Blues scene

from Wikipedia, the free encyclopedia

The blues scene [blu: sɐˈße: nə] or customer scene , rarely also post-hippies, was a GDR -specific youth culture or a countercurrent to the "official" youth culture in the GDR. Their followers described themselves as bluesers , customers or hitchhikers . At the end of the 1970s, the subcultural youth culture reached its climax and, as a significant movement, formed a counterculture to the predetermined everyday life in the GDR. Within the scene, not only blues were heard and played.

Her guiding principle were the ideals from the western hippie movement such as freedom , authenticity and non-conformism . She was characterized by common behavior patterns and musical preferences as well as “her” special outfit that created a sense of togetherness . The overwhelming majority of the bluesers took a markedly anti-militarist attitude, many were involved in the peace movement in the GDR .

The blueser or customer scene was the longest-running and at the same time the most lively youth culture in the GDR .

Terms

The term blueser is a vague collective term and describes phenotypical similarities such as clothing style and certain forms of behavior (hitchhiking, attending blues concerts). The people described by this term had different attitudes and lifestyles. In addition to the preference for the music genre blues (rock), the blues masses , heavily frequented blues concerts in church rooms between 1979 and 1988, are a source for the definition of the blues scene .

The term customer here does not refer to the business customer we know today , but refers to the Red Welsche term customer for wandering craftspeople, beggars, vagrants, which has been used since the early 19th century as a positive synonym for “on the move”, inspired not least by the 1978 in the GDR published novel " Unterwegs " by Jack Kerouac . At the same time, the sociolect type (also from the crooks' language ) was used to create identity among each other .

The term Käthe was an internal term for blues players.

The term post-hippie (s) was also used by people in the scene.

The term Gammler, on the other hand, was used exclusively outside the scene , especially by the state power.

history

In the 1960s, the blues in the GDR increasingly gained official recognition. In addition to traditional jazz lovers, young rock enthusiasts also began to take an interest in the blues. Her idols were u. a. the Rolling Stones or the Animals , Jimi Hendrix , Cream , Janis Joplin and The Doors . The first “generation of blues” got to the roots of the blues through their live cover versions. The blueser or customer scene reached its peak in the late 1970s. In particular, the rock- oriented representatives such as John Mayall , Rory Gallagher , Canned Heat , Lynyrd Skynyrd or ZZ Top were well received in the scene. The identification with the blues embodied the acquisition of values ​​such as authenticity and originality . Analogies to everyday life in the GDR were derived from the Afro-Americans ' struggle for freedom and expressed themselves in the search for survival strategies and niches within GDR society. In the mid-1980s the rebellious blues movement declined because other more or less oppositional subcultures such as punks , goths , heavy metal fans also emerged, but continued to exist in parallel until the end of the GDR.

Members of the scene were often disproportionately controlled, sometimes criminalized and occasionally even sentenced to prison terms , especially in the first few years after their formation, by the authorities, the police or the Ministry for State Security .

Appearance

Parka, deer bag, Levi's, Klettis
Roman sandals / Jesus slippers

In 1979 the Berlin band Monokel drew an apt self-portrait of the scene in their song Bye, Bye Lübben City . "Blueser" were a mixture of blues fan, beat customer, rock fan and flower child .

The Stasi characterized in their identification key in some seriously discriminatory manner hitchhikers than people who dirty, unkempt clothes and shoes deceive, would inadequate personal hygiene operate, blankets and maps were there and out there in public spaces such. B. to spend the night at train stations and in cultural parks. They were portrayed as provocative towards security forces and youth loyal to the state, with political disinterest and a certain opposition to the state. They were accused of “glorifying anti-social habits”. At the same time, the Stasi observed that hitchhikers could contact like-minded people and sympathizers quickly.

The scene consisted mostly of young skilled workers, but also high school students and students. The common denominator was the rejection of state-mandated cultural patterns and the urge to escape from the narrowness of everyday life in the GDR.

Outward characteristics were long hair, often with a center parting, the men liked to have a full beard . The "clothing standards" appear uniform afterwards, but also contain a certain range of creative modifications and decontextualizations of traditional clothing that was an expression of the individuality of the wearer and had to be based on what the wearer could get: jeans and jackets, parkas, longer flowing ones Skirts or dresses, tie-dyed T-shirts, dyed historical underwear, nightgowns and dungarees, butcher shirts, Jesus slippers or hitchhiking shoes made up the special outfit. Characteristic accessories are often self-made deer bag , often with the motif of the roaring deer , and if necessary, the wire-rimmed glasses . These self-chosen outward appearances were strongly identity-forming and thus distinguishing marks. They symbolized freedom, inappropriateness, individuality (in spite of relative uniformity) and symbolized the alternative to the socialist image of man, which was characterized by petty-bourgeois values ​​such as cleanliness, diligence, patriotism and subordination to the socialist collective . This appearance, especially long hair on men and western jeans, often found more conformist people and the police provoked.

