#sturmbannführer

[xylaif]

Imagine Sturmbannführer Dieter Hellstrom in the Wolfenstein universe.

[frau-wilhelm-klink]

Well, I finally got around to doing these! It's a little long – and some of my takes may be unpopular – but these are still my headcanons🤷🏻‍♀️ (Had to make a few minor edits to 'em now that I'm properly awake, though.) So without further ado, buckle up and take a peek under the cut!

The Germans

Schultz:

1) Is definitely not a Nazi! Cases can be made for him being both neutral and pro-Allied, but I like to think of him as neutral. He isn't a man who's into politics or anything like that, he just wants his toy factory back.

2) Low-key thinks of Hogan and his team as additional nephews, so does his best to be somewhat responsible while still being the fun uncle.

3) Has privately asked Hogan off screen to make sure he, his family and Klink aren't blamed and/or arrested for crimes they didn't commit after the war. Schultz doesn't think that would happen...but given everything that went down after World War I with the Treaty of Versailles, he isn't taking any chances.

______

Hochstetter:

1) Is a hardcore, unapologetic Nazi who hates the Geneva Convention's very existence. Only tolerates it because of Klink's insistence that his prisoners be treated humanely, and despite the disrespect he shows the kommandant, Hochstetter is aware he's outranked.

2) Has gotten to the point where he's obsessed about Hogan more than a teenager with a celebrity crush. Like, he's just a legitimate stalker at this point🤣 Hochstetter is determined to prove Hogan is Papa Bear at any cost, if for no other reason then so his superiors will stop assuming he's not mentally all the way there.

3) Is very good at his job, surprisingly enough! Hochstetter makes a damned fine detective when he's not dealing with anything involving - or potentially involving - Stalag 13. Fortunately for the boys, he tends to let his hatred and obsession with Hogan blind him to a lot of things, resulting in him dropping the ball on more than one occasion. (Most notably, the episode with Group Captain Roberts.) Of course, Hogan being able to play him like a fiddle doesn't help Hochstetter's case either.

______

Gertrude Linkmeyer:

1) Knows in her heart of hearts that her husband Otto is probably dead. As Burkhalter once told her, that's usually what 'missing in action' at the Russian Front means. But Gertrude won't ever admit that out loud because as long as she keeps denying it, she can hold on to the fragile hope that he might still be alive. Is still internally grieving for him nonetheless, though.

2) Contrary to popular belief, doesn't actually want a romantic relationship with Klink. She likes him and thinks he's cute, but she's mature enough to know you need more than that to be happy in a relationship. However, Gertrude is going along with her brother's attempts to force the pair into marriage for two reasons.

She can see Klink appears to be somewhat naïve in a few ways, and she wants to protect him from women who would use him...of which there have been a few. As stated above, Gertrude genuinely does like him as a person in his own right, so she figures a platonic marriage of convenience would be the best way to accomplish that goal. (He would also be much safer too - nobody in their right mind is gonna risk Burkhalter raining his wrath down on them because they messed with his sister's husband.) But Klink keep pushing her away because he doesn't realize what she's trying to do. It's very much a 'I'm trying to help you here, dummkopf!' kinda vibe.

Gertrude knows Burkhalter (supposedly) barely tolerates Klink, and it baffles her as to why he would constantly try to shove them together at all in that case. The tension alone would make the holidays a living hell. But she says nothing, choosing to obey his wishes like a dutiful sister should. Gertrude is smart enough to see the grave error in judgment Burkhalter's made for himself; she's just waiting for her brother to figure it out after it's too late so she can have the last laugh.

3) Actively 'wears Burkhalter's rank' (aka uses the 'My brother is a general' card) to get things done if she really wants to. Has also used her relationship with Burkhalter behind the scenes to keep him from sending Klink off to the Front on several occasions for the reasons listed above.

******

The POWs/Allies

Kinch:

1) Is the majority brain cell holder, and therefore the only one who has a hope in hell of stopping Hogan when he gets on a roll.

2) Is on a first-name basis with Hogan in private because the two of them are friends. Nevertheless, Kinch only uses that privilege when he really needs to get Hogan's attention...usually for something critical.

3) Is utterly fascinated by all types of communicative technology. Radios, telephones, TVs...you name it, Kinch is interested in learning more about how it works.

______

LeBeau:

1) Is a mother hen whenever anyone is sick - especially Newkirk and Hogan - because he knows they don't take proper care of themselves. Will deliberately wait until Newkirk is too sick to protest, then shove foods that are extra French down his throat as part of their friendly ongoing French-English rivalry.

2) Is perpetually miffed by Hogan's blatant refusal to let him and Newkirk go on Nazi-killing sprees. Legitimately wonders if Hogan has actually lost his mind on occasion as well.

