The graphic novel, One Model Nation by C. Allbritton Taylor and Jim Rugg, the fictional, industrial rock band of the same name becomes the voice for rebellion in post-war Germany, 1977. The story follows the quartet, resembling a militarized version of The Beatles, while embedding them in the fabric of a politically-divided German society. They become linked to the RAF (the Red Army Faction), a group of leftist ‘urban terrorists’, who in their earliest incarnation were referred to as the Baader-Meinhof Group.
Historian, Donovan Leitch, culls significant details from this tumultuous period in history, providing Taylor with enough material to weave a mesh of reality and fictional drama. One band member, Sebastian, becomes a figure of interest as he appears to have had a relationship with Ulrike Meinhof. A casual, heartfelt interaction between Ulrike and Sebastian precedes a depiction of Ulrike’s participation in the escape of Baader from custody (an actual event that occurred in 1970).
Sebastian, more than the other band members Karl, Ralf, and Wolfgang, projects his discomfort at being cast as an emblem of leftist ideology. He reminded me of Kurt Cobain and his reported struggles with celebrity, though without the violent societal backdrop. When Sebastian takes a leave of the band after their studio is destroyed by police forces, the remaining members continue to establish new musical ground, in part driven by the success of other musicians (The Beatles and Elvis are discussed) and their commitment to personal expression through music.
One Model Nation (OMN) ultimately remains together and makes a stand against the establishment and the movement that claims them. Interestingly, the band is made to disappear from history just as the lives of Baader, Meinhof, and their immediate associates are seemingly dashed from relevance (all supposedly committed suicide or were killed while incarcerated). As Minister Klein announced while in the presence of the media, “The names and faces you see here will soon be forgotten.” Later, referring to OMN he states, “They are nobody. They can go.”
Taylor renders the cast of characters with great sensitivity and realism. At times, Karl, Ralf, and Wolfgang felt a bit interchangeable. I could not quite get a hold of their personalities. Nonetheless, the band itself felt very organic; few forced exchanges and no celebrity-like fits. OMN felt like a group of friends who loved what they did – the world around them be damned.
The art by Rugg and colorist, Jon Fell, is spot-on given the story arc: severe paneling and juxtapositions of bright color with monotones. I will say that the coloring as seen on the internet is much more vivid, providing more drama than what I absorbed from the novel pages. The alternate cover for the story, the four OMN members depicted faceless in a militaristic stance was just as compelling as the final cover developed by Rugg. Artistic contribution by Cary Porter bookends the main story, and does not detract from the feel of One Model Nation.
If you want to know how OMN’s music could have inspired their generation of listeners, or perhaps another generation of disgruntled youth, just take a gander at the video for “Ost Berlin” at Onemodelnation.com. Leitch suggested in an interview that OMN has several more tracks that could be released to the public in the future and that the One Model Nation could be made into a series. I don’t believe that a series will attract many viewers but I believe that a movie might make a solid impact.
I grew up during pop music’s grunge period. That time period in America was prosperous with the internet booming and Generation X coming in full strength. Yet, there was something about those years where bands like Soundgarden, Pearl Jam, and Nirvana became the face of angst-filled youth. Bodies and music hitting you so hard from all sides – the sensations erupting pent up aggression, sadness, and confusion. Rock ‘n Roll, Folk Rock, Disco, Glam Rock, Gangsta Rap, Hip Hop: music reflects the times. Or is it that some entity adopts music, uses it, channels it, and recasts it to meet its needs. What if the artist never meant to make a statement of the times, they just wanted to make music? As I see it, One Model Nation suggests that music and history are forever intertwined. To truly appreciate either, you have to acknowledge and listen to both.
Title: One Model Nation
