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In 1926: living at the edge of time - Monoskop

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GRAMOPHONES 113<br />

Lessing, who is committed to <strong>the</strong> most progressive political agendas and<br />

to <strong>the</strong> most conserv<strong>at</strong>ive cultural values, nothing is worse than <strong>the</strong> noise<br />

<strong>of</strong> modern life. "I've decided to steal a pocketw<strong>at</strong>ch <strong>at</strong> some point-with<br />

<strong>the</strong> hope <strong>of</strong> being arrested. <strong>In</strong> prison I will <strong>at</strong> least have peace from <strong>the</strong><br />

rug be<strong>at</strong>ing, <strong>the</strong> piano playing, <strong>the</strong> car horns, <strong>the</strong> gramophones, and <strong>the</strong><br />

telephones" (Lessing, 401). [see Automobiles, Telephones, Silence vs.<br />

Noise] Those who share Lessing's disgust <strong>at</strong> <strong>the</strong> cacophony <strong>of</strong> modern<br />

life are even more repelled <strong>at</strong> <strong>the</strong> way in which "electrically" reproduced<br />

music and mass-produced lyrics are superseding wh<strong>at</strong> <strong>the</strong>y consider to<br />

be au<strong>the</strong>ntic forms <strong>of</strong> liter<strong>at</strong>ure and culture.<br />

Every couple <strong>of</strong> weeks, someone takes a poll: "Who is <strong>the</strong> most popular<br />

poet <strong>of</strong> <strong>the</strong> year?" The answer to this question is always inadequ<strong>at</strong>e.<br />

The poets who are familiar to us shouldn't even be taken into consider<strong>at</strong>ion.<br />

Not Rilke or Cisar Flaischlen, not Goe<strong>the</strong> or Gottfried Benn,<br />

but Fritz Griinbaum ("If You Can't Do It, Let Me Try!"), Schanzer and<br />

Welisch ("If You See My Aunt"), Beda ("Bananas, <strong>of</strong> All Things!"), Dr.<br />

Robert K<strong>at</strong>scher ("Madonna, You're Prettier Than <strong>the</strong> Sunshine")and<br />

who else? Still quite a few, even before Flaischlen, Rilke, and Benn<br />

get on <strong>the</strong> list. The 222 L<strong>at</strong>est Hits-th<strong>at</strong>'s <strong>the</strong> most widely read lyric<br />

anthology. Every two months <strong>the</strong> contents are revised and upd<strong>at</strong>ed. The<br />

whole thing costs just ten pfennigs. (Siemsen, 256; Kittler, 127)<br />

Why doesn't anybody ever object to classical orchestras or folksongs?<br />

Why is it only <strong>the</strong> gramophone th<strong>at</strong> provokes such strong emotions and<br />

such endless controversy? The enthusiasm and <strong>the</strong> irrit<strong>at</strong>ion which it<br />

gener<strong>at</strong>es stem from one and <strong>the</strong> same cause. Producing human sounds<br />

in <strong>the</strong> absence <strong>of</strong> human bodies, <strong>the</strong> gramophone inspires both <strong>the</strong> fear<br />

<strong>of</strong> ghosts and <strong>the</strong> hope for eternal life.<br />

Rel<strong>at</strong>ed Entries<br />

Automobiles, Bullfighting, Dancing, Gomina, Jazz, Mountaineering,<br />

Murder, Reporters, Telephones, Au<strong>the</strong>nticity vs. Artificiality, Present vs.<br />

Past, Silence vs. Noise, Male = Female (Gender Trouble), Immanence =<br />

Transcendence (De<strong>at</strong>h)

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