Student robe

Probably the most important trademark was the green shell parka (also known as a student's robe or shelli ), which originally came from the USA and was also used as clothing and sleeping bag . Often, drill jackets from the FDJ from the 1950s or outdated uniform jackets from the NVA and GST , which looked similar, had to replace them. Old, dark leather coats and later loden coats that could only be bought second-hand had also become established.

Jeans

As nonplusultra were blue jeans , above all true of the United States. Often the matching denim jacket. A key to Levi's most popular blue jeans brand is u. a. To see in the novel by Ulrich Plenzdorf published in 1972 The new sorrows of the young W. , in which, in addition to the lack of development opportunities parallel to the upbringing of a socialist personality in the GDR and the escape from the petty bourgeois tightness, detailed and precise about "these jeans" was spoken. This novel was immediately - initially through word of mouth - cult among young people , with the result that it was read even in the children's holiday camp and had a lasting influence on the next generation of blues. In addition to this book, Joachim Walther's 1975 novel I am not a yogi (later filmed in 1980 as a "light version" under And next year at Balaton ) became a document of the unadapted young people and their special language culture .

Blue jeans were precious in the GDR because they were only available indirectly from Western Europe. Who z. B. owned a Levi's, carried it past its use-by date. This resulted in a - new - identification component: the patchwork jeans became a cult. The young people sewed and arranged the matching, often small-scale patches as aesthetically as possible, in different shades of blue, to match “their” blue jeans. To cope with the heavy cotton fabric, the old single sewing machines were suddenly in great demand. Some blue jeans consisted almost entirely of patches. What was important was the personal individuality that the bluesers documented with their trousers.

Hitchhiker (shoes)

On their feet, bluesers wore brown ankle-high but light mountain climbing shoes made of suede, which were called hitchhikers or Klettis . In summer, the so-called were Jesuslatschen or "roman sandals" mandatory. The GDR standard work shoes or hiking shoes were also worn.

accessories

A bread bag or knapsack that was as historical as possible was a constant companion . The deer bag , one from an old tapestry Hirschmotiv or similar self-made shoulder bag, sat down only in the 1980s as a distinctive attribute by.

Michael Linke from Monocle , 2008

Music reception, meeting rooms and leisure culture

Musically, bluesers oriented themselves towards folk , blues , southern rock and blues rock .

Local bands such as Engerling , Freygang , Die Firma , Monokel , Hof-Blues-Band , Passat , Jonathan Blues Band , Hansi Biebl , Mama Basuto , Kerth , Blues vital , Pasch , ergo , Keimzeit and Stefan Diestelmann acted as the engine of the scene .

The Cupid Room

places

On the weekends, bluesers were often out and about , traveled by train or hitchhiked after the bands and lived their concept of freedom and morality. Mainly in village bars in the southern GDR districts or on the outskirts of the big cities, bands conveyed blues bliss. Popular concert venues were partly privately managed old village halls such as B. the Waldschlösschen Röderau near Riesa , the Gasthof zum Löwen in Ebersbrunn (near Zwickau ), the cowshed in Tanna (OT von Starkenberg) , the Amorsaal in Mülsen / St. Niclas , the green tree in Glauchau , Schlettwein near Pößneck , Lüttewitz , Medewitz , Leipzig- Gaschwitz , Ruhland , Schöneiche near Berlin and Doberlug-Kirchhain or open airs such as the Open Air Altdöbern (near Cottbus ), Steinbrücken Open Air u. a.

In the shadow of official cultural politics and the mainstream, bluesers also “occupied” “socialist folk festivals ” such as the birthday of the republic , press festivals , city festivals, the Weimar onion market , the Schleizer triangle race or the Wasung carnival and thus came under the spotlight of state power.

Bluesers also hitchhiked abroad to socialist countries in Czechoslovakia , Hungary , Romania and Bulgaria . An important meeting point in Czechoslovakia was Gustav Ginzel's dung house in the Jizera Mountains and the U Fleků in Prague .

