New German Hardness

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New German Hardness

Development phase: Mid 1990s
Place of origin: Germany
Stylistic precursors
Alternative Metal · Groove Metal · New German Wave
Pioneers
Oomph! · Fleischmann · Welder
Instruments typical of the genre
Electric guitar · Electric bass · Drums · Keyboard

The New German Hardness , or NDH for short , is a style of music. The texts are mostly written in German , the musical influences are diverse. The standard line-up consists of (deep) vocals , electric guitar , electric bass , drums and keyboards .

history

precursor

The NDH developed in the mid-1990s. In the development phase and the musical characteristics of the NDH, there were initially parallels to groove metal and to the music of bands such as Laibach , Die Krupps or Ministry . Wolf-Rüdiger Mühlmann also draws parallels to Kraftwerk and DAF .

Early phase

Oomph! , at that time still marketed as an electro metal / crossover band, is one of the earliest representatives of the New German Hardship.

In particular the Oomph! -Musicians are considered pioneers of the NDH. On their 1994 album Sperm - influenced at the time by groups like Sepultura , Prong and Pantera - they developed a rhythmic mixture of electronics and hard rock music. a. served as a source of inspiration for bands like Rammstein . In addition to Oomph! 1994 brought further interpreters for the NDH groundbreaking albums onto the music market. Prager Handgriff published perpetrators & participation , which managed without a guitar, but in particular corresponded to the NDH with deep German singing. The band Schweisser released Eisenkopf, a German-language metal album with the linguistic emphasis that Rammstein would later use, including a rolled 'R' . Another year before Oomph! and Schweisser, the band Fleischmann released the album Fleischwolf with a musical mixture of Doom Metal and Hardcore Punk with German lyrics, including a cover version of the DAF title Alles ist Gut . With the lyrics in particular, Fleischmann "anticipated the style of expression of current NDH bands".

In the period that followed, other performers with a similar musical direction appeared, for example Stahlhammer , Eisenvater , Rammstein and Von Den Ketten . The former death metal band Atrocity already cooperated in 1995 with the NDT and dark wave project Das Ich to create the mashup album Die Liebezu, which contains various titles attributable to the NDH, including the eponymous cover song of the Laibach song Die Love , includes. By 1997, a wide range of NDH bands and projects had gained a foothold in the music business.

High phase

Rammstein is considered the most successful representative of the New German Hardship.

Rammstein was the first band to achieve their commercial breakthrough with their second album Sehnsucht in 1997 and made the NDH popular in Germany and abroad.

From 1997 onwards, with the commercial success of Rammstein, numerous other NDH bands became known. Among the projects that became popular in the aftermath of Sehnsucht were significantly more moderate rock and metal performers who had little in common with the original music. The record industry used the success as a new nucleus for a German-language alternative metal . In the same year, the compilation New German Hardness , published by Edel Media and Entertainment , appeared , which not only presented groups such as Megaherz , Schweisser and Richthofen but also crossover groups such as Megavier , Blackeyed Blonde and Such a Surge with German-language pieces. In the course of the late 1990s and early 2000s, various bands of different styles emerged, which only partially referred to the beginnings of the New German Hardship, but were assigned to the NDH due to stylistic overlaps, in particular the combination of hardness, appearance and German singing were. This approach was sharply criticized, among others, by the pioneers of the genre.

“For me, Neue Deutsche Hütze is just a version, a continuation of Neue Deutsche Welle . Anything that somehow thinks it can make money in this fairway makes a record. RAMMSTEIN do it and countless other combos mimick it. It was the same with the NDW. "

- Jürgen Engler quoted from Wolf-Rüdiger Mühlmann

Among the well-known interpreters were projects such as Megaherz, which acted with influences from the crossover , such as the increased use of spoken word , and the resulting project Eisbrecher , which was initially more electronic than Megaherz . Joachim Witt changed his musical style and especially his aesthetics within his Bayreuth trilogy with orientation to the NDH and with the vocal support of Peter Heppner reached number two in the German single charts with Die Flut in 1998. The collaboration counts with 900,000 units sold the most commercially successful single releases in this genre. Oomph too! were able to place an album in the German charts for the first time in 1998 with Unrein . In 1998 Sony Music signed Weissglut and released their debut album again under the title Something Comes in Your World .

