Master’s Thesis, 2013
92 Pages, Grade: 1,0
Translation from German : Google Translator.
“In the first round, the mid-nineties, no one could really rap to the beat. Me, yes. So I was way ahead of everyone else. Now most six-syllable rhymes can write and apply funny comparisons. ” 1
(Samy Deluxe, 2009)
This quote comes from one of the most popular rapper in Germany and suggests that within the Deutschrap certain processes and collective developments must have taken place. But how did they look like? Who or what influenced the respective change or trend? In the present work is an attempt in this regard to text layer to represent an epochal description of significant innovation and change to find answers to these questions.
Undoubtedly Deutschrap is a relatively new music genre that has received numerous influences from the US rap. Now this work aims to show the history of the genre, so to also address the origin and finally prove the development at various levels. The chronological analysis of the lyrics is accompanied by the central question of what were the issues and trends of Deutschrap and.
The first part of this resort to literature to first give the reader a historical overview. Here, the origin of rap or the Deutschrap and finally its commercialization to be treated.
In the further course of this work is applied to the different sub-like battle rap or storytelling reference is made to finally introduce the individual sub-genres and to describe its essential characteristics. Partially – – new categorization attempt is made, as it offers with the aim of being able to assign the themes of the songs Deutschrap meaningful just the current literature In this regard, one is. In the main part of an analysis of the thematic developments is finally sought to work out the material issues from the beginning up to the present. The selected for the study Lyrics are listed in the appendix to strive for greater transparency of the results.
In addition to the thematic study, an analysis of the rhymes and comparisons of Deutschrap is made to demonstrate in this area development. Here it must be noted that this work will mainly refer to the text layer and therefore eg intonation and voice using the artist must be explicitly excluded.
Therefore, the selection of under examination criteria fell on the topics rhymes and comparisons because they offer in the aggregate a comprehensive picture of this musical style. At the balance a résumé that will summarize the key aspects of the investigation in terms of historical and current topics and trends.
2. History of the Deutschrap
The following section is intended to represent the history of German rap in the historical context and illustrate the way in the music industry. For this, the origin of rap in America is discussed first described its local commercialization and finally revealed the transfer to Germany.
2.1 Origin of the Rap
If you want to determine the origin of rap, the path leads inevitably to the parent of the Rap HipHop 2 – culture in which rap verbal expression embodies. The New York of the early 1970s is considered the birth of this culture and paved the way for the beginnings of today’s rap music. 3
Demonstrably diverse socio-cultural events and musical pioneers were formative that favored the genesis of rap respectively enabled. David Toop refers in this context to a close connection of rap “with traditional black narrative forms like the toast and the Blues” 4 . Accordingly, the roots of rap go back to Africa, where local storyteller developed a kind of chant that has been passed down through slavery to the United States.
Only some time later from its own genre, whose pioneers mainly belonged to the younger generation developed. Living in slums youth of the Bronx, New York – predominantly Hispanic and African-American residents – created an innovative form of social criticism by organized themselves in public places and presented their grievances with each other rhythmically in rhyme. The main issue was the discrepancy between their situation and the lives of whites, including to discrimination and racism. Many of these meetings took place on the road, which is why speaking in the context of rap speak of the “language of the street.” About the origin of the name is in both the Scene 5controversial and in the literature, with demonstrably established the term “rap” in the 1940s and 1950s to refer to the general rhythmic speech. 6
The literature refers to a derivative of the English verb “to rap” labeled “beat, hit, thump” may be translated. 7 This etymological observation suggests that the namesake was referring to the quick wit of rap pioneers, especially in the context of increasing Battles . 8 Rarely Rap is an abbreviation for “Rhythm and Poetry” 9 – considered – the interaction of chanting with an instrumental.