This culture is still cultivated today at various festivals in refuges , such as B. in the customer blues night in the Berlin WABE and in the Wotufa hall in Neustadt / Orla or the blues carnival in Thuringian Apolda with exhibitions and readings, the cowshed in Tanna and the like. a. such as B. Blues in Reitwein im Oderbruch.

Gender ratio

The blueser or customer scene was characterized by structural machismo and male-dominated, although there were many women among them. Very few of them were in the focus of the scene because they B. were active as musicians in bands. Examples are Viola Woigk, keyboard player of the Thuringian band Pasch , the singer Angelika Weiz , the singer Uschi Brüning or Tatjana Besson , the bassist and singer of the band Die Firma . Antje Pfeffer describes the hipsters as self-confident and quick-witted women:

“They definitely knew how to assert themselves, and the guys actually respected and accepted that. So there weren't any - at least I didn't experience that - such “females”, I will say now, who were a bit teeny and girlish. It was actually more robust guys who were in this scene than women and who definitely drank and danced and pulled along and didn't let the butter be taken off their bread. They really did their thing just like the guys. "

- Antje Pfeffer : Michael Rauhut: Honeckers Schmuddelkinder. Hippies in the GDR. Feature, Deutschlandfunk 2005

"Women were treated carefully."

- Andreas Ibscher : Michael Rauhut: Honecker's dirty children. Hippies in the GDR. Feature, Deutschlandfunk 2005

Intoxicants

Heavy alcohol consumption was common on the weekends. In this respect, bluesers hardly deviated from the general, time and country-typical celebration culture. Other drugs were hemp grown from birdseed, psychoactive mixtures of psychotropic drugs such as Faustan with schnapps and / or cola, whose psychedelic effects were valued, or LSD , which came to the GDR via Poland . Filterless Karo cigarettes were also popular in the scene .

Housing forms

Analogous to the hippies in the west, some bluesers experimented with alternative forms of living and living. In Berlin ( Prenzlauer Berg ), Dresden ( Neustadt ), Halle (Kellnerstrasse), Leipzig , Erfurt , Jena and other places, municipalities emerged . Vacant apartments in buildings slated for demolition were quietly occupied. The illegality of this form of living was legalized by paying a self-chosen rent to the municipal housing administration on time. Sometimes communards obtained official tenancy agreements through relatives. So could Franziska Groszer , a daughter Robert Havemann , together with Gert Large, with her brothers Frank and Florian Havemann, Thomas Brasch u. a. Founded “Kommune 1 Ost” by swapping apartments with her mother in 1969, which existed until 1973.

In Gera there was a commune in which all property was communal property.

In 1978 handicapped and non-handicapped people founded a community in an abandoned rectory in Hartroda in Thuringia. The communal way of life was financed by the pensions and care allowances of the disabled. In return, the non-disabled took care of the disabled. Some people made postcards and linoleum prints, others went to jobs such as B. gravedigger after. Food was partly grown in subsistence farming . At the same time, the municipality was trying to find an alternative to “keeping” disabled people in nursing homes. Non-handicapped people were able to evade regular GDR employment relationships through the municipality without being exposed to the risk of being prosecuted for the so-called "anti-social paragraph" (§ 249 StGB) . Once a year the municipality held a festival. Originally intended as a Christian, however, over time the participants such as B. in Matthias Vernaldi an anarchist attitude. Vernaldi was allowed to travel to the FRG as a severely disabled person and was thus able to smuggle cannabis, books and anti-flyers into the GDR.

Political activities

The scene organized itself informally, so that blueser is a term that is difficult to define and there is no consistently homogeneous set of values ​​among the people involved. This also meant that different people had different understandings of political engagement and thus different degrees of politicality. The outward appearances, which were highly deviant and internal to the scene, attracted attention from the majority society, which was characterized by petty bourgeois values, to the point of disgust and aggression. Under the circumstances, it was political to assert and maintain one's own lifestyle under the subsequent discrimination, strong social control, surveillance by the Stasi and partial persecution.

But only part of the scene was politically active in the sense of social movements. Even if the overwhelming majority of bluesers adopted a markedly anti-militarist attitude, not all male bluesers inevitably refused to serve in the NVA by serving as construction soldiers and thus accepting further disadvantages and repression . One example is the blues musician Günter Holwas , who was also the initiator of the blues fairs . A then unpublished lyrics by the band Renft describes the attitude of the bluesers to military service.

