Nina Hagen Shrine

10 PERCENT, November/December 1995
By Anne-Marie Praetzel

The inimitable Nina Hagen–heavy-metal cabaret singer, gay icon, and Hinduism devotee–stays crazy after all these years.

Nina Hagen wants to go to Sushiland.  It's a few hours before her gig at San Franciso's Bimbo's nightclub, and she's had about enough of waiting in the hotel.  So we follow her to the Japanese restaurant across the patio and soon realize it's not Sushiland we're in, but Ninaland.  For some timeless period, we are held captive by this cosmic German Diva and her snaking hand gestures, Barbarella-meets-Swamp-Thing getup, and rubberband voice that stretches from squeaky soprano to Harvey Fierstein bass.  Between bites of pickled ginger, she recites a poem she just wrote in which she and Kurt Cobain are driving along and suddenly spot Madonna's "big pink pussy in the sky." So it seems the protean Nina we see a few hours later on stage is, in fact, for real.

And how else could she have made it to Sushiland from her childhood in repressive East Berlin? Hagen hopped the wall in 1976 and, at the tender age of 21, ignited the frigid West German rock scene with her punk-political musical theatrics.  Now approaching 40, a spry Hagen keeps busy raising two children, promoting her new album, Revolution Ballroom, and writing about world concerns for Germany's popular Der Spiegel magazine.

Back in Ninaland, Hagen calls repeatedly upon the wisdom of her beloved Indian gods and gurus Shiva, Rama, and Babachi and explains how she plans to save the world.  Watching her earnestly bob her pink tiara-crested wig, how can we help but believe?

10 PERCENT:  I like the cover of your new album because you're in bondage, but you look strong.

Nina Hagen:  Well, it's not my new profession.  I look like I'm the condition of human beings, bonded in our own stupid little wall-to-wall thinking.  That's why I agreed to do that picture.

How'd you hook up with [cover photographers] Pierre and Gilles?

Through my boyfriend, my forever boyfriend.

He knew them?

He knows everything.  My boyfriend's name is Franck–Franck Chevalier.  Pierre and Gilles are in love with him.  They photographed Franck as Jesus, Franck as the bleeding angel, and Franck, me, and little Otis, our son, as Mary, Joseph, and baby Jesus.

How did you meet Jean-Paul Gaultier [art director on a previous album]?

He desired my presence one day in 1989.  He was throwing one of his parties, kind of a fashion show with a contest of who was the most beautiful model.  And Franck was there, because Franck used to work for Jean-Paul in Paris, showing Grace Jones and other superstars around.  He was a model also.  When everybody found out Franck and me became one egg–one Kinder surprise–they were like, Have you heard? And Jean-Paul:  What? Them? No!

You've played in a lot of gay clubs over the years.

I even risked my life to save about 200 gay people in Hamburg when I was very young.  It was New Year's Eve, and some [neo-] Nazis came into this restaurant and started shooting.  Everyone hid, and a couple of us went outside and they shot at us.  I fell down and screamed as if I was hit–I can scream very loud.  They thought they hit somebody, so they left.  Everybody was amazed I did that.  And afterwards I thought, yeah, I would jump into the fire for the sake of humanity.

You're somewhat of an icon in the gay community.

Yes, I think I'm a legend.

Have you fostered this image?

No, I'm just such a perfect mother that all the gay people can't help but search for refuge in me.  It's like I'm kind of a Divine Mother, and I shall lead them over the hills, over the Himalnt, and scientists, and professor Peter Duesberg about HIV and AIDS.

So how about your sexual orientation?

It's Franck, Franck, Franck, forever.

But have you dabbled in anything else?

I did have girlfriends also, if you want to know that.  It was also a sweet, strong love relationship.  And then I met Franck, and he's a woman and a man and everything–and he's God too.

You play around with traditional roles of gender and sexuality.  Are you going for the shock value?

What I do is a teaching in a song, and I'm looking for what's best for the teaching to come across.  Like when I'm singing a Kurt Cobain song, I put a black shirt on:  Kurt/shirt; black/widow.

What did you think when you heard about his suicide?

I was eating hot and sour soup in a Chinese restaurant across from the Folies Bergere in Paris when somebody told me.  I had to stop eating.  Later we were in a hotel talking business, and the window was open and it was hailing.  It was all so emotional; these hails were rolling into the room from the balcony, and the sky was brown and black.  It made me realize what great spirit made a great mistake–that God was fighting for the soul that some stupid devil spirit heroine was taking.  I perform some of his songs.  They're all genius.

Who are your other mentors, besides Kurt?

Babachi.  He is the most interesting incarnation of God.  He only stayed about 14 years and died on Valentine's Day 1984, when I made my Fearless album–I, Nina, his future wife.  What do you think [happens] when we die? Do we all become one with God, or do we stay as individuals?

I'd say we all become one.

One soup? Wow! Then I get to be one with Kurt Cobain! Or Adolf Hitler…

Do you believe in reincarnation?

Of course.  If the miracle of entering the utero can happen once, it can happen again, Einstein said.

He did not.

Well, maybe it was Goethe!

Nina Hagen said…

No, it was somebody big, Beethoven or somebody.

Who do you think you'll come back as?

I hope I can be with my husband.

You rarely sing in German these days.

Yeah, but when I wrote all those songs I was 16 and I was thinking in German, and I'm now so much out of my German cage.

Do you still have friends in East Berlin?

