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Metal Mass crashes with Motörhead in Hanover

They are loud, they are hard and they bring presents: Motörhead, the legendary rock and roll band goes traditional in the Christmas season on tour in Germany . On Wednesday 1 December, they played at the AWD-Hall Hannover to a full house. Real Motörheadbanger can be of Lapalie as snow does not just stop.

because the group is something like the Catholic Church of the Hard Rock: The oldest institutional guardians of a world view. Here the music there the religion - the transitions are fluid, the parallels obvious.

is conspicuous not only the birth date of singer and chief Ian "Lemmy" Kilmister: Christmas Eve. Analogously, the somewhat anachronistic organizational structure as a power trio, as the trinity of guitar, bass and drums in the '60s have become popular tape format.

is also in accordance with the biblical age for a rock band. The current record, The Wörld Is Yours is album number 20, were on the 35th Band Year published shortly before Lemmy's 65th Weighing party.

But do not worry: the man in black, as always, is in his shirt, tight jeans and cowboy boots, his Sheep and just before retirement age yet powerful read the riot act. With open Verve Reverend Lemmy and his acolyte, guitarist Philip Campbell (49) and drummer Mikkey Dee (47) their 90-minute show.

hymns are sung not: "We Are Motörhead" is confident the first song, a fiery Rockmustang galloping from the younger band's history. The takes on the song selection at all surprisingly large. With all-new titles such as "Get Back In Line" and "I Know How To Die" - would have liked to be heard by the new, the wonderfully mangy Metal-rock charm of the album Orgasmatron-day sprayed everything - comes from a third of the new songs Milemmyum, Millennium forgiveness.

Some rock is the Pharisees, as if suddenly in the Sunday school instead of the good old Genesis read only the most recent book of the Bible, the Book of Daniel. But who will ever hear the same sermon?

Even more variety would have been good. For example, the recently-established advertising for beer blues version of evergreens Ace Of Spades. But maybe that would be too revolutionary for such a venerable institution, even if it's called Motorhead.

Published in the Braunschweiger Zeitung, 3 December 2010, Culture, page 16

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of disciplining the revolting youth - Note to JMStV

Right now, the JMStV, a law that should prevail in the (German) Internet tighter age restrictions on the Internet debate. Notably from the point that there may be (which will be judged quite differently from Jurist_innen) endangers freedom of expression on the net, as it set the Betreiber_innen of blogs as a warning to an incalculable risk, risked significant fines, should as the self-assessment of content do not meet any official standards. I would like at this point on their way, this has been said elsewhere a lot.

As for me, but in addition to the threat of my freedom of expression, as could the whole child protection history, even annoying is how people are defined by the law as teenagers or children, will be covered: How a vegetable that in order for the ideal image of our state to grow, even properly cast, cut back and only occasionally is not to be doused with too much crap. As a pure state, and patient educational training efforts. So it seems, a hundred years after Freud, nor always give a kind of idea that children come as somehow pure essence of the world who would not by itself sexual aggression, enjoyment of the representation of violence or interests. The fact that these things are possible, but stay away from them and taboo needs to grow up the little angel breasts and beards, and then they are themselves old and vicious. That the development of a human being but never just a result Erziehungsbemühung (which exist as such only recently), but always also the result of their own self-activity is, in this view as not available.

Especially with regard sexual content I've still never even the hint of a scientific justification read it, deny such content young people. Of course one could argue that mediate sexual practices depicted in pornography as sexist ideas, but then the selection is not as yes. Finally, apply to feminist porn as well as any other release criteria. Instead, children should be taught by venerable Biologielehrer_innen that the penis penetrates the vagina because you so very fond of her or something. Next hour, then dissected frog legs. That you can not even have a relationship to be good sex, and even all by yourself, find the fact so sooner or later all out anyway. Naturally coy about indications, Behind the house at night to do something in the consciousness of dirty, unnatural, because otherwise there would be nothing to hide. And so the sexual morality is in the next round, as soon as become of the young people themselves adults with children, where sexual interests of children (or sexually interested in children) as disgusting and unnatural to see them because them their own desire was taught as a child as such. Please forgive my amateur psychology, but in fact I think the youth protection is a tool of a pathological society to be against their children, who you know, to say nothing in it.

The only good news is probably that the networks that we have made as children, probably difficult to crack, as long as it is not possible the educational supervision with their thumb screws and blinders on all day to extend. And as long as these networks exist, young people will continue to have opportunities to objects of their interest - whether information, media, computer games, drugs, or experience - to go. This is also a form of class struggle. The JMStV in this respect is another attack on the curiosity and spontaneity of young people. But that seems to interest nobody, not even among liberals. But we are no longer children ...