Part of the scene was involved in the peace movement , women's , human rights and environmental movements, e.g. Sometimes with council democratic or anarchist tendencies. A symbolic sign of belonging to the peace movement was the public wearing of the patch swords on plowshares . Political activities often took place under the umbrella and protection of the Church, although the people involved were not necessarily Christians. One such group is the Dresden group Anarchistischer Arbeitskreis Wolfspelz , which has been active since 1982 and which was soon active throughout the GDR, producing leaflets with editions of z. T. printed over 20,000 copies and mobilized them for actions. An example of this is the call by the Wolfspelz group for a momentous nationwide peace protest at the Frauenkirche in Dresden. The Church from Below (KVU) group has existed since 1986 , which - tending to be atheistic, anarchistic and overlapping with the punk scene - criticized the prevailing conditions in state and church and organized concerts. The Environmental Library East Berlin was explicitly anarchist. Since the mid-1980s u. a. there printed libertarian underground magazines such as As the plunge , moaning-STAR , the limiting case , telegraph , the environment leaves . Suppressed information about everyday life in the GDR was published (such as the fact that the smog limits in Berlin were exceeded by nine times) and thus a counter-public was created. Articles from the environmental sheets were reprinted in magazines of the FRG such as B. in the grassroots revolution , in direct action , in the interim and in the Taz . This increased the flow of information that conveyed critical positions to prevailing views, and as a result the GDR opposition grew to the point of nonviolent revolution. A number of people from the blues scene were also involved in this opposition.

The photographer Harald Hauswald

people

  • Roland Barwinsky, blues customer since 1980, librarian, journalist
  • Tatjana Besson , bassist and singer in the bands Die Firma and Freygang
  • Steffi Breiting, musician
  • Citrone (Uta Müller), scene-goer
  • Peggy D., scene-goer
  • Matthias Domaschk , in 1981 in a Stasi cell after an interrogation of young peace-loving hitchhikers who died
  • Renate Ellmenreich, pastor and peace activist in the young community of Jena-Stadtmitte in the 1970s and 1980s
  • Constanze Freund (also Constanze Friend) , Weimar musician, singer of the blues-R&B-soul-funk band Mr. Adapoe (1986-1992) together with Hans Raths, Thomas Adapoe, Andreas Martin, Matthias Bätzel, Alexander Urschanow, Peter Klinke, and at Friend'n'Fellow
  • Nelli Gudat, club owner, DJ
  • Peter glasses , singer and guitarist with Renft , Karussell , Caesar's rock band
  • André Greiner-Pol , musician and singer with Freygang and author
  • Harald Hauswald , photographer
  • Elke Hemme, singer with the band Modern Blues, 1970s
  • Günter Holwas , blues musician, initiator of the blues masses , conscientious objector
  • Jayne-Ann Igel , writer
  • Rex Joswig , artist, musician, producer and DJ, singer with the band Herbst in Beijing , freelance journalist, radio maker
  • Johanna Kalex , anarchist, pub owner, member of the Wolfspelz group
  • Lutz Kowalewski , blues guitarist of the East German blues scene
  • Hannelore Kurth with the band Rhythm & Blues Collegium from Eberswalde, writer, biologist, conservationist
  • Gosse (Andreas Ibscher), member of the municipality in Gera, hitchhiker since the early 1970s, social worker
  • Doris Liebermann , feature author, peace-moving activist of the young community in Jena-Stadtmitte in the 1970s and 1980s
  • Bärbel Müller, with the band Blues vital , 1970s, together with Wolfgang Klawonn, Thomas Abendroth, Wilfried Woigk, Ulrich Faßhauer, Michael Schwandt
  • Antje Pfeffer, a hipster since the eighties, librarian, archivist, author
  • Michael Rauhut , musicologist, author
  • Angelika Weiz , blues and soul musician, member of the blues band ergo since 1975 , jazz singer in the Günther Fischer sextet
  • Viola Woigk, keyboard player in the Thuringian band Pasch

