The city of Gelsenkirchen, a center of mining located in the most industrialized part of Germany, the Ruhr region in the west, had the dubious honor of inspiring a mocking name for interior design: from the 1930s onward, the heavy, ornate furniture the working class showed a taste for was known as “Gelsenkirchen Baroque,” a term that lampooned how an ascending group did not know the difference between propriety and pompousness. While the city of Gelsenkirchen forged a “Barock Krieg” to eradicate the term in the 1950s, it chose a more successful strategy to change the feeling rules toward Gelsenkirchener Barock in the early 1990s. With the city grappling with the consequences of deindustrialization, the municipality aimed at rehabilitating its image and the original pride of the furniture’s working-class owners by celebrating a Gelsenkirchener Barock festival, the city’s biggest PR initiative to this day. Marrying conceptual history, emotions history, and design history with social history, the article goes beyond the individual case study and shows that to understand taste-making processes, the emotional politics they entailed are crucial. The highly emotional debates over value and taste in specific historical and spatial contexts are vital for grasping the development and change of feeling rules.