Everyone knows everybody in that country.

Has reunification affected the art and music scene?

I have no idea, man.  I live in Spain.

And where do you live besides Ibiza?

Everywhere.  Because I'm like Mother Theresa and Nelson Mandela in one person, so I consider my home in many countries.

You're often compared to Madonna.

I'm an original, so you can't compare me to anyone.

What do you think of her?

Well…you know, if you do only disco for too long–it would be great to hear some other sounds from her.  I've had many dreams with Madonna.  When I was pregnant with Otis, I couldn't come to her show in Spain.  And she came to my dream and took me backstage and showed me a few things on the soundcheck.  Really entertaining little exercises.  And she had the devil on stage, one of her dancers, and he comes out and says, "Aren't you Nina Hagen? We love you! We saw your show in New York." And I say, "You better get back on stage, man." And he says, "Aw, she can do it alone."

What other musicians do you listen to?

Everybody.  And the ones I don't like, I don't listen to.

But you must have favorites…

Oh, yeah.  I like the sound of the sun when she rises in the morning and when she goes down at night.  Otherwise
I like to listen to Franck's voice and Otis's voice–and I love myself a lot.

What are you doing that's new?

I tell you, it's groovy to get old because otherwise we stay stupid forever.

Do your kids go by Chevalier or Hagen?

Hagen, of course.  I mean, I had to press them out, right?

10 PERCENT managing editor Anne-Marie Praetzel was an impressionable teenager living in West Germany when Nina Hagen released her first album.

Magazine & date unknown
By Tom Scholz
Submitted to the Shrine by Tracy Sirotti

Tom Scholz besuchte die deutsche Rocksaengerin bei ihrem ersten Londoner Konzert.

Zweihundertundacht Jahre nach Erbauung des Londoner Lyceums trafen sich dort am Abend des neunten September Londons Punk-welten, um einen selten gesehenen und selten nicht geliebten Gast zu verehren: Nina Hagen.

Und all die Creme der Londoner Punkszene war in den altehrwuerdigen Musikpalast gekommen, und was Namen hatte war da, und was keinen Namen trug, war auch da.  Und Rod-in-Punk war da und natuerlich auch Punky Dory.  Und Ariane von den Slits (einer englischen Frauen-Punkband) war da, war auch zur Stelle, als im zweiten Lied Ninas Stimme ueberkippte und Ariane vom zuschauerraum aus den hohen Gesangspart uebernahm, gerade so, als habe sie immer auf diesen Moment gewartet.  Dennoch: dieser Moment schien gar nicht ‘so eingeplant’ gewesen, denn die Ariane, Nina Hagens beste Freundin und Lehrmeisterin in Sachen innerer und aeusserer Befreiung, sang so spontan und dazu so GUT spontan, dass selbst die kleine Ostdeutsche bekennen musste: “Shit, die singt ja viel besser als ich.”

Trotzdem oder gerade: Das war Londons PUnkgefuehl, das war realisierter Punk, der dieserorts halt anders geschrieben und gelebt wird, als etwa in Amsterdam, wo Nina mit ihrer neuformierten Begleitband (Helmut Schoen – Keyboards, Knud Heineken – Schlagezeug, Laurens Leeuw – Bass, Ferdinand Karmelk – Leadgitarre) im HOlliday Out wohnt und mit den dortigen Punkies sich im ‘Punk gegen Junk’ engagiert.  An diesem Abend aber war man in London und da kommt es schon einmal vor, dass Punkmaedel auf die Buehne steigen, wie etwa zwei Wochen zuvor bei einem Konzert der Jags, als man ungezwungen die Gesangsanlage beanspruchte, dabei einige Lieder, sie etwa ‘Happy Birthday, Mammy’ oder ‘I Love You, Marc’ vortrug und die Gruppe zu Begleitmusikern degradierte.  Hier, in Englands Haupstadt, der Geburtsstaette des Punk, wurde halt mehr in Szene gesezt, als unsere Nina das zu glauben vermochte.  Bei allem, der Abend war ein grosser Erfolg fuer die Hagen, uebertraf weit die Erwartungen und schliesslich gingen alle Punkies, es waren nahezu 2500 Zuhoerer gekommen, brav nach Hause.

Doch Nina, so sagte sie mir am Morgen darauf, als ich sie im Feudalhotel Holliday Inn traf, sieht die Londoner Punkszene als “noch nicht soweit an, was meine Idee von Love als Weltsprache und eigentliches Amnesty International anbelangt.” Da sitzt sie vor ihrem Schnitzel mit Ei und noch ‘was drueber und sinniert ueber Gewesenes und das Kommende.  Auch ueber Gott, der fuer sie gleich Punk ist, gleigh Liebe, gleich Hoffnung, gleich Glaube.  Auf ihre kuenftigen Plaene angesprochen, meint sie, es stuenden vielleicht USA-Aktivitaeten aus, vielleicht auch etwas kuenftiges in England.  Dabei will sie sich ‘von nun an selbst promoten und managen’ und ueberhaupt habe sie vor Aufstieg und Fallwenig Angst, denn “seit ich Gott gefunden habe, brauche ich keine Angst mehr zu haben.” So, “wenn wir bereit sind, einen Kapitaen zu akzeptieren, naemlich Hoffnung, universalen Einklang, Liebe und Harmonie, dann haben wir schon ein Stueck mehr von uns endeckt…” Philosophisches aus dem Munde einer Saengerin, die ihre Lieder selbst schreibt und arrangiert.

Ob sie einmal mit einer Freuenband zusammenspielen wolle, moechte ich von ihr wissen.  “Na klar, wenn die Schwestern soweit sind; ausserdem habe ich bei meinem ersten London-Aufenthalt mit den Slits zusammengearbeitet und geprobt.” Zu gemeinsamen Auftritten war es seinerzeit nicht gekommen.  In Deutschland sieht sie die Szene als zu erkaltet, zu beherrscht von Interessengrueppchen; dennoch, es regt sich auch dort etwas.  Etwas Bruehwarm sei eine gute Gruppe, wenn sie endlich eine geeignete Formation faenden.  Doch grosses maennliches Gesangsvorbild bleibt David Bowie, von dem man sagt, dass er eine musikalische Zusammenarbeit mit Nina Hagen schon einmal ins Auge gefasst hatte.  Fuer die vitale Saengerin eine Erfahrung wert, denn Nina Hagen kann sicher noch mehr wagen, als das bisher Gezeigte.  Hotcha!

Magazine & date unknown
By Gabriele Meierding
Submitted to the Shrine by Tracy Sirotti

Nina hatte richtig orakelt:  “Anarchy in Germany, das klappt doch nie”, lautete zunaechst der Arbeitstitel fuer ihre eher idealistisch den professionell inszenierte kleine New Wave-Revue.  Under dem endgueltigen Motto “Babylon Will Fall” fiel dieses eigentlich recht erfreuliche Experiment gliech am ersten Abend im Hamburger Audimax durch.  Es scheitere nicht zuletzt am Unverstaendnis der Zuschauer, die einen perfekten Nina Hagen-Showdown mit allen Schikanen erwarteten–was immer sie sich auch darunter vorgestellt haben mochten.  Nina swischen Playback und musikalischen Frischlingen kam nicht an.  Sie zog die Konsequenzen und liess die Tour absagen.  Schade!

Diesen abend zwischen Aggression und Begeisterung werde ich so schnell nicht vergesssen.  Ich habe mich gefreut, weil das liebenswerte Chaos dort auf der Buehne trotz aller Amateruhaftigkeit etwas Neues, Bemerkenswertes signalisierte.  Doch das Wagnis war wohl zu gross.  Die Idee, mit Neulingen ein Rock-Theater zu inszenieren, war zumindest fuer hiesige Verhaultnisse ein Himmelfahrtskommando, leider.  Haette Nina intensiver darueber nachdenken muessen oder zumindest ihre Mutter, die Schauspielerin Eva Maria Hagen, die immerhin ihren Namen als Veranstalter hergab? Fest steht, dass hier eine Menge Geld ueber den Jordan ging.

Die Hamburger Uni hatte uebrigens fuer den Abend massiven Polizeischutz angefordert, weil im Laufe des Tages ein Aufgebot von Punks versuchte, eine Drahtgitter-verstaerkte Tuer einzudruecken, als Nina drinnen bei den Proben war.  Was fuer ein Gefuehl: Du biegst um die Ecke und laeufst erst einmal in drei Gruene Minnas.  Sollst Du nun darueber lachen oder weinen? Die Panik war uebertrieben.  Es passierte nichts, obwohl die meisten Besucher offen ihrem Unmut Luft machten.  Sie fuehlten sich verladen.

Wer sich ein bisschen in der Szene auskannte, wusste eigentlich, was Nina vorhatte.  Ueber ihr “Atomspecdracula” hatte sie sich ja ausfuehrlich im Hamburger Stadtmagazin “Szene” ausgelassen.  Zumindest under den Punks war auch bekannt, dass die swei von “Who Killed Rudi”, die Brueder Jaecki Eldorado (Bass) und Nickie (Schlagzeug), blutige Anfaenger sind, und die Jungs von O.U.T.  mit ihrem futuristisch verpoppten Styling einer traufrischen Szene angehoeren.  Dass Nina zu BAckgroundmusik singen suerde, war auch kein Geheimnis.  Sie versprach sich davon mehr Bewegungsfreiheit.  Nur dass dieser erste Abend im Audimax eine bessere Generalprobe war–das wussten die Fans nicht.  Und dass man ihnen dafuer 16DM abverlangte, war wirklich nicht fair.

Dabei fing diese Revue ganz vielversprechend an: Nina, in Massen von Rueschen gehuellt, laesst, sich im Einkaufswagen ueber die Buehne rollen.  Die eroeffnungsnummer ist ihre Version von Lene Lovichs “Lucky Number” und es gibt reichlich Beifall.  Doch die Begeisterung Haelt nicht lange vor.  Nina gebaerdet sich wie win fatales Hexenweib, strapaziert ihre Stimmbaender in geifernden Kraechziraden.  Ihre daemonischen Beschwoerungen halten das Publikum aber nur kurze Zeit im Bann.  Nina ist ihnen zu schwierig, diese extreme Performance ist ihnen zu anstrengend.  Vergeblich warten sie auf Ninas charakteristische Stimm-Akrobatik, brachte sie es doch fruehrer spielend vom hoechsten Alt ihr Organ war nicht im besten Zustand.

