Objection to Dieter Sükrüp – the southern cryptocommunist

There is a joke that Rhinelander and Westphalia could solve the Middle East conflict because they have been showing for decades that a states’ solution, thanks to which one coexists is peacefully coexisted. But the German small stairs don’t stop at the Rhineland either. There are also many rivalries on the Lower Rhine. The war of faith over Kölsch and old rages and where two argue is happy anyway. While you laugh at the village on the Düssel in Cologne, only Borussia, unchallenged No. 1 from Mönchengladbach, laughs at the end anyway.

The graphic artist and songwriter Dieter Süverkrüp, who died in Cologne, who died in Cologne last Sunday, maintained in Cologne but strongly connected to his hometown Düsseldorf. This had to do with his conviction that – even if tips against the Sauerland always went easily – the borders did not run between the peoples of Cologne, Düsseldorf and Mönchengladbach, but between above and below. The young Sükrüp, who experienced the end of the war at the end of the year, learned this in the area of ​​the illegalized KPD and the movement “Fight the nuclear death!”, Which he devoted his first songs as part of an “operational art” (Ulla Hahn).

Süverkrüp was a award -winning musician who was named Germany’s best jazz guitarist in 1957 before he demonstrated for peace in “AgitPropper” in “infiltration” for Easter. Already in 1961 he had founded the “Plans Verlag” together with Gerd Semmer, Arno Klönne and the young Wolfgang Abendroth-Schücher Frank Werckmeister in Dortmund-so far into the Westphalian. The first recordings appeared here, around the Cuban crisis in 1962, when the nuclear war was close again, because: “We want to say something about that.”

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Süverkrüp, who sang about the “Rheinische Spätavantgarde”, was in truth, because as part of a “new critical public” (Hans-Ulrich Wehler), he was one of the 1958s, which in 1968 and on the castle Waldeck festivals in Hunsrück, which took place from 1964. There they gathered to rescue the songs buried by fascism and to justify a German Chanson genre non-contaminated by fascism. It was Süverkrüps Life -Lang friend Franz Josef Degenhardt, who, in the short -lived magazine “Lied”, put this search movement on paper for all Waldecker and later, when the Gallic Hahn once again blew into the revolution in France, while Germany was still in deep sleep: “Let’s go, France would be east of the Rhine, Germany would be Germany.”

As for Degenhardt and the great Düsseldorf Heinrich Heine, the Sükrüp “clumsy and confidential”, but dialectically greeted as his “comrades”, the land of the so -called hereditary enemy was also the place of longing, in which he was looking for refuge when the “German conditions” went to his kidneys. Practically predicted, he also followed the dreams. For a right bank of the Rhine of Düsseldorf, he consistently strived to simply import the country west of the Rhine into the country east of the Rhine. The melodies, which he wanted to prelude to the German conditions and his “banned” city, to make them even more oppressive, were now the songs of the French Revolution, which he smuggled into the consciousness of the post -fascist, still unbroken anti -communist West Germany on the Rhine. He also rediscovered the songs of the 1848 revolution and made them accessible, also characteristic in the song selection that the proletariat for the first time as an independent historical actor came to the stage of German history.

But after he had set texts in the early 1960s and inaugurations of the historical meaning for all German -language compositions from Süverkrüp to Tocotronic and Sido completely undervalued Gerd Semmer, he used his unique language talent and his smug, subversive humor to bring the system in fragile morality. Bringing the walls of Jericho to collapse, it still needed the brass raw to an entire army; Süverkrüp, on the other hand, did not need the army or decibel. He was guided by Heiner Müller, in whose “Lanzelot” it is said: “Three false commata per side undermined the authority of the most stable government. Their punctuation is high. “

Because southern crippling chivalrous struggle was not a Don Quichoterie. It is said that the defeat of US imperialism in Vietnam was promoted solely by his “Vietnam cycle”, which the southern cryptocommunist, together with the band Floh De Cologne-Remember: The borders did not take the stage between Cologne and Düsseldorf, but between above and below. It is said that Süverkrüps “art to gain differently for socialism” has swept all petty -bourgeois socialism concepts from the world. And it is said that his children’s song from the “excavator leader Willibald”, who is still enthusiastic about four -year -olds nowadays, led to the fact that half a century after its emergence in distant Berlin, shortly before Siberia, 59.1 percent of the population spoke out for the expropriation of the large real estate companies!

In Düsseldorf, Süverkrüp was in good hands or the “Düsslige village” was only a metropolis by Süverkrüp. So she was the capital of German party communism. From here, from the Rheinwiesen, the “UZ” press festival, the “Deutsche Volkszeitung”, later also the dissident “Düsseldorf debate”, radiated with which Süverkrüp had to deal with regret for party leadership. And here there was a very active non -party life in which Süverkrüp was actively involved.

Of course, Düsseldorf’s communism also had its limits with his “rhythm, where everyone with MUST”: the dead trousers with their court jestern Campino could ultimately not prevent Süverkrüp. This is his historical failure, which should not go unmentioned even in an obituary. Darob also sued Sükrüp about the “difficulties to open an art exhibition in Düsseldorf”. It was all the more honorable that the Düsseldorf Heinrich-Heine Institute, with which Süverkrüp repeatedly collaborated, rewarded his graphic work, which he turned to a lot at the end of his life, in two major exhibitions. This is also thanks to the cooperation with the Heine Institute employee and writer Enno Stahl, who has endeavored to Sükrüps work, as many other things, and who also ended the war of faith between the Kölsch and the old fanatics with a Solomonian judgment for eternal and three days: the solution is white beer.