Among the many African Americans were joined by reinforced Latin Americans who were just as ambitious, innovative DJs 10 to be supported by entertaining reports and motivate the dancers verbally. On local dance parties 11 , the Jamaican sound system 12 were very similar, produced DJs using multiple disk players new songs by manually moving the record and the originals mixed together in this manner. From this, the break dancers and went MC 13 indicates in particular, the animation of the “Master of Ceremonies” was to own cultural practice. 14another autonomous form of expression that has since completed the four main elements of hip-hop in the form of graffiti – As part of the hip-hop formation developed – in addition to rapping, DJing, and break dancing.
The culture – particularly rap – spread over the growing national events ever and managed – due to migration, cultural diversity and the interplay of identity and language -local styles with recognizable character. So distinguished themselves already in the development phase of hip-hop obvious differences between the rap of the East and the West Coast of the United States from 15 that have manifested into the present and sometimes demanded several lives. 16 This shows that the conflicts were fought not only on a musical level, but went far beyond.
Media attention received Rap first time in 1979 thanks to the title “Rapper`s Delight” by the Sugarhill Gang , the interest of major labels 17 moved on and paving the way for commercial rap. 18
2.2 Commercialization of the US Rap
The term ” commercial ” 19 has suffered a change of meaning in the age of marketing, so that it is now almost exclusively associated with profit-optimizing actions. Schönlau refers to the phenomenon of commercialization as ” culture pessimistic [n] trial ” 20and emphasizes the often associated loss of values. In particular, commercial musicians often experience a loss of artistic freedom, because their products are linked to expectations and calculations. Since the development of hip-hop reached unexpected proportions, the whole culture was naturally more attention and – not least thanks to the various forms of expression – a huge increase in popularity.
They expanded globally at the beginning of the 1980s, especially after the premiere of the film “Wild Style” (1982), “the practices and ideals of the ghetto culture […] in scene [e] ” 21 . Spread artfully – illegally – to the life of the main character, the now growing mass of graffiti painters who their pseudonyms in their districts oriented. A little later the movie “Beat Street” (1984) sparked worldwide craze among young people from (in initial hip-hop culture is basically just for young people to read) that could easily identify with the cultural practices of the scene and with the break dancing started. 22 In this respect HipHop offered the – predominantly dark-skinned – young people an interesting form of self-presentation and difference respectively expression.
The musical component of hip hop – that rap – has been steadily professional and experienced after sales hit the Sugarhill Gang – “Rapper’s Delight” (1979) – more commercial successes such as “Christmas Rappin ‘” (1979) by Kurtis Blow . Of particular note are a rap style of popular – but strange genre – artists who had share in the musical rise of rap without a doubt. As an example of this is Debbie Harry , who in 1981 – with her rock band Blondie – excelled in the song “Rapture” a complete verse as a rapper. 23
The initiators of the Sugarhill Gang started the label Sugar Hill , which became known as the first major label in the rap field and saw similar success with other artists. Worth mentioning is the socially critical songs “The Message” (1982) and “White Lines” (1983) by the artists The Furious Five & Grandmaster Flash , which thus the Political Rap made for the commercial music scene interesting.
In subsequent years, more new labels and rapper joined added, rich with influence in part to the present day. Popular pioneers were mainly Afrika Bambaataa, Run-DMC, Kurtis Blow, the Beastie Boys , Public Enemy, NWA and later Tupac Shakur, The Notorious BIG, Snoop Dogg and Eminem . The commercial breakthrough positioned Rap inevitably on the international music market. However, this meant that the rap scene in an old school (the old school in the US rap) and a New School (New School) divided. The Old Schoolrepresented the origin of generation and represented the original values of the hip-hop culture, such as an anti-commercial attitude and a community spirit. The new school , however, bordered in part from the origins from 24 and defined the genre in their own way and thus consciously and commercially inspired by pop music.
2.3 beginnings, commercialization and popularization of Deutschrap
Advance can be said that the fundamental difference between the early days in Germany and the beginnings moor in the United States on the subject. Unlike the American rap pioneers, the German counterpart had already demonstrates visual material available and above all a different cultural background. not analogous Deutschrap therefore developed as a mouthpiece of social disadvantage, but rather because of the media exposure of these imported youth culture that sparked enormous enthusiasm.