Die Show so sprunghaft wie Nina selbst: Wenn sie nicht am Mikro stand, sass sie am aeusseren Buehnenrand am zweiten Schlagzeug oder griff sich eine Gitarre.  Das Ensemble, zu dem auch noch das Rude Girl Mannon Pepita aus Amsterdam gehoerte sowie ein spindelduerres Wesen mit Mordsperuecke (ich vermute der angekuendigte Transvestit Salome) vermischte sich ohne interne Distanz und zeigte ein fast noch naiv zu nennendes Engagement.  O.U.T.  paarten ausgefallenen Kostueme und coole deutsche New Wave mit geschmeidigen Tanzeinlagen, und “Who Killed Rudi” gaben einfachst-Rhythmen mit entsprechendem Sprechgesang von sich.  Sie repraesentierten damit–in Miniaturausgabe sozusagen–jene Geraeusch-Philosophie, die in teilweise natuerlich fortgeschrittener Form bereits zahlreiche neue deutsche Bands verfolgen.  Alles spielte sich uebrigens vor Projektionen ab, die das “Pyramidenstadl” (Zitat Nina Hagen) in Eigenregie hergestellt hat: die typischen Muster der New Wave (Dreiecke z.B.) oder naive Sid und Nancy Darstellungen.

Der Wechsel zwischen Ninas Playback und den Live-Geraeuschen verlief nicht fluessig genug, um das Publikum zu ueberzeugen.  Die Bands entsprachen darueberhinaus nicht den traditionell gepraegten Vorstellungen einer Zuhoererschaft, voellig unbeleckt von experimentellen Ideen eine nahtlose Losgeh-Arie erwartet.  Dummerweise war die Show nun auch so lasch ausgearbeitet, dass vielen Symbolen die Praegnanz fehlte.  Das Publikum liess sich nicht fesseln, weil es keine Beziehung entwickeln konnte.  So klammerten sich die Zuschauer verbissen an Nina, nichts anderes wollten sie sehen.  Trat sie fuer ein paar Minuten ab, hagelte es Buh-Rufe, “Haste keinen Roadie?” schrie einer, als sie ein Buehnenrequisit selbst zur Seite trug.  “Ausziehen!” forderte ein anderer.  “Mensch, ick hab sone abgefuckte Scheisstimmung”, gestand sie dann selbst kurz vor Schluss.

Dass “Speedracula” brach denn auch ganz unvermittelt ab, aber keiner ging.  Es war erst eine gute Stunde vergangen, die meisten glaubten, es ginge nach einer Pause weiter.  Die Truppe kehrte fuer ein Kurzes Finale zurueck, dann war’s aus.  Es dauerte, ehe sich der groessere Teil des irritierten Publikums zum Gehen entschliessen konnte.  Sie waren verwirrt, in ihren Koepfen rotierte es.  War das nicht schon Erfolg genug?

Nina haette es sich leicht machen koennen.  Sie haette Kapital aus ihrem Namen schlagen koennen.  Sie haette auf ihre Mutter hoeren koennen und auf ihren ehemaligen Pflegevater Wolf Biermann, die sie vor diesem riskanten Unternehmen wohl in aller Eindringlichkeit gewarnt hatten.  Im Familienkreise fiel dann tags darauf auch die Entscheidung, das Unternehmen sofort absubrechen.  Ninas Mutter liess in einer Presseerklaerung verlauten: “es hat sich im Hamburg herausgestellt, dass das Singen zu einem Playbacktonband statt mit einer Band aus Kuenstlerischen Gruenden fuer Nina Hagen unmoeglich und fuer das Publikum unzumutbar ist.  Der Versuch, stattdessen mit Laienmusikern eine theateraehnliche Show zu machen, hat sich als Kuenstlerischer Missgriff erwisen.  Nina Hagen hat die Absicht, statt der geplanten Tournee nun in Ruhe Musiker zu suchen, sie will dann ein Programm mit neuen und alten Liedern erarbeiten.”

Am Tag nach dem Konzert kraechzte Nina durchs Telefon: “Der Druck von allen Steiten auf uns ist im Moment to stark, dass wir jetzt erstmal nach LA gehen und uns da Musiker suchen…”

Hier in Deutschland muss eben alles seine Ordnung haben! Auch in der Rockmusik.

Gabriele Meierding

By Mark Silver

I has been said that the only thing that describes the inexplicable better than silence is music.  When it comes to describing musicians Nina Hagen must be among the most difficult to characterize.  Add to that, the limitation of dealing with a text medium, with out sound and you can ascertain that once again Squirrel Man Rob, (Pop Lust's alter ego), has fostered a near impossible task upon me, your humble essayist.

Nina Hagen is constantly metamorphosing, if anyone was ever able to accurately depict her, I am sure that she would instantly transform into something else entirely.  Due to the fact that she constantly reinvents herself, some of her fans have compared her to a chameleon.  I totally disagree with that comparison.  A chameleon changes for the purposes of camouflage, to be hidden and to blend in with its environment.  Nina changes to be different and to stand out from the trendy and status quo.  Whatever form Nina may embrace, you can only be certain of one thing, she will be years ahead of everyone else.

That said, I will cop out entirely from trying to describe Nina Hagen or her music.  (I'm not worthy I'm not worthy).  I will however assert, find out about Nina Hagen for yourself it's worth it! Instead, I will continue with a diary of my own, less exciting personal experiences connected to Nina Hagen.

Although my sampling for the following conclusion is somewhat small, I will none the less state, unequivocally, that avid fans of Nina Hagen are not assholes.  This kind of proclamation coming from an old curmudgeon such as your humble essayist is remarkable when compared to my opinion of most of humanity's sum total.