A partial proximity of New German Hardship and Medieval Rock helped it to gain its own popularity and initial attention. After Rammstein had paved the way for German-speaking metal, the first well-known interpreters of medieval rock were sometimes still attributed to the NDH at the end of the 1990s. The BMG Ariola took 1997 Subway to Sally under contract, a subcontractor of the Universal Music Group . In 1999 in Extremo released an album with revered and spit on which had NDH bonds, while EMI released the debut album of the band Tanzwut in the same year , which not only played in a similar direction, but also acted with electronic elements. In the meantime, the musicians refused the connection to the NDH and wanted "reluctantly to be mentioned in the same breath as those bands that are part of the New German Hardship".

As an established and influential style of music

Noel Pix , guitarist for Eisbrecher

Initially only popular in the underground of the German rock music scene, the NDH experienced its most popular phase from the mid-1990s to 2001, especially in Germany and the USA, and has been part of the mainstream of rock music ever since . From around 2002, broad public interest in the genre subsided. In the course of the media and commercial interest in German rock and metal music of the black scene, BMG Ariola published the sampler Feuertanz - Neuer Deutscher Liederwahn in 1999 and the series Crossing All Over , published by Sony Music, was also dedicated to the New German Hardship at the end of the 1990s and derivative forms. In the first half of the 2000s the glut of new interpreters slowly ebbed away.

Occasionally, however, interpreters influenced by the New German Hardship have made their way into the German charts over the years. With the success of Rammstein, the style gradually homogenized. In the meantime, numerous other representatives of the NDH are constantly represented in the album charts, including: Oomph !, Eisbrecher , Unheilig , Megaherz , Hämatom , Ost + Front (from Berlin) and Stahlmann . In Scandinavia and Eastern Europe , different groups have orientated themselves to the style since the high phase of the NDH and partially or completely adopted it. For example, the Eastern Front ( Kiev , Ukraine ), Schwarztag and Stark Treiben (both from Russia ), Neue Deutsche Hütze, play or played, which are known within the Eastern European scene . Furthermore, Ruoska from Finland as well as Predator and Zavod from Sweden are strongly influenced by the style of the NDH, but sing in their respective national language. From the numerous cover bands of Rammstein , which have been able to play internationally successful tours, some independent music groups have formed, such as Heldmaschine , Maerzfeld and Der Bote.

Since the later 2000s, the influence of the NDH has extended to German hits and popular music . As early as 2000, welders cooperated with the pop singer Marianne Rosenberg for her song Show me your face . In particular, the development of the Unheilig project is said to have occasionally turned to German hits on the part of the NDH. The singer Der Graf , however, rejected this accusation and identified his project as a link between representatives of German-speaking pop music and those of the New German Hardship. The popular pop singer Heino released an album in 2014 with Schwarz blooms der Enzian , which performs some of the pieces he knows, some in the style of the NDH.

Since 2017, the NDH - Night of Heroes in the Turbinenhalle Oberhausen at the end of the year has been the first festival that specializes primarily in the New German Hardship and is organized by the Koblenz sound engineering and booking company TMS under the direction of Mario Thomas. Starting in 2019, this will also be supplemented by an open air fortress on August 24th at Ehrenbreitstein Fortress .

Style and culture

music

Platz, Nym and Balanck described the NDH in Nym's collection Schillerndes Dunkel as “an emphatically powerful mixture of German-speaking metal with hardcore influences and techno elements, which works with modern possibilities of music production. Accordingly, the instrumentation includes guitars, bass, drums, vocals as well as the use of synthesizers and sometimes drum computers. String arrangements, melody snippets or loops are often integrated synthetically and background areas are created. "

Previous style descriptions also indicated a stylistic crossover from different subcultural references. Even in its first heyday, the New German Hardship was considered a genre in which “a mixture of hard metal and hardcore influences and techno elements” is presented with German lyrics. According to Büsser, the style is characterized by the aesthetic material "search for the best possible and best-selling middle." Thus the martial rhythm of the Neue Deutsche Hütze, similar to the electro environment, accumulates with the aesthetic and musical elements of heavy metal and the black scene and often contains a touch of rap .

