Rudolf Brazda, Last Man to Wear the Pink Triangle During the Holocaust, Tells His Story

Accord­ing to esti­mates by the Unit­ed States Holo­caust Muse­um, any­where from 5,000 to 15,000 gay men were impris­oned in con­cen­tra­tion camps under the Third Reich, where they were some­times the sub­jects of grue­some exper­i­ments. Pri­or to this mass per­se­cu­tion, homo­sex­u­al­i­ty was crim­i­nal­ized under the so-called Para­graph 175 of the crim­i­nal code, and the Gestapo was charged with “reg­is­ter­ing” gays, who could be sen­tenced to prison terms of up to ten years for violations–in addi­tion to per­ma­nent loss of many civ­il rights–and even worse penal­ties, like cas­tra­tion. Gay men con­vict­ed under these laws had to wear a pink tri­an­gle to iden­ti­fy them­selves. The short doc­u­men­tary above tells the sto­ry of Rudolf Braz­da, the last camp sur­vivor to have worn the pink tri­an­gle. Braz­da died last year at the age of 98.

Braz­da, who lived as an open­ly gay man in the thir­ties, was con­vict­ed under Para­graph 175 in 1937 and served a term of six months. He thought this might be the extent of his harass­ment by the Nazis, but ulti­mate­ly, he was arrest­ed and sent to Buchen­wald in 1942, where he would spend three years. In the video above, Braz­da most­ly tells his own sto­ry, in Ger­man with Eng­lish sub­ti­tles. It’s not the first time he has done so. Brazda’s sto­ry was promi­nent­ly fea­tured in a book by author Jean-Luc Schwab (who also appears above), Itin­er­ary of the Pink Tri­an­gle (Itin­eraire d’un Tri­an­gle rose), which recounts the dehu­man­iz­ing expe­ri­ences of gay men dur­ing the Holo­caust. Schwab’s book and the brief inter­view above pre­serve impor­tant tes­ti­mo­ny from a man who was “very like­ly the last vic­tim and the last wit­ness” of the Nazi per­se­cu­tion of homo­sex­u­al men in the 30s and 40s. Braz­da’s will­ing­ness to tell his sto­ry has been invalu­able to schol­ars and activists seek­ing to doc­u­ment this lit­tle-known (and often denied) his­to­ry.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

‘The Right of the People to Rule’: Listen to Theodore Roosevelt Speaking 100 Years Ago Today

On this day 100 years ago, Theodore Roo­sevelt record­ed his great speech, “The Right of the Peo­ple to Rule.” The polit­i­cal cir­cum­stances sur­round­ing the speech bear some resem­blance to those of today: 1912 was a pres­i­den­tial elec­tion year, and the coun­try was divid­ed.

The Repub­li­can Par­ty, though, was espe­cial­ly divid­ed. Roo­sevelt had already served two terms as pres­i­dent under the Repub­li­can ban­ner, but by 1912 he had become deeply dis­ap­point­ed in what he saw as the reac­tionary drift of his suc­ces­sor and one-time friend, William Howard Taft. He decid­ed to chal­lenge Taft for the Repub­li­can nom­i­na­tion. When Roo­sevelt lost at the con­ven­tion he pressed ahead any­way, form­ing the Pro­gres­sive (“Bull Moose”) Par­ty.

Taft knew he was no match for the charis­mat­ic Roo­sevelt in a pop­u­lar elec­tion, but he saw his role in the sit­u­a­tion as being the guardian of the con­ser­v­a­tive char­ac­ter of the Repub­li­can Par­ty. With only 24% of the vote, Taft came in third place in the Novem­ber elec­tion, behind the Demo­c­rat Woodrow Wil­son (41%) and Roo­sevelt (27%). It was an embar­rass­ing out­come for a sit­ting pres­i­dent, but in one sense Taft won: The Repub­li­can par­ty took a con­ser­v­a­tive turn, and stayed on that course.

