Social Media, from a persons perspective

I do love participating in social media. It was around 1994 when MiGri introduced me to the world of BBSes, the Fido net and everything online. To be honest, I haven’t regretted a single thing from that.

At some point, I ran my own BBS, I joined Usenet, installed AOL and CompuServe until was I actually able to get a „real“ dialup account at Hamburg University, and spent countless nights on IRC and online RPGs.

The upside of all this was always the same: Technology connected me to new topics and interesting people. That is what the Internet and especially Social Media is for me: A tool to get me introduced to new things and people.

Of course, I also want to use technology to stay in contact with them, but once I am connected to someone, life will..  find a way. Really, staying connected to someone is not what I need a particular tool for. If all fails, I’ll have their email address or a phone number.

But having conversations in a place that ensures that new voices will join that conversation regularly, especially new voices that are somehow still vetted to not be too obnoxious or disrupting, that is the true magic of the internet.

And for a good while, Google+ was the place that did that for me. I don’t know quite how this worked, but it did — whenever an interesting conversation happened, new faces popped up, and a click link on their profile let me know if they were also interesting.

(I realize I’m writing this in the past tense, even though the system will stay online for another 10 months from now. Well, write for the future, they say.)

The fact that the system never pretended to join „friends“ with each other, and adding someone to their circle was a decidedly one-way action, ensured that your circle of acquaintances grew steadily. One could always decide to publish certain posts to only certain circles, but if you posted public, it was just that — a way to engage with a wide net of possibly unknown people.

At the same time, it was possible to keep a semblance of control over who appeared within your own comments. You could moderate the comments or even ban too obnoxious persons from your interactions.

And now the hunt is on, to find a similar platform that does the same for me and my peeps. And as we learned, we are looking for a very specific feature set:

  • The basics:
    • Safety (don’t open me to lawsuits, don’t put me in danger of malware or bad people)
    • privacy (don’t expose my data without my consent)
    • it should just work“
  • The socials
    • built for serendipity, so focus on public or at least semi-public interactions
    • be abuse-aware: Allow moderation, banning and the like.
  • The nitty-gritty
    • don’t have a complicated backend that I need to learn to post or moderate
    • discussions attached to a post are good, nay, mandatory
    • threaded discussions are even better
    • emphasise on text. It can be rich-text, it can involve pictures and videos, but text is still where discussions happen.
  • The open
    • don’t be a closed silo
    • don’t belong to a single company
    • ideally, be federated and allow for moving between instances

So far, none of the systems I know ticks all the boxes though…

Playing at an open table

Harald runs his bi-weekly game in a slightly unusual fashion. It is an open table where he runs for whoever shows up. That in itself isn’t that unusual and the West Marshes style of running a campaign is based on a similar foundation.

The difference is that he treats the constant exchange of players and characters as a single continuous group. That means that if last week Clara, River and Amy break into the Holy Temple of Om, and this week Clara, Rose and Jack turn up at the game, the game starts with all three having just broken into the temple and are now facing the Dire Weresheep Guards.

But what about River and Amy?“ you ask. „And where did Rose and Jack suddenly turn up from?“

And to this, Haralds game group will answer: „What? uh.. we don’t care!“

The solution is that we treat this as just a cutting mistake in a B‑Movie. As long as the plot continues and is overall kept intact, we’re fine. So, we ended last week entering the temple and this week starts with the first confrontation inside the temple. Everything is fine. As long as no one draws attention to the fact that there are suddenly swapped-out characters, no one really notices.

The other main reason this works is what kind of game we play at this table: There is no prepared epic campaign where we follow a carefully crafted set of settings and obstacles. Instead, Harald throws us into any one of the dozens of adventure modules he has collected over time and watches our characters try to cope with them, even if they are widely out of our level.

Then he takes whatever exit we take and uses it to throw us right into the next adventure. Example: When we decided to open a portal to escape the Servants of the Cinder Queen, that portal opened to the Broodmother Skyfortress. After having explored the fortress and finally managed to make it sort-of-land, we had to blindly jump from the anchor chain found ourselves on top of a structure on the Misty Isles of the Elk.

At the game table, none of this felt out of place. Harald cleverly chose the Cthonic Codex and a very rules-light interpretation of the Adventure Fantasy Game as the base setting, and it works surprisingly well as scaffolding to hold up and connect all the different and slightly weird set-pieces we visit. Things do not get boring, but stay mostly consistent, as Harald does keep track of when we change things in places or set something in motion that might have a world-changing effect later on.