Typical characteristics such as distorted and riff-heavy guitars have been adopted from hard rock and heavy metal . The riffs are modified effectively in the post-production in the studio. Staccato riffs are often said to be colloquial when playing the guitar . The guitars have a monotonous sound. The guitar playing is brought close to the modern - in the 1990s popular - metal playing styles. The rhythmic guitar playing resembles interpreters of alternative and groove metal . Similar to Groove Metal, the interpreters of the Neue Deutsche Hütze tended to mid-tempo riffs, which gain additional rhythmic dominance through the use of syncope . Strongly distorted power chords and palm muting were often integrated into the guitar playing as further typical forms of play . A distorted and dominating bass game is also common for these NDH interpreters. The use of electronic effects is also characteristic: keyboards and synthesizers use synthetic string arrangements, melody fragments and loops to give the pieces a melodic hook as well as musical background surfaces. The use of synthesizers and the rhythm, which is considered to be simple, is suggested to the techno of the 1990s. The rhythm is occasionally generated through the use of drum computers .

The text presentation is usually given by men in a low voice with "emphasis on every single syllable". Women, like Luci van Org in Üebermother or Greta Czatlos on some publications of Undead , are only rarely represented as front vocalists in the genre of the New German Hardship. The rolled 'R' made popular by Rammstein can often be found in singing. The singing melody takes a backseat over the emphasis and the sound and with some interpreters goes over into the spoken word.

content

In the texts, “meaningful connoted words” are mostly used in simple rhymes, linked with one another in terms of content and often repeated. General topics such as love, hate, jealousy, sexuality, religion and death are often chosen as content, with a tendency to break taboos , with the picking up of sexually denoted shock topics such as extreme sadomasochism , necrophilia , incest , cannibalism or child abuse . Büsser describes the appearance of the groups of the New German Hardship as "gladiatorial game" and "pose of masculinity" which is only aimed at an effect of "shock and hardness". With the use of the instruments, the appearance and the singing strength should be demonstrated according to Platz. Bands who used the stylistic devices of ambiguity, martiality and those who used the aesthetics and symbols from the time of National Socialism or other absolutist systems were criticized . Witt and Rammstein in particular were confronted with appropriate criticism. Many band names, which often consist of compound nouns and are supposed to sound “hard” and “powerful” in their pronunciation, are named as a noticeable feature of the genre.

scene

Despite its popularity, the New German Hardship does not have an independent youth culture . It developed as a scene-independent music genre and is heard in different subcultures and milieus, such as in the metal scene or in parts of the black scene . Its representatives are often received, interviewed and reviewed in the popular magazines of the black scene ( Orkus , Sonic Seducer and Zillo ). It spread there in particular through the presence of many NDH bands at major cross-genre events ( independent or alternative music festivals) or metal festivals such as the Wacken Open Air , but also through individual concerts and tours. One example of this is Rammstein's role as the opening act for the former wave band Project Pitchfork on their 1995 Alpha-Omega tour.

“That came from Project Pitchfork and we saw it as a good chance to get to know a different audience and vice versa. We were mostly in the metal scene before, but I think that this tour has definitely brought us something. "

- Rammstein, April 1996

reception

Concept history

The term was coined in 1995 after the release of the Rammstein album Herzeleid by the music press based on the Neue Deutsche Welle (NDW) and initially referred directly to this album. With the increasing popularity of music and the associated increasing spread of the term Neue Deutsche Hütze, as a result of the Rammstein album Sehnsucht , a wide variety of performers, without a uniform musical style, were grouped under the term. Wolf-Rüdiger Mühlmann wrote the book Last Exit: Germania - A Phenomenon called New German Hardship in 1999, during the first high phase of the New German Hardship. which should provide an overview of the representatives and controversies of the genre. However, Mühlmann did not name specific stylistic features. He merely indicated the connection between “simply structured metal riffs and electronics” (Wolf-Rüdiger Mühlmann) as typical. In the course of his writing he summarized, according to the music press of the time, interpreters of metal like Drecksau and Totenmond , the rock music of Kind Tot and the violin rock of last instance , of medieval rock like In Extremo and Subway to Sally and of alternative metal like The allergy or mad cow disease with groups that would later be regarded as general representatives of the New German Hardness music style, such as Rammstein, Oomph! and Megaherz together.