I have met several people through the Internet's fan to fan mailing list "Fearless".  ( authors note: now "Zarah").These people have been unusually kind and helpful.  They have assisted me when I made my Nina pilgrimages to the strange and exotic destinations of San Francisco and Los Angeles..  The "Fearless" folks have a singular devotion to Nina Hagen that works like a strong cohesive, that bonds together an otherwise diverse international freaky family.

I have, in my life, seen Nina Hagen live on four occasions.  Twice when she played last in Seattle at the now defunct club Under The Rail for two nights back in the 80's.  What I really remember most, was the second night.  I was sitting in the café that connected with the club over by the window.  I am just hanging out, chatting with friends and who do you think comes walking down the sidewalk, just a thin pane of glass away from me? Nina Hagen! Perhaps she recognized me because I danced my ass* off the night before, (*those that know me will attest that my ass has since grown back), or perhaps it was because when I saw her I lit up like a Christmas tree and was illuminated and grinning like acid head.  For what ever reason, she looked at me and stuck her tongue out right at me.  A moment of rapture my friends.

Back in May of this year Kali Destroyer from the "Fearless" list posted a suggestion that read in part:

I understand the frustration people have in not being able to see Nina in their own towns.  However, instead of moaning about how Nina never comes "here" why don't you save up your money and go to LA or NY or wherever?

That sounded like sagely advice to me.  Then I found out from the list in early May, that Nina would be playing in San Francisco on July 31st at the Yerba Buena Center for the Arts in a benefit concert for the refugee children of Tibet.  I went!

I stayed at the Bush Hotel right next to the gates to China Town and with in walking distance of the Nina show.  The view down Grant street afforded a 24 hour a day street theater.  With busses constantly dropping off tourists by day, and hard drinking homeless hollering by night.  The flashes of light at night in my room turned out not to be heat lightning but were due to the late night flash photos of one of SF's most photographed sights, the gates.

Nina was an angel dressed in black as she closed the show after performances by Trance Mission and traditional Tibetan dance and music.  Nina performed spiritual songs like Ave Maria, Shiva and My Sweet Lord.  This was not a rock show by any means, but I thoroughly enjoyed how this genre of music highlighted Nina's vocal talents.  At the end, the other wise reserved art center crowd, let loose a thunderous standing ovation and Nina encored with the beautiful old spiritual song Right On Time, which she sang a cappella with a voice that sent shivers up and down my spine.

After the show Nina tried to further satisfy all her numerous fans by greeting them in the lobby and signing autographs and otherwise attending to them.  There was such a crush of a queue to meet her that I hung back with Sean Campbell, (Fearless list owner), and we thought it best to wait for the crowds to thin out.  This didn't happen and after a while Nina told the crowd, "please it is late, these people, (the art center staff), need to go home to their families." Then she stated that she would further greet fans by the stage door if we would all exit the building so they could close.

Sean and I rapidly took our cue and hustled out to find the stage door.  I quickly spotted it and was the first to arrive.  The Tibetan dancers were still loading up a van and a station wagon with their instruments and a kindly security guard didn't chase off the now smaller group of fans.  After about twenty minutes Nina came out.  And I was right next to the door.  I shook her hand and dumbfoundedly offered my praises to her and I got her to sign a couple of copies of Mondo Magazine on the cover in which she appeared.  We talked for a while and then I got to stand there next to her as she greeted the few others who were still waiting.  After about fifteen minutes I left, (I heard it all dispersed a little later).  As I walked back to the Bush Hotel I may have been glowing from all the radiance I had just soaked up.

Well, I am into this over a thousand words now.  And Rob may not have enough space for all I would like to tell, so stay tuned to Pop Lust magazine for my next installment about my seeing Nina in LA last July.  Tentatively titled, I attended a pre concert private reception party with Nina Hagen and got complimentary drinks and snacks.

In the mean time on the web visit the Nina Hagen Electronic Shrine and Planet Bearth, then follow the links from there.

Peace.

I Got My Picture Taken With Nina Hagen

By Mark Silver

Hello once more readers of Pop Lust, it is I your humble essayist, here to chafe your posterior yet again.

To continue my diary of meetings with the renowned artist Nina Hagen I ask you to go back with me to July of 1998, Los Angeles Calf.
On the 18th Nina Hagen will be performing at the Key Club in a benefit concert for H.E.A.L.  (Health Education Aids Liaison) an aids alternatives organization.*

If you are going to see much of Nina you had best be prepared to attend benefit concerts, keeping in mind that she has worked long and hard to improve life for all on this planet.  Nina often uses her exquisite voice to sing for causes you might not otherwise hear about.  And believe me when I tell you, I'm not talking about a superficial celebrity flaunting her favorite "pet" charity like she was walking a prissy French poodle.  This woman is as real as they come and has a sincere concern for the plight of humanity.  (An attribute your humble essayist has yet to acquire).

So here I am in LA, it's July, it's hot as hell, with
a constant haze of air pollution.  I am contributing my allotment to the vapors by picking up a rental car at the airport.  I would recommend to all visitors in LA, bring a car, rent a car, have access to a car or at least have a friend with a car.  LA has a pleasant climate year round and you might get by with few clothes and many locals are near naked anyhow, but if you forgot to pack a car, you are screwed! 'Nuff said.

