Rap-scenen i Tyskland er preget av ekstremisme. Kvinne-hat, homohat, og nå også bruk av ordet jøde som et generelt skjellsord, har bredt om seg. Der USA har macho-afro-amerikaneren, har Tyskland jihadisten, den islamistiske fighteren som mahco-ideal.
Tysk middelklasseungdom kjøper musikken. I rap er det lov å uttrykke tabubelagte følelser, og det gjøres i fullt monn. En som følger rap-scenen er Robert Peschke og han sier i et intervju:
… since in recent years the word «Jew» has again become a general purpose insult, precisely among young people. Some German rappers also use the term «Intifada Rap» to describe their music and they see themselves as belonging to a «Generation Jihad.» They do everything they can to adopt the look and tone of Jew-haters. In videos that are accessible to anyone on YouTube, rap fans celebrate Hamas activists and other Islamist terror groups and challenge the right of Israel to exist. In these circles, Osama bin Laden has long since replaced Che Guevara as a symbol of emancipation.
The Violence Prevention Network is an association dedicated to counteracting extremism and xenophobia in German youth culture. In a recent lecture on anti-Semitic tendencies in German rap, Jan Buschbom of the Violence Prevention Network comes to the same conclusion as Peschke:
In the so-called «Underground Rap» milieu — which, despite the name, includes genuine hit parade stars like Sido and Bushido and which dominates German-speaking hip-hop — anti-Semitic remarks have become part of the consensus, or, at any rate, they are not perceived as scandalous. In light of the violent imagery, misogyny, sexism, and homophobia that are commonplace in recent German-speaking rap, it seems that hardly any of the young musicians and fans are bothered by the expressions of anti-Semitism. … In German-speaking hip-hop, the Islamist terrorist has become a metaphor for masculinity, toughness, and soldierly virtues. Thus in his rap «September 11,» the Berlin-based rapper Bushido describes himself as a «Taliban»: «I am the terrorist, whom the youth believe in,» he sings.
Blant tyske rap-band er det in å bruke ord som Zyklon, dvs. blåseyregassen som jødene ble drept med.
Extreme misogyny and unbridled homophobia have long been staples of prominent «Aggro-Rappers» (so-named for the record label Aggro Berlin). In his «Zero Tolerance,» for instance, the Berlin-based rapper G-Hot (pronounced «Jihad») calls for gay men to have «their pricks chopped off.» In the meanwhile, anti-Semitism has been added to the mix, with «Jew» joining «c*nt,» «slut,» and «fag» as standard insults. But Robert Peschke is right to point out that this development is not simply to be explained by the Muslim immigrant background of the rappers: «Not a single German rapper would have enough money to keep his refrigerator stocked, if it was not for the purchasing power of the white middle class kids who buy their recordings. They are drawn to the toughness of the Islamophile German rap and they pay hard cash for it. But they also can get their anti-Americanism and anti-Semitism on offer from ‘white bread’ rappers.»
The «white bread» rappers in question are presented at length by Jan Buschbom in his lecture. Examples include the Dessau-based rap crew Dissau Crime. On their CD titled Zyklon D: Frontal Attack — an allusion to the Zyklon B gas used in the Nazi gas chambers — one finds lines such as the following:
To each his own Think about this phrase On the way to the gas of my city Zyklon Dissau
I fire with the flak On the whole Jew pack Zack — I f*ck up this filthy society …
The album Enzyklonpedia of the Berlin-based group Zyklon Beatz provides another example. Buschbom notes that «hardly any of the classical expressions of anti-Jewish resentment are missing» from the album:
The anti-Semitic legend of Jews poisoning water sources is used, as well as a slightly modernized version of the myth of Jewish ritual murder of children. Jews are dehumanized, presented as animals, and demonized as devils in human form: «Satan’s crowning achievement,» to which all the evils of the world have to be attributed. The anti-Semitic master narrative of the Jewish world conspiracy is also present in underhanded form: disguised, namely, as criticism of the U.S.A. and Israel, who are supposed to be bent on imposing their economic interests across the globe.