Seibt, Oliver, Martin Ringsmut, and David-Emil Wickström, eds. 2020. Made in Germany – Studies in Popular Music. Routledge Global Popular Music Series. New York, Oxon: Routledge. ISBN: 9780815391784.
Made in Germany: Studies in Popular Music serves as a comprehensive introduction to the history, sociology, and musicology of contemporary German popular music. Each essay, written by a leading scholar of German music, covers the major figures, styles, and social contexts of popular music in Germany and provides adequate context so readers understand why the figure or genre under discussion is of lasting significance. The book first presents a general description of the history and background of popular music in Germany, followed by essays organized into the following thematic sections:
The punk scene was in a deep existential crisis when post punk, new wave and goth music and fashion trends finally reached East Germany in the Orwellian year 1984. For the punk community in particular, the prevailing mood was indeed a dystopian one (Pehlemann, Papenfuβ, Mieβner, 2015). Punk was not dead (yet), but East German punk (no) future views increasingly contained a sense of pessimist fatalism, while goths escaped any kind of future scenario by playing already being dead. In any case, change was happening within the cultural underground which corresponded with a broader societal change and a spreading Endzeitstimmung (Wirsching, 2006) during the final phase of the Cold War. This ‘global’ existential fear, caused by political, societal and environmental crises, like nuclear threat, AIDS and environmental pollution (for example the ‘Waldsterben‘: dying forests) inspired both avant garde artists and participants in protest movements on both sides of the Iron Curtain.