you have only the Internet, but you can use it, and how: Almost every week new German Rapper appear at the top of the Swiss hit parade always that catalyze their careers thanks to Social Media and the streaming services. And because they are not dependent on the Radio and television stations, you can break taboos, the limits of the sayable explore – and sometimes exceed.
thanks to this program, Deutschrap could be also in Switzerland, the most successful pop music: The Album from Kool Savas – one of the forefathers of the German Strassenrap, how he loved and lived today – struck loose a Star like Ariana Grande, the breaks in the USA, all records.
sexism as a minor offense
And even if German-language Hip-Hop that years ago the Mainstream, is still to a large extent, what the rapper Nura in the just published book “Can you hear us?” to the point: “The society is still Scared of rappers. But the children of these people who have Shit to celebrate ourselves.”
The unease over the popular culture by the name of Deutschrap: It has a place in the lush and multi-voiced Oral History, have mounted the two authors Davide Bortot and Jan Wehn from Interviews with 120 protagonists of the German Hip-Hop culture together. Also because Deutschrap for the two means, what is called “a love-hate relationship”, as you write in the Preface of the book.
Too strong – for all their love for Hip-Hop culture – the sexism that is seen in too many Rapkreisen still as a minor offense. To the great racism that, for example, a black rappers like Afrob addressed in the book, when he says that he haven’t felt “at some point” in the scene “because she was partially blatant fascistic and racist”.
The classic story of a subculture that was to dominate popular culture.
And then the anti-Semitism debate is more in the area, which has achieved in the past year, with the Echo award for Kollegah and Farid Bang to the surface. It is a discussion that would have liked some of the Interviewed open: “These wagons mentality, with the reflex of Hip-Hop is defended, it makes me really mad,” says Marc Leopold Eder, who was formerly a Journalist and a music distribution works. And at this point is: seems to be A Community that is United, not the German Rapper. If she was ever in agreement.
The fragmented history of Deutschrap is therefore not as pure and linear success story to tell, even if she is attracted by the self-powerful, new immigrant voices, from the appropriation and permanent Redefinitions of the German language in the mode of Rap.
But they may be read as an almost classical story of a former subculture, which has a rudimentary self-started, organized, up to the all-conquering pop culture. It is reminiscent of the history of Rock ’n’ Roll, and the shock potential, once the Punks their parents ‘ generation provoked. Boundaries move and the ancients heard scare now to the essence of a youth culture.
betrayal’s scent
Can you hear us”?” quite peaceful, when read by the pioneers, who followed in provincial cities such as Heidelberg’s exactly what preaching the Hip-Hop gods in New York. Formations, such as the Fantastic Four were formed, meanwhile, in Stuttgart, with their playful approach those forefathers provoked, which propagated the pure teachings. It was suspected the worst, four medium-sized Swabia, at the expense of the true Hip-Hop culture made ridiculous, because Tracks like “The da!?!” – the first German rap Hit ever – all of the seriousness going on. And anyway, success and Hip-Hop, the not together was the.
The Deutschrap has professionalized in those 90s and differentiated – with the successful Proto-Gangsta-variant and the “hard anti-social” language from the Frankfurt district Rödelheim, where Moses Pelham or Sabrina Setlur had. Or the much funnier Combos, such as Fat bread, and the beginners from Hamburg. Music TV channels like Viva were Deutschrap in the living room, the major Labels took a massive Rapper.
the turn of The Millennium has been broken down, the years of hard Aesthetics, which was marked by the Label Aggro Berlin. At that time, the Genre of “fully split,” remembers Max Herre, with his Band circle of friends for the world unifying component of the Deutschrap. Herre adds: “We wanted to reinvent the Board, but our nail into a Board in the history of music hunt. The Generation then wanted to tear the Board out of the wall!”
The Generation of the crack in the Board from the wall, is the Blatant, for the road, which continues to resonate still today with rappers such as Kool Savas and the people of Berlin Sido and Bushido. As the arc of the provocation against the end of the zero years was for the First spans, acquisitions, family-friendly Expo more ducks as Marteria, Casper or Cro, and developed Hip-Hop with various Popeinflüssen.
Creative cul-de-SAC
Those years of peace the same before the storm that is raging today with the new Generation of street rappers. Those who don’t need more than the Internet – and yet the Mainstream: “Successful rappers don’t need journalists any more. The have their own Youtube channels with more subscribers, as a private television station viewers,” says the video producer and online artist, called Kurt Prödel. This Detachment of the “medial Corrective” makes it possible that “even the people are despising most statements are waved on through,” said Marc Leopoldseder.
So successful was Strassenrap of the present: The book also makes clear that the history of German Rap of hard breaks and generation of conflicts will be determined, of counter-movements, then again apparently, if the music is in a creative cul-de-SAC.
Davide Bortot, Jan Wehn:Can you hear us? An Oral History of German Rap. Ullstein, Berlin In 2019. 464 p., about 26 Fr. (editor-in-Tamedia)
Created: 26.02.2019, 22:52 PM