3) Gets frustrated sometimes because he doesn't understand all the references (such as sayings, terms, etc) to American culture in the barracks. Relies heavily on Kinch (and to an extent, Hogan) to explain them to him.

______

Newkirk:

1) Hates any and all authority figures with a passion, due to having had all of them treat him like dirt because he's poor. Hogan is the one exception to that rule - Newkirk would do anything for his CO if asked. He appreciates how Hogan sees him as a person and values him for his skills, as opposed to his financial status.

2) Will never admit it out loud, but is a serious worrywart, especially when it comes to Carter or LeBeau.

3) Would rather die than ever admit he needs help. Newkirk was raised to believe every bit of help comes with a price, which is why he's extremely hesitant to ever ask for even the smallest thing.

______

Wilson:

1) Dearly wishes Hogan would give him some advance warning whenever the team goes out on missions so he can go to bed earlier. That would be much appreciated, considering he often gets dragged out of bed to patch up one or more of them at all hours of the night. It's one of the reasons he's a grumpy, salty medic. (The other part is because everyone always gives him lip and he's sick of it.) He's trying to help them stay healthy; the least they could do is be grateful!

2) Would absolutely sedate Newkirk and/or Hogan - and in his CO's case, has threatened to do so more than once - if need be. Literally keeps two small containers of makeshift anesthesia he had Carter whip up set aside with Hogan and Newkirk's names on it, just in case.

3) Has zero qualms about taking advantage of the fact that a medic's orders override anyone else's, including Hogan's. Every time the colonel gets sick, the two go through a similar song and dance.

Hogan insists he's "perfectly fine" (even if he sounds like death warmed over) and tries to leave to take care of his men.

Wilson tells him to stay put.

Hogan declines and says he's leaving.

Wilson tells him to stay put again, followed by threatening to have Schultz hold him down on the infirmary bed while he (Wilson) ties him to it.

Hogan indignantly squawks something to the effect of, "You wouldn't dare!"

Wilson - who has an evil little smile by this point - replies, "With all due respect, sir, try me. Either you can willingly stay put until I clear you to leave, or you'll be doing it involuntarily. Medic's orders. So, what's it gonna be, Colonel?"

Hogan reluctantly gives in.

Wilson chalks up another win, all while questioning his life choices and mentally bemoaning the fact he has the world's worst patient for a commanding officer.

______

Crittendon:

1) Isn't as stupid as he appears to be. Didn't buy his rank - that would imply he's not talented enough to earn it on his own, and he would see that as an insult. Even if he had, Crittendon would be hard-pressed to keep it if he was truly that big a screw up. Nepotism only gets you so far. Plays the fool on purpose so people will let their guard down around him, thereby enabling him to make multiple escape attempts. Unfortunately, he's pretty lousy at escapes, so he always gets recaptured.

2) Genuinely means well, but still manages to mess things up. Part of it is because he's too into his role of the idiot officer; the other part of it is being easily distracted. Has deliberately interfered with Hogan's plans more than once as well. Crittendon is a veteran of WWI, so he feels he's the only one of the POWs who knows how to fight a war properly. He sees it as his duty to educate them how things should be done.

3) Was still mentally stuck in WWI the first time he was captured. At some point between his transfer out of Stalag 13 and his next appearance there, Crittendon realized the Nazis have no honor, and that the rules of WWI have all but been chucked out the window. This explains why he did a 180° shift in attitude regarding Hogan's operation. Went from a 'Oh dear, you poor, misguided Yank...you really have no clue how to fight a war properly, do you? Let me teach you how the game is played' vibe to a 'Right, Jerry may not have any honor now, but I still know better than you, old boy. More war experience and all that, wot wot?' one.

______

Marya:

1) Is, essentially, the female version of Hogan. She's just as smart as he is. But in a era where a woman's opinion holds less weight, she has to get creative with her scheming. Plus, Marya likes keeping Hogan on his toes. Not only does it ensure her wits stay sharp, it gives her great joy to frustrate him to no end solely for the entertainment value.

2) Also enjoys making over-complicated plans, same as Hogan does. Sure, she could level with him about what she wants to do from the start, but where's the fun in that?😂 She wouldn't tell him everything anyway; she's smart enough to know you should never put all your eggs in one basket. Marya is well aware Hogan is a great leader, but she also knows firsthand from life in the USSR that even the strongest leaders can fall, and she doesn't want to be caught in the backlash if that happens.

3) Is hardcore crushing on Hogan. (Can't blame her for that; he is very handsome.) Tries to let him know - and thereby enable him to make the first move - by flirting with him constantly. When that doesn't work, Marya begins doing the same thing with LeBeau, trying to make Hogan jealous enough to kiss her and mark her as his woman...which eventually works. Persistence for the win!

The rest of my headcanons about Schultz and Newkirk can be found on this document, along with my ones of Klink, Burkhalter, Hogan and Carter.

Also, if anyone is interested, I did write out Klink’s experiences in both wars. It's told via flashback, however, which is why it abruptly jumps from World War I to World War II.

What are your top 3 headcanons for Hogan's Heroes in general?

What are your top 3 headcanons for each character?

[frau-wilhelm-klink]

A friend of mine said these would make great prompts, so without further ado, I present to you...things Hogan could say in response to "Who is this man?"

"I'm an American prisoner of war, sir."

"Colonel Hogan, Sen -" *blinks rapidly a few times after Hochstetter snaps that he knows who Hogan is* "Then why'd you ask?"

*after looking Hochstetter up and down* "Judging by your rank and age, I'm someone who's better at his job than you."

*faux injured voice* "Aw, and here I thought we had something special."

"I'm a full colonel. See, these eagles mean I outrank you twice over, same as Kommandant Klink does." *under his breath* "Not that he ever remembers that."

"I'm hurt, Major. Did you really forget me so easily?"

"Oh, I'm a prisoner of the Luftwaffe. Why are you here?"

"I'm the one you have an unhealthy obsession with."

And in response to "What is this man doing here?"

"You know, I've been asking myself that same question. Must be the country club ambience."

"I'd love to leave, but neither Colonel Klink nor ol' Bubblehead will let me."

"Currently wasting valuable time I could be using to plan my escape, what about you?"

"Excuse me, I happen to live here." *huffs* "The nerve of some people, making a fella feel unwelcome in his own home."

"Considering you're a Gestapo officer in a Luft Stalag, I think I should be asking you that question."

"Well you see, my furlough request was denied, so here I am."

"Hey, it's not my fault! Blame the 'illustrious Luftwaffe' for that one."

"Sorry for the inconvenience, Major, but the Americans hit rush hour tank traffic on the way to pick me up. Expect a year or two delay."

If anyone uses one or more of these, kindly tag me so I can read the story. Thanks😁

[august-diehl]

AUGUST DIEHL as Sturmbannführer Dieter Hellstrom in Inglorious Basterds (2009) | dir. Quentin Tarantino

[architectuul]

Salaspils: A Soviet Memorial To Nazi Victims In Latvia

Eighteen kilometres out of Riga, a series of stone giants stand frozen in a forest clearing to mark a place that some would rather forget. 

The forested approach to the Salaspils Memorial.

The road to the Salaspils Memorial Ensemble stops near the rail tracks, and visitors must walk the final stretch – through forests of pine, and birch that in autumn explodes into canopies of red and gold, the sunlight slicing sideways between trunks that shed their crisp white bark like snakeskin. 

The gallery building measuring 100 metres long by 12.5 metres high.

In the clearing beyond stands the Salaspils Memorial Ensemble.

The forest feels alive, almost supernaturally so, making it all the more abrupt to find the path suddenly barred by a looming concrete crossbeam, 100 metres long and more than 12 metres tall. This concrete barrier is a visitor building, an abstract Brutalist gallery that marks the symbolic threshold between life and death. It stands in the place where once there was a guardhouse ringed in barbed wire, the entrance to a former Nazi labour camp that operated for four years here amidst the picturesque Baltic birch. Through the arch, a clearing opens up between the trees; the camp barracks long gone, to be replaced by angular Soviet forms, towering, blocky figures stood as tall as the trees that surround them.

Above the entrance, a Latvian slogan is spelled out on the concrete flank of the gallery “Beyond these gates the land groans”, a line from a poem, written by a former prisoner of this place. 

Part of the original wall of Camp Kurtenhof.

SS-Sturmbannführer Rudolf Lange, who was appointed in 1941 a commander of both the Nazi Security Service and the Security Police for occupied Latvia, that same year proposed the creation of a detention facility in the region. It was named Camp Kurtenhof, from the German name for the town of Salaspils, and located for convenience just off the main rail track between Latvia’s two largest cities: Riga and Daugavpils. It was designated a Police Prison and Labour Correctional Camp.

A symbolic tally etched into the gallery building counts time inside the prison.

Work on the camp began in late 1941, and it was built largely by the hands of Jewish prisoners deported from occupied Germany, Austria and Czechoslovakia. At least a thousand Jews were transported from the Riga Ghetto to join the construction team in January 1942. Offered little in the way of comfort, nutrition or sanitary facilities, they were overworked and many would die to that first harsh Baltic winter.

Symbols of Soviet defiance raised on the grounds of the former camp.