I've made my reservations at the Hollywood Celebrity Hotel on Orchid Ave.  right behind Mann's Chinese Movie Theater.  The desk clerk is sitting on the steps in front of the hotel when I arrive.  She has an eastern European accent which I can't quite place.  Her standard greeting to everyone coming or going seems to be, "sure is hot".  Everyone answering seems to agree, most often with a simple "yup sure is".  The hotel is not fancy but it is inexpensive with large rooms and lot's of tacky art deco character.  A friend from the "fearless" list has recommended the place to me and if you are ever staying in Hollywood dear reader let me pass that recommendation on to you.  It may not have room service or a concierge but everything works and it is a bargain.
So how does one get to meet Nina? I would like to tell you that it was my good looks and charming mannerisms but those who know me would quickly catch me in that lie.  In this case the truth is that it was accurate, timely information and an extra $50.00 that did the trick.  I learned from the fearless list, (a fan to fan e-mail group now called Zarah), that those who donated an additional fifty bucks to H.E.A.L.  would get to attend a special VIP preconcert reception with the Goddess herself.  I was on the phone to H.E.A.L.  in an nanosecond to work out the details.  A good thing too, for the VIP reception sold out in a instant.

Now it is evening in the city of angels and time for your humble essayist to drag ass over to the Key Club.  I want to get there seriously early to grab a good spot in line and try to assure a great vantage for the show.  So I headed over and found the club and paid to have the car parked.  (I only stated you would need a car, I never said it would be cheap).  I then lined up in the queue.

When the doors finally opened those that were on the VIP list were given special wrist bands to allow them entry to the VIP bar downstairs.  Rather than rush to the downstairs bar I sauntered over to a table set up near the stage selling Nina paraphernalia.  There were many items for sale that had been signed by Nina and donated to help raise money for H.E.A.L.  Good thing I brought plenty cash! Hey it's for charity, right?

Now with my arms loaded with merchandise I stumbled down the stairs to the VIP bar.  The coat check gal was kind enough to provide me with a large plastic sack in which to stow my newly acquired bounty, which she checked in for me for only a buck.  I didn't see anyone wearing a coat, perhaps the 90 degree weather was a factor in this.  Then after imperiously flashing my wrist band I am admitted into the VIP bar.  Nina had not yet made her appearance and I planted my posterior on an open barstool conveniently located right at the bar.  I then ordered a drink and found out some wonderful news.  The Key Club was donating free libations to those attending the VIP reception! Never one to miss out on a bargain your humble essayist started in on an enthused program of imbibing premium beverages.

There was more great news.  The Key Club started serving complimentary snacks from the restaurant upstairs.  A superb gesture on their part, except that almost everything they offered had chicken in it and Nina and many of her followers are vegetarians.  Being omnivorous myself, I had no problem indulging in these appetizing morsels.  In a song Nina wrote with Lene Lovich, they sing, "Don't kill the animals, the animals are free".  In my experience animals usually "cost" and are rarely "free", however the chicken casadillos were offered for free and that my friends is close enough for me.

Since I was so thoroughly enthralled with my aforementioned libation and dinning agenda, I can't say for sure when Nina entered the bar.  There couldn't have been much more than forty people in the tiny VIP bar and all of them briskly lined up to meet Nina.  Fortune smiled upon me again as the line was forming right behind me and when I poured myself off the barstool I was near the front of it.

Nina was gorgeous as always.  Her hair was long and black in pony-tails with yellow tips.  She had on platform tennis shoes and a jump suit skirt ensemble with day-glo planets, stars and comets on it.

The first people in line were all given Polaroid's taken with Nina, (also gratis, ya gotta love that!).  Later this activity ceased, due to the fact that the flash was bothering Nina's eyes.  I was one of the lucky ones who acquired this particular memento.  I then got the honor of sitting and talking with Nina Hagen for a few minutes.  I really don't remember our precise exchange of words.  I asked her to sign a few things, which she did and I yammered on about her shows and her music and how much I admired her for so long and what a privilege it was to meet her again and whatever other inane musings I could vocalize while in the presence of one of my most cherished singers.  What I do remember most succinctly was that when my audience with prima Nina was over, she gave me a big hug and a kiss.  Bliss!

And now on to the show.  The opening act? Who Knows? Who cares? I was down in the VIP bar when they were playing and didn't hear a single note.  Nina though, KICKED ASS.  First she introduced Christine the founder/director of H.E.A.L.  in LA who spoke about AIDS.  Then Nina sang an opening mantra and then Return Of The Mother, Hand Grenade (a new song written for H.E.A.L.) Freakquency Control, LSD, Ska Thing, Pollution Pirates, I am Nina (Junkie), Nina 4 President /What it is, Easy Friend (by Nirvana), All Apologies (by Nirvana), Giant Step, I'm Gonna Live the Life, Zero Zero UFO, Freedom Fighter, Back To the Godhead, Hare Krishna and My Sweet Lord (by George Harrison).

She then left the stage briefly and thunderous applause from a thankful crowd ensued.

For her encore performance she sang Born In Berlin, King Of Hearts.  And new songs that might be called Oh Lord Haidakhan and then Young People.  She closed the show with We're in Space and a beautiful rendition of Ave Maria.  The show was so fantastic that even when they cranked the lights back up, most people elected to stay and cheer rather than leave.  All together she sang for over two hours.

Well dear readers, are you still with me? If so please let me thank you kindly for your indulgence.  This isn't the end of the story, but you have just read the highlights from one of the most perfect evenings in my life.