Roo­sevelt’s speech was record­ed on an Edi­son cylin­der at his Sag­amore Hill Estate in Oys­ter Bay, New York on August 16, 1912, dur­ing a brief lull in the cam­paign fol­low­ing the Pro­gres­sive Par­ty Con­ven­tion. It was one of sev­er­al cam­paign speech­es that were record­ed and then dis­trib­uted around the coun­try before the gen­er­al elec­tion. It’s based part­ly on a speech he gave on March 20, 1912 at Carnegie Hall.

In the record­ed ver­sion, Roo­sevelt speaks for the need to find a polit­i­cal mid­dle ground, warn­ing against the dan­ger of ultra-con­ser­vatism. “It would be well,” he says, “if our peo­ple would study the his­to­ry of a sis­ter repub­lic. All the woes of France for a cen­tu­ry and a quar­ter have been due to the fol­ly of her peo­ple in split­ting into the two camps of unrea­son­able con­ser­vatism and unrea­son­able rad­i­cal­ism. Had pre-Rev­o­lu­tion­ary France lis­tened to men like Tur­got, and backed them up, all would have gone well. But the ben­e­fi­cia­ries of priv­i­lege, the Bour­bon reac­tionar­ies, the short­sight­ed ultra-con­ser­v­a­tives, turned down Tur­got; and found that instead of him they had obtained Robe­spierre.”

Near the end, Roo­sevelt sounds an impas­sioned call:

Friends, our task as Amer­i­cans is to strive for social and indus­tri­al jus­tice, achieved through the gen­uine rule of the peo­ple. This is our end, our pur­pose. The meth­ods for achiev­ing the end are mere­ly expe­di­ents, to be final­ly accept­ed or reject­ed accord­ing as actu­al expe­ri­ence shows that they work well or ill. But in our hearts we must have this lofty pur­pose, and we must strive for it in all earnest­ness and sin­cer­i­ty, or our work will come to noth­ing. In order to suc­ceed we need lead­ers of inspired ide­al­ism, lead­ers to whom are grant­ed great visions, who dream great­ly and strive to make their dreams come true; who can kin­dle the peo­ple with the fire from their own burn­ing souls.

If you would like to read along as you lis­ten to Roo­sevelt’s voice, click here to open the full text in a new win­dow.

 

New Archive Showcases Dr. Seuss’s Early Work as an Advertising Illustrator and Political Cartoonist

Most peo­ple know Dr. Seuss (Theodor Seuss Geisel) as a writer and illus­tra­tor of some of the world’s most-beloved children’s books. And while it’s true that some of his char­ac­ters have not fared well since his death in 1991, his lega­cy as a play­ful moral­ist is secure with par­ents and teach­ers every­where. But few peo­ple know that Geisel got his start as a satirist and illus­tra­tor for adults, pub­lish­ing arti­cles and illus­tra­tions in Judge, Life, Van­i­ty Fair, and the Sat­ur­day Evening Post. He went on to promi­nence as an adver­tis­ing illus­tra­tor dur­ing the Depres­sion, most famous­ly with a 17-year cam­paign for a bug-repel­lant called Flit—made by Stan­dard Oil—whose slo­gan, “Quick, Hen­ry, the Flit!” became a pop­u­lar catch phrase in the 30s.

The Uni­ver­si­ty of Cal­i­for­nia, San Diego, has a spe­cial col­lec­tion of Geisel’s adver­tis­ing work from the 30s and 40s (such as the image above) for clients like Stan­dard, NBC, and Ford. The images show Geisel the illus­tra­tor devel­op­ing visu­al themes that char­ac­ter­ize his children’s books—the cir­cus imagery, ele­phants, daz­zling phys­i­cal stunts, wide-eyed, fur­ry crea­tures, com­plex Rube Gold­berg machines, and the sig­na­ture dis­em­bod­ied point­ing gloves. Dur­ing World War II, Geisel shift­ed his focus from adver­tis­ing to pol­i­tics and con­tributed week­ly car­toons to PM mag­a­zine, a lib­er­al pub­li­ca­tion. UCSD also has an online cat­a­log of Geisel’s polit­i­cal car­toons, such as the 1941 ad for U.S. Sav­ings Bonds below.

 

via Coudal

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

“The Ducktators”: Loony Tunes Turns Animation into Wartime Propaganda (1942)

George Orwell pub­lished his satir­i­cal alle­go­ry Ani­mal Farm in 1945 at the tail end of World War II. While Orwell claimed his inspi­ra­tion for the farm set­ting was a bucol­ic vil­lage scene, it’s tempt­ing to imag­ine that he also drew some of his ideas from Amer­i­can pro­pa­gan­da car­toons made dur­ing WWII by Dis­ney (see below) and Warn­er Broth­ers. One par­tic­u­lar­ly strik­ing exam­ple from 1942 is Loony Tunes’ “The Duck­ta­tors,” set on a farm that becomes Europe under a new­ly-hatched Adolf Hitler duck­ling, sport­ing the fore­lock and mus­tache and shout­ing “sieg heil” as soon as he emerges from his jet-black egg. Hitler-duck’s pos­tur­ing appeals to a strut­ting, broad­ly stereo­typ­i­cal Ital­ian goose (Mus­soli­ni), and many of the ducks and geese on the farm, who line to up salute and, um… goos­es­tep. There are plen­ty of lit­tle gags thrown in—it’s all played for comedy—but of course, there is a mes­sage (or two) here.

First, cut to the sim­per­ing “Dove of Peace,” an androg­y­nous crea­ture who wrings its hands and says, “Have they for­got? ‘Tis love that’s right, and naught is gained by show of might.” This is clear­ly a car­i­ca­ture of Neville Cham­ber­lain, whose inef­fec­tu­al poli­cies enabled and embold­ened Hitler.

Cham­ber­lain is remem­bered for pre­ma­ture­ly declar­ing that his appease­ment of Hitler in the 1938 Munich Pact (here rep­re­sent­ed by a barn­yard “Peace Con­fer­ence”) had secured “peace for our time.” The ref­er­ence is an inter­est­ing exam­ple of a wartime dig at the U.S.’s British allies.

Hitler-duck tears up the “Peace Con­fer­ence” treaty and beats up the British and French ducks. Then a (painful­ly racist) Japan­ese duck rows ashore singing “I’m a Japan­ese Sandman”—a stand in for Tojo Hide­ki or Emper­or Hiro­hi­to. The three “Duck­ta­tors” rule the roost and tram­ple the Dove of Peace under­foot. His­tor­i­cal alle­go­ry gives way to slap­stick, and the wimpy Dove morphs into a pudgy, vic­to­ri­ous Churchill with the Duck­ta­tors’ heads mount­ed on his wall. Then, mes­sage num­ber two appears with fan­fare: “If you’d like to make this true, here’s all you have to do: For Vic­to­ry Buy Unit­ed States Sav­ings Bonds and Stamps.” Over­all, The Duck­ta­tors is a fas­ci­nat­ing exam­ple of wartime adver­tis­ing, and of con­tem­po­rary U.S. feel­ings towards its Euro­pean allies. You can down­load The Duck­ta­tors here.

Find Dis­ney Pro­pa­gan­da Films Here:

The Mak­ing of a Nazi: Disney’s 1943 Ani­mat­ed Short

Don­ald Duck’s Bad Nazi Dream (1942)

Don­ald Duck Wants You to Pay Your Tax­es (1943)

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

 

Too Big for Any Museum, AIDS Quilt Goes Digital Thanks to Microsoft

Twen­ty-five years ago a group of friends gath­ered in a San Fran­cis­co apart­ment to memo­ri­al­ize com­pan­ions who had died of AIDS. They used one of the old­est tech­niques around to hon­or their loved ones: they made a quilt, the now-famous AIDS Memo­r­i­al Quilt, with unique pan­els for each per­son felled by the dis­ease. Now includ­ing some 48,000 pan­els, the quilt has grown into a mas­sive, pub­lic expres­sion of grief. Its pan­els come from around the world. It was even nom­i­nat­ed for the Nobel Peace Prize in 1989. (Find more on the his­to­ry of the quilt here.)

Like any good archive—and the quilt is an archive of life and loss—the AIDS Memo­r­i­al Quilt serves as a his­tor­i­cal repos­i­to­ry, a store­house of sen­ti­men­tal infor­ma­tion for scores of peo­ple. But beyond that the quilt is a piece of polit­i­cal folk art. AIDS, after all, is a unique­ly polit­i­cal dis­ease, at least in the Unit­ed States. The idea for the quilt was con­ceived dur­ing a can­dle­light march for assas­si­nat­ed San Fran­cis­co May­or George Moscone and Super­vi­sor Har­vey Milk. Efforts to lift the stig­ma of AIDS are close­ly linked to gay rights activism.

While the quilt is on view in Wash­ing­ton, D.C. this sum­mer, Microsoft offers the world up close and per­son­al access. Even if the Mall is too small to hold the entire quilt, the Inter­net isn’t. All 48,000 pan­els are new­ly dig­i­tized through a col­lab­o­ra­tion between Microsoft and the Uni­ver­si­ty of Iowa, the Uni­ver­si­ty of South­ern Cal­i­for­nia and the Names Quilt Foun­da­tion.

You can fly like a bird over the whole, beau­ti­ful piece. You can zoom in to read the thou­sands of names—some in block let­ters, oth­ers stitched in cur­sive. You can count the rain­bows, too.

You can also search the quilt by name or, if you know it, by the block num­ber of a par­tic­u­lar pan­el through the AIDS Quilt Touch inter­face. The site allows unique search­es for each time the quilt has been dis­played. This is impor­tant because the quilt is so mas­sive that the Mall in Wash­ing­ton can’t hold it all. It’s always dis­played in sec­tions, so if you want to know where a spe­cial pan­el has been on view, recent­ly, it’s now pos­si­ble to find out.

Kate Rix is a free­lance writer based in Oak­land. See more of her work at .

Versailles 3D, Created by Google, Gives You an Impressive Tour of Louis XIV’s Famous Palace

With 3D scale mod­els, music, and video, Google’s Ver­sailles 3D brings the best of 21st cen­tu­ry web arts to 18th cen­tu­ry art his­to­ry. The palace was built by Louis XIV, the “Sun King,” who exem­pli­fied all of the author­i­tar­i­an excess­es of the French monar­chy. For­tu­nate­ly for pos­ter­i­ty, he was also a patron of the arts, to whom we owe much of the work of Moliere, Racine and painters such as Charles Le Brun. And then there is his archi­tec­tur­al lega­cy, the palace of Ver­sailles, which start­ed out as a hum­ble hunt­ing lodge, built by his father Louis XIII in 1624. In the next sev­er­al decades, father, then son, com­mis­sioned the elab­o­rate set of build­ings that con­sti­tute Europe’s largest chateau and the seat of French gov­ern­ment from Louis XIV’s ascen­sion until the Rev­o­lu­tion of 1789. If you’re think­ing of vis­it­ing, the offi­cial chateau de Ver­sailles web­site has slideshows of grounds and gal­leries, a bou­tique, and some worth­while inter­ac­tive fea­tures. But Google, as usu­al, has tried to out­do its com­pe­ti­tion, this time by part­ner­ing with it. In con­nec­tion with the Ver­sailles cura­tors, The Google Cul­tur­al Insti­tute has cre­at­ed a mul­ti­me­dia almost-sub­sti­tute for a real life excur­sion to the gar­gan­tu­an and endur­ing sym­bol of Ancien Regime France.

