#Lobenstein

[shipwreckguy]

Lobenstein

Barge Lobenstein adrift on Elbe, recovered #Geesthacht #inland #vandalism

Photo: abendblatt.de On the early morning of November 9, the 70 meter long self-propelled barge Lobenstein (MMSI: 211497070) went adrift on the Elbe River off Geesthacht, Germany. Authorities at the Geesthacht lock spotted the Lobenstein adrift and unmanned. An investigation found the Lobenstein had been intentionally been untied from its berth by unknown persons. The same persons concealed their…

[house-o-muses]

[benkaden]

Ansichtskarte

HO "Central-Hotel" 99 Plauen Bahnhofstraße 54, Ruf 2 21 18 Erstes Haus am Platze Gepflegte Speisegaststätte

Lobenstein: Verlag B. König 685 Lobenstein. (M 2 79 V 5 33 5183).

1979

[schunckinfo]

[thegodofhellfire]

fishnet friday

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😃😃😃😃😃😃😃😃😃😃😃😃😃😃😃😃😃😃

[erfurt-nord]

Lobensteiner Strasse Erfurt Nord- früher Morgen

[mellowyknox]

Audi "Wind”

Agency: Aimaq von Lobenstein / Saint Elmo’s Berlin Managing Partner: Hubertus von Lobenstein Chief Creative Officer: André Aimaq

Production: Czar Berlin Director: Joe Vanhoutteghem Cinematographer: Sebastian Blenkov Executive Producer: Jan Fincke, Brox Brochot Production Design: Bader el Hindi Editor: Piet Schmelz, Manu van Hove Colorist: Julien Alary

Post: Nozon Brussels

Year: 2017

[notafraidofredyellowandblue]

Flake von Rammstein, früher Feeling B im interview - 2019

Author Lars Schmidt, from

English translation

The other bands of the GDR: Feeling B

"We showed that you could have a lot of fun in the GDR"

From the mid-80s onwards, a whole bunch of young, non-conformist bands embodied the lifestyle of the GDR youth with their music and thus shaped the sound of the change. Also there: Feeling B. Keyboard player Flake, now with Rammstein, tells how diligent his music used to be, what went on at village concerts and how he experienced the fall of the Berlin Wall.

Today, Feeling B is often portrayed as the GDR punk band - also due to the connection to Rammstein. Is that justified?

Feeling B wasn't actually a punk band. We didn't really fit in anywhere. The punks didn't accept us because we basically didn't make punk music. Because we weren't edgy enough from our whole life and appearance. And the right rock bands didn't take us seriously either because we were so amateurish, couldn't play properly and deliberately cultivated and maintained our amateurism. At that time we weren't a serious band for anyone. It was very difficult to place us anywhere. Because we were all just too bad. We were an amateur band. But if you say punk is, if you don't give a shit, if you don't care about the rules and only do what you want, then we were a punk band. But less about the music. The fact that we are perceived as a GDR punk band today is only due to the fact that we were the only one of these bands who managed to bring out an LP with Amiga in GDR times.

How did you experience the GDR underground scene?

As a teenager at 16 or 17, I mainly noticed blues bands in the GDR. There was Freygang. And their singer André Greiner-Pol was punk at heart. Basically he played punk in a blues band, had a punky demeanor and some of the lyrics were already punk. Later we played our first concert as Feeling B with Freygang. They just took us with them and let us play in the break between their blocks. Even though we didn't have a permit back then. And nobody noticed. I noticed the first punk band in the east in 1983. It was called Rosa Extra. This was also the name of sanitary towels in the GDR. Shortly afterwards, there was an anti-riot and revolt to love. None of them had a state classification, so they weren't allowed to play. They were real punk bands and therefore they had nothing to do with the so-called "other bands". The so-called other bands were groups that had received a classification and thereby a state recognition. And besides punk, they were also influenced by other genres, for example ska or new wave.

(photo from Flake's private collection)

Did the scene only take place in the big cities or was punk going on in the provinces too?

Our main area of ​​activity was in the village. In Ebersbrunn, Lugau, Saalfeld, Lobenstein. In places that you only really know because there is a village hall. Where the promoter just bought the bands that people wanted to hear. And not the bands that were prescribed for him by the state. Things happened there that nobody knew anything about and nobody suspected anything. Forbidden bands played there by only changing their names. Bands played programs that were absolutely forbidden and people came and nobody noticed. The small villages could not be monitored so well and the Stasi could not see them. Berlin, on the other hand, was the capital of the GDR. If there are 20 punks banding together or 40 goths or 60 heavy metal fans, of course, the police will come and see what is going on and be suspicious. The youth clubs in Berlin were of course much more closely monitored. It was different in the village. Who goes to Lugau and looks at which band is playing? That was too strenuous for the state authorities.

Can one say that Feeling B were privileged because your singer Aljoscha Rompa was allowed to travel to the West?

Yes, because it enabled Aljoscha to get me a Casio keyboard. Such a small Casio toy instrument. That was my main musical instrument. Nowadays every musician would laugh to himself about it. That was really a 200 Mark West item from the toy store. But otherwise nobody in the East was interested in the fact that Aljoscha was allowed over. On the contrary. Rather, a hostile defensive stance built up.

What significance did the program "Parocktikum" have for the scene?

Lutz Schramm, the moderator, was the John Peel of the East. He was the first to play cassettes from Eastern bands on the radio. You can't credit him enough for that!

