Like Schroeder, whom he sees as an acolyte, Knape wants to give “nationalism” a friendlier, cooler face (in the NPD, and many other extreme-right organizations, “nationalist” often functions as a politically acceptable euphemism for “Nazi”). For Knape, who grew up with American pop culture, the idea of policing what young members of the scene watch or listen to is silly — he’d much rather hijack it, and use it to bring young people into the fold. Michael Schaefer, the JN’s excitable 31-year-old press person, chimes in: “We’ve taken over the nipster,” he says, giddily, before catching himself. “I mean nationalist hipster, not Nazi hipster.”
The term hipster has, of course, always been notoriously slippery. Back in his 2010 book What Was the Hipster?, Mark Greif described the term as meaning a “consumer” who “aligns himself both with rebel subculture and with the dominant class and thus opens up a poisonous conduit between the two.” But in Germany, as elsewhere, the newly discovered hipster is often reduced to its more superficial component parts: “skinny jeans, a bushy beard, bright sunglasses” (Welt), “strange, nerdy and somehow different,” (Sueddeutsche Zeitung), “self-important culture snobs” (Tagesspiegel). Here, the hipster is simultaneously a uniform, a cooler-than-thou weltanschauung and signpost of globalized American youth culture and consumerism.
“We don’t want to cut ourselves off,” Knape says, about hipster culture. “I see rap and hip-hop, for example, as a way of transporting our message.” In recent years, a number of extreme-right hip-hop acts have emerged in Germany — with names like Makss Damage and Dee Ex. Despite the awkward politics of using hip-hop to preach the virtues of German identity, they’ve amassed a small, but significant presence within the scene. Dee Ex, for example, has over 7,000 likes on Facebook and posts photos of herself in a revealing outfit on her blog. There is now neo-Nazi techno (biggest act: DJ Adolf) and neo-Nazi reggae.