Two years after Mühlmann, Martin Büsser named in his book How does the new center sound? a number of different influencing factors and outlined the new German hardness as a music style that combined different stylistic features, the music preferred in popular culture mainstream at the time . However, Büsser does not create a compilation of typical music groups and with Joachim Witt, Rammstein and Weissglut, according to the subject of his book, referred exclusively to those NDH interpreters who were previously criticized for transporting right-wing extremist ideas into the mainstream. In 2002, was in the text contribution The taboo today the mainstream of tomorrow is of Stephan Lindke from which of Andreas Breathes out a given book Aesthetic mobilization , a slump in the popularity of the New German Hardness found. Unlike the previous authors, Lindke decided not to describe typical stylistic features. Like Büsser, he primarily devoted himself to those music groups that were accused of spreading right-wing extremist ideas, but also included the aggrotech project Funker Vogt in addition to the well-known representatives of the genre that Büsser had already discussed .

In 2004 Judith Platz attempted a more comprehensive style description in the study published by Schmidt and Neumann-Braun. In her contribution to New German Hardship, she summarized Rammstein, Oomph! and Joachim Witt, who were popular representatives of the genre, Richthofen , Die Schinder , Atrocity , Tanzwut , Hassmütz , Megaherz , Kickdown , Kult , Pronther and Harmann as interpreters of the New German Hardship. In 2010, together with Alexander Nym and Megan Balanck, Platz concretized their description to a narrowing style description. In use by the music press, however, the term remained mostly inconsistent.

Allegations of potential proximity to right-wing extremism

The NDH was accused of having a totalitarian habit , particularly in the second half of the 1990s . The main critics Martin Büsser and Alfred Schobert saw an archaic staging of masculinity in the genre. The popular interpreters would convey a masculine pathos of muscle strength and hardness , which functions as a proto-fascist projection surface. The heroic self-portrayal of the protagonists only contains hardship, struggle and victory . Vulnerability, however, would be excluded. "Blood, fire, struggle, death and masculinity" are consistently endeavored elements of an archaic-heroic aesthetic . Ambiguous stylistic devices of martiality are occasionally used.

The occasional recourse to a totalitarian aesthetic, which was mostly associated with the National Socialist era, was also criticized. The central interpreters, on whose example the criticism was formulated, were Joachim Witt, Rammstein and Weissglut, which was co-founded by Josef Maria Klumb . In the high phase of the discussion about the New German Hardship in 1998, Alfred Schobert differentiated between what he saw as organized right-wing extremists such as Klumb and the popular representatives of the New German Hardship. Compared to Klumb, he accused performers like Rammstein of merely making bad calculations . The social scientist Thomas Pfeiffer also emphasized the importance of the Weissglut album Something comes in your world in the context of criticism. With this album, in his opinion, “a sound carrier with right-wing extremist references came onto the market for the first time in post-war Germany, which [was created] in the highly professional structures of a global corporation and was addressed to a mass audience with good prospects of success.” Largely independent of the discussion about Josef Maria Büsser described the New German Hardship in 2001 as a musical genre that, as a mere game, ignores questions about one's own identity and promotes individual opportunism. Every form of weakness and doubt would be determined.

“Anyone who seeks proximity to fascism in such groups in any text or interview passages is always on the wrong track. It manifests itself in a much more subtle and at the same time much more obvious way on the purely aesthetic level - in equating the hard with the sovereign, in the complete fading out of weakness, doubt and brokenness. "

- Martin Büsser

With the increasing popularization of the genre, the perception of the initially criticized aspects of the NDH changed. In 2013, the composer Christian Diemer explained, using Rammstein's example, that such provocations are effective and meaningful precisely because of the lack of authenticity, since "their structure is an aesthetic one whose powerful effect interacts with non-aesthetic, societal discourses" and from the position of the inauthentic identifies contradictions in social discourse.

In contrast, interpreters from the right-wing rock scene discovered the genre for themselves at the end of the 1990s. The groups Law and Order and Kraftschlag played in phases in the style of the New German Hardship. In this offering, the NDH got rid of the provocative, socially critical context and was offered as an expression of a right-wing extremist ideology.

