Meeting Stripped Devi

New Meetingstrippeddevi Discover Cuntproven Meeting Stripped Devi Meeting Stripped Devi Greg Johnson on Rammstein's "Stripped" and "Links 2-3-4" Videos | Counter-Currents Publishing

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Beyond that, the “Stripped” video is indirectly political precisely because of its purely aesthetic, apolitical treatment of Olympia. The “Stripped” video shows Olympia stripped of tendentious post-war commentary. By showing beautiful images from the Third Reich without informing viewers that what they are about to see is “tainted” by association with demonic evil, the video interrupts the dominant cultural narrative, which seeks to justify the post-World War II order: liberal democracy, expressive individualism, global finance capitalism, and multiculturalism. The chief architects and beneficiaries of this order are Jews. And Jewish power rests ultimately on the conditioning Europeans to feel reflexive horror at all forms of European ethnic pride and advocacy by demonizing them as somehow like National Socialism. By giving us a glimpse of a non-demonic Third Reich, the “Stripped” video short-circuits that conditioning.

The “Links 2-3-4” Video

In 2001, Rammstein released their third album, Mutter, which includes a song entitled “Links 2-3-4” (Left 2-3-4, the equivalent of “hup 2-3-4”). The band asserted that the song and its associated video were a response to the accusation of being right wing. In 1999, Oskar Lafontaine of the Social Democratic Party declared that his heart “beats on the left.” (That’s the difference between them and us, apparently.) In 2001, Lafontaine published a column in Bild entitled “Das Herz schläght Links” (The Heart Beats on the Left) opposite a column by a Christian Democratic politician, Peter Gauweiler, entitled “Mein Herz schlägt auf dem rechten Fleck” (My heart beats in the right place).

Rammstein incorporated both phrases—the heart in the right place, the right place being on the left—into “Links 2-3-4” and had the cheek (or tongue-in-cheek) to proclaim it proof of their leftist sympathies. The music is in 4/4 time with the sound of marching jackboots. But the lyrics are simply about the heart:

Kann man Herzen brechen
können Herzen sprechen
kann man Herzen quälen
kann man Herzen stehlen

Can one break hearts?
Can hearts speak?
Can one torment hearts?
Can one steal hearts?

. . .

Sie wollen mein Herz am rechten Fleck
doch seh ich dann nach unten weg
da schlägt es in der linken Brust
der Neider hat es schlecht gewusst

They want my heart in the right place
but I see it down below
It beats in the left breast
the envious don’t know it well

If one chooses to interpret left and right metaphorically (i.e., politically), this is an avowal of leftist sympathy. But one could just interpret it literally, which would make it politically vacuous, since Hitler and Stalin both had hearts in the right place, i.e., on the left. The song, then, is politically ambiguous in a studied way.

As for the video:

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The setting is an anthill. Using mixture of live and animated ants, we see scenes from ordinary ant life: ants playing soccer, ants watching soccer on TV, an ant getting a beer from the fridge, ants going to a rave where a DJ plays a Rammstein album, ants pouring into a theater to watch a film of a Rammstein concert.

The film is grainy and black and white. As the movie starts, we see countdown symbols flashed on the screen, including crossed hammers, like the fascist emblem in Pink Floyd’s The Wall, but not unlike Soviet the hammer and sickle either. We see a wheel with pointed teeth, not unlike the cogwheel used by Laibach. We see Rammstein’s version of Laibach’s cross. Till Lindemann wears stage makeup reminiscent of old German Expressionist films. It takes one back to the 30s, the heyday of fascist and communist collectivism.

But the film is a bit of nostalgia, for the overall setting of the video is the present day. Individualists love to use the anthill metaphor to dismiss collectivism. But in fact, with their soccer, beer, and Rammstein consumption, the ants and their anthill represent modern liberal democratic Germany.

Suddenly, the screen is ripped asunder by a huge beetle. Three of them are attacking the anthill. The ants scatter, many are killed, but then they are rallied by a leader ant, who addresses the masses. He raises his feelers in a gesture reminiscent of the Roman salute. The masses raise their feelers in response. Then the ants pour out of the hill, marching in formation. The marching ants take the shape of the Rammstein-Laibach cross. These displays of precision marching were staples of fascist and Communist mass rallies.

