Punk in the GDR

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Punk at a discussion at Alexanderplatz in 1990 in a typical scene, cut at the waist and painted "Thälmann jacket"

Punk had existed in the GDR since the early 1980s. The major centers of punk culture in the GDR were Berlin , Dresden , Erfurt , Halle and Leipzig . This cultural scene was initially exposed to state persecution and sometimes operated underground . While many punks were persecuted until the end of the SED dictatorship, the situation for punk bands and young punks eased from around 1986, when more and more records of the so-called other bands were released.

history

Initial phase (1977–1980)

After punk became modern in Great Britain from around 1976 and quickly found supporters in the Federal Republic of Germany , reports in the media of Western Europe, especially on medium-wave radio, were also heard in the GDR. This made punk music known in the GDR via the RIAS and the BBC , especially the show by John Peel . Until around 1980, there were isolated punk cliques in the big cities, especially in East Berlin , who listened to music, drank beer and discussed things together. Right from the start, they aroused suspicion in society and were perceived as thugs. Accordingly, in the vicinity of restaurants and discos there were always fights with other youth cultures, such as rockers and hooligans , but also with ordinary citizens. This created a code of honor among the punks in the style of the three musketeers : “ One for all, all for one! ". When a punk was beaten up, as many people as possible were mobilized and "the shop was taken apart". In the early days, the punks' enemy images were primarily the hippies and their successors, the so-called bluesers or "customers". With the punks, the first skinheads appeared in the big cities. Like the punks, they danced to ska and 2-tone and were part of the punk clique.

New beginnings and state persecution (1980–1986)

From 1980 to 1983 the punk scene grew many times over, spread to the rest of the GDR and developed an agility that was noticeable even in small towns. The brawls decreased, but the scene became much more elitist. Unpopular punks were cut or excluded. The enlargement was accompanied by the first wave of state persecution led by the K1 department of the German People's Police . K1 was the political department and was in the service of the Ministry for State Security (MfS). The first unofficial workers (IM) infiltrated the movement, and massive pressure was exerted on other punks through arrests, dismissals and house searches. About 250 punks in Berlin were classified as criminals, were banned from restaurants and were only allowed to use the commute to work. Many punks adopted symbols from other persecuted groups, such as the Star of David, under the pressure of repression .

In 1981, the responsibilities of the K1 finally changed to the Ministry of State Security. At the same time, the GDR media reported on what they saw as a degenerate and decadent subculture in the western world. The punks, who meanwhile operated nationwide, established contacts with punks in neighboring countries, such as in Poland and Czechoslovakia . Nevertheless, the MfS managed to crush the first punk movement by around 1983. However, the punks formed again and again. The small scene, which was strongly connected, turned into a rather loosely acting movement that was more defined by externalities.

From 1981, many punks of the Swords peace movement joined plowshares , appearing purely more militant. As a result, the opposition to the hippie movement disappeared from the ideology of the punk scene. The Protestant church offered numerous punk bands the opportunity to perform. At the same time, some punks played a key role in building the Church from below . Between 1983 and 1985 there were several squats in Lychener, Schliemann- and Dunckerstraße by activists from the punk scene, the environmental and peace movements. In order to counter the prejudices of the population, wreaths were laid at historical dates, for example on July 10, 1983 at the memorial stone of Erich Mühsam , an anarchist who was murdered on this date in 1934 in Oranienburg concentration camp . In 1983, a large part of the skinheads left the punk movement and went in a right-wing extremist direction. So while some punks began to become politically active, others tried to withdraw completely from society, fled into alcoholism or tended to auto-aggressive behavior .

Via the western contacts of the alternative writer and Stasi spy Sascha Anderson , the split release DDR from below by the bands Zwitschermaschine and Schleim-Keim appeared on the West German label Aggressive Rockproduktionen in 1983 , which is considered the GDR's first punk album. Because of the illegal connection and their improper texts, the publication had legal consequences for the band Schleim-Keim, while Zwitschermaschine was spared because of Anderson's IM activity.

Between 1983 and 1986 the state's repression had reached a peak. Leaders and activists were arrested or forced to leave the country . The trigger was the blues mass in the Christ Church (Halle) on April 30, 1983, at which some punk bands such as nameless , haphazard and unwanted appeared. IMs had previously heated up the mood and when nameless performed, stones and bottles were thrown at the group. There were arguments that could only be ended with the intervention of a blues musician. At the beginning of the year there were about 900 officially run punks across the GDR (about 400 of them in Berlin), but it was precisely in this further wave of persecution that the number of punks rose.

This led to the fact that the state investigations were intensified, but at the same time a relaxation was achieved, especially for the young punks. It was precisely these who could be won as IM and received donations in the form of funds or records from the West. In the music sector in particular, it was possible to win over key management figures as IM or as “Inofficial Criminal Police Employees for Operational Tasks” (IKMO). Almost every punk band has been infiltrated like this.

Another GDR punk long-playing record was released in West Berlin in 1986: with the help of a former member of the Weimar band “Der Rest”, 500 copies of the LP “panem et circenses” were produced there. Although this helped the band to gain popularity throughout the GDR, the repression by the state organs did not intensify, which can be interpreted as a sign of the end of the phase of severe persecution.

Between repression and freedom (1986–1990)

From 1986, at least punk music was tolerated by the state. The DJ Lutz Schramm of DT 64 presented from March 27, 1986 an " underground " music show that reported on various bands of the punk spectrum. The name for these groups was " The Other Bands ". In 1987 concerts were recorded on the radio and a year later the sampler Kleeblatt No. 23 - The other bands was published on the state label Amiga . Were represented, among others, Feeling B and Sandow . Media such as the magazine Unterhaltungskunst also began to report on GDR punk bands. In 1988 the documentary whispering & shouting - a rock report that reported positively on the punk scene was released. From then on, the Free German Youth also held punk concerts. In October 1988 the bands Die Skeptiker and Sandow were winners of the IX. Workshop week for youth dance music. Many punks, who still suffered from persecution under constitutional law, corrupted the accepted young people and music groups as "FDJ punks" and rejected the new movement.

In the meantime, however, the persecution of radical punks continued. The MfS continued to try to eliminate well-known political punks and to spy on and infiltrate the punks who are seen as leaders. Big clashes with the skinhead subculture occurred on October 17, 1987 at a punk concert that was organized in the Zionskirche . Around 30 drunk skinheads stormed a concert by the bands Die Firma and Element of Crime . After shouting fascist slogans , the skinheads beat visitors and passers-by. The informed People's Police did not intervene. Only in the following days were 22 skinheads and four punks arrested (see attack on the Zionskirche ).