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The Turks and the Turkish culture creators

Europeans began in the 19th century to investigate the origin of their languages, because they had been released from the spell of old sectarian and pseudo-scientific traditions from the Orient and independently tested for knowledge. They discovered the common origin of Indo-Europeans whose languages extend over an entire continent from the west coast on the Atlantic Ocean to India and Central Asia. The Indoeuropäistik deals with this issue and requires a vast linguistic knowledge.

starting After the peaceful migration of peoples around the middle of the last century from Asia Minor, as this land was known in antiquity and today Turkey is called, is spoken in Europe a very interesting language in addition that has just as much importance as the Indo-European. Turkish belongs to the Altaic languages and is used, how to accept it gladly and with the Mongolian, but also with the Japanese, which generally is not at all known.

the Japanese defend themselves while vehemently against a cultural or linguistic influence from outside their island kingdom and consider themselves authochton clear, but the linguistic similarities between the Turkish and Japanese this view to be wrong.

That is easy to prove in some grammatical phenomenon.

Both languages have the Agglutinaton have regular endings. Postpositions instead of prepositions are used.

Declination:

Turkish genitive-n, no Japanese
dative:-e, Japanese-e

no article, the plural is used only sparingly.

Tempus:
Turkish past tense:-di,-ti, in Japanese-ta

sentence structure:
SOV subject - object - verb in both languages equally.
clauses to be placed before the nouns to be determined.

A Turk can easily learn Japanese as a German, because his grammar is much more like the Japanese.

The linguistic similarities between Turks and the Japanese can only conclude that the Turks were in the distant past culture creators of the first order, which manifests itself in the Japanese language and associated culture. In other words, without the Turkish culture would push the Japanese culture is not as developed as it is today. The culture was then drift out of Turkishness in the east to the Pacific Ocean. And that is a tremendous creative power.

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Brecht's political aesthetics

This text Brecht's political aesthetics is a small excerpt In my last paper, that I will once it has been graded, may still post altogether. I think Brecht is as a theorist surprisingly interesting, what has surprised me in my research thoroughly. I have removed the footnotes, because I think it was too complex to be transferred to this format.

first Dialectic as intrusive practice: The theoretical background

Brecht, who turned in the twenties to Marxism and in its reception influenced by the as "Links dissenters" from the Communist Party expelled theorist Karl Korsch was seeing those same Marxism in decline understood. The reason for this could he in a "Bolshevism" of Marxism, in its flattening to a objectivist, determinist, and completed worldview. In particular, the collection of so-called Widerspieglungstheorie the general dogma, he was the object of the critical content of dialectical materialism. The states of Lenin and his reading of Marx outgoing Widerspieglungstheorie that the "superstructure" (the different in a society existing forms of consciousness, thoughts and ideologies) of the "material base" of society (productive forces and forms of organization and power relations) is followed by likeness. So nothing more tangible than a direct translation Conditions. In contrast, Brecht argued with Korsch, a relative autonomy of the forms of consciousness to the society, and the potential of the "superstructure" to the "base" zurückzuwirken. That is, the relationship of the material conditions of society to their forms of consciousness is a dialectic, they are intertwined. A revolutionary practice makes it not only necessary to eliminate the material basis of capitalist production, such as by means of production, they must also accept the bourgeois forms of consciousness. It follows not only a change of policy, this can also be assigned to the superstructure of the Arts play a different role than the one the official cultural doctrine of the Soviet Union her about zugestand.1 in affinity for the ends of Walter Benjamin's famous essay "The Work of Art in the Age of Mechanical Reproduction" raised demand of the politicization of art, so in Brecht's concept of art as a critique of ideology "engaging practice" and "dialectical superstructure work."

second Epic theater and socialist realism

Brecht turned on the basis of his theoretical considerations against the "Aristotelian" and "illusory" theater of his time. The audience should not, as rise in a classical drama, in identification with the protagonists and are eagerly awaiting the climax to the work all the scenes in order to then learn something of a purge of its emotions (catharsis). Rather, Brecht demanded an aesthetic that allows a "relaxed" and therefore a public reception that the distance has to discuss the events on stage to think critically and express their opinion. Instead of touching and emotional to talk, should the theater of Brecht conceived also send critical knowledge to uncover the meaning of Marxist ideologies and practices encourage. And to convey to the audience instead of an illusory world, should him "into the hand of" the real world as contradictory and variable. This was not only the content but also formally to the traditional theater does not have.

The so by Brecht in his criticism of the classical theater Epic theater developed is characterized by the following features: Each scene must be able to stand alone. The interest is to apply not only to the final, but every single part of the piece. It is intended to prevent the audience from the empathy by the events and the protagonists do not naturalistically represented, but are alienated. Even the actors are not completely absorbed in her role, but also as a performer and as shown Person on stage presence. Another feature of the epic theater is his "realism". This means in the Brechtian sense, not a naturalistic representation, but rather to the epic theaters by its content and its formal structure (which are not in Brecht thought separated from each other) social processes and operations to understand and criticize from a class standpoint. This was by mere representation of reality can not afford, as the reality, "slipped into functional and that there are thus no more direct access to it. The art that seeks out the reality, must be rather a reordering of reality to the "social Causality advance. Important elements of this are reduction in force and parabolic shape abstraction. Realism in this sense is not formally fixed, but it could be described as an attitude.