The commercialization of the US rap and related publications of various kinds, were the impetus for the development of today’s Deutschrap. At the beginning of 1980 coverten 25 television presenters Thomas Gottschalk, Frank Laufenberg and Manfred Sexauer US hit “Rapper’s Delight” by the Sugar Hill Gang and beat her as the first German rap song 26 declared work “Rapper’s German” at No. 49 in the German music charts. 27Although this gecoverte song was conceived only as a parody replied them a wave of enthusiasm, but you choose not react with any other Deutschrap song. Nevertheless, this production undoubtedly contributed to the popularization of Deutschrap.
The film “Wild Style” (1982) also found in the Federal Republic of Germany very well received and inspired many young people to open up to this new culture and to become an active part of it. 28
The first active rap scene in the German area was based on the US model and designed exclusively English-language rap. A long time were German rap lyrics as unworthy and not up to date, as the youth wanted to distance themselves using the new form of music also hits and the German New Wave 29 and the German Language offered in this regard unwanted contact points. Under this aspect, it is interesting to look at that in German-speaking often of the Austrian-German- New Wave artists Falco – among other things because of the song “The Commissioner” (1981) – is cited as a pioneer of Deutschrap 30, Which he attributed to his own works of conventional pop music. It is not to be dismissed out of hand that his chanting of the idea of rap equivalent and can be therefore designated as such. Due to the fact that the first rapper in Germany – because of the American models – created consciously English Rap, must Falco are partly attributed to the pioneering work in the development process of Deutschrap.
The majority of active young people focused at that time on the dancing and organized numerous break-dance competitions in the 1980s, where – according to the US models – German DJs and MCs – with English lyrics – the atmosphere of the American hip-hop culture imitated. 31
Even in the former GDR a rap scene whose active artists on the other hand very long received no media attention arose. Much like Debbie Harry (1981) in the US, there were genre-foreign musicians – namely Rockhaus with “Disco in the underground” (1984), which is responsible based on their rap insert for the first commercial rap success in the GDR were. 32
As part of the growing community 33 the hip hop movement in the GDR in 1987 received unexpected support from the Ministry of Culture, the costs for various events and contests 34 took over. It was the musical use of the English language, most of which experienced rejection at this time, surprisingly tolerated. 35 In the following years there was always larger events and rap contests, in which the active rapper of the whole country and exchanged supported. 36 These titled legendary Jams 37in Radebeul near Dresden, where both 1988 and 1989 each about ten rap groups or individual artists presented their works. 38 On the second event included the group met PDM teen rapper on from Potsdam to the citizens Lars Dietrich counted, who was then the only rapper with completely German lyrics. 39
In West Germany the “Jam-era” began a little earlier than in the East and was among hip-hop fans from 1987 to about 1991, a very popular trend. On Jams – – only entered as an exception in appearance. Shortly thereafter, a commercial division of the hip-hop elements, thus Rap parallel with graffiti, DJing and break dancing occurred because of increased media attention The rappers this time aimed at it, to make their musical performances to the fore and therefore felt as the breakdancer front of the stage as a distraction. 40 As a result, the concerts were designed on which the performances of the rapper should be from now in focus.