(photo from Flake's private collection)

How did you experience the fall of the wall?

We were in the crazy position that we were allowed to drive with Feeling B to West Berlin and West Germany shortly before the fall of the Berlin Wall. We suspected that the state wanted to show the West how cool we still are in the East and that we are opening up. It had already brought Western stars like Bruce Springsteen to the East. And we had been sent to the west. But we had a Stasi employee who pretended to be our manager. And he told us you can stay here too. That was a very clear offer that we should stay in the West. And we assume that was why we were allowed over there, to get us to disappear from the East. But that's how it came to be that we played in West Berlin on the evening the Berlin Wall came down. And suddenly a lot of friends come in while we're playing. A few had already fled via Hungary and the green border. And many of our acquaintances have already gone to the West. But that evening there was more. So I asked: "What's going on here. What are you doing here? Have you all left now?" They said: "No, the wall is open." I say: "Can't be true." Then we took our whole fee and got beer for everyone we knew. For us it was an incredible honor. When the wall goes up and everyone can leave the GDR for the first time - what do they do first? They go to the Feeling B concert. There is no better way to express sympathy. That touched me very much. That made it a great evening for us, of course.

How was the time after the fall of the Berlin Wall for Feeling B? Did your counterpart disappear with the end of the GDR?

We didn't sing directly against the GDR. We sang against certain things that were mostly due to the narrow-mindedness and madness of the people. And we had already seen on our first visits that in the West of course nothing is even a bit better. Rather everything is much worse. Aljoscha had already warned us in Eastern times: "If you think all the philistines are here, go west." In the GDR, we felt very comfortable as punks. After that it got worse bit by bit. But when I say that things got wrong during the reunification, that's no complaint. This law-free space after the fall of the Wall was very funny for a while. You could do anything and nobody knew it was allowed. Is it allowed or not? That was a very eventful time and I always got to bed late, to put it that way.

How much GDR is there in Rammstein?

Very very much. Since we were all socialized in the GDR, we think much less selfishly. Nobody tries to stand out. We don't quarrel. What counts for us is what the collective creates.

How do you rate the importance of Feeling B today?

We showed that you could very well have an unlikely lot of fun in the GDR. We made very light and relaxed music. And with that we brought in a little freshness. We also saw the funny side of every situation, were happy about it and made fun of it. We wanted to shape our whole life in such a way that we never scold but always laugh. So far we have largely succeeded. And we showed people that you don't have to play an instrument to make music. But that was more in the spirit of punk than time.

What do you particularly like to remember?

At some concerts I just had a feeling of joy. And the people were also happy, it was like a fair. An event outside of space and time. At a Feeling B concert, everything was allowed and everything was fun. The party went on into the night and there was no difference between the band and the fans. It was all a mass of young people who had a lot of fun in life and could also enjoy it.

[uwmadarchives]

Finding and Preserving Native History in the Archives

In her myriad work on Native Americans in the state of Wisconsin, Dr. Patty Loew warns against extractive research practices. These extractive practices made up, and to some extent still make up, the bulk of anthropological and sociological studies of Native Americans. In this traditional methodology, scholars would enter Native communities as observers, asking questions devised without the input of their subjects. After gathering their data, they would synthesize it into a book or dissertation. Either through book royalties or the receipt of tenure, the information gleaned from Native communities would provide a financial reward for the researcher without the Native community receiving anything in return. According to Loew, this methodology is both unsustainable and irresponsible. 

Loew has proposed a solution. She suggests that Native populations should be as involved in the research process as possible. Their voices should be amplified on their own terms and scholars and researchers should reinvest time and resources back into the communities they study. 

The work is personal for Loew. She is a member of the Bad River Band of Lake Superior Ojibwe and she is heavily involved in the academic community, working as a professor in the Medill School of Journalism at Northwestern University. She formerly served as a professor in Department of Life Sciences Communication at UW- Madison. While teaching, she turned her theory into praxis by engaging non-Native UW students with tribal youth on the Bad River Ojibwe Reservation. Her workshops and classes simultaneously allowed tribal youth outside the University to tell their own stories and non-Native UW students to engage responsibly with Native history in Wisconsin. Loew’s work has produced great results and many scholars are now embracing this methodology leading to more accurate, sensitive work on the Native communities in this country.

Archives often serve as the basis for scholarly research. How the collections within are cataloged and and organized has the potential to steer the course of scholarship. What, then, does this call for a new approach mean for archives? How can university archives be responsible conservationists of the histories of the various communities on campus? Can archives give back to undeserved populations on campus and in the community? 

This post is the first in a continuing series where we will explore the archive’s collection on Native Americans and consider how we, as an archive, can do better in preserving this history.

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This post was originally drafted by former Archives Student Assistant Emily Lobenstein and updated by former Archives Student Assistant Dani Fulwiler.

[nordicbebe]

augusta reuss as artemisia, duchess of saxe-coburg-saalfeld and countess of ebersdorf and lobenstein

johann heinrich tischbein, 1775

[reichsbahnfan]

Dieselzüge auf der Oberlandbahn Triptis - Lobenstein 1998

[benkaden]

Motivvorlage für Ansichtskarte

Lobenstein Neubaugebiet Tiergarten

AUSLESE-BILD- VERLAG 62 BAD SALZUNGEN

[dannikingg]

A Eurofighter travels on the Autobahn 9 near Bad Lobenstein, Germany to get repaired after it got damaged in a collision with a Learjet during a maneuver in June 2014.