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:

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):

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

(„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:

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:

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

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

Later on, Hornbach goes full on feelings:

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

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:

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

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“.):

And of course, classical music:

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:

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:

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

 

Terrifying German Culture Hour: Dinner for One

If you’ve ever spent new years eve in germany, you probably have encountered this: Dinner for One

This sketch, performed by two british variety actors (and tumblers) is a german ritual for generations by now — despite the fact that it is indeed performed in english, without any german subtitles.

Millions of germans will devote about 15 minutes sometime at new years eve to watch this clip. Slavishly. If there is no TV, modern germans will happily gather in a corner of their chosen party location, huddle around the biggest phone screen they can find and fire up YouTube.

Why?

For once, this sketch is hilarious. I mean, look at the butler stumbling over the stuffed tiger, that is solid comedic gold. And the voices he makes!

The other reason? Frankly, I have no idea. Ritual. Like the thing with the Berliner, Pfannkuchen, Kreppel, Krapfen that we insist on gobbling down at the same time. (The vast regional variety of names for food is another post. Rest assured that when ordering a Pfannkuchen, you’ll get vastly different things, depending on where you order it)

But that aside, if something is beloved, there will be copies, hommages.. remixes. One obvious thing of course is recreating it in german language. As I wrote earlier, if it is foreign tv in germany, we dub it, or, even better, remake it:

If you didn’t understand a word, even though you learned german at school, you’re forgiven. This is Kölsch, one of the many wonderful german dialects.

There’s also Bayrisch:

Fränkisch:

with well-known comedians (Miss Sophie is portrayed by the musical genius from this earlier post)

And only germans can appreciate the genius of Downfall for one:

Netflix, savvy as they are, recognized the cultural significance of Dinner for One and made a YouTube ad in this vein:

It becomes slightly problematic if someone confuses the seasons and performs this sketch during the fifth season (which is the Karneval. Another post for a later time):

And to get the german kids hooked young, we also have a version with our beloved depressed square loaf, Bernd:

Terrifying German Culture Hour — Ad Breaks!

While I was doing research for Terrifying German Culture Hour, something occurred to me:

German TV, especially in the 70ies and 80ies had way less advertising than comparable shows in the US.

That sounds like a trivial „so what?“ insight, but it is actually huge:

For starters, they did of course import TV shows from the US and aired them (dubbed) in Germany. But, where the US original would have three to four ad segments, the german one would have one or two.

And those blocks would actually be in the mathematical middle of the show, not where the showrunners intended them to be. So, we would watch the A-Team, the van would race through some gate, a rocket launcher gets cocked, the screen goes black… and then comes back to show the conclusion. No ad-break. We thought those pauses were normal!

On the other hand, the german ad-breaks would then happen kinda mid-sentence. „yes, I love it when a plan comes… “ ad-jingle, Mainzelmännchen, a few advertisements, possibly with Prilblumen, more Mainzelmännchen, then „yes, I love it when a plan comes together. Get ‚em B.A.!“

Again, we thought that was normal.

The completely other thing: Anything that got aired after 20:00 came without any advertisement. So when the germans took Love Boat and remade it as Das Traumschiff, or General Hospital, remade as Die Schwarzwaldklinik, they not only made these things so very very german, but..

…also expanded it to about 90 to 120 minutes, sans ad breaks. In case the implications aren’t immediately clear to you: Love Boat is a show that has a one-hour slot. That means 40 minutes plus advertising, with the arc of suspense optimized to having three mini-cliffhangers and a satisfying finale.

They took this format, stretched it to more than double the time and reworked the arc of suspense to not have the three mini-cliffhangers. The result was rather plodding and, compared to anything from the US, slow.

The real kicker here is that due to the bureaucracy of german public tv stations, this sort of plodding and timing became the defacto standard of german tv productions for decades. The main production company is still adhering to the formulas laid down in that era, instead of doing more KLIMBIM:

Yes, kids could and did watch this.

Terrifying German Culture Hour — The other Punk Edition

Even germans often mistake the phenomena known as „New German Wave“ for just an assortment of weird stuff. In reality, this cambrian explosion of new styles and bands paved the way for a variety of genres in Germany. Most bands went away quietly afterwards, some got (in)famous, and others stuck around for the next few decades.

Even americans probably know Trio and their „Da da da“, the stereotypical german nihilstic dadaism — after all, it featured in a Volkswagen ad.

What people didn’t quite know is that Trio basically did all the things that you would expect from avantgarde punk. And, because this is germany, they of course included axes in their performance, as well as Bommerlunder:

But the most iconic artist of this era was probably Nena, with all her 99 balloons…

Awesome, isn’t it? Alas, this takes us away from the punk I wanted to point out today, so I won’t go into the details of her (in my opinion) much better song. Listen to it anyway, I might have something to say about it at some other point…

Contemporaries of Nena, and probably as iconic were Extrabreit, and their gleeful song about a burning school hyped schoolkids of at least two generations:

And yes, we have guitars, plastic trousers and seditious lyrics — the people who were responsible for taping this didn’t realize it yet, but this is a true german punk band!

The lines between punk and wave were still pretty blurred at this point in time, so we should certainly not forget DAF and their „Dance the Mussolini“:

And then there’s KIZ, I actually have no idea where to put them:

But the point of this particular post is Punk, and I would fail you if I wouldn’t mention the two big fishes in the small pond of german punkrock: Die Ärzte (out of Berlin!) and Die Toten Hosen, hailing from Düsseldorf (Not Cologne!) Fans from either band tended to maintain some sort of snobbish rivalvry against the other band, firmly believing that „their“ punk gods were clearly superior.

In style, Die Ärzte were definitely a bit more silly, whereas Die Toten Hosen could get outright political and serious at times.

To illustrate, see this Toten Hosen song about daddy hanging himself in the attic, dressed up as santa claus:

And compare with Die Ärzte and their Peace Tank:

(the monologue at the beginning? The german dub of Leslie Nielsens speech in the second Naked Gun movie. I’ll get into the pecularities of dubbing a lot later…)

As you can probably guess by the toilet humour, Die Ärzte were afraid of nothing when it came to lyrics, so they had funny and life-affirming songs about

  • incest
  • bestiality
  • the monster in the closet
  • the german chancellor beating up his wife
  • spontaneously exploding people
  • bondage
  • people being literally scalped

and so on. Unsurprisingly their albums got banned quite often, to „protect the youth“. The only possible answer to that, of course, was a song explaining all the BDSM fetishes in clinical detail, set to a video of dystopian censors destroying their stuff:

Die Toten Hosen meanwhile recorded a song with britains Great Train Robber Ronnie Biggs: