With this satirical piece taking the form of a vinyl record, I hope to underline how ‘‘1968’ […] functions as a myth […] fostered by the participants in rebellion’ (Poiger 2011, p. 1). Under the guise of fighting back against misinterpretations of their intentions during the ‘magical mystery year’, it is implied that these four 68ers are actually using the myth of 1968 to their advantage simply to make money. I have modelled it on The Beatles’ 1967 album Magical Mystery Tour because it and many of their albums featured themes of revolution, which contributed to their success. I have named the band ‘1968’ because I want to emphasise that ‘the forces of commodification […] were indeed very quick to capitalize on the cultural caché of international rebellion.’ (Poiger 2011, p.13). Thus, 1968 has become a commodity, even though the 68ers stressed the importance of authenticity. The supposed final track on the album is ‘This is neo-anti authoritarianism’. While this refers to the 68ers retaking control over the interpretation of 1968, it is also a nod to those 68ers who later became active in neo-Nazi organisations such as Horst Mahler.
Magical Mystery Tour album by The Beatles, 27 November 1967
Photo of Kommune 1 members: SZ photo / Thomas Hesterberg.
Rudi Dutschke: Hans Peters / Anefo.
Rainer Langhans and Uschi Obermaier: picture-alliance / united archiv .
Peter Schneider: Renate von Mangoldt.
Other materials sourced from Dazed & Confused Magazine Spring issue.
CORNILS, I., 2016. Writing the Revolution: The Construction of “1968” in Germany. New York: Camden House.
POIGER, U.G., 2011. The Oxford Handbook of Modern German History: Generations: The ‘Revolutions’ of the 1960s. ed. H.W. SMITH. Oxford: Oxford University Press.