'I Was Sleeping When the Wall Fell': Berlin Stories, 30 Years on | Travel

Total Page:16

File Type:pdf, Size:1020Kb

'I Was Sleeping When the Wall Fell': Berlin Stories, 30 Years on | Travel Advertisement Search jobs Sign in Search International Support The Guardian edition Available for everyone, funded by readers Contribute Subscribe News Opinion Sport Culture Lifestyle More Travel UK Europe US Berlin 'I was sleeping when the Wall fell': holidays Berlin stories 30 years on The years leading up to – and just after – the fall of the Berlin Wall are filled with vivid and poignant memories for these locals from both East and West Interviews by Paul Sullivan Wed 6 Nov 2019 06.30 GMT 155 153 Advertisement Border guards at the Berlin Wall in 1989. Photograph: David Turnley/Getty Images Harald Hauswald, photographer, co-founder Ostkreuz photo agency Born in Radebeul, eastern Germany. His retrospective will be published by Siedl in 2020, with an accompanying exhibition at C/O Berlin I moved to East Berlin, from Dresden, at the end of the 1970s. I lived in Prenzlauer Berg for most of my time there, on different streets – Kastanienallee, Winsstrasse, Choriner-Strasse. It was one of the most interesting places to be for an artist, because all the activists and dissidents were there, too. We could squat the houses, or at least not pay much rent, because they were all in such bad condition and the most viewed landlords were (mostly) happy just to have someone in there who could maintain them. Those in power, including the Stasi, were confused by our scene as they Ukraine crisis put on ice by Trump staff busy working couldn’t access it, or at least not completely. There were lots of small groups out how to buy Greenland rather than one big scene. Thousands of rare 'ice eggs' found on beach in Finland Outrage as US rapper TI says he has daughter's hymen checked annually I was an astrologer – here's how it really works, and why I had to stop ‘It shut all my doors’: how a Quebec law banning religious symbols derails women’s careers Harald Hauswald, in Berlin, 1985 It was a real community back then but the photography style I used was, of Advertisement course, challenging. Not just because the Stasi were always breathing down my neck but because if I turned up at an event with my camera equipment people would often think I was with the Stasi! I always tried to wave conspicuously to the right people, to reassure everyone that I wasn’t working for them. My long hair helped. Volksbuhne theatre, Rosa-Luxemburg-Platz, Berlin. Photograph: Getty One of the worst experiences I had Advertisement Images during those years, though, was not down to the Stasi or being a photographer: it was when I had to do army service as a reservist. I was a single parent and they put my eight- year-old daughter in an orphanage for six months. This was a heavy time as I knew she was unhappy, and I was too. Harald recommends The Volksbühne theatre, which was active during the GDR era. Tierpark Berlin is a great zoo in the East, and the Turkish Market on the Maybachufer has a great atmosphere. Joe Dilworth, musician and photographer Born in London, Berlin resident since 2007. Co-founder Bildband Berlin I first arrived in Berlin in 1985, when I was 24. It was to visit a friend from London who was living on Sonnenallee in West Berlin. Their place was cheap: it had a shared toilet in the hall and was just a couple of blocks from the Wall. Somehow it seemed impolite to go and stare at the Wall; it was something everyone had to deal with but tried to ignore. Boys playing where the wall was, between Treptow and Neukölln, December 1990. Photograph: Joe Dilworth I took a couple of trips into the East on a 24-hour visa, crossing at Advertisement Friedrichstrasse. It mostly reminded me of the London I had grown up in: bomb sites and patched-up buildings, and the way communal space was shared. I visited again in January 1989, as a photojournalist covering the Festival of Political Songs, and met a Hungarian who showed me how to lose my Stasi minder, and I hung out with him and his East German mates for a few days. I actually watched the Wall come down from London. By the time I got back to Berlin for Christmas 1990 it was the middle of a very cold winter and there was just a space where the Wall had been. Instead of taking hours to get through the checkpoints, you could just cross the road and be in a different city, a parallel universe. I don’t think anyone was ready for that. Joe Dilworth. Photograph: Rachel Buehlmann Joe recommends The Russian memorial at Treptower Park, the flea markets in Spandau and Marzahn, the Berlinische Galerie, C/O Berlin photo gallery, 8mm Bar, Bar Tomsky, Dream Baby Dream bar. My favourite place in the world though is the Plötzensee boathouse cafe, near my studio in Wedding. Ellen Allien, DJ, musician and label boss Born and lives in Berlin, where she runs We Are Not Alone raves at Griessmuehle I was sleeping when the Wall fell. I didn’t believe the news at first but then I got out of bed, turned on the TV and started to cry. Even as a child, I always felt that my friends and I were somewhat imprisoned in West Berlin. There was always a strong military presence in the city: tanks on the streets, allied military exercises. My family was also separated by the Wall: one part living in the West, the rest in the East. Techno party at E- Werk. Photograph: Getty Images If I wanted to visit my relatives in East Berlin, I had to go through the border Advertisement crossings, which were always strictly controlled and always frightening. So, when the Wall came down, it gave me a real sense of freedom that I can still feel within me today. Initially, it meant I could discover the eastern part, which was around the same time the club scene exploded. My circle of friends changed within two years and my future from that point on was music. I started playing in those early clubs like Tresor and E-Werk. Ever since, techno has been something emotional for me, not just a short-lived trend; it represents a special time and a permanent feeling in my life. Ellen Allien. Photograph: Stini Roehrs Ellen recommends My favourite restaurant is Prater in Prenzlauer Berg because it still has such an original look and atmosphere. I also enjoy going to (and not just playing at) clubs such as Griessmuehle and Berghain. A cafe favourite s is Altes Europa in Mitte’s Gipsstrasse, which was also around before the fall of the Wall. Danielle de Picciotto, artist, musician and film-maker Born in the US, Berlin resident since 1987, co-creator of Love Parade, which ran from 1989 to 2010 I came to West Berlin in 1987 and was blown away at how it was cheap but also safe – a rare combination at that time, especially coming from New York. A friend was already living there, and the first place I found was a huge loft space, which I shared. It cost me around 30 marks a month (which would be about €15 today). The film Wings of Desire had just been released and I had watched it the night before leaving. It felt like pretty much everyone from the movie was living in or passing through this loft: musician Roland Wolf, Nick Cave and other members of the Bad Seeds, members of Einstürzende Neubauten. I thought I’d died and gone to heaven. Danielle de Picciotto. Photograph: Sylvia Steinhaeuser A year later, I started dating Dr Motte, with whom I started the Love Parade. Our apartment was on what is now Axel-Springer-Strasse and the front door was a few metres from the Wall. In fact, the kitchen window looked over the Wall, and there was a watchtower opposite, so we had to buy net curtains to stop them peeking in. In the winter of 1989 I left Berlin for a performance in Austria. Motte, who is a Berliner, called in tears while I was there, to tell me the Wall was down. I arrived back in Berlin the morning after, about 7am. It had snowed and there was no one at the checkpoints. I waited for half an hour anyway, as normally you had to stop or get shot, and we didn’t know if the guards might be hiding. Afterwards, they pulled up a piece of the Wall outside our house and we walked right into East Berlin and started to discover the streets, and all the empty buildings. Mauerpark flea market. Photograph: Adam Kuylenstierna/Getty Danielle recommends The Mauerpark flea market. Berlin was one of few Images places back in the 80s that had good flea markets, and every time I go I get that feeling of the old Berlin. The karaoke singing there in the summer is great, too. I also like Arkaoda, a club in Neukölln that’s Turkish-run and is multicultural; the music director also runs the amazing Fusion festival. For restaurants, try Kopps, a vegan spot that has a delicious Saturday and Sunday buffet. Anke Fesel, co-founder of graphics firm Capa and photo agency bobsairport German-born, Berlin resident since 1990 I came to Berlin from a town near Hamburg. The Wall had just fallen, which made it the most fascinating German city to live in, and I had just finished school and had family and friends here.