Towards the end of the GDR the number of punks was low and, according to the MfS figures, was only 599. The scene in Berlin was only small, the focus had shifted to Potsdam.

After the turn

After the fall of the Berlin Wall , many punk groups broke up. The demand for GDR punk was initially met, the music industry tried to market its own western bands and showed little interest in the East German music groups. Only gradually did the interest in bands like Schleim-Keim , Die Skeptiker and Fuckin Faces grow . In addition, the right-wing extremist scene prevailed in the new federal states, comprising around 2,000 organized neo-Nazis . These displaced the punk scene, which had meanwhile become smaller, many punks turned away from left-wing ideas and looked for support in the rapidly expanding right-wing skinhead youth culture. This had already grown to around 1,000 during the GDR era.

ideology

The punk scene in the GDR was essentially shaped by the foreign image of the punks in western countries. Especially since there were hardly any in-scene writings such as fanzines in circulation, they orientated themselves on the image of the western media of the time, such as Bravo and Der Spiegel , which were available on the black market . They therefore adopted the style elements without knowing the social background from which punk developed.

The punk scene was not political in the sense that its members represented a particular ideology. Rather, many young people were frustrated by the life plans of the GDR with their prescribed path of life from the FDJ to the NVA to planned-economy organized work. The punks were looking for their personal piece of freedom and tried to set themselves apart from the common people. The punk scene represented a break with social values ​​and advocated the idea that a self-organized chaos without hierarchical forms could represent a solution to the forms of government of both socialism and the western industrialized countries. A diffuse anarchist worldview was very much in vogue in the beginning.

The community was especially important at the beginning, it protected against persecution and attacks from outside the scene, but sometimes let the punks become perpetrators themselves. Confrontations with workers, storming restaurants and discos, but also crimes such as break-ins and property damage were part of the scene. The Berlin scene in particular had a reputation for being particularly “tough” and “real”. After the scene got bigger and bigger, the scene awareness began to become more and more important. The older punks scrutinized the new generation closely and began to develop an elite mindset. The song Kidpunks verpisst dich (1984) by the Dresden band Paranoia is an example of this attitude . Anyone who did not fit into their scheme was called "plastic" and "ruffed" in Berlin, that is, they stole their punk clothes and sent them home. Only those who could credibly assure that they really lived punk, or knew the right people, were allowed to belong to the scene. However, after the first generation was broken up around 1983, the scene reopened. The punk scene, however, turned more and more into a fun and leisure scene.

Gender ratio

The punk scene in the GDR was - as in West Germany - clearly male dominated. The reason for this was u. a. that everyday situations were much more difficult for girls and women who belonged to the punk scene. With their punk habitus, they were directed not only against the socialist image of man, but also against the usual gender role model. What was tolerated as "stupid-boy-prank" and "let off steam in the youth" among male scene-goers was subject to more rigid norms and stronger repression among girls - also within their families. Accordingly, the proportion of women in the punk scene was low. In Halle it was about a quarter or a fifth of the people. In addition to the people who were clearly perceived as punkers, there were also the “female punk sympathizers”, who were often tied to the scene through relationships with specific male punks.

Women and girls in bands with an affinity for punk and punk

Only very few women in the GDR punk scene were musically active and thus visible. Among them were Mita Schamal and Jana Schlosser from Namenlos , founded in 1983 in Berlin. This band, which was one of the first punk bands in the GDR, was originally intended as an all women band by its two founders. The company was also founded in Berlin in 1983 with the bassist Tatjana Besson . The all-female punk band Rote Zora with Susi, Uli, Ute and Dana performed in Halle. Other punk bands with the participation of women were Kein Talent with bassist Nina, Klick & Aus with saxophonist Sala Seil and fanfarist Evolinum, Expander des progress with saxophonist Susanne Binas, Happy Straps with singer Claudia Böhme, Ichfunktion with bassist Eva Tröger, who later became Eva Schaum, KG Rest with saxophonist Uta Haubold, Timur and his group with drummer and singer Silke Gonska. She also played together with Jane Schuch in the band Partisan or Blinder Obedam . Back then Wars was the singer in the band Wartburgs for Walter , which existed from 1987 to 1989. At the interface between punk and art, Ina Kummer worked at AG Geige as well as the Berliners Andrea Hüber-Rhone and Karen Matting with their avant-garde duo 3tot . Andrea Hüber-Rhone sang and wrote lyrics for Keine Aühung and together with Flake for Parts per Millions . Karen Matting also sang with Choo Choo Flame and later with Tumor Traudels . The singer Sarah Marrs was involved in the open band project Ornament & Verbrechen . At 6 out of 49 , Susanna Simon worked. Anne Kuntz played the saxophone at 9 days (old) . Gabriele Stötzer (also: Gabi Kachold), Ina Heyner and Verena Kyselka took part in the all-women band Extended Orgasm Group (EOG) . They produced experimental music with an affinity for punk against the background of their work as visual artists.

Publications by members of the scene

Several protagonists of the GDR punk scene later dealt with this chapter of their lives as authors. Angela Kowalczyk , first generation Berlin punk woman, describes with her publications how punk in Pankow , We have lived! u. a. her experiences as a punk in Berlin in the early 1980s. She continued to interview key female figures on the scene such as Subs, Major and V1, in whose apartments the scene met. It describes life on the street, questions of style, sexual experiences, sexualized assaults, stories of alcohol and drugs, repression by state power - assertion in a hostile environment. She describes not only the "GDR" as this hostile environment, but also partly the punk scene itself. In her novel Gegenüber von China, Anne Hahn dealt with her punk past in Magdeburg and the attempt to escape to Iran. Anne Hahn also published a non-fiction book about punk in Thuringia and a biography about Otze von Schleim-Keim . In the 1990s and 2000s, Susanne Binas dealt with GDR punk and the experimental musical avant-garde that was close to it.