Both western and eastern Germany grew only shortly before the reunification rap groups whose protagonists sought contact with record companies. 41 Fantastic Four debuted in 1991 – entitled “Let’s get off [sic]” – the first real Deutschrap- Act 42 in the music charts and reached there a year later – with the song “The da !?” – the first Place. 43This success helped the Deutschrap to enormous media coverage and greater interest among young people. Accordingly, many new groups and solo artists were out getting some of this attention or simply wanted to be a part of this culture. Some of the already active artist forced into a contract with a label in order to sell their music over it. Many rappers, however, rejected the commercial intentions deliberately off because they would represent a decline of conventional rap and cultural tradition in their eyes and thus copied the anti-commercial attitude of the American Idols ( Old School ). At this time the anti-commercial thinking among US rappers, however, was overtaken as far as possible. 44
Under these aspects, the German rap scene split into two camps, known as Old School and New School – based on the American old school and new school were called -. The representatives of the old school – including Torch respectively his band Advanced Chemistry – produced mostly political rap and lived the culture of hip-hop, especially as travelers the parent idea of hip hop – emulated – that membership of a global movement. 45 They were given by the representatives of the new school – for example, Fettes Brotor The Fantastic Four – musical competition based on the fun chant. Although the rapper of the old school rival of the new school were the commercial breakthrough of followers who led New School inevitably lead to a gradual commercialization of commerce opponents. 46 This questions about authenticity and identity in comparison to the American models were raised, which is why many’s commercial opponents had to justify that the works of the new school from now on as representative of the Deutschrap were. Verlan this phenomenon of early German hip-hop scene called ” problem of legitimacy .”47
Contact with hip-hop and rap in particular was – unlike in the United States – not only made by young people from immigrant backgrounds, but happened coverage nationwide in all youth circles. However, a significant proportion of immigrant children sat down at that time with the acceptance in Germany and the Repatriation Act adopted apart. Rap was therefore viewed by the young people concerned as a welcome voice. 48 In particular, the still sporadically active rapper Torch – migrant child and at the same time called the godfather of Deutschrap – published in 1992 with his rap group Advanced Chemistry the song “Stranger in our own country” 49Whose political message was obvious. As early as 1988 wrote Torch mainly German lyrics, freestylte 50 in German and described himself early as the protagonist of Deutschrap why he is now regarded as the forefather. 51 Among the immigrant children were mostly young Turks who are actively Deutschrap – especially with political content – spawned. 52 The Turkish rap group Fresh Family published in 1991 to the first Deutschrap sound carrier – ie before the publications of the group The Fantastic Four – and thus made a further step towards commercialization 53Even if their music can be described as unsuccessful. In this respect, the situation in the development phase of the Deutschrap can be compared to the effect of the development process of the US rap that the immigrant children of both movements took the rap as a political opinion forum and participated in large part on the commercialization. In Germany, however, young people have been involved without an immigrant background in the development process of the next Deutschrap young people from immigrant backgrounds as well.
In the course of popularizing tendencies more and more rappers and bands that bases its music first debuted on the concept of the old school produced, but later the commercially successful concept of the new school turned towards. Representative of this is the rap group Absolute Beginner , which brought out in 1993, the song “NO” in which they loudly criticize the work of the police. Then they released songs – such as “Boogie Down Brown” (1996), which primarily criteria of the New School Vorwiesen fulfilled and a noticeable Kommerzialisierungsabsicht. Other well-known rap acts who made their first steps at that time, were the STieber Twins, flower pot, Massive tones, the Tobi and Bo, one two, friends and Sabrina Setlur. The song “Nordic by Nature” (1995) by Fettes Brot reached cult status and ushered in an era of Hamburger rap community, which includes the group Absolute Beginner belonged.
In Stuttgart, Munich, Berlin, the Ruhrgebiert and other places, larger rap scenes that the previous travel culture were old school generally did superfluous, as the artists and culture lovers now vorfanden sufficient space for criticism and sharing in their regions. In this way certain recognition features also came to each region, which have been preserved in part to the present day. Between 1995 and 2000 Deutschrap had reached the previous peak of 54 , although the Hamburg rapper Samy Deluxe realized retrospectively that at this time “… no one really rapping to the beat … ” 55could. In the second half of the 1990s German rap musicians regularly achieved notable rankings in the music charts, leading primarily to a wider audience and promoted the popularization of Deutschrap enormous. 56
3. subgenres of Deutschrap
When in the subsequent part, the various sub-genres of Deutschrap and their characteristics – are presented – not exhaustive. As there are few in this area of research – and most nebulous and incomplete – gave categorization experiments, selection and terms of subgenres based in equal parts on literature and subjective assessments. Thus, this section provides both a new way of stylistic distinction of Deutschrap without taking into account the history and works of the US rap directly. Despite intensive Preliminary persists the problem that various songs can not be clearly assigned 57Since they correspond to the essence of several subcategories. In this case, it is – if possible – necessary to find the primary motive of the rapper to make a meaningful equitable arrangement.
