 1970s. The cityscape in Berlin is shaped by political, social and religious differences . The different ways of life in Berlin are shown in the song: philosophers , civil servants , junkies , tourists and also the “ scene ” that meets to dance are addressed. The society described is structurally diverse and determined by different orientations and lifestyles .

As a song of praise, the song also negotiates the idea of ​​an opportunity to live independently and unconventionally in Berlin. Beyond her perceived petty bourgeois conventions , the protagonist plunges into a multicultural and urban everyday life in Berlin with its nightlife . Romy Haag's nightclub is also mentioned and translated into pop culture.

music

Berlin is pervaded by a musical spirit of optimism and combines many styles: rhythms of punk music , riffs , a guitar solo, synthesizer elements and the familiar tone of the singer Annette Humpe. This mixture corresponded to the perception of a sound from Berlin as varied, loud and cool . Like West Berlin, which could not be described as flawless around 1980, the bassist and the drummer are not always in sync . The song ends without a finish and appears spontaneous and authentic as a plea against provincial life. It is also seen as a sign of a new, self-confident generation of German pop musicians.

Others

The literary scholar Jens Reisloh uses two terms used in the song, "Morgenrot" and "Hundekot", in the title of his basic work on German pop music to indicate the variety of topics in German-language pop music since the 1970s. “Dawn” can be understood poetically and politically as a metaphor for positive developments, “dog poop” for everyday life and its taboo description. The Morgenrot was a café run by the Morgenrot band , which was located on Paul-Lincke-Ufer in Kreuzberg.

The song was covered by Heinz Rudolf Kunze , 2raumwohnung and the Scala & Kolacny Brothers .

Web links

Individual evidence

  1. ↑ a b Ideal - Berlin (single). In: Official German charts . Accessed December 1, 2019 .
  2. ↑ a b c Alexandra Manske: Capitalist spirits in the culture and creative industries. Creative people between economic pressure and artistic urge (=  society of differences . Band 7 ). transcript, Bielefeld 2015, ISBN 978-3-8394-2088-1 , p. 240 ( limited preview in Google Book search).
  3. ↑ Michael von Engelhardt: Berlin's shadow. The ambiguous metropolis in literature of the 1970s and 1980s . In: Matthias Harder, Almut Hille (ed.): “Weltfabrik Berlin”. A metropolis as a subject for literature . Studies in literature and regional studies. Königshausen & Neumann, Würzburg 2006, ISBN 3-8260-3245-4 , p. 215 ( limited preview in Google Book search).
  4. ^ A b c Dirk von Petersdorff , Christiane Wiesenfeldt : Ideal: "Berlin". In: Fazblog - Blogs of the FAZ . June 23, 2018, accessed November 30, 2019 .
  5. ↑ Quoted from: Michael von Engelhardt: Berlins Schatten. The ambiguous metropolis in literature of the 1970s and 1980s . In: Matthias Harder, Almut Hille (ed.): “Weltfabrik Berlin”. A metropolis as a subject for literature . Studies in literature and regional studies. Königshausen & Neumann, Würzburg 2006, ISBN 3-8260-3245-4 , p. 215 ( limited preview in Google Book search).
  6. ↑ Christoph Viehl: Jens Reisloh (2011). German-language pop music: Between dawn and dog poop. From the beginnings around 1970 to the 21st century. Basic work - New German Song (NDL). Review by Christoph Viehl . In: Ralf von Appen, André Doehring , Dietrich Helms , Thomas Phleps (eds.): Online publications of the study group for popular music . Volume 10. Giessen 2011, urn : nbn: de: hebis: 26-opus-89294 .
  7. ↑ Jens Reisloh: German-language pop music. Between dawn and dog poop. From the beginnings around 1970 to the 21st century . Basic work - New German Song (NDL). Telos Verlag, Münster 2011, ISBN 978-3-933060-34-1 .
  8. ↑ Bernd Martin Radowicz: Places of (POP) ulary music in Berlin (West): from 1945 to 1990 . Books on Demand, Norderstedt 2017, ISBN 978-3-7431-1568-2 , pp. 98 ( limited preview in Google Book search).
  9. ↑ Ideal - Berlin. In: hitparade.ch . Accessed December 1, 2019 .