Recommended publications
  • Humor Und Kritik in Erzählungen Über Den Alltag in Der DDR. Eine Analyse Am Beispiel Von Am Kürzeren Ende Der Sonnenallee Und in Zeiten Des Abnehmenden Lichts
    UNIVERSIDAD DE SALAMANCA FACULTAD DE FILOLOGÍA GRADO EN ESTUDIOS ALEMANES Trabajo de Fin de Grado Humor und Kritik in Erzählungen über den Alltag in der DDR. Eine Analyse am Beispiel von Am kürzeren Ende der Sonnenallee und In Zeiten des abnehmenden Lichts. David Jiménez Urbán Prof. Dr. Patricia Cifre Wibrow Salamanca, 2018 Danksagung Ich danke meiner Mutter für die Unterstützung und meinem Vater (in memoriam) für das Vertrauen. Ich danke Prof. Dr. Patricia Cifre für ihre Leidenschaft für die Literatur. Ich danke den wunderbaren Menschen, die Salamanca in mein Leben gebracht hat, für die reichen Erinnerungen. David Jiménez Urbán Salamanca, 21.06.2018 2 Inhaltverzeichnis 1. Einleitung .................................................................................................................. 4 2. (N)Ostalgie und Humor ............................................................................................. 5 3. Am kürzeren Ende der Sonnenallee: schlechtes Gedächtnis und reiche Erinnerungen .................................................................................................................... 8 4. In Zeiten des abnehmenden Lichts: Verfall einer kommunistischen Familie ......... 12 5. Schlussfolgerungen. ................................................................................................ 15 6. Literaturverzeichnis ................................................................................................. 17 3 1. Einleitung In der Nacht vom Donnerstag, dem 9. November, auf Freitag, den 10. November
    [Show full text]
  • Download File
    Bergt 1 Siena Sofia Bergt Professor Insdorf Analysis of Film Language 26 February 2018 Colored Perspectives: Shading World War II Onscreen Films that deal with World War II—whether their narratives are concerned primarily with the war itself, the aura from which it emerged, or the ethos of its aftermath—have a particularly charged relationship to the presence or abjuration of color. As representations of a period that produced its own black-and-white archival footage, these worKs recKon with color not simply as an aesthetic choice, but also as a tool through which to define their own relationship to perspectival subjectivity and claims of historical authenticity. By examining the role of color in three vastly different World War II films— Andrzej Wajda’s black-and-white 1958 rendition of the war’s last 24 hours in “Ashes and Diamonds,” the Harlequin prewar chaos of Bob Fosse’s 1972 “Cabaret,” and the delicate balance of color and blacK-and-white characterizing the postwar divided Germany of Wim Wenders’ 1987 “Wings of Desire”—we may access a richer understanding, not simply of the films’ stylistic approaches, but also (and perhaps more significantly) of their relationship to both their origins and audience. Color, that is, acts in these three films as a chromatic guide by which to untangle each respective text’s taKe on both subjectivity and objectivity. Bergt 2 The best “entry point” into these stylistically and temporally distinct films’ chromatic motifs is through three strikingly analogous crowd scenes—each of which uses communal participation in a diegetically well-known song to highlight a moment of dramatic urgency or volatility.