These workers were amongst the only Jews to ever set foot in the Salaspils camp. Unlike the Reich’s concentration camps, which answered to their own central administration in Berlin, the Police Prison Camp at Salaspils was under the direct control of local Security Police Commander Rudolf Lange. Its inmates were political prisoners and Baltic dissidents, expanding in summer 1942 to provide ‘labour correction’ to those caught avoiding work regulations; and from 1943 the camp began taking in Baltic police officers and military personnel convicted in SS courts. The Salaspils camp also operated as an intermediary transit camp for prisoners being transported from Belarus and Russia, to forced labour projects in Germany. A large number of children were imprisoned at the camp too, allegedly in dedicated children’s barracks.

By the later part of 1942 the camp consisted of 15 barracks that between them housed 1,800 prisoners. By summer 1943, there were 30 barracks. Prisoners here were involved in the digging and processing of peat, and according to survivors’ accounts, regardless of its specific ‘Police Prison’ designation, the organisation of work, and treatment of prisoners at Salaspils, was just as brutal as any of the other Nazi camps in the region.

From left to right: Solidarity, The Oath and Red Front.

The official website for the Salaspils Memorial states that, during its years of operation, roughly 23,000 people were imprisoned at the camp. It reports that from May 1942 until September 1944, up to 500 prisoners died of diseases, as many as 150 from exhaustion or brutal punishment regimes, and a further 30 were shot while attempting to escape. The younger prisoners were particularly susceptible to the diseases (such as measles and typhoid fever) that ran rife through the inmate population. It is believed that half the camp’s children died from illness, and after liberation, a mass grave was discovered containing the corpses of 632 children aged 5-9 years old. The Salaspils website suggests that, including the Jewish forced labourers who died during construction, the final death toll of the Salaspils camp stood at more than 3,000 people.

Left: The Unbroken; right: The Mother.

The Salaspils camp was liberated by the Soviets in September 1944. The fences were brought down, the barracks destroyed, but it wasn’t until two decades later that they constructed a grand memorial complex on the site where the camp once stood. A competition was held to select a design for the Salaspils Memorial Ensemble, as it was known, with the winning entry submitted by a team of seven: the architects Gunārs Asaris (who would also create the Monument to the Sailors and Fishermen Lost at Sea, at Liepāja), Oļģerts Ostenbergs, Ivars Strautmanis and Oļegs Zakamennijs, along with the sculptors Levs Bukovskis, Oļegs Skarainis and Jānis Zariņš. The park opened in 1967, and in 1970 its creators would receive the prestigious Lenin Award for their work – in the same ceremony that saw architect Yevgeny Vuchetich awarded for his famous monument at Volgograd: The Motherland Calls.

The opening ceremony was a grand, flower-laden affair, and the Salaspils Memorial Ensemble would go on to be considered one of the most important Soviet memorial sites in the Baltics.

The sculpture called Humiliated.

Today it is not a particularly easy place to visit, and emerging from the trees into the clearing is a sobering moment. The simplicity of these concrete forms invites imagination. Instead of telling you what happened here, this place tries to make you feel it. I found myself reminded of my visit to Auschwitz – a visit I made on a warm summer’s day, birds singing, woodland flowers in bloom. If anything the setting for Salaspils was even more picturesque than that, and I felt a sense of emotional whiplash, after a while, constantly trying to square what I knew about this place with the information my senses were providing me.

The ensemble is built around nine concrete titans (in six installations), who tower over the neat lawns and were said to represent the different types of prisoner kept in the camp. ‘The Unbroken’ lies on his belly, pushing himself up with his last strength. ‘The Mother’ has a look of defiance, standing square to shield the infants that cower by her side. ‘The Humiliated’ kneels, her face partially hidden by an arm raised in a defensive gesture. In the very centre of the lawn, three forms are arranged side-by-side: ‘Solidarity’ shows one prisoner helping another to stand; ‘The Oath’ is a man stood tall stretching his arms into the air; while ‘Red Front’ likely represents a fighter from the paramilitary wing of the German Communist Party – the ‘Rotfrontkämpferbund’ – a group who used the same single-handed fist salute depicted here.

A memorial block where the camp’s gallows once stood.

The Salaspils Memorial features hardly a written word of information but that does not make it a quick place to visit. The monuments that decorate the lawn demand consideration. A single notable script appears on a stone block placed off to the right, between the central figures and the entry gate, marking the location of the former camp gallows. Its inscription in Russian and Latvian reads: “Here humans were executed for being innocent… Here humans were executed for every one of them being a human and loving the Motherland.”

Fragments of the original barrack walls.

At the opposite side of the Road of Death – as the designers named the walking path that circles their concrete giants – a black granite pedestal is designated as the place for laying flowers and memorial wreaths. From somewhere out of sight comes the ticking of a metronome. Intended to suggest life, and the eternal passage of time, the sound is rather like a heartbeat, and lends an uncanny atmosphere to my time amongst the statues.

The old camp buildings may be gone, but here and there, fragments of the outermost walls remain. Some are bare, but others are piled with tributes: plastic angels, Orthodox icons, a selection of sad-looking children’s toys. It feels like an effective memorialisation technique – bulldozing the camp, symbolically destroying its physical legacy, while leaving just enough of its form behind to suggest a historical record of its size and inner geography. Just a year before the Salaspils Memorial opened, the Yugoslav architect Bogdan Bogdanović had accomplished something similar at his Jasenovac Memorial Site, in what is now Croatia: the buildings of the old concentration camp were destroyed, but there, the ground was landscaped into mounds and craters that recorded the location and function of the various different buildings.

Text across the wall of the gallery “Beyond these gates the land groans.”

The only building at Salaspils now is the gallery – entered by an inclined walkway that passes through the length of the imposing concrete arch above the entrance. The space inside is oppressive and claustrophobic, presumably by design. This effect of sensory deprivation allows the visitor time to meditate, perhaps, and process the meaning of the monumental forms outside. When natural light does break through the side walls, it spills in at viewing slots reminiscent of wartime pillboxes. I peer outside, for a panoramic view of the figures on the lawn.

All the while, the sounds of the forest seem amplified as they reverberate though this enclosed space. There is birdsong, the noise of distant dogs barking, and somewhere nearby, where the original tracks cut lines through the trees, the shunting and hissing of cargo trains.

The walkway through the Brutalist gallery building.

The Salaspils Memorial Ensemble, seen from the gallery.

There is something inherently totalitarian about the form of remembrance prescribed by the Salaspils park. The sheer concrete, the lack of information. These twisted human figures tell visitors how they should feel, but the park never provided the tools for a two-way conversation. At Auschwitz visitors are shown piles of shoes, and suitcases, visual triggers designed to encourage an engagement with the numbers. At the National Museum of the Holodomor-Genocide in Kyiv, Ukraine, a similar effect was achieved with grains of corn – arranged in a heaped display where one grain stands for one Ukrainian life lost. Salaspils, in contrast, simply says: these people were punished for loving the Motherland.

Commenting on the Soviet Union’s choice to memorialise Salaspils, Peter Hohenhaus notes how “other, even worse sites of the Holocaust such as Biķernieki received no commemoration at all.” It is perhaps no coincidence though, that the Soviets chose to create such a prestigious memorial over the remains of a camp which had less relation than most to the Jewish Holocaust. (Aside from the construction team, it is reported there were only 12 Jewish prisoners at Salaspils).

Following the war, the Soviet Union severely downplayed the significance of the Holocaust, to present the Soviet citizen, instead, as the chief target of Nazi aggression. Any specific commemoration of the Jewish tragedy was at least discouraged. For example there was a Holocaust memorial built in Minsk, Belarus, named ‘the Pit’; an obelisk on the site where 5,000 prisoners from the nearby Minsk Ghetto were executed by fascists in 1942. Its creators, the stonemason Morduch Sprishen and the poet Haim Maltinsky (who wrote the Yiddish inscription), were both later convicted on charges of Jewish nationalism, and after that, the authorities treated all visitors to the Pit memorial with suspicion. At Babyn Yar meanwhile, a ravine in Kyiv were tens of thousands of Jews were massacred, the victims of the Holocaust are still yet to be recognised with a proper memorial.

The USSR’s post-WWII efforts to ideologically bond its member republics through a shared sense of victimhood, and victory, was felt not least strongly in places like the Baltics – countries who were new Soviet subjects, and uneasy subjects at best. What better place then, for a grand Soviet memorial park, than Salaspils: a police camp that had chiefly housed antifascist Baltic dissidents, and Soviet citizens from Russia and Belarus. It was a place where Latvians and Russians had suffered together, side by side, and of all the dark places left to this region in the wake of Nazi occupation, this was the one whose memorialisation best supported the post-war political narratives of the Soviet Union.

The Salaspils Memorial is recognised as part of the Latvian Culture Canon and in 2017, it was declared a monument of national significance. Despite this recognition however, it doesn’t feel like a place that is cherished, so much as observed. Visitors often report having trouble locating the place, and it hardly seems to be promoted as a tourist destination of note. When compared to videos showing the park’s opening ceremony (crowds of people, neatly trimmed lawns, and the forest pruned back around them), Salaspils today appears somewhat lonely and dishevelled.

Contemporary additions and modifications to the park have seemingly challenged the innate Sovietness of the place. A cemetery for German POWs was added in 2008, adjacent to the main memorial grounds. More recent is the installation of the Salaspils Memorial Exposition. Housed inside the Brutalist gallery building, the collection has been open to visitors since February 2018, and features information and video clips available in Latvian, German, English and Russian.

Tributes left by visitors to the Salaspils Memorial.