Comedic adaptations

Frank Zander set to music on his albums Rabenschwarz I 2004 and Rabenschwarz II 2005 with ironic reasons well-known hit songs in the style of the NDH. The comedy duo Mundstuhl already had a chart success around the turn of the millennium with the song Wurstwasser , which is viewed as a Rammstein parody. The Nicole cover A bit of peace by the group JBO from 1997 was also called a parody . In the high phase of the NDH, the groups Knorkator , Stalin and Urinstein were named as a further comedic examination of the musical style . The Randfichten -Satireband De fringe group succeeded in 2004 with her NDH version of the wooden Michels entry into the German single charts . Carolin Kebekus peppered her music video "Menstruation" with quotes from Rammstein and Miley Cyrus .

See also

literature

  • Stephan Lindke: Breaking taboos today is tomorrow's mainstream - the “New German Hardship” as an aesthetic reflection of the re-strengthened nation. In: Andreas Speit (Ed.): Aesthetic mobilization. Dark Wave, Neofolk and Industrial in the field of tension of right-wing ideologies. Hamburg / Münster, Unrast Verlag, 2002, ISBN 3-89771-804-9 , pp. 231-266.
  • Wolf-Rüdiger Mühlmann: Last exit: Germania - a phenomenon called New German Hardship . Berlin, Iron Pages Verlag Jeske & Mader, 1999, ISBN 3-931624-12-9 .
  • Judith Platz: The 'black' music . In: Axel Schmidt, Klaus Neumann-Braun (Hrsg.): The world of the Gothics - scope for darkly connoted transcendence . VS Verlag für Sozialwissenschaften, 2004, ISBN 3-531-14353-0 , pp. 253-284 .
  • Judith Platz, Alexander Nym and Megan Balanck: Black subgenre and styles . In: Alexander Nym (Ed.): Schillerndes Dunkel . History, development and topics of the Gothic scene. 2010, ISBN 978-3-86211-006-3 , pp. 144-180 .