    [Show full text]
  • P.O.V. a Danish Journal of Film Studies
    Institut for Informations og Medievidenskab Aarhus Universitet p.o.v. A Danish Journal of Film Studies Editor: Richard Raskin Number 8 December 1999 Department of Information and Media Studies University of Aarhus 2 p.o.v. number 8 December 1999 Udgiver: Institut for Informations- og Medievidenskab, Aarhus Universitet Niels Juelsgade 84 DK-8200 Aarhus N Oplag: 750 eksemplarer Trykkested: Trykkeriet i Hovedbygningen (Annette Hoffbeck) Aarhus Universitet ISSN-nr.: 1396-1160 Omslag & lay-out Richard Raskin Articles and interviews © the authors. Frame-grabs from Wings of Desire were made with the kind permission of Wim Wenders. The publication of p.o.v. is made possible by a grant from the Aarhus University Research Foundation. All correspondence should be addressed to: Richard Raskin Institut for Informations- og Medievidenskab Niels Juelsgade 84 8200 Aarhus N e-mail: [email protected] fax: (45) 89 42 1952 telefon: (45) 89 42 1973 This, as well as all previous issues of p.o.v. can be found on the Internet at: http://www.imv.aau.dk/publikationer/pov/POV.html This journal is included in the Film Literature Index. STATEMENT OF PURPOSE The principal purpose of p.o.v. is to provide a framework for collaborative publication for those of us who study and teach film at the Department of Information and Media Science at Aarhus University. We will also invite contributions from colleagues at other departments and at other universities. Our emphasis is on collaborative projects, enabling us to combine our efforts, each bringing his or her own point of view to bear on a given film or genre or theoretical problem.
    [Show full text]
  • Escape to Freedom: a Story of One Teenager’S Attempt to Get Across the Berlin Wall
    Escape to Freedom: A story of one teenager’s attempt to get across the Berlin Wall By Kristin Lewis From the April 2019 SCOPE Issue Every muscle in Hartmut Richter’s body ached. He’d been in the cold water for four agonizing hours. His body temperature had plummeted dangerously low. Now, to his horror, he found himself trapped in the water by a wall of razor-sharp barbed wire. Precious seconds ticked by. The area was crawling with guards carrying machine guns. Some had snarling dogs at their sides. If they caught Hartmut, he could be thrown in prison—or worse. These men were trained to shoot on sight. Hartmut grabbed the wire with his bare hands. He began pulling it apart, hoping he could make a hole large enough to squeeze through. Hartmut Richter was not a criminal escaping from jail. He was not a bank robber on the run. He was simply an 18-year-old kid who wanted nothing more than to be free—to listen to the music he wanted to listen to, to say what he wanted to say and think what he wanted to think. And right now, Hartmut was risking everything to escape from his country and start a new life. A Bleak Time Hartmut was born in Germany in 1948. He lived near the capital city of Berlin with his parents and younger sister. This was a bleak time for his country. Only three years earlier, Germany had been defeated in World War II. During the war, Germany had invaded nearly every other country in Europe.
    [Show full text]
  • Tageszeitung (Taz) Article on the Opening of the Berlin Wall
    Volume 10. One Germany in Europe, 1989 – 2009 The Fall of the Berlin Wall (November 9, 1989) Two journalists from Die Tageszeitung (taz), a left-of-center West Berlin newspaper, describe the excitement generated by the sudden opening of the Berlin Wall on November 9, 1989. The event was the result of internal pressure applied by East German citizens, and it evoked spontaneous celebration from a people who could once again freely cross the border and rekindle relationships with friends and relatives on the other side. (Please note: the dancing bear mentioned below is a figurative reference to West Berlin's official mascot. Beginning in 1954, the flag of West Berlin featured a red bear set against a white background. In 1990, the bear became the mascot of a unified Berlin. The former West Berlin flag now represents the city as a whole.) "We Want In!" The Bear Is Dancing on the Border Around midnight, RIAS – the American radio station broadcasting to the East – still has no traffic interruptions to report. Yet total chaos already reigns at the border checkpoint on Invalidenstrasse. People parked their cars at all conceivable angles, jumped out, and ran to the border. The transmission tower of the radio station "Free Berlin" is already engulfed by a throng of people (from the West) – waiting for the masses (from the East) to break through. After three seconds, even the most hardened taz editor finds himself applauding the first Trabi he sees. Everyone gets caught up in the frenzy, whether she wants to or not. Even the soberest members of the crowd are applauding, shrieking, gasping, giggling.
