29 July 1978, Düsseldorf

the day Karin Luner, art student in Berlin (Prof. Hödicke) and I decided to form a girl band. The night before we danced in the nightclubs of Düsseldorf. Florian Schneider-Esleben, Kraftwerk, the best dancer in town drove us in the Mercedes 600. Karin also lived in NYC, where she had drum lessons with Fred Maher, Lou Reed’s drummer. In May 1979 we started in Berlin with Beate Bartel, Sound technician at Radio station Free Berlin. Beate brought Gudrun Gut and Bettina Köster along, both previously played with the Berlin band DIN A Testbild. In October, Beate(Bass) SAMO© (Syntheziser) and I played on Halloween at As, the night before the Beuys Retrospective. Members of Mania D. founded the bands Malaria!, Einstürzende Neubauten, Liason Dangeraux, Blässe Düsseldorf, Die Krupps, played with LIEBESGIER and had a plethora of solo projects e.g. Gudrun Gut & Blixa Bargeld, Bettina Köster, Beate Bartel:

SAMO© ESTA EN ALGO,

Samo is onto something.

Photo`s Thomas Ruff, 2010.

Autumn nineteen hundred and seventy-nine, eighteen he is, twenty-one me, he poems, I poems, he makes noise music, fake-punk-jazz me, a blind window has our chamber in New York’s Lower East Side. He played with a synthesizer, borrowed from Michael Holman, a saxophone, not borrowed, I. We played with words and ideas and read to each other. He writes SAMO© ESTA EN ALGO in my suitcase, as a farewell. There will not be a reunion, as promised to each other. Spanish by a young New Yorker. Being from Düsseldorf I doesn’t know Spanish. Thirty-two years later I see a picture painted by him in 1980, title is his writing in my case. Years later I found out that his words with the line through ASNG is an enigma. And the reason why he smudged the two-line MAN MADE with his saliva. 2011 the Frankfurter Allgemeine Zeitung reported about our past in 1979.

An explanation for Spanish is offered by Dr. Kellie Jones, Columbia University, in her essay „Lost in Translation“ Catalogue, 2005 Retrospective, Brooklyn Museum.

Michael detected Basquiat`s code

by recognising the sense of the misspelling SAMO© left in my diary in 1979 as a key. Basquiat quotes „Gods, Graves and Scholars“, C. W. Ceram, who quotes Arthur Schopenhauer in his chapter on Schliemann, the discoverer of Troya, who was not spared scorn by experts: „Dilettantes, Dilletantes!“ – that is how those who pursue a science or art, out of love for it and pleasure in it, per il loro diletto, are called with contempt by those who have taken to it for the sake of profit; because they only delectate the money that can be earned with it. This contempt is based on their base conviction that no one will seriously attack a thing unless necessity, hunger, or some other greed spurs him on to it.“ Michael? My big brother, who became, in a metaphorical sense, an art-historical Michael, a messenger, a warrior for the good.

DIE KRUPPS / 6. 6. 1981 The Big Industrial Bang – The Yuzuru Agi Tapes 1981.6.6(DVD+CD) SSZ3069 貴重なデビュー・ライヴを収めた映像を世界初DVD化!初回特典:同内容のCD。近日ご予約受付開始。

1980 in Düsseldorf

1981 live in Krefeld:

Yuzuru Agi (Camera), Frank Köllges (Drums), Bernward Malaka (Bass), Eva Gossling (Saxophone) Jürgen Engler (Guitar, Stahlofone) missing: Ralf Dörper, synthesizer, he stood behind the speakers.

organized by Carmen Knoebel, Fotos: Achim Duchow.

2021 Japan

by Jürgen Engler
S. Alexander Reed: Assimilate. A Critical History of Industrial Music. Oxford University Press, 2013,

About rabbits. 32 pages, final paper, 4th grade. Rabbits in art, music, literature and in the kitchen, by Paul.

Veröffentlicht unter Text

Japanese ice dancer in Dortmund’s Westfalenhalle.

2014 inside: Creamcheese, Düseldorf`s world famous Nightclub

Düsseldorf Night Club with Blinky Palermo, Joseph Beuys, Nam June Paik, Kraftwerk, etc…at the Guggenheim a Legendary German Art Disco is reborn for one night only.

After the horrors of World War II, German national identity was primed for an anything-goes reinvention — and creation always needs a laboratory. This past Saturday evening, the Guggenheim transformed into a re-creation of a decades-old Dusseldorf discotheque called the Creamcheese club, where visual artists and musicians tussled with ideas of originality, abstraction and innovation. The Guggenheim’s one-night-only event paid homage to a space that from 1967 to 1976 served as a revolving door to nearly all of Germany’s globally influential creative class. Details & pix made in Düsseldorf.