Schneeball was a German record label founded in 1976. Embryo, Missus Beastly, Sparifankal, Ton Steine Scherben and Julius Schittenhelm decided to take their fate into their own hands in 1976. Setting themselves apart from the phonograph industry, they founded their own record company (APRIL Records) and cooperatively organized the distribution. “Music distributed by the musicians” was the primary guiding principle. There were no European models to imitate, although the Filmverlag der Autoren [Authors’ Film Publishing Company] was surely groundbreaking at the beginning. Established several years previously, it had succeeded in marginally pushing back the market power of the Anglo-American media flood so the filmmakers who belonged to it could make a living for themselves. The start of APRIL Records was extraordinarily successful and attracted much attention. After CBS threatened to take legal action, its name was changed to “Schneeball” [“Snowball”] in 1977. The situation was quite difficult, but samplers entitled “April ist Schneeball” [“April is Snowball”] enabled it to remain recognizable in the music and media landscapes. The name was chosen to express the energy in the center of the music spectrum and the expansion and development along its margins. Many others subsequently used APRIL Records as a model. Within a short time, numerous bands wanted to be part of it. Other artists who published at Schneeball are Real Ax Band, Munju, Checkpoint Charlie, Moira, and Hammerfest. An important cooperating partner for distribution via bookstores was the Trikont label “Unsere Stimme” [“Our Voice”], which had sprouted from Trikont Buchverlag [Trikont Book Publishing Company]. At the same time, the “Umsonst und draußen” [“Free and Outdoors”] festival movement developed as an organizational form for noncommercial music festivals. New labels were founded, including, for example, NO FUN, Zickzack, Eigelstein, Subup, and Trikont. The distribution was taken over by EfA(Energie für Alle) [Energy for Everyone] at the beginning of the 1980s. Schneeball Oper 1 und 2 [Snowball Operas 1 and 2] were developed as a new cooperative project by the musicians from the various bands. This showed that a mutual willingness existed to collaborate beyond the horizons of each individual band. The distribution structure became increasingly independent, but this autonomy unfortunately proved detrimental to the interests of the producing artists. Consequently, Efa and INDIGO Musikvertrieb [INDIGO Music Distribution] separated in 1992. Schneeball’s most productive era was already over by the mid 1980s. The reasons were manifold. Ton Stein Scherben broke up. Rio Reiser began