    [Show full text]
  • ISUM #3, Per10d Ending 142400 Dec 61
    , 6-2.. • S'=I'R..."'~ ET. HEAIlQUARTElIS BERLIN BRIGADE Off ice of the AC of 8, G2 APO 742 US FOR::ES + 1 . (8 \ ~!l..'ClE1' FORCES: a. Hf'llccpter f light over Installation 4154 and AUf,J'1..lst Bebel PIa t."':t.:1 E.l.f"t Ber::'ln on 13 December revealed the following: (1) 29 T-S4 tanks , 1 BTR ~ 1 bus and 3 wheeled vehicles are lonat;u 1n August Ecbel Platz. (2) Tho tanks that were parked 1n Installation 4154 are n':) 10n3C'r jX.rkC'd oJ!" th::! hardstand inside the in::>tall at:'..on . 02 C:nlr.l.Cnt: It 1s possible thf'.t 10 to 12 tunI.s w'uld b,- p~.~'·:(r0. inside ::::h3ds 1n Insullatlon 415 1~ . Br;1 l.icved, ho~·e"E.r, thE'.t fO.ll tt.rks h'we dep.-,rtcd this installation. Tank unit in Bebel Platz 1s b_'1.i8ved to be Jchc Tt..nk Battalion, 83d Motorized Riflo il0giment fr.i:n Installation 4161 1n Karlshorst. Un! t to have departed IlStnllatl~n 4154 believe d to be a tank battalion of 68th Tnnk Regiment f rom InstallE:.tion 4102 (Berl~n Blesdorf). b . Headquarters, GSfo'G imposed new permanent 1'cstrictions on Wcs.tern Mili t:-", ry Missions effective 12000:1. December 1961. The new restrictcd c.r .m,s are located in Schwerin-~udwiglust, W:Ltt.3nburg and Ko·~igsb ru ,ck areas. The permanent r es tric ted areas of Guestrow; Letzlingcr lI~ide . Altengrabow. Jena-Weissenfe1s, Ohrdrv.f and Juetcl'bog were exten,Ld.
    [Show full text]
  • Berlin 2019: the Once and Future Metropolis
    BERLIN 2019: THE ONCE AND FUTURE METROPOLIS URBANIZATION, CONFLICT & COMMUNITY What makes a city? Who decides how a city grows and changes, and what criteria do they use – should it be beautiful, efficient, sustainable, open, just? How do economic systems and political ideologies shape urban development? What is the “right to the city,” and what does it mean for city-dwellers to exercise it? These are just some of the questions we will seek to answer in this summer program in Berlin. Political graffiti in Kreuzberg, 2018. HISTORY, CHANGE & AGENCY QUICK FACTS This program will expose students to the dynamics of LOCATION: Berlin, Germany urban change in one of the most historically freighted and ACADEMIC TERM: Summer A Term 2019 contested cities in the world. They will come to understand ESTIMATED PROGRAM FEE: $4,500 the complex histories behind Berlin’s urban spaces, and the strategies adopted by local actors to deal with those CREDITS: 10 UW credits histories while finding agency to shape them for the future. PREREQUISITES: At least one of the following: CEP 200; URBDP 200 Students will experience first-hand how spaces have been or 300; BE 200; GEOG 276, 277, 301, 303 or 478; SOC 215 or 365; or defined by drivers like economic exigency, political ideology, permission of the instructor. violence, environmental conditions, and technological PROGRAM DIRECTOR: Evan H. Carver ([email protected]) development, and they will learn how contemporary challenges, including climate change, gentrification, and PROGRAM MANAGER: Megan Herzog ([email protected]) immigration butt up against competing ambitions for Berlin PRIORITY APPLICATION DEADLINE: January 31, 2019 to become a “global city” and for it to maintain its distinct INFORMATION SESSIONS: TBD.