The two documentary filmmakers Mechthild Katzorke and Cornelia Schneider produced the film Disturbance East - Punks in East Berlin 1981–1983 from the perspective of the protagonists of the first punk generation in East Berlin. They invited many of their friends from the scene at the time to take a steamboat trip on the Spree to document their memories, their reflections and their reunions. There were China (Angela Kowalczyk), Eike Grögel, Bernd Michael Lade , Wombel, Colonel, Thomas, Sabine Groh, Pankow (Michael Boehlke), Sid, Michael Horschig, Spezial as well as the West German journalist Peter Wensiersky, Lorenz Postler and the British radio DJ John Peel . The music for the film comes from a. from the end of broadcast, haphazard, nameless, unwanted, change of scenery, Skunx, Resors excess, remaining stock. They incorporated archive material and Super 8 recordings by Rainer Jestram, Kerstin Ekholm and Torsten Jurk into the film.

criminalization

Photo chair for identification treatment

Police practice

The actions of the police and state security were legitimized even before the punks appeared by “Order No. 11/66”, which was created to take action against members of the subcultural blues scene . Furthermore, the police and the Stasi were able to use the concept of “supply” to bring “non-detainees” into a detention situation and thus intimidate them. This gave her the opportunity to arrest punks and detain them for several hours without charge. As "Nichtinhaftierte" they were fingerprinted , interrogated and intimidated.

The organs already saw in the habitus of the punks the criminal offenses of "hooliganism" (§ 215 Criminal Code ) and "rioting" (§ 217 Criminal Code), which could be punished with prison sentences of up to 5 years. The Hennigsdorf band Die Zusamm-Rottung named itself, for example, after the accusation of rioting at one of their concerts. Another criminal offense for the criminalization of punks, which was also only given by their habitus or their appearance, was the “public degradation of the state order” (Section 220 of the Criminal Code). The attributes that the Stasi and the police assigned to the punks were “negatively decadent”, “politically unstable”, “demonstrative”, “radar-like”, “rowdy”, “criminally endangered” or “wrongly developed”.

The first preliminary investigations against punks were initiated on the basis of this rubber paragraph, which was amended on June 28, 1979 and included everything that was perceived by the police as not adapted. Police assaulted punks. Other options offered by the state were house searches , the confiscation of prohibited items and solitary confinement for several days. The maximum sentence if convicted was two years in prison. For many punks, moving around in public has therefore become a gauntlet . There was a risk of arrest at any moment. Other "criminal offenses" of which politically active punks were charged were § 106 (" anti-state agitation ") - for example in Weimar in 1981 -, "undermining the military readiness", "defamation of the peace policy of the socialist states".

Another means of harassing male punks was their early drafting into the NVA . On important occasions such as Republic Day , punks were banned from downtown in the larger cities.

Persecution by the Stasi and spy activity

When the punk movement reached its first peak in 1983 with 900 people, the MfS began recruiting IMs who infiltrated the scene and passed on information about planned concerts to the authorities in exchange for material benefits such as money, cigarettes or records. The Stasi also abused minors from the punk scene as children and youth IMs. The young people were put under pressure with fatal consequences for their psyche in order to induce them to spy on their friends.

Constant informers were integrated into many punk bands. Prominent examples were Sascha Anderson , member and copywriter of the Zwitschermaschine group , who worked as an IM for many years, Otze von Schleimkeim , Tatjana Besson and Trötsch Tröger from the anarchist band Die Firma and Jürgen Onißeit from KG Rest and the Creepers . Among other things, the stasis of individual band members enabled the release of LPs in West Germany for Zwitschermaschine , Schleimkeim , KG Rest and Imad Abdul Majid from L'Attentat . For the majority of IMs, the duration of their activity was limited to several months. In order to " decompose " the scene, the MfS also circulated targeted false information about spy services or outed an IM itself.

In 1984, 900 punks were state-registered in the GDR by the MfS. The MfS also noted:

"In addition, there is a number of sympathizers in the GDR that cannot be clearly determined in terms of magnitude, who at least temporarily belong to the circle of 'punks', but are not always recognizable as such from the outside."

- Ministry of State Security : Information 1984, p. 4.

Therefore, an “identification key for official use” was made, which identified “dirty clothing”, “violent behavior”, “anarchist ideas” and an “anti-social way of life” as characteristics of the punk movement.

Departure of punks from the GDR

From 1985 onwards, numerous punks were allowed to leave the country, often by being given the choice between leaving the country or imprisonment. In particular, the Berlin scene declined because it was easier to leave the country via East Berlin. The line-ups of various punk bands thinned out a lot, as evidenced by band names from combinations with the word “rest”. A prominent example is the band KG Rest , who in 1986 released an LP in West Germany through their ex-member Jürgen Onisseit. Many punks who had left the country had problems making friends in the West.

"I felt like a retired warrior in the West."

- Colonel : Documentary ostPUNK! too much future

Other punks who emigrated to West Berlin such as B. Jürgen and Thomas Onisseit from Weimar, as well as Wolfram Hasch and Frank Willmann, maintained a close relationship, completed their Abitur at the anarchist school for adult education and made experimental art and music together.

Partial relaxation and institutional embrace of the scene from the mid-80s

After the strategy of “decomposing” the first generation of punk did not work out completely, the cultural policy of the GDR timidly opened up to subcultural movements. What could not be completely controlled before was now institutionally embraced. This was expressed in the middle of the 80s in classifications (play permits) for punk u. a. so-called “weird” bands, setting up a radio broadcast for this music, releasing records on AMIGA. The growing punk scene should and could no longer be systematically smashed as a whole. Nevertheless, individuals and groups continued to be observed by the Stasi, summoned by the police to “clarify a matter” and banned from staying in cities. Exclusion and disadvantage in everyday situations also persisted.

Fashion

Example of punk fashion

Eastern punks dressed and styled themselves like the punks in the west. In addition to self-painted T-shirts, leather jackets , jeans and work shoes, suits with suspenders were common. Popular accessories were safety pins , chains, razor blades, armbands and buttons . The clothes were demolished and covered with tears. Popular slogans on T-shirts or armbands were popular English punk bands such as Sex Pistols , The Clash or Devo or slogans such as “ Solidarność ”, “Skin the cops as flat as Stullen” and “ Does work make you free? ". The song title God Save the Queen by the Sex Pistols became " God save Erich ". As a symbol, an A was often rumored in a circle , which stands for anarchy . Especially at the beginning the punks were concerned about cleanliness in order to differentiate themselves from the bluesers. From around 1981/82, western brands became increasingly popular. Safety shoes and Dr. Martens were used as footwear and overall more attention was paid to uniformity. From 1983, however, the first "dirty dots" appeared, which in addition to the tattered outfit did not attach importance to cleanliness.

Especially at the beginning the trend was towards short, tousled hair, also here in order to differentiate oneself from other youth cultures, later also to mohawk , colored and long hair. Fabric and batik dyes were used to dye the hair , as well as athlete's foot remedies , which produced a strong purple color, as the usual colors such as red, green and blue were difficult to find in the GDR. Sugar water and a large amount of hair lacquer were used to fix the hair .