See also

literature

  • Michael Rauhut , Thomas Kochan: Bye bye, Lübben City. Blues freaks, tramps and hippies in the GDR . Schwarzkopf & Schwarzkopf, Berlin 2009, ISBN 978-3-89602-793-1 .
  • Christoph Dieckmann : My Generation . Cocker , Dylan , Honecker and the rest of the time . Christoph Links Verlag, Berlin 1999, ISBN 386153195X .
  • Michael Rauhut: Rock in the GDR (1964–1989). Federal Agency for Civic Education (Ed.), Berlin 2002, ISBN 3-89331-459-8 .
  • Michael Rauhut: The customer book. Blues in Thuringia. State Center for Civic Education Thuringia, Erfurt 2011, ISBN 978-3-937967-78-3 .
  • Michael Rauhut and Tom Franke: Church, Pop and Socialism. Documentary, first broadcast November 26, 2013, RBB
  • Lutz Pensionner, Michael Rauhut, Frank-Otto Sperlich: Wittstock instead of Woodstock. Hippies in the GDR. Documentary, RBB, first broadcast on October 10, 2005, 45 minutes.
  • Michael Rauhut: Honecker's dirty children. Hippies in the GDR. Rundfunkfeature, Deutschlandfunk, first broadcast on January 25, 2005, 45 minutes.
  • Freya Klier : Matthias Domaschk and the Jena Resistance. Berlin 2007, ISBN 978-3-942657-02-0
  • Kulturschleuder Riesa eV (ed.): The "Waldschlößchen". Hippies in Rockschuppen Röderau. Riesa 2006
Newspaper articles

