On March 12, the Goethe-Institut hosted “Back to the 80s,” an event as part of its Media Mingle series. The Goethe-Institut is a non-profit institution funded by the German government that promotes the international study of German language and culture.

The focus of this event was Neue Deutsche Welle, a genre of music that primarily came out of West Germany in the 1980s. The goal with this new genre was to counter the domination of English-language media in the country. The eventgoers watched grainy music videos with bleach-blonde mullets and vinyl jackets reminiscent of the decade that birthed this genre of rock.

A variety of German songs were on the playlist, including some that had topped the English-speaking charts, like West German band Nena’s “99 Luftballons.” More obscure artists that may be unfamiliar to English speakers, like Udo Lindenberg, were also included. 

The attending audience varied in age, German language levels, and involvement with the institute. Quite a few people were greeting each other as old friends, and others were making new introductions. While many of the names and songs were unfamiliar to me as a younger English speaker, other attendees were nodding their heads and singing along to the lyrics. 

An accessible space for new German speakers

My university studies have focused heavily on Holocaust media, so Germany has been an inevitable and integral part of my work. When I visited the country in the summer of 2024 with a German-speaking friend, I realized just how intimidating it can be to learn a new language. By the end of my 10-day stay in Berlin, I had just managed to nail the pronunciation of “hallo,” and the name of my preferred brand of cigarettes. 

The Goethe-Institut, however, was extremely accessible to me and other English speakers. At “Back to the 80s,” attendees received handouts with both the German lyrics and their English translations. This was helpful for following along with the music and grasping some of the finer metaphors and cultural references. 

The Goethe-Institut regularly hosts accessible events for both German speakers and those new to the language, welcoming anyone in the Toronto community with an interest in the German language.

Political songs about a divided German past

A few of the songs at the event were your classic, romantic, ’80s synth-pop ballads. One of my favourites from the event was “Blaue Augen,” which translates to “Blue Eyes,” and is a yearning ballad. A few of the songs also had strong political themes, which sparked a lively conversation between participants about the historical divide between East and West Germany. 

For example, in 1979, Lindenberg was denied entry into East Germany to perform. He protested this restriction by writing the song, “Sonderzug Nach Pankow,” which translates to “Special Train to Pankow.” He sang, “Oh Erich, are you really such a stubborn old grump? / Why won’t you let me sing in the workers’ and peasants’ state?” referring to Erich Honecker, the General Secretary of the Socialist Unity Party of Germany, and the chairman of the Council of the State at the time. 

Lindenberg was addressing the leader of the Communist or Eastern Bloc with a playful, teasing tone. He used his song to call powerful men like Honecker names and reference what he believed was a uniquely Eastern issue of poverty, even though it was also just as widespread in the Western Bloc. 

Many of the political songs played railed against East German policies in a manner that betrayed the artists’ nationalist sentiments, as with Lindenberg’s West German finger-wagging toward the East German establishment, while ignoring the similar issues present in the Western Bloc. 

Another example is “99 Luftballons,” which imagines a scenario in which balloons float across the Berlin Wall and are mistaken for UFOs by a general, who sends “a squadron of planes after them.” The idea that such an action could be misunderstood as political provocation by East Germany and launch both blocs into a devastating conflict intrigued these Neue Deutsche Welle artists, and they explored it in their songs.

Community and connections

The event also highlighted the important role music plays in forming interpersonal connections and collective memory. As the audience listened and discussed together, these songs transported some of the older participants to what was happening in their lives during the ’80s, like the hostels they had stayed at or the eyeliner they had worn. For many, it was an opportunity to reflect on being young during an uncertain time, trying to construct a personal identity in a politically precarious environment. 

I found myself unintentionally observing the gathering through an anthropological lens — noticing interactions, relationships, and the language people spoke. As a North American English speaker and a recovering ’80s music hater, I hadn’t been sure how I would fit in with the crowd. As I spoke with people at the event, however, hearing the stories that the songs brought up for them highlighted the importance of music in forming community identity. 

Here was a group of people — some German, some not — who had come together to share the experience of listening to music together. Something as simple as “Oh yes, this was on the radio a lot,” brought smiles to people’s faces. 

Through this musical gathering, the Goethe-Institut exposed me to a new subculture I’d never come across before. I enjoyed the music that night, but even more, I was moved to hear people share their lives and memories with each other as strangers.