Cobweb face paint, rimmed eyes, and black lips weren't just popular with female punks. Tattoos were popular, but quite rare. They usually scratchbuilt with ink or ink and knitting or hairpins .

music

General

Twitter machine (Ralf Kerbach, Cornelia Schleime, Wolfgang Grossmann)

The punk music of the GDR encompassed several directions: On the one hand there was the art punk originating from the art scene . This spread mainly to universities. It comprised artistic, intellectual texts, provided with modern poetry . During performances, space was usually given for poetry readings. Intellectuals and artists were particularly impressed by the unspoilt and musical style and simplicity of expression. They saw punk as a welcome opportunity to unleash their emotions and express a radical rejection. Musical role models were the bands Ton Steine ​​Scherben and MC5 . Bands like Rosa Extra and Zwitschermaschine belong to this group. For many bands of this genre, punk was not the focus of their lives, but was only an artistic means of expression, or, as with Cornelia Schleime (twittering machine), a provocation as a transit station for departure. This form of punk began to disappear in the mid-1980s. Bands like Zwitschermaschine disbanded after Ralf Kerbach and Cornelia Schleime were allowed to leave Germany, others like Rosa Extra tried to get a state classification and left their musical roots.

On the other hand there was punk rock, which was played mainly by members of the scene who understood punk as an attitude towards life. The music was characterized by its speed, aggressiveness and simplicity. In contrast to the Art Punk lyrics, which tried to evade interpretation, bands such as Schleim-Keim , Garbage Station , Nameless and Tantrum or L'Attentat expressed themselves unambiguously. Nameless, for example, says “Red slogans and Soviet power / have ruined Germany.” The texts were partly directed against the state, but partly also descriptions of everyday street fighting, for example

"Lately I was walking on the street / a customer started neighing like a horse / I immediately punched him in the mouth / he broke his nose straight away"

- Slime germ : thugs threaten our lives
The kind was one of the "other bands".

Nonsense texts, which are more like fun punk , were also popular.

Since 1986 the segment of the scene that has successfully sought a classification (state license to play for bands) has been growing, for example Feeling B , Die Art and Die Skeptiker . Starting this year, the weekly radio program Parocktikum was broadcast on the youth broadcaster DT64 , in which the groups officially called “ The other bands ” were played. From 1987 onwards, records from these groups were published under this heading. So the state changed its strategy from tough repression to an institutional embrace of the more compromising parts of the subculture. This paradigm shift did not result in any improvement in their living conditions or performance situation for the majority of the older music groups, which were previously heavily covered with repression. This also did not change the situation of all punks in the GDR as a whole. This change of direction in the state cultural policy of the GDR led to tensions in the scene, there was hostility and accusations against the younger or newly formed bands that they would commit treason by allowing the state to embrace them. Lutz Schramm - as the moderator of Parocktikum in a privileged position - reported that he was beaten up by a punk who then explained to him, "He just wanted [Schramm] to be humiliated the way it usually happens to him."

Cassettes

The production of sound carriers was the responsibility of the state in the GDR. The few labels such as Amiga ( underground music ) and Eterna ( serious music ) were under the monopoly of VEB Deutsche Schallplatten Berlin and under the care of the state. In the first half of the 1980s, punk bands had no access to official record production or airplay on the radio when they were persecuted by the police and the Stasi.

The only way to introduce their music to a wider audience, was the self-publication of cassettes . At the beginning of the 1980s, the first cassette recordings were made by bands such as Alternative 13 (1980, with Michael Horschig), Fabrik , Klick & Aus u. a. Rehearsal recordings and recordings of live concerts were common in the punk scene. These were passed on secretly by means of tape trading , i.e. copying. The quality of the recordings was often poor compared to today's listening habits. But conceptually designed cassette albums were also released. Many tapes were published within the underground art scene and had editions between 20 and 200 pieces, mostly in conjunction with illegal art magazines. The empty cassettes were very expensive in the GDR, so that the tape labels at a unit price of around 15 marks worked purely idealistically without profit. Another burden was the pressure of persecution from the Stasi. Bands sometimes sold their tape albums at their concerts for unit prices of 20 to 30 marks.

Tape labels were created - similar to the DIY scene in Western Europe: Heimat Kassetten recorded concerts in southern Brandenburg and northern Saxony and distributed them to friends in editions of around 10. Thomas Grund has been running the Hinterhofproduction label since 1985 , and has also been producing documentary and concert films since 1986. Trash Tape Rekords from Rostock, founded in 1986, was the label of Holger "Alge" Roloff and Thorsten Wolff and released a wider range of bands, often as compilations, until the 2000s. Pirate Records from Rostock, on the other hand, was a kind of copier station for western punk music.

There were also tape labels that were initially founded to release the cassettes of certain bands, but later included bands that were friends. Zieh Dich Warm An Tapes was created in 1987 as a self-distribution by the Dresden punk band Kaltfront , where they released their own cassette albums and later samplers with bands from their environment. Assorted Nuts was the house label of the band Aufruhr zur Liebe from 1984 , Klangfarben that of the band AG Geige (since 1985), Hartmut Productions that of the Leipzig band Die Art und befriended bands (since 1987), Christ Records (1988) that of the band Müllstation , Schafstalltapes the label of the Freiberg punk band FH-72 (1989).

Publication of records in West Germany

The first record release in West Germany was the split LP DDR from bottom of the groups Zwitschermaschine and Schleimkeim (which used the code name Sau-Kerle). The conspiratorial LP made it to the West through IM Sascha Anderson and was released in 1983 on the Aggressive Rockproduktionen label . In 1985 the live sampler Live in Paradise was released , but for security reasons no band names were given. Represented were Happy Straps, the Democratic consumption, and ornament & crime. The LP was released on the West Berlin independent label Good Noise Records . In 1986 the album Panem et Circensis by the Weimar band KG Rest was released as a self-release by the band members who had left. The album Made in the GDR of L'assassination (1987) was the last release to be available in the West.

Official release of records in the GDR

The state media opened up slightly in the mid-80s - since 1986 Lutz Schramm has broadcast the weekly 2-hour program Parocktikum on DT64 , which exclusively played punk and experimental music related to punk. In the wake of this new public, the state record company Amiga and with it the official sound carrier market followed suit in 1987. From 1987, the radio commissioned broadcast audio recordings from underground bands. However, these were censored and did not always reach the airwaves.