The next video is a pre­view of a “Google Chrome Exper­i­ment” called “Chaos to Per­fec­tion,” an “inter­ac­tive stroll around the palace,” accom­pa­nied by an orig­i­nal sound­track from French band Phoenix. (The “exper­i­ment” itself is some­what slow load­ing, and requires the Chrome brows­er).

Final­ly, the engi­neers at Google (and part­ners Aloest, Wes­t­im­ages, le Fab­Shop and Les 84) give us a look behind the scenes of Ver­sailles 3D. Won­der how they cre­at­ed the elab­o­rate 3D scale mod­els of the palace grounds and build­ings? Well, the video below pro­vides a bar­rage of back­stage glimpses of the process, along with scenes from the open­ing of the Palace His­to­ry Gallery on June 14th.

And, of course, there will be mobile apps, Google promis­es, “soon.”

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Leni Riefenstahl Captures Jesse Owens Dashing Nazi Dreams at the 1936 Olympics

Jesse Owens, the son of a share­crop­per and grand­son of slaves, went to the 1936 Olympics in Berlin and upset Hitler’s visions of Aryan suprema­cy. He did it not once, but four times, win­ning gold medals in the 100-meter dash, 200-meter dash, the long jump and the 4 x 100 meter relay. The first race was cap­tured by the Ger­man filmmaker/propagandist Leni Riefen­stahl in her famous film doc­u­ment­ing the 1936 Games, Olympia. It’s all queued up above and ready to go.

Now the cru­el foot­note to this sto­ry: after his four vic­to­ries, Owens returned to the U.S. and imme­di­ate­ly con­front­ed the cold racist atti­tudes of his coun­try­men. There was no pause, no reprieve, even for an Olympic gold medal­ist. Lat­er, he recalled:

When I came back to my native coun­try, after all the sto­ries about Hitler, I could­n’t ride in the front of the bus. I had to go to the back door. I could­n’t live where I want­ed. I was­n’t invit­ed to shake hands with Hitler, but I was­n’t invit­ed to the White House to shake hands with the Pres­i­dent, either.

New York City did hold a tick­er-tape parade in his hon­or. But when he attend­ed a recep­tion at the Wal­dorf-Asto­ria, he was forced to ride the freight ele­va­tor. And he did­n’t make it to the White House until Eisen­how­er named him an “Ambas­sador of Sports” in 1955. FDR and Tru­man nev­er both­ered to extend an invi­ta­tion to the Olympic hero. Stephen elab­o­rates on all of this below:

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Alexander Hamilton: Hip-Hop Hero at the White House Poetry Evening

Recent­ly we brought you the sto­ry of the Alexan­der Hamil­ton-Aaron Burr duel, as told in a drunk­en stu­por by Mark Gagliar­di and star­ring Zom­bieland’s Michael Cera as Hamil­ton. Now we have anoth­er unusu­al nar­ra­tor of the life of Amer­i­ca’s first Trea­sury Sec­re­tary. Lin-Manuel Miran­da, Tony award-win­ning writer and star of the Broad­way musi­cal In the Heights, com­posed “The Hamil­ton Mix­tape,” a song detail­ing the found­ing father’s rise from hum­ble begin­nings as (in the words of John Adams) “the bas­tard brat of a Scot­tish ped­dler,” to the upper ech­e­lons of the Amer­i­can Rev­o­lu­tion­ary gov­ern­ment. Born on the Caribbean island of Nevis, Hamilton’s sto­ry is as boot­strap as they come, and Miran­da took his ver­sion all the way to the top. In the video above, he per­forms “The Hamil­ton Mix­tape” for Barack and Michelle Oba­ma at the White House Evening of Poet­ry, Music, and the Spo­ken Word, held on May 12, 2009.

To learn more about Alexan­der Hamil­ton, vis­it AllThingHamilton.com.

And check out Miran­da’s lyrics below the jump. (more…)

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