An East German propaganda leaflet issued during the Berlin Airlift (1948-1949), when Stalin attempted to blockade the already geographically surrounded people of West Berlin into submission. American and British crews flew in food and other supplies, thereby demonstrating both the superiority of Western air capabilities and the extremes they would go to in order to check Soviet politicking. And so began the Cold War.
This leaflet about Amikäfer (“Yank Beetles”) claims that the airlift is just a pretext for ruining East German farming by dropping “imperialist weapons”: potato-devouring Colorado beetles (Kartoffelkäfer). The back cover warns about confusing them with harmless Marienkäfer (ladybirds).
Ridiculous propaganda even by the standards of ridiculous propaganda, but I have to admit that the adaptation of the beetle’s markings into the Stars and Stripes is pretty good.
Bashful, Dopey, Grumpy, Happy, Sleepy, Sneezy, and the worst little fella of them all, Nazi.
Two of Adolf Hitler’s favourite movies were Snow White and the Seven Dwarfs, and King Kong. He chattered nerdily and constantly about King Kong for days after it was screened for him at the Chancellery. He also enjoyed whistling the Disney tune Who’s Afraid of the Big Bad Wolf? Hitler was a bit obsessed with wolves, and was undoubtedly very well aware that whistling this tune was some creepy shit. “Adolf” derives from “Athal” (noble) and “Wolfa” (wolf). One of his early aliases was “Mr Wolf”, and he surrounded himself with Wolfshunde (Alsatians/German Shepherds). His French HQ was named Wolfsschlucht (Wolf’s Ravine), a Ukrainian one was Werwolf.
PS: While Hermann Göring was staying at the Ritz in occupied Paris, the corpulent Nazi asked Coco Chanel to design some women’s gowns in his very large size. This was to help him “relax”, apparently. Not that there’s anything wrong with men wearing dresses, of course, although some men (including other leading Nazis) were summarily murdered or sent to concentration camps for similar so-called “perversions”. But it’s certainly, shall we say, an arresting image: a big fat genocidal war criminal kicking back with the latest copy of Vogue and choosing couture dresses for himself while the world’s most destructive and total war ever rages around him. Sort of like a grisly mashup of Inglourious Basterds with Sex and the City.
Source: David J. Skal’s excellent book The Monster Show: A Cultural History of Horror.
A woman plays a housewife, with a surreal audience pressed against the glass behind her. 1952.
This strange image, which looks like it could be a still from The Twilight Zone, is in fact from a 1952 exhibition in West Berlin: ‘We’re Building a Better Life’ (‘Wir bauen ein besseres Leben’). It was part of the German Industrial Trade Fair; a strange human zoo where the new paradigm of civilian living was played out by two shifts of adult actors playing husband and wife, along with eight pairs of children. In the picture below you can see a bird’s eye view of the house, and of the strange– and disturbing, given that this was less than ten years on from German death camps and the devastation of central Berlin– observation tower with a white-coated narrator. What was the new paradigm? According to the US State Department, who were behind it, the new way of living was to be a “high production, high-wage, low-unit-cost, low-profit margin, high consumption system.” And so it came to pass. One of the actresses playing a housewife was perhaps in the grip of some peculiar combination of Stockholm Syndrome and cabin fever when she said “The house is so perfect that I am afraid we will not want to move out… What will happen if I fall in love with the kitchen too?” A German magazine also described it as a “white paradise”, presumably referring to the kitchen equipment but still demonstrating that sensitivity to political correctness was a long way off.
During its three week run, the simultaneously aspirational and voyeuristic exhibition attracted over half a million visitors, nearly 40% of them from East Germany. It later toured to Stuttgart, Hanover, Paris and Milan.
This stuff is from Cold War Modern, a great book about Modernist design and industry between 1945-1970 and based on the Victoria & Albert Museum exhibition of the same name in 2008. The exhibition was also good, if a wee bit gung-ho and overly gushing about the design aspects while for the most part noticeably glossing over the suffering and poverty of the millions who found themselves arbitrarily trapped behind the Iron Curtain after the Second World War.
Transparent show house at ‘We’re Building a Better Life’. West Berlin, 1952.