Then the ants form three columns and swarm the beetles, overwhelming and killing them. What the ants lack in individual size is compensated for by their numbers. It is collectivism at its finest, the use of organization to create strength through numbers. After the beetles are dead, the leader ant raises his feelers in the ant salute, and the ants celebrate their victory with more precision marching, creating a toothed wheel formation around the dead beetles. As the video ends, we see a dead human hand in the foreground crawling with ants as well. (This is cut off in the video embedded above.) Foreshadowing of things to come? (If I had to venture a guess about the identity of the dead hand, I would say it is the American Occupation regime. But more about Amerika later.)

With some justification, critics of the “Links 2-3-4” video immediately likened the whole thing to Leni Riefenstahl’s Triumph of the Will, her documentary of the NSDAP’s 1934 Nuremberg Party Rally. The ant salutes look like the Roman salute, and Triumph of the Will is the only mass party rally most Westerners have ever seen, even though the Communists continued to elaborate and perfect it for decades after 1945. (The whole genre apparently developed from the half-time shows at American college football games.) During the chorus, one hears a crowd shouting “Hi!” Claire Berlinski even hallucinates a Hitler mustache on Till Lindemann.

But the members of Rammstein are not Nazis. They are modern Germans. Like the ants in the video and the fans of their music, they like soccer, beer, raves, and Rammstein. Politically speaking, their hearts are on the left. Not the totalitarian left, but the liberal left: the individualist, consumerist left.

But the problem with modern Germans is that this identity is part and parcel with national self-hatred and guilt over the Second World War. Rammstein wishes to restore a “healthy German self-esteem.” They are trying to establish “a natural relationship with their identity.” To do that, they have to teach modern Germans to look at the Third Reich through new eyes. Not to promote Nazism, but to clear the impediment of Nazism to a healthy patriotism.

Thus I do think that Triumph of the Will is intentionally being alluded to. But the message of the video is not a return to Nazi totalitarianism. Instead, the message is that even a modern, individualist, consumerist, leftist society can come under attack. And when it comes under attack, collectivism and its trappings become necessities of survival. All democracies become fascist when they go to war. Thus, even if your heart is on the left, one must make peace with things conventionally associated with the right. (Of course the members of Rammstein, who grew up in East Germany, saw this sort of stuff all the time from their Communist regime.) Rammstein’s keyboardist Christian Lorenz said that “Links 2-3-4” shows how militant and aggressive the left can be.

Mass collectivism is always-already latent in consumer society, particularly in the activities the ants are shown engaged in: sports, raves, and rock concerts. In an interview reported by Berlinski, Richard Kruspe, Rammstein’s lead guitarist, claims that international soccer is the one arena of life where Germans feel comfortable taking their own side. Raves are mass gatherings where music and drugs produce an ecstatic sense of collective consciousness, orchestrated by a DJ/leader. The same thing takes place at rock concerts. As Mick Jagger once said, “Hitler was the first rock star.”

Rammstein is again trying to teach Germans to see their past with new eyes, and to link it organically to their present, so that mass patriotic gatherings no longer automatically connote fascism and the Holocaust.

In another article, I will discuss three more Rammstein videos: “Amerika,” “Ohne Dich,” and “Mein Land.”

To most people, it seems absurd for organizations like the ADL to police rock videos. But we should not be so dismissive. Perhaps they know something we do not. My hypothesis is that Jewish power is stretched very thin. Jews are working at full capacity to contain positive white self-consciousness, and white pride is virtually nil. This means that even a modest jump in white ethnocentrism — even an essentially liberal-democratic form of patriotism, which is what Rammstein seems to represent — might exceed the ability of Jews to control it. Thus they feel they must smother every little spark, lest it ignite a firestorm that might consume them utterly.

Note: Both the “Stripped” and “Links 2-3-4″ videos are available on the Rammstein video compilation Lichtspielhaus.