The first official release on AMIGA was the LP Kleeblatt No. 23 - die other bands (1988), which also gave the scene its name. Were represented Feeling B , Hard Pop (formerly Pink Extra), Sandow and WK 13. The second release was the compilation Parocktikum sampler with the bands Hard Pop, Skeptics, Feeling B, anger, Rose Garden, The way Sandow, Other , AG violin, expander of progress and Cadavre Exquis . In 1989 the album Hea Hoa Hoa Hea Hea Hoa by Feeling B followed. Nevertheless, for these bands the cassette remained the most important means of distribution for their music. In 1990 - after the fall of the Berlin Wall - the albums Hard Times by The Skeptics and Stations of an Addiction by Sandow were released.

Perception of the scene outside of the GDR

The fact that there was an active punk scene in the GDR was well recognized in West Germany. Enthusiastic letters to John Peel and his broadcast on BBC Radio 1 showed interest in the punk scene in the East. Concerts organized by western bands like Die Toten Hosen , Die Lolitas , Disaster Area , but also international bands like No Means No (Canada) or Aurora (Hungary) took place nationwide from 1986 onwards, organized in the rooms of the open work of the evangelical parishes . In international fanzines , for example the Maximumrocknroll , to name one of the most famous, groups such as L'Attentat , Paranoia and Papierkrieg were regularly reported. In the GDR state jargon, however, this means “illegal contact”, which could be reacted to with draconian penalties.

The first record release in West Germany was the split LP DDR from below of the groups Zwitschermaschine and Schleim-Keim (which used the alias Sau-Kerle). The LP, created conspiratorially, came to the West through IM Sascha Anderson and was released in 1983 by Aggressive Rock Productions . In 1985 the live sampler Live in Paradise was released , but for security reasons no band names were given. Happy Straps, Democratic Consumption, and Ornament & Verbrechen were represented. The LP was released on the West Berlin independent label Good Noise Records. Made in GDR by L'Attentat (1987) remained the last publication to appear in the West.

The musicians who had left before the fall of the Wall seldom continued their careers in the Federal Republic. The twittering machine musicians Cornelia Schleime, Ralf Kerbach and also the IM Sascha Anderson built on their individual careers, were active as a writer (Anderson, Schleime) or painted (Kerbach, Schleime). Other musicians such as Mike Göde (concrete romance, band salad) and Daniel Kaiser (Planlos) went into civil professions, others such as Mita Schamal (nameless) had problems making friends in the Federal Republic.

Music scene after the fall of the Wall

Autumn in Beijing

After the end of the GDR, many established groups, such as Feeling B., L'Attentat and Thousand Tons of Fruit , disbanded . Bands like Third Choice and Fuckin Faces, which emerged during the fall of the Berlin Wall, were absorbed in the German punk scene. The beginning of the right-wing rock boom, which in places displaced punk culture from the cities, simultaneously created a new image of the enemy that welded the remaining punks closer together.

Only a few of the old bands remained active in the years of change. Schleim-Keim consisted only of Dieter Ehrlich, who performed live from time to time, but in the years of change he ruined himself with alcohol and other drugs, murdered his father and finally died in a psychiatric clinic in 2005. Müllstation is one of the longest serving punk bands in the GDR. Often times, however, new impulses only came through breaking away from the punk scene. Christian "Flake" Lorenz , who co-founded Rammstein after Feeling B , explained:

Christian "Flake" Lorenz

“We basically broke up around the same time as 'Die Skeptiker', 'Sandow' and most of the other Eastern punk bands. In the years after the fall of the Wall, everything died out. Due to the system change, we somehow no longer had an enemy, no orientation. We noticed that if we continue with our funny thing - similar to ' Die Ärzte ', the ' carrier pigeons ' and others - nobody cares in the West. If you really want to cause trouble, you have to come up with something new that really gets people excited. So we founded "Rammstein". "

- Flake Lorenz : Contribution to the Spiegel online magazine " einestages "

With the first two parts of the sampler series Sure There Are Better Times, but this one was ours from Höhnie Records and Nasty Vinyl with unreleased pieces, a demand arose in the 1990s for former GDR punk that made bands like Schleim-Keim known and Die Skeptiker and also led to the reunion of several bands. Starting with the third part of the compilation, newer recordings by East and West German bands were released and the title Sure There Are Better Times, But This One Has Changed Ours . The series thus also documents the change in music in the 1990s, which brought about a move away from the primitive and raw towards a more mainstream sound.

Visual, literary and performing arts

Cornelia Schleime

Punk had a major impact on the GDR art scene. The visual arts of the 1970s in the GDR were shaped by Neo-Dada and new interpretations of Expressionism . As punk slowly spread, the often system-weary artists adopted the musical and fashionable style and carried it into their paintings and sculptures. Rubbish aesthetics in the sense of conceptual art was adopted by Ralf Winkler , Robert Rehfeld and Oskar Manigk . Young artists were attracted to the scene and especially invited female punks to their celebrations. At the beginning of the 1980s he created oil paintings of well-known big names in the scene by Volker Stelzmann (“Die Band” and “Jürgen”, 1983) and Clemens Gröszer (“Anja with purple glove”, 1985). A trend that spread in the visual arts until the end of the GDR. Many young artists such as Mita Schamal and Moritz Götze worked with the fusion of music, language and image, used the collage technique and turned against the traditional art college scene in the GDR.

In addition to adopting aesthetics, some artists were themselves punks, including Mita Schamal and Verena Kyselka , who “at a young age with visual questioning and accentuating the traditional and possessive gesture of making women the ideal object of painting” their audience unsettled. Gabriele Kachold, on the other hand, was an all-round artist who was active in literary, acting and action art. Twittering machine around Cornelia Schleime, Michael Sandner and Ralf Kerbach originally came from the Dresden University of Fine Arts , but were all about to be forced to de-register . However, Sandner and Kerbach left voluntarily. It was only out of necessity that they decided to make music. As a result, punk and the art scene were very closely linked in the beginning. While bands like Zwitschermaschine had little to do with the actual punk scene, the art and literature scene also offered punk bands like Schleim-Keim, Nameless and Planlos opportunities to perform in the studios, at exhibitions and readings. But the influences were more far-reaching. Schleime, for example, used the punk aesthetic not only for her paintings and images but also for her short films .

(Self) historicization of GDR punk

A first attempt at theorizing was the anthology published in 1999 by Ronald Galenza and Heinz Havemeister "We want to always be good ..." with essays on the subject of "GDR punk".

