Add info box

content/blog/till-lindemann-has-finally-done-it.md

@@ -4,12 +4,14 @@ description: "You always hope that your favorite musicians will retire before th
 date: 2025-03-28
 tags:
   - Music
-  - "TW: SA"
 synopsis: "You always hope that your favorite musicians will retire before they do anything too embarrassing."
 imageURL: /img/till.webp
 imageAlt: A black and white photo of Till Lindemann looking sad.
 mastodon_id: "114270477560168817"
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+::: info
+Content Warning: Misogyny; Mention of sexual assault.
+:::
 Over his storied career, Till Lindemann has been given a lot of grace. Both he, as a lyricist, and the Neue Deutsche Härte powerhouse he fronts, have made some questionable decisions over the years. Many of these missteps might perhaps be chalked up to the era, such as the unfortunate fat-suits in Rammstein's *Keine Lust* music video. We might also see the red-face in *Amerika* as ignorance rather than malice, given it was donned by a group some 5,000 miles away from the peoples being insulted, and in 2004,  no less. Likewise, as a queer Rammstein fan I always saw *Mann gegen Mann* as a statement on the ridiculousness inherent in the rabid homophobia that was common at the time. The trouble with satire, however, is that you can never be perfectly sure whose side is being satirized, and Lindemann's later work threatens to cast an unflattering light upon lyrics written decades ago.
 
 In 2015, you didn't have to be on the bleeding edge of contemporary thought on matters of social justice to recognize that *Ladyboy* and *Fat* of Till Lindemann and Peter Tägtgren's *Skills in Pills* was, to put it mildly, problematic. Still, Rammstein has never taken itself too seriously; it didn't seem terribly incongruent or damning that Till would opt to play the clown in an ill-advised politically-incorrect shock-rock album that, let us admit, did contain the odd banger. Till's attempts at a contemporary *Leah Sublime[^1]*  certainly ring hollow compared to much his lyrics for Rammstein—which, while also often juvenile and shocking, explore themes of love, lust, obsession, gender, and the body in interesting and compelling ways—but never have I felt that they betray anything more insidious than a blurry view of the boundaries of poor taste. Further, Rammstein detractors have so long 'spent spouting the tide'[^2] of satanic-panic style criticism and speculation as to the group's messaging and politics, that it was eventually forced to be quite frank on the matter. As Lewis Twilby reported in Edinburgh University's history, classics, and archaeology magazine, *[Retrospect Journal](https://retrospectjournal.com/2019/10/20/deutschland-by-rammstein-a-look-at-cultural-memory-in-germany/)*: