New Book Explores Jewish Identity and Antisemitism in Punk Rock
Translated & summarized from Jüdische Allgemeine by baba
A new German anthology, "Jüdische Identitäten und Antisemitismus im Punk," explores the complex relationship between Jewish identity and antisemitism within punk rock. The book, edited by Tobias Johann and Andreas Borsch, builds on previous research and includes discussions on early Jewish punk bands, the emergence of "Jewish punk" in the 1980s, and contemporary antisemitism within the scene. Contributors examine punk's anti-essentialist nature as a potential critique of antisemitism, while also detailing instances of antisemitism and highlighting groups actively opposing it. The anthology has already faced backlash, including online threats against a bookstore that promoted it.
The story in 6 lines · by baba
- A new anthology examines Jewish identity and antisemitism within the punk rock movement.
- The book "Jüdische Identitäten und Antisemitismus im Punk" has already faced threats against a bookstore promoting it.
- It builds on earlier works exploring the Jewish roots of punk and the emergence of "Jewish punk" in the 1980s.
- Contributors discuss punk's anti-essentialist nature as a potential critique of antisemitism.
- The anthology also addresses contemporary antisemitism in the scene and highlights opposing groups.
- The book's editors are Tobias Johann and Andreas Borsch, published by Verbrecher Verlag.
A new anthology, "Jüdische Identitäten und Antisemitismus im Punk" (Jewish Identities and Antisemitism in Punk), edited by Tobias Johann and Andreas Borsch, has generated controversy even before its release. Publisher Jörg Sundermeier of Verbrecher Verlag reported online threats against staff at a bookstore that announced the book, which deals with antisemitism and Judaism. The book builds on previous scholarship, including Steven Lee Beeber's "Die Heebie-Jeebies im CBGBʼs" (2008) and Michael Croland's "Oy Oy Oy Gevalt! Jews and Punks" (2018), expanding the discussion to include antisemitism within the punk scene. Croland notes that while punk has Jewish roots, few early bands highlighted their Jewish identity until "Jewish punk" emerged in Los Angeles in 1981, featuring bands that humorously and provocatively explored their heritage. Examples include "Gefilte Fuck," whose singer threw matzah and chocolate coins at the audience, and "Jewdriver," a parody of the British neo-Nazi band "Skrewdriver."
Contributors like Alfi from the band DVMP draw parallels between punk ideals and Judaism, citing resilience as a shared trait. Monty Ott views punk as a form of self-empowerment against restrictive identity concepts, a sentiment echoed by Jonas Engelmann, who describes punk as anti-essentialist. Engelmann uses the 1977 album cover of "The Voidoids," featuring Richard Hell, to illustrate this point, noting Hell's statement that while he didn't define himself by his Jewish heritage, "For an antisemite, I am definitely a Jew." Engelmann sees punk's rejection of rigid identity categories as having potential for antisemitism critique.
The anthology also addresses antisemitism, a problem predating October 7, 2023. Lara Dvorah shares her experiences as an Israeli in Berlin's punk scene. Theresa Streiß traces the historical roots of antisemitism in the punk movement, particularly within the Riot Grrrl scene, while Tina Sanders offers a psychoanalytic perspective. The book also highlights bands, concert groups, and fanzines actively opposing antisemitism, featuring discussions with anti-antisemitic punks from various German cities. Despite its diverse approaches, the book relies on similar references, with some bands, like Stuttgart's "Guerilla," which criticized anti-Israel sentiments in 2009, being omitted. The collection emphasizes that anti-antisemitic voices have been present in punk from its inception, continuing to provoke within the scene.