Elsewhere around the park, and dotted along the ‘Road of Death,’ new information panels have been installed to give context to the park’s otherwise sparse concrete symbolism. The memorial architecture of the park tells the story of Soviet people who fell victim to the Nazis. It is somewhat jarring then, to read contemporary panels that describe both Nazi Germany and the Soviet Union as “occupying regimes.” This is, of course, how the Latvians officially remember that portion of their history: as a violent occupation by a foreign power that would maintain a political and cultural stranglehold over Latvia for the next 45 years. If it seems strange to foreign visitors that a site as significant as this – and so close to the capital – should feel quiet, hidden away, and poorly advertised, then perhaps this is why: from a Latvian perspective, the Salaspils Memorial might very well feel like a monument built by one trespasser to present themselves as the chief victim of the previous one.

The main gallery space inside the visitors’ building. Below: the staircase inside the inclined viewing gallery.

According to the website, the new exhibition “provides visitors with information based on historical facts and the conclusions of the latest scientific studies,” in an effort to “dispel misconceptions about the Camp and the Memorial.”

Those “misconceptions” presumably include certain claims made in the Russian-language media. Many on that side of the border still believe the former Soviet account, which once stated that over 100,000 people had died at Salaspils (compared to the 3,000 cited today by the Latvians). There were stories, too, that the Nazis drained blood from children here to use in transfusions for German soldiers – though these seem to have since been largely debunked. Nevertheless, news outlets like RuBaltic.ru and Ukraina.ru accuse the park’s Latvian management of downplaying the numbers, rewriting history, and more generally of presenting the Nazi presence in Latvia as having been less harmful than that of the Soviets who liberated this camp. They refer to a new information panel at the Salaspils Memorial, which shows respective death tolls for the periods of Nazi and Soviet occupation; the Soviet number being the larger of the two.

While obviously Latvia can and should be having these conversations, I can’t help but wonder if it isn’t slightly antagonistic (at least, to the ethnic Russians who make up a quarter of Latvia’s population), to have them here; to stand on the symbolic graves of dead Soviets while comparing them to the Nazis.

‘The Humiliated’ is partially hidden now, behind a tree not part of the original design for the memorial.

Memorials should serve a simple task, in theory: they remind us of things that we must not forget. They preserve important stories for those who were not there, and in societal terms, they serve to reclaim – to re-consecrate – ground once bloodied by violence. Danger zones become places of (re)education. But the invisible memory wars that continue to be waged across this quiet lawn in Latvia are anything but simple, and they hint at some of the greater cultural conflicts at large today in the post-Soviet Baltic states.

The last thing I saw before I left was another new, post-Soviet addition to the park. In 2004, a former prisoner at Salaspils named Larry Pik funded the creation of a new monument to the Jewish victims of the camp – the prisoners who built it. Accompanied by the Star of David, an inscription in Hebrew, German and Latvian reads: “To honour the dead and as a warning to the living. In memory of the Jews deported from Germany, Austria and Czechoslovakia, who from December 1941 to June 1942 died from hunger, cold and inhumanity and have found eternal rest in the Salaspils forest.”

Flowers left in memory of the camp’s victims.

The cover of a 1969 commemorative book about Salaspils.

Left: a newspaper announces the Lenin Award given to the Salaspils design team. Right: ‘The Mother’ under construction.

‘The Unbroken,’ under construction, and then completed.

The gate to the Salaspils Memorial (late 1960s).

Visitors queue to enter (late 1960s).

The memorial plaza at Salaspils (1968).

Left: Salaspils in 1975. Right: Cover of the 1985 Salaspils brochure.

The Salaspils Memorial Ensemble in 1970.

–

by Darmon Richter

[adapted with permission from an article at Ex Utopia]

[carbone14]

SS-Sturmbannführer Otto Skorzeny, SS-Untersturmführer Adrian von Fölkersam, SS-Obersturmführer Walter Girg – Budapest – Hongrie – 16 octobre 1944

Photographe : Faupel

©Bundesarchiv - Bild 101I-680-8283A-30A

[peipurr]

About Walter Model's appearance (via namu.wiki and Verlorene Siege by Erich von Manstein):

"He was short, had a strong and sturdy physique, and his movements were nimble and agile. He had thick black hair and always wore a heavy-duty monocle, but his blue eyes beyond his lenses were free-spirited and bright. We could all see that he had a very good heart." —Horst Großmann

Günther Blumentritt is said to have been surprised by the fact that the 35-year-old Hauptmann Model, whom he met during the interwar period, and the 50-year-old Feldmarschall Model during World War II had the same appearance. His hair did not become thinner or grayer, and his bright blue eyes were the same. —Generalfeldmarschall Walter Model, von Genthin bis vor Moskaus Tore (1962, p.48) by Konrad Leppa.

