To the authors Volker Ißbrücker Sandra Grether musician, writer and Label owner – you wrote, with interruptions, for 16 years, for the “Spex”. Kerstin Grether is a writer and singer, from 1994 to 1997 she was editor of “Spex”. The twin sisters living in Berlin, playing together in the Band doctor Ella and operate the Blog “I need a genius.” This Text appeared in a longer Version as the first in “texte zur Kunst”.

“Some people think that little girls should be seen and not heard / But I think: Oh bondage up yours!” (X Ray Spex)

As a Teenager, we dressed ourselves as leather punk like the wild creatures that were shown in the “Spex”, visited but a school in a village in the vicinity of Heidelberg – included not just the usual “Spex”-readers-circle. We were not had neither the male nor the end 20, a University degree and were born in the big city.

tellingly, the “Spex” in the style named on the early English punk band X Ray Spex, was one of the few female voices in the punk rocks. Punk was started with anti-sexist claims, he could not redeem, but in practice. On the Cover of the first edition in September of 1980, a Text on the düsseldorf women’s punk band Östro 430 was announced in the article itself, the music were confronted, however, already in the first question, with their alleged incompetence: “What are you doing in music? You have nothing of your own system.”

So it remained for the next 30 years. As we had become from readers to authors, was that If one of us wrote two articles about musicians from Germany, these were mostly ignored – and with them a growing local scene of indie rock Acts from women, Queers, and trans* women. Always there were the German Inge the male indie rock Acts, on the basis of the history of the magazine is told-until you knew whether Tocotronic has invented the “Spex” or the “Spex” Blumfeld.

In the entire 38-year history, only seven Times by female music from Germany on the Cover of the magazine, we have counted. In the “Spex” has you covered always thought that if you write about the female “next big thing” from Overseas, or via the just for “edgy” and “cool” found in North American Pop superstar, the music would be indoor-potential already.

We remember bitter word-battles in the newsroom, as we tried to heave the Rap-pioneer, Cora E. on the Cover. Today, Cora E. is regarded as one of the Inventors of the political Deutschrap.

well, he would sleep a night over it, announced the competent music editor at the time, graciously, to banish only a potential Cover to the next day, finally in the area of the most intolerable ideas in the world: “So sorry, I was looking again at the pictures of the good, Cora. That really is not. The so-horse-girls-eating is not, I can’t stand it. I can watch the hardly, besides, we will lose readers”. Cora E. had written with the “key child” the most important hymn for all the children in a divorce, not Philistine, the daughters of single mothers, didn’t you, in his eyes, to Cover Star.

It was with Wibke Wetzker to the beginning of the 2010s, only once since the early eighties, a female editor-in-chief (who had to share the Job with a colleague). Even more striking is that in the “Spex”, with the exception of the legendary early-stage, never has a woman had a Job as a music editor. I, Kerstin, got in the middle of the Nineties, right after the OJ the much lower-paid culture redaktionsjob, although my specialty was the music. A clever film criticism had been read by me.

climate: a feminist Backlash

One of my first actions was to ask authors to music contributions. It turned out that what I knew before, at least, had suspected: There was no to a single or multiple styles of music, specialized music journalist, who was able to take it up with the “cool Knowledge” and the high degree of specialization of the guys. They were still much less likely than women to make music.

Then no article about Neofolk, Raggamuffin, or Post-Hardcore Free Jazz. But texts on culture, which was picked up by authors of where they were. The otherwise men-studded editorial team treated my new idea to write about feminist-deconstructivist theories, as it would be a highly artificial, and difficult art direction from Paris. In Germany a climate of feminist Backlashs prevailed in the nineties. In the “Spex” showed himself open for Exciting women, but it remained always the Other, the niche.

in addition, the New Wave-influenced creators*associate inside the magazine, feminism is rather a fantasized environment of green Eco-philistinism (the listening to the “wrong music”), as a necessary attitude to diversity – an unconscious exclusion strategy. Also rampant is a classism that applied only to women: If a “Spex”-the author wanted to bring in a Review that he found a certain Band or a piece of music is particularly shit, he’s often on the popular formula, “music for saleswomen and Housewives”.

You should not make experiments with the oppressed

What values my work the most difficult, was the constant labeling of “hysteria”, I burned it to a topic. In the case of male music journalists, all of which are distinguished by an easily heatable Temperament, was considered quick, emotional embossed completely different. They were seen as a particularly passionate advocate for their cause.

Salt-N-Pepa Cover In 1988: “With this woman, the ‘Spex’ in the fall”,

Especially in the “Spex” at the time, the personnel policy was being followed, that everyone was confronted in the newsroom, with its “human” opposite, in the inner circle for the fight, what you stand to the outside, a strategy from the Warhol Factory. The drink was fixed editor-in-chief with the Straight-Edge colleagues in a room, the Hip-Hop group should argue incessantly with the Rock group, and clear: the feminist with the self as a “politically correct” telling Macho. As if the “battle of the sexes” would have spawned two equally strong opponents that can argue at eye level. to have

Under these circumstances, there is still a good magazine is something I will keep with me the Rest of my life. Because if the carrier of the male’s privilege to do so, as they would be on a par with less privileged people, which is why you should you set constant boundaries, then that is anything other than funny and only partially productive. You should not make experiments with oppressed groups of people: sexism, homophobia, and racism can be discussed, no “opinions” about it how about a new Album from Maximo Park.

“With this woman, the ‘Spex’ in the fall,” predicted a longtime employee. In reality, some of the Changes I put in my time as an editor, that people rave about even twenty years later from this “political-correct-‘Spex’-Phase”, in the magazine of the new Left-oriented, the claims of outsiders to the centre.

I tried

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to make the magazine as feminist as possible. Any author could write a “Spex”-compatible Text, was taken from me with a kiss. It was a satisfaction. You wrote about culture-centric topics, via the Internet, television series, Comic book heroines. The Pop aspect has to be considered the beginning was, before the total music specialization would, so I was hoping for. In some cases this was so, if, for example, an employee who had first written in the “Spex”, founded a magazine for electronic music. In the turn of the Millennium and ten years, was in the “Spex” more free author, columnist, inside and editors.

And today? Music streaming killed the plate collection-Star. And, unfortunately, the “Spex”, which will be published on 27.12.2018 their last output, then it should go with new concept of digital. The advertiser looking for Influencers*the inside rather on the Internet. We want to hope times that the game now starts all over again and also Music authors may be counted to these Influencers. We’ll do the thing but it is also again clear.

The author would like to thank those who have worked in “Spex” for diversity, among others, the Editors, Clara Drechsler and Jutta Koether, the editors, Jacqueline Blouin, Annika Reith, and Jennifer Beck, the managing Director, Doris folk, the Graphic artists Andrea Mündelein and Sabine Pflitsch, as well as the editors, Mark Terkessidis, and Manfred Hermes.