    [Show full text]
  • DEFA Directors and Their Criticism of the Berlin Wall
    «Das ist die Mauer, die quer durchgeht. Dahinter liegt die Stadt und das Glück.» DEFA Directors and their Criticism of the Berlin Wall SEBASTIAN HEIDUSCHKE MONTANA STATE UNIVERSITY This article examines the strategies used by directors of the East German film monopoly Deutsche Film-Aktiengesellschaft (DEFA) to voice their disap- proval of the Berlin Wall.1 My aim is to show how it was possible, despite universal censorship in East Germany, to create films that addressed the wall as an inhumane means to imprison the East German people. Although many DEFA films adhered to socialist law and reiterated the official doctrine of the «antifascist protection rampart» on the silver screen, an analysis of three DEFA films will demonstrate how the representation of human crisis was used as a means to criticize the wall.2 The films Das Kleid (Konrad Petzold, 1961), Der geteilte Himmel (Konrad Wolf, 1964), and Die Architekten (Peter Kahane, 1990) address walls in a variety of functions and appearances as rep- resentations, symbols, and metaphors of the barrier between East and West Germany. Interest in DEFA has certainly increased during the last decade, and many scholars have introduced a meaningful variety of topics regarding the history of East Germany’s film company and its films. In addition to book-length works that deal exclusively with the cinema of East Germany, many articles have looked at DEFA’s film genres, provided case studies of single DEFA films, and engaged in sociological or historical analyses of East German so- ciety and its films.3 In order to expand the current discussion of DEFA, this article applies a sociocultural reading to the three DEFA films Das Kleid, Der geteilte Himmel, and Die Architekten with the goal of introducing the new subtopic of roles and functions of the Berlin Wall in East German film to the field of DEFA studies.
    [Show full text]
  • Television and the Cold War in the German Democratic Republic
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Revised Pages Envisioning Socialism Revised Pages Revised Pages Envisioning Socialism Television and the Cold War in the German Democratic Republic Heather L. Gumbert The University of Michigan Press Ann Arbor Revised Pages Copyright © by Heather L. Gumbert 2014 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (be- yond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2017 2016 2015 2014 5 4 3 2 A CIP catalog record for this book is available from the British Library. ISBN 978– 0- 472– 11919– 6 (cloth : alk. paper) ISBN 978– 0- 472– 12002– 4 (e- book) Revised Pages For my parents Revised Pages Revised Pages Contents Acknowledgments ix Abbreviations xi Introduction 1 1 Cold War Signals: Television Technology in the GDR 14 2 Inventing Television Programming in the GDR 36 3 The Revolution Wasn’t Televised: Political Discipline Confronts Live Television in 1956 60 4 Mediating the Berlin Wall: Television in August 1961 81 5 Coercion and Consent in Television Broadcasting: The Consequences of August 1961 105 6 Reaching Consensus on Television 135 Conclusion 158 Notes 165 Bibliography 217 Index 231 Revised Pages Revised Pages Acknowledgments This work is the product of more years than I would like to admit.
    [Show full text]
  • Films Shown by Series
    Films Shown by Series: Fall 1999 - Winter 2006 Winter 2006 Cine Brazil 2000s The Man Who Copied Children’s Classics Matinees City of God Mary Poppins Olga Babe Bus 174 The Great Muppet Caper Possible Loves The Lady and the Tramp Carandiru Wallace and Gromit in The Curse of the God is Brazilian Were-Rabbit Madam Satan Hans Staden The Overlooked Ford Central Station Up the River The Whole Town’s Talking Fosse Pilgrimage Kiss Me Kate Judge Priest / The Sun Shines Bright The A!airs of Dobie Gillis The Fugitive White Christmas Wagon Master My Sister Eileen The Wings of Eagles The Pajama Game Cheyenne Autumn How to Succeed in Business Without Really Seven Women Trying Sweet Charity Labor, Globalization, and the New Econ- Cabaret omy: Recent Films The Little Prince Bread