SS-Sturmbannführer Heinrich Springer, who is 23 years younger than Model, had the impression that when Model smiled sincerely, he 'smiled like a sweet boy'. (ME CRYYYYYYYY)

"Of medium height, with a rather delicate rather than strong build, with a head full of black hair and lively eyes that could sometimes take on a piercing look, he appeared young and fresh and was tough and of great efficiency." —Erich von Manstein

I really love the fact that people often highlight his thick black hair. It gives me personal comfort (because my hair too is just like that and I almost always hate it for being too thick and poofy lol) :(

Happiest heavenly birthday, my favorite Generalfeldmarschall. Ruhe in Frieden🫂

note: I used only Google translate. so, I don't know whether there were any translational errors. If there were, I'm very sorry.

[claratompson]

(English is not my mother tongue, so I tried to do my best, I hope you all will like it.)

Chapter 1

Shoshanna, or rather, Emmanuel Mimieux was standing on the stairs, wiping her letters with a rag on the board of her cinema.

"From the early morning, I do not leave the feeling as if.... Today something not very good will happen... Although I hope it is not so..."

Her head turned to the left on the distinctive noise of the approaching car. The car was the blackest color in the world and glossy as silver. The car itself was feared and terrified in the heart of the girl, because she knew perfectly well who was the owner of such cars - representatives of the highest German nobility and, accordingly, the military police, called the Gestapo.

After stopping, a tall nimble German soldier-chauffeur came out of the driver's seat and opened the car door on the passenger side with a quick and accurate hand movement. Out of it came a much less pleasant representative of the frightening car tall, handsome, dressed in the same black and glossy, like the car itself, a long cloak, apparently, sturmbannführer, and in simplicity - major. His eyes were covered a black cap, which was majestic and equally repulsive. was on his head.

«I tempted the fate» - ironically thought Emmanuel.

Raising his formidable glance at the girl, the major spoke to her: «Emmanuel Mimieux?»

«Yes.» - barely concealing the excitement, she replied.

After briefly saying something to the soldier, the Sturmbannführer crossed his arms behind his back, waiting for the girl to look at him.

The soldier addressed the girl: «Is this your cinema?»

«Yes.» - she answered briefly.

The soldier and the major exchanged a couple of three words, after which the soldier opened the door of the car, as if inviting («forcing») the girl to get into the car.

After taking a deep breath, Emmanuel desperately began to climb down the stairs.

«And who said that intuition fails so when it signals danger?!» - ironically she thought: «Unfortunately, even having an intuition will not help me avoid unwanted contact with these people, who hardly came to ask me about what movies will be shown tonight.»

As for evil, the staircase on which the girl descended was quite «medieval» and unreliable, one of the boards turned out to be brittle and treacherously snapped, breaking into two parts under a miniature foot. Unfortunately, the young cinema owner did not have time to react and fell down, preparing for a painful fall, but to her surprise, she felt no pain in the body from the fall, but only strong men’s hands that clutched her. There was a hum in my ears, and my heart pounded furiously inside. Slowly opening her eyes, she lifted them up, facing her grey and blue eyes, which reflected the boy’s beauty on a stern face with sharp cheekbones. The black cap that had been on the Major’s head not so long ago fell hopelessly to the ground.

Major: "How do you feel?"

The coma stood in the girl’s throat, preventing even a lighter sigh from the absence of injuries.

"What a charming man he is." she thought.

Major: "Mademoiselle, can you hear me?"

"Need at least something to say? Come on, Emmanuel!" she said, but it turned out her body didn’t agree. His eyes immediately darkened and his legs became cotton-brown. Emmanuel was unable to stand and fainted.

Looks like she’ll never know why the Major and his driver came for her anytime soon.

Sturmbannführer carefully picked her up and ordered the soldier to take her to his apartment, ordering him to send a doctor to his house as soon as possible, after which he would personally inform Private Zoller of his inability to bring the girl to the designated restaurant.

An hour later, if not more, Emmanuel had trouble separating her eyes. Looking around, the girl realized that she was completely in a strange apartment in a strange bed, and can barely remember how she got here.

The air slowly filled her lungs, and her mind reluctantly gained clarity.

The weakness in her body was tingling, and her heart was slowly beating inside

With a gentle sit, Emmanuel put her hand over her head, trying to remember at least how the morning began, but her brain stubbornly gave no memories..

[idtha]

!Ich unterstütze den Nationalsozialismus nicht¡

Ich fing an, Fanfixe über gemeinsame Charaktere mit meinem besten Freund zu schreiben.

Ich werde mich freuen, es mit Ihnen zu teilen.

Der Sekretär ist Rudolf, ein Jude, der für die Gestapo arbeitet.

Finn ist ein SS-Sturmbannführer für die jüdische Frage.

