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Pants singer Campino, rapper Marteria: Self-deprecating pleasure
Photo: Philip Gladsome
At 32, the German unit is now as old as Keith Moon (The Who) or John Bonham (Led Zeppelin) were when they died.
It could, if not constantly invoked or challenged, be considered simply accomplished.
West German Toten Hosen ("Days Like These") and East German Marten Laciny aka Marteria ("Purple Clouds") noticed this.
With their singles »Scheiß Wessis« and »Scheiß Ossis«, which will be released in parallel on Friday, the tiresome contrast between East and West can finally be considered abolished.
Judging by the PR gallop and the relevance of this publication, there should have been an »ARD focal point« or a »ZDF Spezial«.
However, the times didn't want the way the artists wanted it: "With the start of Putin's aggressive war against Ukraine," the press release says officiously, "nothing will be the same as it was before.
Maybe that's also why our topic has receded into the background.« If that wasn't the case before.
Everything confrontational dissolves here in self-deprecating pleasure.
The Toten Hosen sound like the Toten Hosen sound – including a chorus-reinforced chorus, so that even with twelve beers in your head at the festival, you still know when to shout along: "Fucking Wessis, always make everything clear," says singer Campino : »Shit Wessis are getting on everyone's backs«.
The West is roughly drawn as a caricature, "good people" live there who "pay a solidarity surcharge", there is talk of the Reeperbahn and Autostadt, of oysters and champagne at KaDeWe.
Funnily enough, the capital is still Bonn, and everyone looks like Dieter Bohlen.
There is Wiesenhof and Tönnies, caviar in the station mission.
Recently, however, the Wessi has "hid with Leipzig and soul in the East", where he notices that the sparkling wine from Little Red Riding Hood doesn't even taste that bad.
The caricature of an electric guitar solo then quotes the GDR anthem »Resurrected from Ruins«.
When glove rhymes with pankow
"Scheiß Ossis" sounds like a remix of "Scheiß Wessis", also a political pointer.
In addition, Marteria paints a distorted image of the East.
The people there are said to be "naked naked," getting their butts from Poland, and supposedly there's a Frankfurt there, too.
What the West supposedly called a pub called "The Golden Glove" was the "special train to Pankow" in the East, where riots would take place.
The »Rügenpresse« is read, bathed in »Tropical Island«.
It's about "Henry's rights", presumably mask, the princes and Rammstein: "You drive the Porsche to the ball, but we were in space before you".
And where is it, the Tesla factory?
N / A?
When the Toten Hosen get soft at the end, Marteria gets serious and announces the message of the whole double bash: "This country is still two parts, let's change that, it sucks".
Wessis consisted “not only of the beautiful and rich, deep down you are Schalke”, which would then obviously be fine on the part of the Ossi.
In hip-hop, »versus« is not used as »against«, but as »and« or »with«, and this is how this paltry clash of clichés is to be understood – as a dubious request from two local patriots (Düsseldorf vs. Rostock) in terms of identity politics. for patriotic consensus.
Each side may celebrate its supposedly ingrown quirks without losing sight of an even bigger, even more diffuse we.
Both songs sound as if the Federal Agency for Civic Education had ordered them.
Of course it will be a hit.
And when it's playing on the radio in his armored limousine, Frank-Walter Steinmeier will be able to tap his foot.
