#Batman’s also conscience around not letting things get to bloody in front of street kids or any other minor nearby during a fight

[arkangelo-7]

I bet the criminals in Gotham city freak the fuck out when the Batman shows up without Robin.

Because, yeah, you’re going to get the shit kicked out of you either way—but when the kids’ around, Batman’s more… merciful. He’ll knock you out instead of breaking both your arms. He’ll round-house you but not stab you in the gut with a bat-a-rang. There’s less blood and gore, like Batman’s trying to spare the kiddo from the more unsavory aspects of vigilantism.

I bet when the goons see Robin, they breathe a sigh of relief. Cause Batman’s gonna fuck ‘em, but he isn’t going to fucking annihilate them—not in front of his kid.

[jackshithere]

Till and Schneider in an interview with the "Stern"

source

They sing about child abuse, incest, necrophilia. In a video they show excerpts from Leni Riefenstahl's body-cult Olympia movie. And when singer Till Lindemann rolls the R, it roars out of the speakers as it once did from the Volksempfänger. The Wall Street Journal stated, "Woah, that's German!" Rammstein, a german band. A [politically] right band? Since its founding in early 1994, the six musicians from Schwerin and East Berlin are suspected of doing right-wing rock.

In fact, the lyrics with their portrayals of sex and violence are often close to censorship - but fascism is not even between the lines. Now Rammstein, with around three million albums sold, the internationally most successful German-language band since Kraftwerk end of the 70s, a new CD on the market: "Mutter" is by pre-orders even before the release on 2 April for the top 3 of the German charts written down.

The 'Stern' spoke with singer Till Lindemann and drummer Christoph Schneider about their youth in the GDR, Rammstein as a therapy - and provocation as a stylistic device.

On your new album you have underlined the title "Left 234" with the sound of marching boots. That sounds like the newsreel 60 years ago.

Schneider: The piece was the first attempt by Rammstein to deal artistically with the eternal reproach that we are a right-wing band. It's almost funny that this will cause some discussion again.

But you could have omitted the marching sound. Would not the message that your heart seems to be "leftist" be less clear then?

Till: That's the intention. One lets something march and then answers.

Schneider: We hate to express ourselves clearly. Rammstein always has room for interpretation.

That makes for misunderstandings.

Till: That was right from the start. We all grew up in the GDR, come from the punk scene. If we wanted to perform there, we had to present our repertoire before the so-called rating commission. Of course, you had to think very carefully about what you say, what you sing and sometimes how you play. Any criticism of the system was prohibited. So you had to try and make a loop. That's probably why it's still within us that we like to respond ambiguously.

Schneider: When you look at lyrics from GDR bands, you can see how good they are in part when they rewrite a subject with lyrical means. This past is closely connected with us. We can not get away from it. That was our youth. If we came from the west, Rammstein would not exist. At any rate, we would not be so violent.

Why not?

Till: What do you want to do to get you to play in front of more than ten people? You start using provocative means and being extreme. There we were certainly more courageous than East Germans. It started when we sang that kind of hard music in German. And then something has also unloaded what had accumulated in our GDR youth, because we have reacted abreacted. Finally we were allowed to say everything, do everything. Basically it was quite simple: look into your stomach, look into your soul, and start making music.

Out of your seemingly very dark soul came out lines like:

 "My black blood and your white flesh / I'm getting hornier from your shrieks". [Mein schwarzes Blut und dein weißes Fleisch ich werd immer geiler von deinem Gekreisch] 

Was that more than a provocation? 

Schneider: The provocation is exhausted at some point. There are only a few topics that are good for it. We used them up.

Till: What's the use of writing the same kids fuck song for the third time?

Schneider: We started with the tank at that time, regardless of left or right or losses, and we broke through. We have been heard. Now we're going to deal with the pieces left over. And start to realize what we really are - a German metal band. With the new album we often asked ourselves: Is that still Rammstein? Are we starting to make only beautiful music? So far, the new record is no longer provocative. That's certainly mainstream. But good mainstream.

The provocation of Rammstein is not only based on the ambiguous texts, but also on the aesthetics of the band and their show. Military headlights [basically Batman signal thingy] shining in the sky are evoking images of Nazi Nazi party rallies; Lindemann's throaty chant reminds us of the rolled-up R Nazi sizes. Does it have to be that way?

Till: The R comes on its own. When I sing so deeply and expressively, my vocal cord flutters, and then it just rolls. By the way: Peter Maffay's vocal cord reacts similarly, but also rolls the R. And the light dome, which looks good, right? It's not about more. Just because it's associated with those twelve crappy years, should not that be allowed anymore? Then tear down the Olympic Stadium and all the other Nazi buildings in Berlin! This is twelve years that this idiot named Hitler has on his conscience, and again and again one comes back to it. It's about art. There is no relationship between one and the other.

Schneider: This discussion shows that there seems to be no coping with the past in society. You can say: Okay, there is the light dome, I think that's good, and there's the Reich Party Rally, I think that's shit. You can separate that, everyone for yourself. Only in this way can one find the way to one's own history. I can not always think, oh, it's all so loaded, I can not talk about it, and the others could think ... No, open dispute! The task of Rammstein is also the search for an independent music, a German music. Of course, we come across our story and get all these allegations. But I see that rather positively: We try to find our own identity, which many musicians or artists in Germany have given up long ago.

This also means that you show no emotion on stage and Lindemann beats his head bloody with the microphone?

Till: We're actors on stage, that's show. You do not notice the pain when you hit the same spot every night on the head. Schneider has even received a broken neon tube in the shoulder. Paul, our guitarist, burned my ear in Australia now.

Schneider: It's probably like this: Rammstein is like a self-help group for us. Like a therapy.

When did you first learn about the era of National Socialism?

Till: We grew up with Auschwitz. With us was the everyday life: group travel with the school to the camps, see Buchenwald, flowers lie down at monuments, join the concentration camp march through Mecklenburg, to Güstrow along the highway. There are such monuments on every corner.

Schneider: In the GDR civics and history lessons were strongly antifascist-colored. Everything except communism was evil: fascism, West Germany, capitalism. These were all taboos. I think that's why we now have this pronounced right-wing extremism in the East: I'm shit, and I want to draw attention to myself. So I use the worst of what I know - and become a neo-Nazi.

Why do not you participate in concerts like "Rock against right-wing violence"?

Schneider: We do not want to be tense with these carts. That would be ridiculous. Then it is said that we used it only to become even more popular. Besides, what's the use? The right ones are there. They are part of our population. We have to accept this problem and finally accept that there are these tendencies in Germany. It does not help to always exclude the right. We have to talk to those who solve their problems.

Rammstein reaches the Far right scene.

Till: We reach many, including the advertisers in Hamburg. And as far as the right is concerned, for me the state is too soft-spoken about the problem. You have a black half-dead, and there are construction hours as punishment. We used to beat ourselves with skins even before the turnaround in Schwerin - why do not you go through harder today? I grew up with a girl who is a mulatto. She still visits Mecklenburg every summer. She is afraid of people and does not dare to go to certain places. I'm just ashamed of that.

Nevertheless, you play with a Germany image that evokes certain memories.

Schneider:DRammstein is not a concept. We've come together to do this music and show, and we work like a support group. We do what we like well, nothing more. Maybe that's why our fans think we are authentic. Following the motto: Rammstein do their thing and are not like the others. This may also explain our success in the US. But with that our critics get a problem again: They fear that the American kids will not associate with Germany any more than Rammstein. The Americans are really only on our artistic skills. This is politically overrated.

Till: One does not ask Ricky Martin which political attitude he has. You listen to a song, find it good or bad. That's all.