I would suggest learning more about Nina Hagen and have supplied some Internet resources below.  I can't really think of anyone to compare her music to.  It truly is so unique that it defies categorization.  There is one thought I would like to conclude with.  If there is a heaven and if there are angels residing there and if those angels have voices and if those angels voices sound half as superb as the voice of Nina Hagen.  Then I hope I am on the guest list.

Mark A.  Silver

BAM Magazine – Date unknown
By Ellen Zoe Golden
Submitted to the Shrine by Hagenpaws

All right, here's the predicament:  You've been bombarded with photos of a woman who rotates between blue ponytails and glittery mod wigs.  Her eyebrows point to the heavens and her outfits range from Egyptian-chic to 50's sleek.  You've been told to meet this woman at her New York hotel, the Mayflower, temporary home to rock and roll's most feisty souls.

The living area of the suite has space-age gowns strewn on the chairs.  And while you wait, you read about an episode on Austrian television whereby your hostess for the afternoon simulated masturbation to make a very important point, and the harmless instruction caused a scandal.  Are you nervous? Don't lie.

When Nina Hagen finally emerges from her hotel bedroom, she is dressed quite simply: black spandex pants, ripped striped T-shirt, simple blue ponytail, no makeup.

"Nina, this is Ellen Golden," her publicist offers, while I wait for some boisterous reply.  After all, Nina can belt it out when she wants to communicate on record.  For reference, check out her two U.S.  albums, Nunsexmonkrock, and the latest, Fearless.

"Hi, Ellen Golden," squeaks Nina.  I am disarmed.  Nina Hagen turns out to be the lovelies person I'd come across in a long time.  She displays a spiritual awareness that makes everything around her very calm.  Quite a contrast to the multi-octave performer who outrages on vinyl and stage.

"I found out that I need to be rebellious," Nina explains in her East German accent.  "I need to do something and that is fight for love.  I'm softspoken, but I'm all together.  I consider myself a human angel, actually."

Nina's philosophy first surfaced within her when she was a child growing up in Communist East Berlin.  All around this quiet young girl were walls of suppression, yet Nina recognized the need to break out.  It was the punk rock spirit in its earliest form.

When Nina was 10, her mother moved in with Wolf Biermann, a poet whose criticism of the government created waves.  This open home environment brought out Nina's fighting spirit.  She hung out with other artists, partied, created and scrambled for every type of message – music that could find its way into the country.

"The East German government really couldn't do anything to us, because we were all famous.  If they put us in prison, there would have been a big scandal with pictures in the paper," Hagen says.  "We had contact with all the other rebels, like Joan Baez and Bob Dylan.  They all came by and said 'hi.'

"When I met Biermann, I also became involved with God.  I was finding myself sitting in a church, thinking.  I was also praying that God would help me to get to the West."

Before Hagen's prayers were answered, she made a startling discovery.  "I found out that I am a true opera singer through extreme boredom during the rehearsals of my mother in My Fair Lady; one day, I yawned a big yawn, and I was making this tone.  Later, when I was 19, I had training, but only for one year.  I needed a professional passport, a thing which says that I am an accepted artist, in order to be on TV.  It was a union.  I thought I would do that and one day they would send me to a West German or Western European songfest and I would just stay there."

Hagen never had to resort to that method of escape, for the East German authorities were only too glad to get rid of Biermann and his trouble-making family.  Nina Hagen was now fee to travel to London, where she would change from a hippie to punk, a persona she was most comfortable with.

In London, Hagen became an "advisor and friend" to the Slits, dishing up singing lessons and support while the group made their way throughout the English punk scene.  Hagen learned a lot about staging and emotion from the group, but she never performed and soon found herself restless again.

"I couldn't find a group in London," she says.  "I wanted musicians who also could play because I had more to give than quick punk songs.  I found them in Berlin, when I went back.  We made a record and became an overnight hit in East Germany.  That seems to be happening now in America.  It doesn't mean that I didn't work for the recognition, but at one point it just happens overnight."

Although the singer released two records in Europe, and is actually a huge rock star abroad, her "overnight success" story is just typing out their first chapers in America.  When Nunsexmonkrock was released last year, her hiccupy vocal extravaganza made the album a bit difficult to classify and digest.

Fearless, produced by dance-masters Giorgio Moroder and Keith Forsey, is immediately accessible with the first cut, New York New York, "This album makes people very happy," Nina confirms, "and it makes me very happy."

But, what about the locale? Does Nina reside in Gotham City? "I did live in Los Angeles for a long time, but I lived in New York before I lived in L.A.  Oh, I'm a part of many cities.  I consider myself a pyramid builder.  I already built a pyramid in Detroit because I was three times in Detroit.  I am always traveling, hitting the same cities again and again.  And I found out why I am doing that – I am building pyramids of light in those cities."

With rock and roll having a historical reputation for decadence, rebellion and sexual freedom, I question Hagen on her contradictory union of rock and religion, but my supposition is quickly corrected.  "God is not what all religions are trying to tell us," Hagen asserts.  "God's first-hand information is happening inside myself, and the more I tune into His station, I can be sure to receive the best messages.  When we have the idea of what we can do, then we can do it every day and we can work on it.  To live without God, for me, would be a life of confusion.  How would I tell what is right or wrong?" end

Note: This article contained a photo of Nina with neon red hair all teased up with a big blue ribbon in it.  She is wearing a t-shirt with Whinny the Pooh, Eee-yore and Tiger on it, and she is blowing soap bubbles in the air.  The caption reads "I am building pyramids of light." Also, I guess I just ripped this article out of the magazine.  Based on the format and my memory I can only assume that it is from BAM (Bay Area Music) magazine, but I could be mistaken.  If so – sorry.