3.1 Political Rap
An important concept of the original rap was based on political demands and ” socially critical statements ” 58 that in – sometimes very aggressive (eg Public Enemy – “Fight the Power” (1988) -. Were verses presented to an instrumental first, it was the desire to achieve media coverage regarding the status of the US ghettos. 59 the first German rapper to Torch copied the type of Aufsehenerregens and published mainly Political Rap – such as Advanced Chemistrywith “foreign in their own country” (1992), which was to draw attention to the problems of migrant families. Over time, more and more rappers used their music to be made known their world and impressions in the form of political and social criticism rap. In the 1990s, it was next to Advanced Chemistry for example, Too Strong with “Raven Black Night” (1993), or friends with, “Put your ear to the rail of History” (1997) that the fundamental role of the Political Rap established. The works “Wake me up” exemplary of the early 2000s are (2001) by Samy Deluxe , which explicitly deals with the German policy and “No End in Sight” (2003) byThe company , which primarily of global terrorism and the wars of religion are discussed. A recent example is “Schloss Bellevue” (2012), a part of the scandals published by Christian Wulff song Eko Fresh . In summary it can be said, then, that political rap – as the name suggests – is based on political content that addresses socially critical issues and has always been an integral part of rap – or of the Deutschrap – is.
3.2 Amusing Rap
Besides amusing fun rap subgenre that includes 60 well disco rap and – a virgin variant – the comedy rap. With fun rap one always combines the Fantsastischen Four, Fettes Brot or eg Dendemann. Fun Rap represents the wordplay and the amusing theme of the rapper in the forefront among others. Example of this is the song “Finally non-swimmers” 61 (2007) of Dendemann that conceptually the storytelling 62 could be assigned, but essentially prefixing the fun. Disco rap offers a wide range and thinks primarily of songs that are classified as disco-ready. 63 Here are oftenCrossover 64 , created productions to rely for example on a fast genre untypical, electronic instrumental. As an example, “Disco Pogo” (2010) by serving the etching . Comedy rap is relatively rare, may within that subcategory missing but by no means. Are prevalent here particularly ironic content, imitations or parodies that are deliberately generate laughter. Within the last decade in this regard Blumio emerged, which became popular especially through his song “My Favorite Rapper” (2005).
“Freestyle” says the improvised lyrics and rhymes without text template with or without an accompanying instrumental. Often these artistic form is associated with Battles 65 used in which the counterparty duel. The origin of rap is in the freestyle, because to the music of the DJ and the dance movements of the Breaker began to improvise verses the US rap pioneers. 66 This however caused long strings of words, after which the rapper received immense popularity. Freestyleis insofar as the archetype of the Rap and since a fundamental part of the whole. Essential for this concept are the direct improvisation of texts and their simultaneous verbalization. Representative of this sub-category are the early Torch, MC Rene and Samy Deluxe .