and Roses All That Jazz The Corporation Enron: The Smartest Guys in the Room Shaolin Chop Sockey!! Human Resources Enter the Dragon Life and Debt Shaolin Temple The Take Blazing Temple Blind Shaft The 36th Chamber of Shaolin The Devil’s Miner / The Yes Men Shao Lin Tzu Darwin’s Nightmare Martial Arts of Shaolin Iron Monkey Erich von Stroheim Fong Sai Yuk The Unbeliever Shaolin Soccer Blind Husbands Shaolin vs. Evil Dead Foolish Wives Merry-Go-Round Fall 2005 Greed The Merry Widow From the Trenches: The Everyday Soldier The Wedding March All Quiet on the Western Front The Great Gabbo Fires on the Plain (Nobi) Queen Kelly The Big Red One: The Reconstruction Five Graves to Cairo Das Boot Taegukgi Hwinalrmyeo: The Brotherhood of War Platoon Jean-Luc Godard (JLG): The Early Films,
    [Show full text]
  • At Checkpoint Charlie, US and Soviet Tanks Faced Each Other at Point-Blank Range
    At Checkpoint Charlie, US and Soviet tanks faced each other at point-blank range. AP Ppoto/Kreusch 92 AIR FORCE Magazine / September 2011 Showdown in BerlinBy John T. Correll any place was ground zero for the The First Crisis from the 1948 confrontation—Walter Cold War, it was Berlin. The first Berlin crisis was in 1948, Ulbricht, the Communist Party boss in Awash in intrigue, the former when the Soviets and East Germans East Germany. capital of the Third Reich lay 110 attempted to cut the city off from the Ulbricht, handpicked for the job by miles inside the Iron Curtain but outside world. However, three air the Soviet Premier, Joseph Stalin, was was not part of East Germany. corridors into Berlin, each 20 miles charmless, intense, and dogmatic, but IEach of the four victorious powers in wide, remained open. The Americans a good administrator and a reliable en- Europe in World War II—the United and British responded with the Berlin forcer of Soviet hegemony. Stalin had States, Britain, France, and the Soviet Airlift, which sustained West Berlin visions of a unified Germany as part Union—held control of a sector of the with food, fuel, and other supplies from of the Soviet sphere of influence, but city, which would be preserved as the June 1948 to September 1949. Ulbricht had so antagonized the popu- future capital of a reunified Germany. Some senior officials in the US De- lace the Communists had no chance of Soviet Premier Nikita Khrushchev partment of State had favored abandon- winning free elections. called it “the most dangerous place in the ing Berlin.
    [Show full text]
  • Building of the Berlin Wall
    BUILDING OF THE BERLIN WALL a A CITY TORN APART b A CITY TORN APART OF BUILDING THE BERLIN WALL in conjunction with a symposium given on 27 OCTOBER 2011 at the NATIONAL ARCHIVES AND RECORDS ADMINISTRATION WASHINGTON, DC WASHINGTON, DC RECORDS ADMINISTRATION NATIONAL ARCHIVES AND at the 27 OCTOBER 2011 in conjunction with a symposium given on BUILDING BERLIN WALL OF ITY TORN APART A C BUILDING OF THE BERLIN WALL brandenburg gate Built in 1791, standing 85 feet high, 215 feet long and 36 feet wide, this former city gate is one of the most iconic symbols of Berlin and Germany. Throughout its existence it has served as a visual representation of various political ideologies, ranging from Prussia’s imperialism to East Germany’s communism. It was closed by the East Germans on 14 August 1961 in a response to West Berliners’ demonstration against the building of the wall dividing their city into East and West. It remained closed until 22 December 1989. Its design is based upon the gate way to the Propylaea, the entry into the Acropolis in Athens, Greece. It has 12 Doric columns, six to a side, forming five passageways. The central archway is crowned by the Quadriga, a statue consisting of a four horse chariot driven by Victoria, the Roman goddess of victory. After Napoleon’s defeat, the Quadriga was returned to Berlin and the wreath of oak leaves on Victoria was replaced with the new symbol of Prussia, the Iron Cross. i A CITYC ITY TORNTO RN APART a family divided A couple from Berlin may never see each other again because they became separated by the newly formed Berlin Wall.
    [Show full text]