No, this isn’t something to play if you want to watch your character with their three friends evolve over 20 levels and find out how they save the kingdom. But if you want to have regular fun that still connects to a story worth re-telling, this approach is worth a try.

Terrifying German Culture Hour — Advertising

A while ago, I explained how we have fewer adbreaks here in german TV. Of course, we cought up a bit over the years, but it’s still a socialist paradise in comparison. But there is also of course a distinct… german-ness to the ads I was seeing as a kid and young adult. Even when these ads were supposed to take place in a big city in the USA:

Aktivieren Sie JavaScript um das Video zu sehen.

I, and probably a lot of my german friends were utterly convinced that this is America. Cars, cool people, sunshine, car telephones, the works. Nothing in this ad struck me as anything but American.

Boy was I wrong. My girlfriend insisted that all the US kids were constantly weirded out by this odd german ad. How can this be? Nothing german ever makes it across the pond, right? Well, I went to the Internet and found out that this is indeed a work by  Pahnke & Partners. („Pahnke“ being such a cliché german name, I still think it must be a subsidy of Pahlgruber & Söhne)

Still, we also had ads that were much more distinctively german. They then mangled Mozart for fun and profit (with very subjective measures of fun):

Aktivieren Sie JavaScript um das Video zu sehen.

And yes, every brand needs it’s distinctive jingle, here’s the one for Lagnese ice cream:

Aktivieren Sie JavaScript um das Video zu sehen.

(„Nogger“ is, by the way, named after it’s nougat core. Pop culture germany was and often still is ignorant when it comes to how to handle race issues. That slogan roughly translates to „get a Nogger on“, and it still boggles my mind.)

At least, that song got a country makeover to make it better:

Aktivieren Sie JavaScript um das Video zu sehen.

Eventually though, german advertisers cought on and some brands went for.. something different.

Ever heard of „Einstürzende Neubauten“? (translates to „collapsing new buildings“) If not, here’s a sample of their work:

Aktivieren Sie JavaScript um das Video zu sehen.

The lead is Blixa Bargeld, and he did amazing spots for the DIY chain Hornbach:

Aktivieren Sie JavaScript um das Video zu sehen.

In case you wondered: He’s reading copytext from the stores catalog.

Later on, Hornbach goes full on feelings:

Aktivieren Sie JavaScript um das Video zu sehen.

And before you doubt me, yes, germans are pretty serious about nails:

Aktivieren Sie JavaScript um das Video zu sehen.

So, modern german advertising has understood how to do viral buzz. And some agencies are really good at turning a brand around.

I live in Berlin, and Berliners love to complain about the BVG, the state-owned company that runs public transit. In fact, Ton Steine Scherben, the band from a previous installment actually have a song that calls for actual revolution over not paying the tickets:‑Zkkm76-_0

Of course, everything is relative. Aforementioned american girlfriend is happy and content that the U‑Bahn here isn’t on actual fire:

Aktivieren Sie JavaScript um das Video zu sehen.

But the BVG social media team has managed to turn things around. They actually run a store where you can buy various things with their trademarked seat pattern. And who wouldn’t want to wear this tanktop?

They also maintain quite the twitter feed and occasionally make even international splashes with their Youtube videos (The only line you need to understand is „Is mir egal“, which translates to „I don’t care“.):

Aktivieren Sie JavaScript um das Video zu sehen.

And of course, classical music:

Aktivieren Sie JavaScript um das Video zu sehen.

Hey, JollyOrc, that is no classical music, that is.. horrible 80ies synthpop!“

Well, you’re not quite correct. This is a cover of „Ohne Dich“, one of the bigger hits during the 80ies, originally by the Münchner Freiheit:

Aktivieren Sie JavaScript um das Video zu sehen.

Every german in the 80ies knew this song, and I wouldn’t be surprised if there aren’t quite a few millenials who got conceived to this..

Of course, the opening salvo for this kind of viral, very german advertising came from Edeka, an until then, solidly square supermarket chain:


Friedrich Liechtenstein is a bonafide classical actor, artist and all around cool dude. But please, pretty-please, don’t confuse him with this swiss dude:

Aktivieren Sie JavaScript um das Video zu sehen.

This ad ran so often in german TV that the inevitable happened: A eurotrash music video:

Aktivieren Sie JavaScript um das Video zu sehen.


Terrifying German Culture Hour — Country AND Western

To understand the following, you have to keep in mind that basically all germans for several generations have grown up with the stories of the brave and noble apache chief Winnetou, and his friend Old Shatterhand. The german author Karl May penned those, claiming they were the novelized diaries of his travels of the wild west — while never having left german soil.