In the mid-2000s, documentaries and exhibitions were made in official houses such as B. the exhibition ostPUNK! / too much future in Berlin in 2005, in the Dresden City Museum in 2007 and in Halle in 2008, which received great feedback. In reception, Ostpunk was discursively linked to the international subculture.

Movie

  • Anne Richter, Roland Steiner , Michael Lösche, Rainer Schulz, Rainer Baumert, Angelika Arnold, Johannes Jürschik, Uli Fengler: Our children. DEFA - Studio for Documentary Films, 1989 - Interviews with representatives of different subcultures in the GDR
  • "Disturbance East 1996": The two authors Mechthild Katzorke and Cornelia Schneider revive memories of shared experiences in an East Berlin punk group in conversations with former friends during a steamboat trip on the Spree .
  • "Too Much Future" by Carsten Fiebeler and Michael Boehlke is a 2006 German documentary about the punk movement in the GDR, which was shown at the 49th Leipzig International Festival for Documentary and Animation .

radio

  • Thomas Gaevert : Confidential classified information IM Punk, radio feature, production Südwestrundfunk 2002, first broadcast: April 4, 2002 SWR2
  • Thomas Gaevert: Otze - About the life and death of a German punk idol, radio feature, production Südwestrundfunk 2010, first broadcast: April 24, 2010 SWR2
  • Ritchie Ziemek: Interview Schleimkeim / Höhni (Interview with Otze and Lippe from Schleimkeim and Höhnie from Höhnie-Records), in: Stimmbruch, Rockradio B, broadcast on December 29, 1999

literature

  • Michele Bettendorf: Origin of the punk scene. Or Rammstein would never have existed in the West. BOD, Norderstedt 2002, ISBN 3-8311-4493-1 .
  • Michael Boehlke, Henryk Gericke (Eds.): OstPUNK - Too Much Future. Exhibition catalog . Künstlerhaus Bethanien, Berlin 2005, ISBN 3-932754-62-X .
    • Ronald Galenza, Heinz Havemeister: Either or in no man's land . Pp. 81-102.
    • Christoph Tannert: Punk as a glue between the cellar and the artist's studio . Pp. 137-149.
  • Gilbert Furian, Nikolaus Becker: In the east too, people wear west - punks in the GDR and what has become of them (=  archive of youth cultures ). Thomas Tilsner Verlag, 2000, ISBN 3-933773-51-2 .
  • Michael Rauhut : Rock in the GDR . Federal Agency for Civic Education , Bonn 2002, ISBN 3-89331-459-8 .
  • Ronald Galenza and Heinz Havemeister (eds.): We always want to be good ... - punk, new wave, hiphop and independent scene in the GDR from 1980 to 1990 . Schwarzkopf and Schwarzkopf, Berlin 1999, ISBN 3-89602-637-2 .
    • Michael Horschig: There were never punks in the GDR . Pp. 17-41.
    • Klaus Michael : Make cucumber salad out of this state. Punk and the Exercises of Power . Pp. 72-93.
    • Susanne Binas : Cassettes as a cash register . Pp. 248-259.
  • Ronald Galenza, Heinz Havemeister: Feeling B .: Punk in the East. Mix me a drink. Schwarzkopf & Schwarzkopf, Berlin 2002, ISBN 3-89602-418-3 .
  • Anne Hahn : Pogo in Bratwurstland - Punk in Thuringia . State Center for Political Education Thuringia, Erfurt 2009, ISBN 978-3-937967-49-3 .
  • Anne Hahn / Frank Willmann: Satan, can you forgive me again - Otze and the rest of Schleim-Keim . Ventil Verlag, Mainz 2008, ISBN 3-931555-69-0 .
  • Angela Kowalczyk: Negative and Decadent: East Berlin Punk Memories. CPL-Verlag, Berlin, ISBN 3-8311-2939-8 .
  • Geralf Pochop: The underground was a strategy. Punk in the GDR: underground between rebellion and repression. Hirnkost-KG, Berlin 2018, ISBN 978-3-945398-83-8
  • C. Remath, R. Schneider: Hair on riot. Youth subcultures in Leipzig 1980–1991. 2nd edition, Connewitzer Verlagbuchhandlung, 1999/2001, ISBN 3-928833-74-X .
  • Manfred Stock / Philipp Mühlberg: The scene from the inside - skinheads, goths, heavy metals, punks . LinksDruck, Berlin 1990, ISBN 3-86153-007-4 .
  • Mark M. Westhusen: Zones Punk Province. Punk in Halle (Saale) in the 80s. Halle (Saale) 2005 ISBN 3-9808120-4-9
  • Mark M. Westhusen, Bernd Lindner (ed.): From garbage station and megalomania. Punk in the province of Halle . No. 11 . Hasen Edition Halle / Saale, ISBN 3-939468-21-5 .
    • Mark M. Westhusen: Out of line! The decade of negatives - decadence stumble out of gray. Pp. 5-54.
    • Bernd Lindner: Punk Province - Provincial Punk. On the history of a radical youth culture in the GDR. Pp. 59-99
  • Michael Rauhut : Ear to the crowd - rock music in the crosshairs of the Stasi , in: Peter Wicke / Lothar Müller (eds.): Rockmusik und Politik , Berlin 1996.
  • City Museum Dresden (ed.): Renitenz in Elbflorenz. Punk in Dresden 1980–1989. Extra: Anarchy in Meißen, Gröditz, Elsterwerda u. a. , Booklet for the exhibition "too much future - punk in the GDR" from August 18 to October 14, 2007 in the Dresden City Museum, Dresden 2007