As mentioned in section 3.3, occurred battle rap originally in the form of freestyle in competitions in which the rapper himself verbally dueled just for fun. Sascha Verlan brings the basic idea of rap battles to the point:
“In a […] Battle could not be made with ready-made phrases. Here are spontaneity and improvisation asked only those who can respond to others, has a chance. Of course, it comes to outdo his opponent to rap him into the ground, more rhymes, rhymes more complicated, more metaphors outlandish metaphors, funkier styles, funnier story. The best way to bring your opponent equal to the very silence, then there is no doubt who is the better man. ” 67
Over time, this model, however, has changed, so that numerous songs in the style of battle rap were published – such as of “Judgment” (2005) Kool Savas . The first public battle track took Specifically Finn in 1994 and called it “I diss 68 you.” 69 Such songs are called to the scene as “Disstrack”. It is often – unlike the traditional Battles – an actual conflict between rappers. 70 Freestyle -Battles there are in conventional form only rarely, it outweigh prefabricated Battles – mostly as a tournament – such as in fire over Germany71 or the current video battles the VBT 72 . Battle rap may also be directed against a fictitious person and aims at the best possible mainly punchlines 73 from. Toop seen in this context, among others, Scat as an essential precursor in terms of comedy, syllable games and voice distortions that still represent elements of rap lyrics. 74
The conceptual image of gangster rap is at the high level of opposition to the original constellations hip-hop culture 75 (see Old School ). In the early days of rap pioneers used the new style of music to draw attention to racism and grievances. Some rappers – Ice-T is true, for example, as the forefather of the gangster R ap 76 – changed the perspective and designed the songs from the perspective of a gangster who benefited from criminal power of life in the ghetto. The first gangster rappers were real criminals, made the music because it earned them even more money than their illegal activities. 77This inevitably led to a ” transfiguration and romanticizing of the gangster life” 78 . Today in this subgenre extreme violence, crime, drugs, life of luxury, expensive cars, parties and women dominate as sex objects or trophies that glorify the life of gangster rapper. A core area is thus the production of financial success. 79 It is worth mentioning that many of the recipients – or rapper – have still never set foot in a ghetto, the music to them but that appeal to you, because it offers them space for reducing aggression. 80 through the built-up plate, the subgenre became gangster rap (Gangsta Rap partly also) to a blockbuster. 81The pioneers were especially NWA, who published in the United States in 1988 album “Straight Outta Compton” in which they called among other things for the police murder. 82 The language of this subgenre is often “sexist, vulgar, violent and uses slang.” 83
Only since the new millennium this US trend inspired the German rap representatives who initially to write jugendgefährdende texts began in Berlin. A little later some songs finally reached the music charts, so that public discussion arose and various songs and albums consequently landed on the index. 84 German artists of this sub-genre are – or were – Bushido and Aggro Berlin, Kool Savas, Fler, Bass Sultan Hengzt, Kollegah, Pillath, Snaga, Solid and Sido , with some now distance himself from the works of their past.
3.6 Obscene Rap
Here as obscene rap (even porn rap or rap Pimp 85 ) dubbed subgenre is closely relationship with the gangster rap and mostly has the same Deutschrap- Representatives on. Particularly influential for – vulgar – German music scene, the early songs of goods (King) Kool Savas, gynecologist, B-Tight, Sido and West Maskulin. The dissemination and popularization occurred primarily via the incipient Internet community, which had unrestricted through sharing access to youth-endangering media. obscene rapusually presents women represent as inferior objects of lust and sex slaves. The objective of this sub-genre is to produce as possible misogynistic lyrics and the way homosexuals 86 discriminate. The rappers aspire to an image that it as ” sexually potent Dauerbeischläfer ” 87 can perceive.
The term Storytelling is an anglicized and says here’s musical storytelling. This sub-genre borders are the least from the others, as many elements of storytelling are also included there. For example, can battle rap , gangsta rap, or political rap in the form of storytelling take place. In this respect, one can say that the storytelling is both its own sub-genre and a particular style of writing. As a subgenre may serve especially to the classification of love songs or sad subjects that only marginally satisfying the requirements of the other subcategories, usually. TheStorytelling – if it treats no trivial issue – often implies a message that is why also read of message rap. 88
Exemplary of this subgenre is “What now?” (2003) by Curse, “Forever Young” (2008) by Bushido, “No true story” (2011) by Samy Deluxe or “You can not always 17 be” (2011) by MoTrip .
