eIndividual whistles get louder and finally grow into a whistling party of whistles. This is how Böhse Onkelz fans unreservedly agree – a counter-intuitive way of expressing one’s happiness, especially on the field. Close physical contact in front of the stage is inevitable, so that a beer bath becomes another way of expressing happiness in the raging crowd.
The interior of Eintracht Frankfurt is dominated by black and white, many shirtless fans, their bare skin protruding from the darkness of the crowd. In fact, there is a lot more to it than the games of Eintracht, whose fans like to sing “Black and white as snow / You beautiful SGE”. But somehow, despite the absence of true colors, Eintracht’s games are even hotter.
42 years of provocation
Even before the entrance, a member of the Böhse-Onkelz team referred to the nearly four-year-old FAZ article “Black and White Is Also a Sea of Color”: We should never write things like this again – black and white are not colors at all – a harbinger of an evening the future. Long-haired idols take to the stage while an explosion of fireworks causes the entire stadium to jump. It’s the only amazing thing about this performance.
Tens of thousands of fans came to Waldstadion on Friday for a rescheduled anniversary tour to celebrate Onkelz’s 40th anniversary. Just one day later, the scene is repeated in the same place on Saturday evening. The band had already performed at the Centennial Hall on Wednesday. It’s been 42 years since the Uncles “provoked” – to describe it with their inoffensive words.
Clips like “Come on, little one / You’ll be my victim tonight / I look up to your terrified face / And the fear in your screams” are played out and are repeatedly justified as sarcastic and deliberately exaggerated. But Stefan Widner, bassist and singer, destroyed this argument with his introduction to the corresponding piece “The Nice Man”: “The Nice Man was always censored, but he was way ahead of his time.” The cheers from the crowd are amazing. Likewise, the band acts as honest offenders who dare say anything. Misty irony and conviction.
Fantasy becomes violent fantasy realistic. Clearly, the real break away from the far-right past looks different. But no one seriously expected it. After all, it is precisely this camouflage that is part of the essence of the brand, which has little to do with the critical system.
This is further emphasized by an episode about the autobiographical of lead singer Kevin Russell: his handling of the traffic accident for which he was responsible, including the escape from the crash, near Frankfurt on New Year’s Eve 2010, is exemplary. In court, Russell was unreasonable. Instead, he scowled and jeered the two young men who were seriously injured and narrowly escaped. Against this backdrop, his last letter of apology seemed discredited. This approach must be taken into account when evaluating Böhse Onkelz, because it surveys: On their website, they explain the origin of the “scandalous song” “Turks out” in which Weidner and Russell have always attracted violence. “Provocation to the extreme” was exactly her thing. The semi-baked treatment of the right-wing past ends with the fact that “Turks Out” was nothing more than a political song, but simply a “stupid outburst of anger.”