Web links

Individual evidence

  1. ↑ a b c d Michael Horschig: There never were punks in the GDR . In: Ronald Galenza and Heinz Havemeister (eds.): "We always want to be good ..." Punk, new wave, hiphop and independent scene in the GDR from 1980 to 1990 . Schwarzkopf and Schwarzkopf, Berlin 1999, ISBN 3-89602-637-2 , p. 10-22 .
  2. ^ For example, on the scene in the city of Weimar: Axel Stefek: 1979–1989. Shrill mix of party and provocation: punk . In: Weimar unadjusted. Resistant behavior 1950–1989. Weimar 2014, pp. 73–78.
  3. ↑ Contrasts - On the trail of a dictatorship. Glossary. Federal Agency for Civic Education , May 18, 2006, accessed on March 7, 2010 .
  4. ↑ Horschig: Punks never existed in the GDR , 1999, p. 36
  5. ↑ Horschig: There were never punks in the GDR . 1999, p. 22
  6. ↑ a b Horschig: There were never punks in the GDR . 1999, p. 24ff.
  7. ↑ Horschig: Punks never existed in the GDR 1999, p. 39
  8. ↑ Roland Galenza / Heinz Havenmeister: Either Or in No Man's Land . In: Michael Boehlke, Henryk Gericke (eds.): OstPUNK - Too Much Future. Exhibition catalog . Künstlerhaus Bethanien, Berlin 2005, ISBN 3-932754-62-X , p. 84 .
  9. ↑ Axel Stefek: Background on vinyl. For the release of a record by a Weimar punk band 30 years ago . In: Gerbergasse 18. Thuringian quarterly journal for contemporary history and politics, issue 80, no. 3/2016, pp. 62–65 .
  10. ↑ Michael Rauhut: Rock in the GDR . Federal Agency for Civic Education , Bonn 2002, ISBN 3-89331-459-8 , p. 123 f .
  11. ^ Rauhut: Rock in the GDR . 2002, p. 125
  12. ↑ Mark M. Westhusen: Dance out of line! The decade of negatives - decadence stumble out of gray . In: Mark M. Westhusen, Bernd Lindner (Ed.): From garbage station and megalomania. Punk in the province of Halle . No. 11 . Hasen Edition Halle / Saale, ISBN 3-939468-21-5 , p. 50 .
  13. ^ Rauhut: Rock in the GDR . 2002, p. 199 f.
  14. ↑ a b c Bernd Lindner: Punk Province - Provincial Punk. On the history of a radical youth culture in the GDR . In: Mark M. Westhusen, Bernd Lindner (Ed.): From garbage station and megalomania. Punk in the province of Halle . No. 11 . Hasen Edition Halle / Saale, 2007, ISBN 3-939468-21-5 , p. 79 .
  15. ^ Rauhut: Rock in the GDR . 2002, p. 136
  16. ^ Klaus Farin / Eberhard Seidel-Pielen : Right shift. Racism in the new Germany . Rotbuch-Verlag, Berlin 1992, ISBN 3-88022-065-4 , p. 19 .
  17. ^ Karl-Heinz Stille: Blooming Landscapes: 1990–1994. In: Booklet of the 3CD Punk Rock BRD. Weird System Records, accessed March 11, 2010 .
  18. ↑ Manfred Stock / Philipp Mühlberg: The scene from the inside - Skinheads, Goths, Heavy Metals, Punks . LinksDruck, Berlin 1990, ISBN 3-86153-007-4 , p. 166 .
  19. ↑ Stock / Mühlberg 1990, p. 166
  20. ↑ a b c d e Carsten Fiebeler and Michael Boehlke: ostPUNK! too much future . Documentary film. Germany 2007
  21. ↑ Paranoia: Kid Punx fuck off. in: Klorix777's YouTube channel, uploaded on December 24, 2012
  22. ^ A b Mark Westhusen: Zones Punk Province. Punk in Halle (Saale) in the 80s. Halle (Saale) 2005
  23. ↑ a b Carsten Gebhardt: AG Geige - An Amateurfilm, Documentary, 79 min ( memento of the original from October 29, 2015 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.ardmediathek.de
  24. ↑ a b c d e Anne Hahn: Pogo on the altar. In: Philipp Meinert, Martin Seeliger: Punk in Germany: Social and cultural-scientific perspectives.
  25. ↑ Angela "China" Kowalczyk: We lived! Berlin: CPL-Verlag 2006, ISBN 978-3-8334-8175-8
  26. ↑ Angela "China" Kowalczyk: Punk in Pankow, Anita Tykve Verlag Berlin, ISBN 3-925434-90-9
  27. ^ Anne Hahn: Across from China, Ventil-Verlag, Mainz 2014, ISBN 978-3-95575-025-1
  28. ↑ Pogo in Bratwurstland. Punk in Thuringia. State Center for Political Education Thuringia, Erfurt 2009, ISBN 978-3-937967-49-3
  29. ↑ Anne Hahn, Frank Willmann: Satan, can you forgive me again - Otze Ehrlich, Schleimkeim and all the rest. Ventil, Mainz 2008, ISBN 978-3-931555-69-6
  30. ↑ Susanne Binas-Preisendörfer: In the musical no man's land - unheard of productions on the edge of rock culture. In: Sound Exchange, Experimental Music Cultures in Central and Eastern Europe, Anthology, 2012/1991
  31. ↑ Prof. Dr. Susanne Binas-Preisendörfer, curriculum vitae, in: Website of the University of Oldenburg
  32. ↑ Booger and Toad. In: Der Spiegel, May 13, 1996
  33. ↑ Mechthild Katzorke and Cornelia Schneider: Disturbance East - Punks in East Berlin 1981–1983, ZDF, Das kleine Fernsehspiel, 1996, in: YouTube channel of 23Kaothi23, upload of September 14, 2009
  34. ↑ "command no. 11/66 to political and operational fight against political-ideological diversion and underground activities among young people of the GDR circles" in the media center of the Stasi Records Authority
  35. ^ A b c d e f Anne Hahn, Frank Willmann: The white line: Prehistory and consequences of an art action on the Berlin Wall. CH. Left, Berlin, 2011
  36. ↑ Stasi prisoner card for the imprisonment of Bernd Stracke on December 2, 1985, the criminal offense is "hooliganism", in: Website Punkfoto
  37. ↑ Stock / Mühlberg 1990, page 72 and various interviews, pp. 176–224
  38. ↑ Anne Hahn / Frank Willmann: "Satan, can you forgive me again!" Otze and the rest of Schleim-Keim . Ventil Verlag, Mainz 2008, ISBN 3-931555-69-0 , p. 129 .
  39. ^ Hahn: Pogo im Bratwurstland - Punk in Thuringia 2009, p. 20
  40. ↑ Astrid Reinberger: GDR punk: "It was clear to me that I was going to Hamburg". NDR online , archived from the original on November 11, 2010 ; accessed on March 31, 2010 .
  41. ↑ Andreas Kuno Richter: The betrayal - how the Stasi abused children and young people as informers. RTL 2010