Brecht demanded, according to its realistic claim, on the one hand the integration of scientific theories in the field of art. On the other hand, he saw it also as a necessity to experiment with new forms of expression, as well as review old expression critical, not only of changing conditions of reception to meet, but also the changed and constitute ever-changing social conditions appropriately to these. This conceptual he both knowledge and forms of expression and literary techniques as part of the "productive forces" in the field of art. Among the literary techniques that were incorporated in Brecht's epic theater, was one such assembly, alienation and inner monologue. As for scientific theories, flowed next to the Marxism and the experimental method of Francis Bacon one. The inclusion of scientific theories is not limited to the issues, but also relates to the form: How Brecht regarded his plays as well among other experimental arrangements should be made visible by the performance aspects of reality. Overall, one can say that Epic Theatre always the experimental Attempt to make the ever-changing social reality and transparent by enabling the recipient to intervene in them.

third Alienation effect and historiography

The aspect of alienation deserves further explanation. Roughly speaking, it is with him an artistic change of any process in the piece, which takes for granted that his and his "natural" and therefore draws attention to this process. To quote Brecht "an action or a character alienate was first called simply the process or the nature of the self-evident, acquaintances, Enlightening to accept and to generate curiosity and wonder about him. " The purpose of the alienation effect is thus a moment of irritation create that inhibits the identification with the action on stage, while forcing to think about what is represented and to give his position. At the same time it can also convey a particular point about the alienated. The alienation effect can be achieved in different ways and it can take place at all levels: the structure of the piece as a whole may well be alienated like the appearance of individual actions by the actors. Much is a matter of staging and presentation by the actual actors, but also the play itself may contain alienation effects.

An example of such an alienation effect is the "historicizing". In this narrative technique to be laid the represented events and conditions in a past time and therefore as historical, that is transient and surmountable, as shown. This is to stress differently than the update of a historical material, the distance between present and past. Thus, the present itself should be seen as "historic" and changeable, so far as that all human practice is historical practice and the new arises only "by the Old circulated, continued to be developed.

4th Brecht's radio theory

addition to the epic theater wrote Bertolt Brecht and radio theory and radio plays. The radio, he attested to the potential, a kind of social communication apparatus for self-understanding and collective learning of the population to learn if this addition to sending and receiving would, therefore, by the strict separation of listeners and broadcasters would be repealed. He did this and also several proposals, such as significant events to be broadcast live, most of which have now been implemented in one form or another. Of course not, as Brecht hoped this "ideological institutions" to undermine this. He saw in the epic theater and the radio the opportunity to complement each other. But he also wore on his aesthetics on the radio that he wanted to know opportunities exploited. In particular, to "activate" the otherwise merely passive rezepierenden audience understand what was in his radio play "The Lindbergh Flight" to quite literally: In the original, it stipulated that the voice of the protagonist of the audience will even spoken. The radio play "The Trial of Lucullus," in which there is a court that is held in the Hereafter a great commander left, at least in the original version the determination of the guilt or innocence of the accused to the audience and thus demonstrates how the activation of the audience can be understood.

Literature:

- Breuer, Ingo: Theatricality and memory. German-language historical drama since Brecht. 1. Ed Köln [ua]: Böhlau Verlag 2004th

- Brüggemann, Heinz: Literary Technology and social revolution. Experiments on the relationship between art production, Marxism and literary tradition in the theoretical writings Bertolt Brecht. 1. Ed Hamburg: Rowohlt 1973 (The new book, 33).

- Dickson, Keith A.: Calendar stories. 1. Ed London: Methuen Educational 1971st

- Hecht, Werner Brecht Chronicle. 1898-1956. 1. Ed London: book rack shaft 1997th

- Kim, Hyung-Ki: A comparative study of Brecht's theories in the "brass knob" and "Little Organon for the Theater." 1. Ed Frankfurt a. M.: Lang 1992 (European university studies: Series 1 German Language and Literature, 1293).

- Benjamin, Walter: The Work of Art in the Age of Mechanical Reproduction. In: Walter Benjamin. Collected Writings. Ed. by Rolf Tiedemann and Hermann Schwepphäuser. 7. Edition, Vol 1.2. Frankfurt aM: Suhrkamp 1991, p. 471-508.

- Benjamin, Walter: What is epic theater? In: Walter Benjamin. Writings. Ed, and more Theodor W. Adorno, Gretel Adorno. 1. 2nd edition, Vol Frankfurt a. M.: Suhrkamp 1955, p. 259-267.

- Brecht, Bertolt: The Radio as an Apparatus of Communication. In: A new radio play. Essays, analysis and interviews. Ed by Klaus Schöning. 1. Ed Frankfurt a. M.: Suhrkamp, 1970, p. 9-14.

- Lucchesi, Joachim: The Trial of Lucullus / The Condemnation of Lucullus. In: Brecht manual. Pieces. January ed. by button. 1. 1st edition, Vol Stuttgart: Metzler 2001, p. 401-416.

- Vormweg, Heinrich: radio play-maker Brecht. In: radio play-maker. Author profiles and essays. Ed. by Klaus Schöning. 1. Edition. Königstein / Ts. Atheneum, 1983, p. 13-26.