Mid-1980s
Typed by Geoffrey Faustman @ Planet Bearth

*MG [Merv Griffin]: Nina Hagen and that wonderful music.

DR [Don Rickles]: We'll be back with Nina and Don!

[As we return to this interview Nina, Merv and Don are improvising an Opera.]

MG: Boy! Let them top that at the Metropolitan Opera House. Oh, look at Lago over there.

NH[Nina Hagen]: Yea, I was so sad not being part of we are the world that I made a translation into German that goes like vie ….. [singing the chorus of we are the world] and so forth, you're gonna hear it.

MG: It doesn't quite have the same drama to it.

NH: Well, it comes from another chakra, I would say the German language is more like from this chakra like here like–

MG: Schmetterling.

NH: Schmetterling!

MG: That's German for "little butterfly."

DR: Oh! I was gonna go hide my family.

NH: [to Don] By the way, I know you know Frank Sinatra I just had a beautiful dream with him the other night.

DR: Yeah, well, I hope the maid wasn't too tired.

NH: No, no way, and he told me many things about his life and he kind of showed me his soul which was really interesting and we got being friends very much, so uh, he said he probably gonna marry one of these days.

DR: Yeah, sure. [obviously thinks she's crazy]

NH: Yeah, he said…

DR: I hope you're very happy.

MG: You have an incredible, uh, well I guess it's a contralto.

NH: Well, I would call it my individual God identity, Merv.

MG: Yeah, I beg your pardon?

NH: I would call it my individual God identity.

MG: Oh, well you go right ahead and call it that. We're not gonna fight that, are we Don?

DR: No need to get hot about it.

NH: Anyway, didn't you want to ask me something?

DR: And they wonder why they lost the war.

NH: Well, I was jewish, I wasn't involved.

DR: Well, we won't get into that dear —

MG: You weren't even born then, were you?

NH: Well…

MG: You – you have a baby?

NH: Yes, 5 years old and she is in the pre-ballet school.

MG: What's her name?

NH: Cosma Shiva.

MG: Cosma?

NH: Cosma Shiva, and she's a Taurus and she's extremely beautiful.

DR: That's what I am, a Taurus – my kid's name is Casablanca and my daughter's name is Pasha Kupa.

MG: And what's your real name?

DR: Al Katz.

NH: Nina, but home is not Germany for you anymore, is it? You live in what, Paris?

NH: I live in Paris, and in London and wherever I am because I'm touring the open air festival this summer again, and I'm having a new single coming out as a duet with Lene Lovich the other crazy chicklet from over there in Europe, the one with the braids and she once had a big hit the OOOOh-OOOOh-OOOh-oooh thing.

MG: I missed that one.

NH: You did? It's called My Lucky Number One.

MG: Her name is Lene Love itch?

NH: Lene Lovich, and um….

DR: Hm.

MG: Don's thinking there's a cure for that.

DR: What a night!

MG: Yeah, it's a shame when they get old and they sit around and reminisce – we don't do that because we're today, aren't we?

NH: Well, I'm different, I don't get old, I get young because I'm 47 now, next year I'm going to be 46. I'm different.

MG: You're not 47

NH: Sure, I'm getting younger, see I want to loosen up the conception of time, I want to create some kind of limitless kind of perception for the human race. By the way, [Nina begins rapping from the song, "Don't Kill The Animals] the human brain is our mental perception and with amazing grace, you lighten up your pretty face. And if we want to avoid this endless human riot, why don't we start by changing our diet? Life is for living, we animals agree, if they were meant to be eaten, we'd be growing on trees.

MG: That's right…

NH: [continues rap] So no more torture of our furry friends in the name of good and scientific ends. The pressure is on, make your decision, be vegetarian, be anti-vivisection and don't kill the animals, don't kill the animals, the animals are free-ee-ee-ee-ee. This song was created– thank you, thank you very, very dearly.

MG: Can Don try on your hair?

NH: My hair is extended.

MG: Is it extended?

NH: It's extended like extended love, you can't rip it off anymore.

MG: Is it yours?

NH: It's mine.

DR: [with extreme sarcasm] It's lovely.

MG: It used to be pink, I remember you when you were pink.

NH: Yeah? Now I'm white because I'm kind of more into being neutral. When I was pink, I was very much into romantic love affairs, but these days I am very much into being neutral and being happy with whatever I am and with wherever I am and stuff.

MG: Weren't you going to have a baby with one of my crew's son?

NH: Oh, yes, definitely.

MG: That didn't work out?

NH: Oh, yes, but I'm planning to have it in approximately about in like 7 years or so from now.

MG: Oh,

NH: Yeah, see when I create a love relationship, that love relationship last forever and ever and ever, because I'm neutral, I'm not jealous, I'm not jealous, I'm not possessive, I am happy with what I am, where I am and blah-blah, etc. bink,bink.

MG: 7 years gestation?

NH: Well, it might happen in 6 years. You know, it might happen in 6 years. I wasn't planning on getting pregnant right now. [moves away from Rickles]

DR: [very sarcastic again] I'm not that lonely.

MG: We'll come back right after these messages.