  42. ^ Landscape with Argonauts, in: Catalog of the Historisches Museum Berlin “Boheme and dictatorship in the GDR. Groups, Conflicts, Quarters 1970–1989 ”, online version
  43. ↑ Besser Anders - Leipzig subcultures between rebellion and adaptation, TV documentary, 2011, in: Youtube channel by VILLAKeller, uploaded on February 22, 2012
  44. ^ Hahn: Pogo in Bratwurstland - Punk in Thuringia . 2009, p. 25f.
  45. ↑ Anne Hahn, Frank Willmann: “Satan, can you forgive me again? Otze Ehrlich, Schleimkeim and all the rest ”. Ventil-Verlag, Mainz 2008
  46. ^ Subkultur & Stasi in the GDR, RBB 2008, in: Born in GDR's YouTube channel, upload of April 8, 2010
  47. ^ Ministry for State Security of the GDR: Informations 1984, p. 4 , quoted in. n. Michael Rauhut: Rock in der DDR , Bonn 2002, p. 115.
  48. ↑ BStU, ZA, SED-KL399, Bl. 5, cited above. n. Michael Rauhut: Rock in the GDR , Bonn 2002, p. 116.
  49. ↑ Stock / Mühlberg: The scene from the inside - skinheads, goths, heavy metals, punks . 1990, p. 173
  50. ↑ Bernd Lindner: Punk Province - Provincial Punk. On the history of a radical youth culture in the GDR. 2007, p. 79
  51. ^ A b Westhusen: Dance out of line! The decade of negatives - decadence stumble out of gray . 2007, p. 62
  52. ↑ Klaus Michael: Make cucumber salad out of this state. Punk and the Exercises of Power . In: Ronald Galenza and Heinz Havemeister (eds.): "We always want to be good ..." Punk, new wave, hiphop and independent scene in the GDR from 1980 to 1990 . Schwarzkopf and Schwarzkopf, Berlin 1999, ISBN 3-89602-637-2 , p. 85 f .
  53. ↑ Konstantin Hanke: Ostpunk on record. In: Ox . Retrieved September 20, 2009 .
  54. ↑ Michael: Make cucumber salad out of this state. Punk and the Exercises of Power 1999, p. 47
  55. ↑ quoted from Michael 1999: Make cucumber salad out of this state. Punk and the Exercises of Power , p. 88
  56. ↑ cited after Nothing gained nothing lost Vol. 2 , CD 2002, Höhnie Records
  57. ↑ Michael: Make cucumber salad out of this state. Punk and the Exercises of Power 1999, p. 91
  58. ↑ Interview with Lutz Schramm in: Galenza / Havemeister: "We always want to be good ..." Punk, new wave, hip hop and independent scene in the GDR from 1980 to 1990 . 1999 p. 294
  59. ↑ a b Susanne Binas: Cassettes as Kassiber . In: Ronald Galenza and Heinz Havemeister (eds.): "We always want to be good ..." Punk, new wave, hiphop and independent scene in the GDR from 1980 to 1990 . Schwarzkopf and Schwarzkopf, Berlin 1999, ISBN 3-89602-637-2 , p. 250 .
  60. ↑ a b GDR punk in Rostock, in: Likedeeler No. 19, spring 2008
  61. ↑ Heimat cassettes on Discogs
  62. ^ Private archive Grund, Thomas, in: Thuringian Archive for Contemporary History "Mathias Domaschk". In: Website of the Thuringian Archive for Contemporary History "Mathias Domaschk"
  63. ^ A b Roland Galenza / Heinz Havemeister: discography and cassettography . In: Ronald Galenza and Heinz Havemeister (eds.): "We always want to be good ..." Punk, new wave, hiphop and independent scene in the GDR from 1980 to 1990 . Schwarzkopf and Schwarzkopf, Berlin 1999, ISBN 3-89602-637-2 , p. 379-390 .
  64. ↑ Galenza / Havemeister: Either or in no man's land . 2005, p. 84
  65. ↑ Galenza / Havemeister: Either Or in No Man's Land 2005, p. 96/98
  66. ^ Anne Hahn: Pogo in Bratwurstland - Punk in Thuringia . State Center for Political Education Thuringia, Erfurt 2009, ISBN 978-3-937967-49-3 , p. 64 .
  67. ↑ Anne Hahn / Frank Willmann: Satan, can you forgive me again. Otze Ehrlich, Schleimkeim and all the rest . Ventil Verlag, Mainz 2008, ISBN 978-3-931555-69-6 , p. 14 .
  68. ^ Christian "Flake" Lorenz: "I miss the GDR". one day , February 18, 2008, accessed on March 30, 2010 .
  69. ↑ Christoph Tanner: Punk as cement between the cellar and the artist's studio . In: Michael Boehlke, Henryk Gericke (eds.): OstPUNK - Too Much Future. Exhibition catalog . Künstlerhaus Bethanien, Berlin 2005, ISBN 3-932754-62-X , p. 137 .
  70. ↑ Christoph Tanner: Punk as cement between basement and artist studio 2005, p. 142
  71. ↑ Christoph Tanner: Punk as cement between basement and artist studio 2005, p. 144f.
  72. ↑ Christoph Tanner 2005, p. 144
  73. ↑ Christoph Tannert: Fourth root from twittering machine . In: Ronald Galenza and Heinz Havemeister (eds.): We always want to be good…. Punk, New Wave, HipHop, independent scene in the GDR 1980–1990 . Schwarzkopf & Schwarzkopf, Berlin 1999, p. 196 .
  74. ^ Too much future / punk in the GDR / exhibition Dresden 2007, in: website of too much future
  75. ↑ Anke Westphal: The naughty fight reserve. In: Berliner Zeitung, August 26, 2005
  76. ↑ Torben Ibs: GDR punk as an installation. The exhibition “Too much future” in the Stadtmuseum Halle illuminates the punk scene in the GDR. In the Leipzig Almanach, March 17, 2008
  77. ↑ Ole Detlefsen: Whispering and Screaming Pogo until the fall of the Berlin Wall: The musical underground in the GDR. Eßlinger Zeitung , November 7, 2009, accessed on March 23, 2010 .
  78. ↑ Our children GDR documentary, in: Youtube channel by Thomas Gerlach, uploaded on February 3, 2015
  79. ^ Film talks - Goodbye winter, conversation with Helke Misselwitz about the film "Goodbye winter", in: Christian Höntzsch's YouTube channel, uploaded on October 25, 2015
  80. ↑ Thomas Gaevert: Otze - From the life and death of a German punk idol, radio feature, SWR 2010, manuscript
  81. ↑ Schleimkeim interview, in: BurYokuTransmissions YouTube channel, uploaded on March 28, 2013
  82. ↑ Rockradio B / Stimmbruch Interview Schleimkeim / Höhnie December 29, 1999, in: Tape Attack, blog on the cassette scene of the 80s and 90s, article from September 5, 2019
  83. ↑ The underground was a strategy. Punk in the GDR: Between Rebellion and Repression, in: Website von Hirnkots KG