3.8 Even Performer Rap
In this sub-genre it comes to the self-portraits of rappers (also known as representations) 89 , which also elements of gangster rap or amusing rap may contain. The content of the texts does not necessarily have to be authentic, it may instead be glorified or even made entirely fictitious. Early on, rappers felt chosen to verbally present their own person and lyrical skills and to present themselves as possible in perfect competition. 90 An early example of self Performing Rap provided Denyo from the band Absolute Beginner , the 1996 track “Boogie Down Brown” 91published, in which he describes himself and his abilities. Even Performer Rap provides the framework for Proll rap, but may also have an autobiographical character and thematically both positive and negative also be designed. An important representative of the present is mainly Samy Deluxe (eg “Who am I” – 2009).
4. Development analysis of Deutschrap
In the subsequent analysis, an attempt will be made to show using meaningful aspects of the development of the Deutschrap and derive potential trends. To ensure a verifiable investigation, mainly songs are considered here, which are available to the public without the works of significant surface 92 to want to devalue -Rap. Socio-cultural aspects can be treated for reasons of size only limited, although popularization and development are in a reciprocal relationship.
As part of this discussion, the thematic development of Deutschrap examines a particular degree specifically in the phase of 1990 – 2000 (4.1.1) and from 2000 until today (4.1.3). Here is to be a more intensive examination of the first phase, on the one hand, the musical offering was manageable and have formed the other hand there most of today’s subgenres. In the second phase, the main contents and developments eventually be presented.
In addition, a consideration of the rhymes (4.2.1) and comparisons are (4.2.2) and in view of its evolutionary nature in the context of Deutschrap history. In this way, the aim is to summon an explanatory view of the issues and trends of Deutschrap.
4.1 Thematic developments
“On the face of hip hop today stands for violence, sex and drugs
(formerly a little politics, humor and creativity in the game). ” 93
Samy Deluxe, 2009
4.1.1 emancipation of Deutschrap between 1990 and 2000
By the end of the 1980s was rapped in Germany only in English. 94 Thematically, the existing text based mostly on statements against right and glorification on the general celebrations. 95 dominated in the formation of our ATTACHING Deutschrap – based on the US model – the subgenres Freestyle , Amusing Rap and Political Rap . Regarding the musical realization there was a long time – based on the lack of examples – No special requirements 96 , it had not yet formed a categorical pattern and also the thematic fields of the present were still far from being understood.
Before Deutschrap the first time received media attention, were its contents “very political and musically rough (Cora E., Advanced Chemistry, Cartel, Too Strong). 97 Only the Fantastic Four took over on their Deutschrap debut album “Now it’s [sic] from” 1991 stories of the US-Jam rapper of the New School , ushering in the start of the general storytelling one of Deutschrap. As in the field of political rap, there were frequent messages to the recipient. Example of this is the song “philistine” 98 of the band member Smudo which in the style of storytellingreproaches the philistines, they would “for whistle home and bond to the rest of life .” In the text, he distances himself aware of them and are to recognize in the end that he has nothing to do with such behavior. The whole album is conceptually the storytelling to you, but also provides well many elements of self Performing Rap .
Representative of this are the passages “So people, now listen up to. House brand is on Phone and leaves you no peace, because I want to dance, laugh, Brand wants to sing, turn somersaults and jump on one leg ” 99 from the song” Now it’s [sic] down “and ” We are the Fantastic Four and here, not cut with lots of beer and a lot of women who are. Who are here to watch our show ” 100 from the song” caretaker Thomas D “. For many young people these texts were a blessing 101 , the inspired and spurred, to become active and to practice rhyming. 102A year later, followed by the same band another album called “4 wins” on which the rapper – in contrast to their first album – announced their commercial intentions and offensive. One learns in this regard in the first verse of “Thick jumper” 103 that one of the artists ” for many, many years, ” raps and he now “by selling finally to Barem” comes. In this context, explicitly expressed positioning of these rap group is worth mentioning that they, among others, in the song “Hip Hop Music” 104 announce. In this they show that they are of established structures of the old schoolconsciously demarcate and Deutschrap considered independently from the original context. In particular, the introduction of this song is representative of their basic setting; “It has nothing to do once and for all with Hip Hop to rest on his old ghetto-Image …”. The entire song was the trend for the emancipatory processes of Deutschrap, since there the band described the genre-specific overall situation and, for example, with statements like ” I say, Raise your hands up ‘, instead, put your hands up in the air’ ‘for started an autonomous development of German rap. In addition, the album ( “4 wins”) with about 800,000 105sound recordings sold reached a majority of rap fans in Germany and in this way the carefree style of the new school established.