Individual evidence

  1. ^ Wolf-Rüdiger Mühlmann: Last exit: Germania . Jeske / Mader, Berlin 1999, ISBN 3-931624-12-9 , pp. 36 f .
  2. ↑ a b Uwe Rothhämel: Interview with Oomph! . In: New Life Soundmagazine , issue no. 5/94, May 1994, page 7.
  3. ^ Wolf-Rüdiger Mühlmann: Last exit: Germania . Jeske / Mader, Berlin 1999, ISBN 3-931624-12-9 , pp. 55 .
  4. ↑ Longing on hitparade.ch
  5. ^ Wolf-Rüdiger Mühlmann: Last exit: Germania . Jeske / Mader, Berlin 1999, ISBN 3-931624-12-9 , pp. 132 .
  6. ^ Witt / Heppner - The flood. officialcharts.de, accessed on August 19, 2018 .
  7. ↑ Markus Brandstetter: I have no idea about dance. laut.de, October 2, 2018, accessed on October 3, 2018 .
  8. ↑ Unrein in the German album charts
  9. ^ Wolf-Rüdiger Mühlmann: Last exit: Germania . Jeske / Mader, Berlin 1999, ISBN 3-931624-12-9 , pp. 179 .
  10. ↑ Chart placement by Rammstein Pussy
  11. ↑ Open your eyes to the chart !
  12. ↑ Chart placement of Born to Live
  13. ↑ Chart sources: DE AT CH
  14. ^ East + Front, Ave Maria. charts.de, accessed on February 5, 2014 .
  15. ↑ Stahlmann in the German charts. (No longer available online.) Metal4.de, archived from the original on July 14, 2014 ; accessed on June 23, 2014 . 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.metal4.de
  16. ↑ Kay Wahlen: Farewell to end-time scenarios: The German metal welders today, tough but warm. mopo.de, accessed on November 8, 2016 .
  17. ↑ Myk Jung , Klaus Märkert , Thomas Thyssen , Michael Zöller : Tears on the dance floor . In: Alexander Nym (Ed.): Schillerndes Dunkel. History, development and topics of the Gothic scene . 1st edition. Plöttner Verlag, Leipzig 2010, ISBN 978-3-86211-006-3 , p. 112–123, here p. 118 .
  18. ↑ Volker Probst: Unholy Escape from Chaos. N-TV, accessed February 29, 2016 .
  19. ↑ The gentian blooms black. metal.de, accessed on February 29, 2016 .
  20. ↑ Björn Klemme: 2018 - The Night of Heroes made Oberhausen shake for the second time (Pixelreisen concert report). January 2, 2019, accessed March 27, 2019 .
  21. ↑ a b Judith Platz, Alexander Nym and Megan Balanck: Black Subgenre and Styles . In: Alexander Nym (Ed.): Schillerndes Dunkel . History, development and topics of the Gothic scene. 2010, ISBN 978-3-86211-006-3 , pp. 144 to 180, here page 174 f .
  22. ↑ a b c d e f g h i j k Judith Platz: The 'black' music . In: Axel Schmidt, Klaus Neumann-Braun (Hrsg.): The world of the Gothics - scope for darkly connoted transcendence . VS Verlag für Sozialwissenschaften, 2004, ISBN 3-531-14353-0 , pp. 253 - 284, here p. 265 ff .
  23. ↑ a b c Martin Büsser: How does the new middle sound . Ventil Verlag, 2001, ISBN 3-930559-90-0 , p. 55 .
  24. ^ Wolf-Rüdiger Mühlmann: Last exit: Germania . Jeske / Mader, Berlin 1999, ISBN 3-931624-12-9 , pp. 19 .
  25. ↑ Martin Büsser: How does the new middle sound . Ventil Verlag, 2001, ISBN 3-930559-90-0 , p. 115 f .
  26. ^ Nicolas D. Lange: Interview with Rammstein . In: Neurostyle Musikmagazin , issue 1/96, April 1996, p. 40.
  27. ↑ a b Judith Platz: The 'black' music . In: Axel Schmidt, Klaus Neumann-Braun (Hrsg.): The world of the Gothics . Scope of dark connotations of transcendence. 2004, ISBN 3-531-14353-0 , pp. 269 f .
  28. ^ Wolf-Rüdiger Mühlmann: Last exit: Germania . Jeske / Mader, Berlin 1999, ISBN 3-931624-12-9 , pp. 142 f .
  29. ^ Wolf-Rüdiger Mühlmann: Last exit: Germania . Jeske / Mader, Berlin 1999, ISBN 3-931624-12-9 .
  30. ↑ Stephan Lindke: Breaking taboos today is tomorrow's mainstream . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 231-266, here p. 231 .
  31. ↑ Martin Büsser: How does the new middle sound . Ventil Verlag, 2001, ISBN 3-930559-90-0 , p. 115 f .
  32. ↑ Stephan Lindke: Breaking taboos today is tomorrow's mainstream . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 231-266, here p. 242 .
  33. ↑ Thomas Schad: It's a Sony. taz ruhr, November 12, 1998, accessed on February 28, 2018 .
  34. ^ Thomas Pfeiffer: Media of a new social movement from the right . Inaugural dissertation to obtain the academic degree of Doctor of Social Science. Bochum 2000, p. 250 .
  35. ↑ a b Martin Büsser: What does the new center sound like? 1st edition. Ventil Verlag, Mainz 2001, ISBN 3-930559-90-0 , p. 117 .
  36. ↑ Christian Diemer: (In) authentic stagings of homophilia and homophobia in the music video "Man against Man" by Rammstein . In: Dietrich Helms, Thomas Phelps (Hrsg.): Ware staging. Performance, Marketing, and Authenticity in Popular Music . Transcript, ISBN 978-3-8376-2298-0 , pp. 207 .
  37. ↑ Stephan Lindke: Breaking taboos today is tomorrow's mainstream . In: Andreas Speit (Ed.): Aesthetic mobilization . Unrast, Münster 2002, ISBN 3-89771-804-9 , p. 231-266, here p. 246 f .
  38. ^ Wolf-Rüdiger Mühlmann: Last exit: Germania . Jeske / Mader, Berlin 1999, ISBN 3-931624-12-9 , pp. 151-160 .
  39. ↑ Christine Barth: New attack on the Holzmichl. Laut.de, accessed on November 8, 2016 .
  40. ^ De fringe group in the charts. musicline.de, accessed on November 8, 2016 .
  41. ↑ Source: Advertise and Sell , Carolin Kebekus lists Ode to the period , accessed August 3, 2019.