Web links

Individual evidence

  1. ↑ On the meaning of the word movement from duden.de
  2. ↑ Blues masses. ed. v. Federal Agency for Civic Education and Robert Havemann Society
  3. ^ Siegmund A. Wolf: Dictionary of the Rotwelschen / German crooks language. Bibliographisches Institut, Mannheim 1956, p. 188, No. 3017.
  4. ↑ Jack Kerouac: "On the way". On the road. Legitimate transfer from the American. Afterword by Bernhard Scheller. Reclam, Leipzig 1978 (= Reclams Universal Library 760, license from Rowohlt Verlag, Reinbek near Hamburg).
  5. ↑ Heiner Stahl: Review of: Rauhut, Michael; Kochan, Thomas (Ed.): Bye, Bye, Lübben City. Blues freaks, tramps and hippies in the GDR. Berlin 2004, In: H-Soz-u-Kult. February 13, 2006.
  6. ^ Rex Joswig In: Michael Rauhut: Honeckers Schmuddelkinder. Hippies in the GDR. Rundfunkfeature, Deutschlandfunk, first broadcast on January 25, 2005, 45 minutes
  7. ^ On corresponding cases in the small town of Weimar cf. Axel Stefek: 1969-1984. Inadequate young people are turned into public enemies. In: Axel Stefek: Weimar unadapted, resistant behavior 1950 to 1989 (Weimarer Schriften, vol. 68). Weimar: Stadtmuseum, 2014. pp. 49–60.
  8. ↑ Source: Michael Rauhut: Rock in the GDR. P. 80.
  9. ↑ a b c d e f g Michael Rauhut, Thomas Kochan: Bye bye, Lübben City. Blues freaks, tramps and hippies in the GDR. Schwarzkopf & Schwarzkopf, Berlin 2009, ISBN 978-3-89602-793-1 .
  10. ↑ see The indispensable hitchhiker utensils of the East German hippies. (Deer bag, midwives bag , wire-rimmed glasses , "Klettis" (climbing shoes), diamonds , gold fire bottle , knapsacks , haversacks ) on Jugendopposition.de.
  11. ↑ The "norm" of the socialist personality. In: Opposition and Repression in the GDR. Education server Berlin-Brandenburg.
  12. ↑ From the counter to the stage. In: Melody & Rhythm. 5/2011.
  13. ↑ Sebastian Schultz: What is not in any history book ... Zeitensprünge project embarked on a journey through time ( memento from May 22, 2014 in the web archive archive.today ). In: Website of the Kulturwerk Riesa eV
  14. ^ A b Roland Barwinsky: Michael Rauhut presents in Löhma "customer book" about the GDR blues scene. In: Ostthüringer Zeitung. April 12, 2012.
  15. ↑ We forest people: Gosse (Andreas Ibscher), built in 1957, remembers. In: Michael Rauhut: Bye Bye Lübben City: Blues freaks, tramps and hippies in the GDR. Berlin 2009.
  16. ↑ Website of the Club am Weinberg eV Altdöbern ( Memento of the original from May 22, 2014 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.whiskey-soda.de
  17. ↑ MrDrohnex: Blueser in the GDR Altdöbern 1985–1990. On Youtube, published on March 19, 2012
  18. ↑ To the sun, to freedom. In: Frankfurter Rundschau. July 17, 2009.
  19. ↑ Woodstock on the Werra: The history of the "customer carnival" in Wasungen. Told through Stasi files in the library of the Stasi .
  20. ↑ 2nd Customer Blues Night at WABE, October 5, 2013.
  21. ↑ Customer Blues Night on December 2, 2017 in the Wotufa Hall in Neustadt / Orla.
  22. ↑ The exhibition in the fan project ends with a Dieckmann reading. Exhibition based on a title by the band Renft Between Love and Anger, which was banned in 1975 . Bluesfasching.de, September 2013.
  23. ↑ Wolfgang Wukasch: 20 years Kuhstall Tanna Hearty blues and hard rock. In: Ostthüringer Zeitung. March 31, 2012.
  24. ↑ Heiner Stahl: Review of: Rauhut, Michael; Kochan, Thomas (Ed.): Bye, Bye, Lübben City. Blues freaks, tramps and hippies in the GDR. Berlin 2004. In: H-Soz-u-Kult. February 13, 2006.
  25. ↑ Dethleff Kuhlbrodt: The devil made the schnapps. In: TAZ. January 21, 2012.
  26. ↑ Christian Schlueter: Blauer Würger and so on and so on. In: Berliner Zeitung. January 21, 2012.
  27. ↑ Michael Kleim: Drug Culture from the East? Impulses and impulses - from a non-nostalgic look back to perspectives. In: cannabislegal.de
  28. ↑ Günter Amendt: The legend of LSD. Frankfurt 2008.
  29. ↑ Bohemian in no man's land. In: Catalog for the exhibition “Boheme and Dictatorship in the GDR - Groups, Conflicts, Quarters. 1970 to 1989 ”in the German Historical Museum, website of the German Historical Museum
  30. ↑ Experiment “Commune 1 East”. In: Mitteldeutsche Zeitung, August 14, 2008
  31. ^ A b c d Lutz Pensionner, Michael Rauhut, Frank-Otto Sperlich: Wittstock instead of Woodstock. Hippies in the GDR. Documentary, RBB, first broadcast on October 10, 2005, 45 minutes
  32. ↑ Kai Schlieter: "I want to run, but they gave me wings". Something like Commune 1 of the GDR was founded in Thuringia 30 years ago. Hartroda was a unique life project for the disabled - much to the displeasure of StaSi. In: Taz, August 16, 2008
  33. ↑ Come Together. Dresden and February 13th. In: thinking ahead. Heinrich Böll Foundation Saxony.
  34. ↑ Dietmar Wolf: The Berlin environmental library. Left, anarchistic and always a bit chaotic. In: telegraph, 2011
  35. ↑ "Dresden and the Wolf Pelt Group", ed. v. Federal Agency for Civic Education and Robert Havemann Society, last change March 2012
  36. ^ Bernd Drücke: Anarchy in East Germany. Without the environmental papers and the Telegraph , the turnaround would not have come about. In: Divergensces, Revue libertaire internationale en ligne. September 15, 2009
  37. ^ Ehrhart Neubert: History of the opposition in the GDR 1949–1989. Berlin 1997.
  38. ↑ a b c d e f Michael Rauhut: Honeckers Schmuddelkinder. Hippies in the GDR. Feature, Deutschlandfunk 2005.
  39. ↑ a b c Michael Rauhut: The customer book. Blues in Thuringia. Erfurt 2011
  40. ↑ Michael Sollorz: Such a little woman. The survivor Peggy D. In: Friedrichshainer Chronik, April 2014 ( Memento of the original from October 25, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.friedrichshainer-chronik.de
  41. ↑ a b c Freya Klier: Matthias Domaschk and the Jena Resistance. Berlin 2007, ISBN 978-3-942657-02-0 , p. 40 ff.
  42. ↑ Michael Rauhut: The customer book. Blues in Thuringia. Erfurt 2011, p. 29
  43. ↑ Karim Saab: Comparison of moods in black and white. Why photography addicted to reality can do without color. In: Liberal - quarterly books for politics and culture. Issue 1/2007.
  44. ↑ Johanna Kalex, ed. v. Federal Agency for Civic Education and Robert Havemann Society, last change September 2008
  45. ↑ Dr. Hannelore Gilsenbach, entry in the database of authors of the Bundesverband Friedrich-Bödecker-Kreis eV
  46. ↑ Hannelore Kurth-Gilsenbach's website, music submenu
  47. ^ Hannelore Gilsenbach: Herbst-Kiefern-Blues, in: Website of Hannelore Gilsenbach