Rap at the beginning of the 1990s – that is, in the years of early commercialization – was on a media level obviously influenced by The Fantastic Four with her unbound, historical entkontextualisierten rap style, the era of the New School ushered in Germany. The differences from the US model based on national identity developments 106 that were fundamental to the emancipation. Were henceforth next to the – part of the old school established – Political Rap particularly true storytelling, Amusing Rap and self Performer Rapthe central sub-genres of the Deutschrap. Were discussed here in some rich, respectively metatextual issues (eg in the song “Hip Hop Music”) and mostly fun, happiness and irrelevant stories, which the representatives of the old school was reluctant majority. 107
Finally in 1992 also managed the most famous protagonists of the old school – in the form of Advanced Chemistry – the legendary song “Stranger in their own country” 108 to publish, who emphasized the traditional roots of rap and (1992) were, the political rap in the Federal Republic popularized commercially. In addition to recordings, there was also a music video, which to date by the representatives of the old school firmly rejected, but ultimately because of the competition of the new school was used to focus the enthusiastic youth back on the contents of the traditional rap – or Deutschrap – to lay. The then editor of the hip-hop magazineMZEE called Akim Walta confessed that he by the band The Fantastic Four was surprised and at the beginning of the 1990s, since their success – with the old school against such “- Toyrap ” 109 fought. Since the media and marketing landscape henceforth interested in Deutschrap, it was feared cleavage of the rap of the other elements of hip hop. 110 In the 1993 by the label MZEE Records published Sampler 111 “Old School” describes and criticizes Scope man – in his track ” Toy 112 Terminator” 113- with aggressive verses the derailment of the original rap towards the ideas of the New School . He combines the company in the form of storytelling with elements of battle rap by one hand, the ” position of the German hip-hop nation portrays” and on the other hand, the representatives of the new school as ” Toys called” whose ” pop-rap no right to existence” possessed , In the refrain he repeated calls for the followers of the old school bluntly to end the rapper of the new school down move; ” Terminated Toys “.
The already established in the commercial US rap subgenre ” battle rap “, which was previously found only in this country in freestyle competitions, eventually received a permanent place on various recordings German rapper from 1993 onwards. Notable performers of early German battle rap in this regard the band Rödelheim rhyme project with Moses P and the rap group Specifically Finn . The representatives of the old school used elements of the battle rap mainly to the rappers of the new school to offend. Representative is the text passage of Moses P , in the song “Rhymes” (1993) explicitlyThe Fantastic Four mocked, while a direct reference – based on a parody – “The there ?!” (1992) preparing for their song.
“… I chase stupid rhyme speakers like criminals, they are ridiculous, certainly the beer mug empty. Heavy, who? The one there to there to there very similar to a title of a Beatles’ dideldums “. No, the song of four Stuttgarter guys. They call themselves fantastic, I wonder what the guys are thinking. You are spastic … ” 114
In 1994, the members of went Specifically Finn with her song “I diss you” 115 one step further and brought out a song that continuously on the concept of battle rap based and postulated no real enemy, which to date at Deutschrap-recordings as unique was. Allegedly already copied Moses P to the aggressive style of the group Specifically Finn in his first publications. 116 All the more, this means that this song as a stimulus for a whole series of battle rap can be considered -Songs in Germany. So the early Deutschrap offered already storytelling – from the old school- in the style of political rap and self Performing Rap . In addition, there were the first forms of battle rap part of the old school. In addition, the artists of the traditional New Schu le amusing rap , self Performing Rap and also forms of storytelling.