Then 1945 the GIs came in and were eventually seen as saviours, so everything America was simply the best.

So we got us french hearthrob actor Pierre Brice to perform the very same role of the noble indian. (And from the point of view of my ten year old self, this is of course not racist or wrong in any way. Yeah, ten-year-old me was kinda stupid.)

Aktivieren Sie JavaScript um das Video zu sehen.

Thankfully, at some point even us germans realized how wrong this was and instead decided to parody the whole thing:

Aktivieren Sie JavaScript um das Video zu sehen.

So, aside from the movies, country & western music actually has quite a fan following in Germany.Of course, we initially needed it to be translated, and, well, germanized:

Aktivieren Sie JavaScript um das Video zu sehen.

But soon enough, real german country bands showed up and we made things our own, especially once we figured out that country music can be coupled with trucks:

Aktivieren Sie JavaScript um das Video zu sehen.

Yes, this is a song about someone driving 120 pigs to Beirut. Why? No one knows…‑bzpp568Y8

Truck Stop is, for better or worse, the german country band. They have songs about doing the Osnabrück-Hamburg run in one day, how to survive a night-run without Dave Dudley on the radio, why fishing is so damn relaxing, and, oh, how to be a cop in the big city:

Aktivieren Sie JavaScript um das Video zu sehen.

If, while watching this, you’re in the vicinity of a german who’s a Fischkopp (a fishhead, as those who are from the northern parts of the country are happily calling themselves), you will notice at least a slight humming along, if not outright singing.

This is because this song, „Big City Beat“, is the title song for a TV series portraying the day-to-day encounters of two police officers who patrol the more earthier parts of Hamburg. The tone is down-to-earth, the pacing relaxed, and the protagonists at the same time cosmopolitan and grounded salt-of-the-earth locals.

Aktivieren Sie JavaScript um das Video zu sehen.

If you don’t understood the dialogue, here’s the summary: He’s telling her why he’s on this beat now. Because he didn’t play along to racial profiling and abuse of a different fellow officer. And the actor, Jan Fedder is someone you really want to like. Here’s him in a talk show, singing a traditional Hamburg folk song. Yes, this talk show is habitually being taped in an actual bar, and yes, everyone is chugging alcohol.

Aktivieren Sie JavaScript um das Video zu sehen.

He’s a bit older these days, and the perfect yokel.

Aktivieren Sie JavaScript um das Video zu sehen.

And yes, folkys yokels are the same everywhere. So people make fun of them:

Aktivieren Sie JavaScript um das Video zu sehen.

The singer is Stefan Raab,a former butcher you started out as a VJ, who occasionally regularly made fun of things. And yes, this is the same band as in a few videos back.

Still, Stefan is a special kind of musical genius, who can genre-hop like no other.

Aktivieren Sie JavaScript um das Video zu sehen.

(the genre he’s lampooning here is „Volksmusik“. The closest equivalent would be Country, but it most certainly is not that. But that will be another installment of this blog series.)

He habitually reworked Germanys Funniest Home Videos into the summer smash hit of uh.. who cares. But this here highlights very aptly the difficulties everyday germans have when trying to adapt to foreign music.

Aktivieren Sie JavaScript um das Video zu sehen.

But the true road to greatness was paved by Stefan Raabs contributions to the Eurovision Song Contest. You might have heard about that, by John Oliver:

Aktivieren Sie JavaScript um das Video zu sehen.

Germany used to be represented by things like this:

Aktivieren Sie JavaScript um das Video zu sehen.

Things got a teensy bit more tedious in the 90ies:

Aktivieren Sie JavaScript um das Video zu sehen.

(The Eurocats still perform regularly on cruise ships)

And the other european nationalities used to send similar candidates. For decades! In the end, fewer and fewer people watched the contest. Stefan Raab thought that someone should do something, so he produced THIS:

Aktivieren Sie JavaScript um das Video zu sehen.

Yes, we ran with that, while everyone else was still doing this, this or that. Yes, Eurotrash is a word. Eventually Stefan decided to run himself, so we progressed to…


The finns accepted the challenge and eventually things escalated a bit, and now the Eurovision Song Contest is the camp fest that John Oliver so loved to be confused about:

Aktivieren Sie JavaScript um das Video zu sehen.

Thanks Stefan!

Aktivieren Sie JavaScript um das Video zu sehen.

PS: At some point, we understood how to do Country. Really:

Aktivieren Sie JavaScript um das Video zu sehen.

and yes, we brought Country to the European Song Contest:

Aktivieren Sie JavaScript um das Video zu sehen.

(thanks to Jan for reminding me of this!)