[omg-lucio]

Tashi Namgyal, el Chogyal (Rey del Dharma) de Sikkim que favorecía a los británicos, se sienta a la mesa con el ornitólogo, espía y SS-Sturmbannführer Ernst Schäfer durante las expediciones alemanas al Tíbet. Junio ​​de 1938 en Gangtok 

[wwiigermany]

 Hauptsturmführer Siegfried Brosow 

( Born: December 10 , 1918 in Steinfelde in East Prussia - Died: November 18 , 2008 in Oberkotzau )

Sturmbannführer (Storm Unit Leader/Major), in the Waffen SS during World War II who was awarded the Knight's Cross of the Iron Cross. This was awarded to recognize extreme battlefield bravery or successful military leadership by Nazi Germany during World War II.

Siegfried Brosow joined the SS-VT(auxiliary) in 1937 and was issued the SS service number SS 353059. He was selected to be an officer and sent to the SS-Junkerschule at Brunswick from 1939 to 1940, while he was at the school he joined the NSDAP in December 1939 being given the party number NSDAP-Nr: 7 145 966. During the Battle of France Untersturmführer (Storm Leader/Second Lieutenatnt) Brosow was awarded the Iron Cross 2nd class for bravery and the Iron Cross 1st class, during the first assault on Moscow and was promoted to Obersturmführer (Senior Storm Leader/First Lieutenant) on 30 January 1942.

He returned to the Das Reich Pionier battalion in January 1943 as the commander of the 1st Company, until he became the commander of the Divisional staff in October 1943.

During the rebuilding of Das Reich in 1944 he became the temporary Pionier Battalion Commander and assumed full command during the Normandy Campaign. He led the Battalion until February 1945 when he was reassigned to the SS-Pionierschule as the commander of training and remained here until captured by the Russians in May 1945.

Upon his release he became a school teacher. Siegfried Brasow died on the 18 November 2008.

[aurevoirmonty]

Adolf Hitler congratulates Generalleutant Theo-Helmut Lieb, ᛋᛋ-Gruppenführer Herbert Otto Gille and decorated ᛋᛋ-Sturmbannführer(at the time) Leon Degrelle for escaping Russian encirclement at Cherkassy. Recorded in 1944.

[overlookedwwiimedia]

The Counterfeiters (2007)

Basic Story: Imprisoned printers and artists are gathered by the Nazis to have them forge documents and money as a part of Operation Bernhard.

Fan Thoughts: The Counterfeiters was the winner of Best Foreign Language Film at the 2007 Academy Awards, based on the memoir of Adolf Burger, Komando padělatelů ("The Commando of Counterfeiters").  The film follows Salomon “Sally” Sorowitsch (based on the real Salomon Smolianoff) starting after the war when he checks into a hotel in Monte Carlo, paying all in cash.  Flashing back to Berlin in 1936, Sorowitsch is living a wild life as a forger and counterfeiter, until he is caught and imprisoned at a labor camp and later Mauthausen concentration camp.  At Mauthausen he manages to gain some protection by sketching and painting portraits for the guards; the real Salomon Smolianoff studied painting in Russia until 1922 when he had to leave due to his parents’ politics.  Sorowitsch’s skills get him moved to Sachsenhausen concentration camp, where he is met by the policeman who originally arrested him, now Sturmbannführer, Herzog (based on the real Bernhard Krüger) who tells him that he and other prisoners with applicable talents have been brought to work on a Nazi plan to forge fake documents and foreign money to destabilize the Allies economies.  The prisoners involved in the forging are kept separate and in significantly better conditions than the other prisoners, a fact that is periodically brought home by wrenching moments, such as when a request for real documents to work from is filled by a delivery of passports from Auschwitz.  Each forger grapples with their role, feeling guilty for having relatively good conditions when so many are suffering just on the other side of wall. Sorowitsch is practical and does what he can to survive, Burger is haunted by guilt and wants to rise up but the others convince him that revolting will only get them killed.  As the war comes to a close, the Nazis attempt to dismantle all the forging equipment and remove it and ultimately abandon the camp.  The regular prisoners break in and nearly kill the forgers until several reveal their tattoos from Auschwitz.  In a particularly heartbreaking sequence, the regular prisoners judge the forgers' part of the camp, listening to records and feeling the sheets on the beds while the purpose of this special section explained to them.  The film ends with Sorowitsch purposefully gambling all his forged money away. The real Salomon Smolianoff immediately went back to counterfeiting around the world until he finally moved to Brazil and went into the toy-making business.  Adolf Burger wrote his memoir in the 1970s, and when in London for the release, he visited the Bank of England where he was presented with one of his own forged bank notes.  Sorowitsch is played by Karl Markovics, who does an excellent job of showing a complicated character grappling with moral dilemmas.  Adolf Burger is portrayed by August Diehl, convincingly bringing a younger and more fiery counterpart to Markovics’ Sorowitsch.  This is a absorbing film that is well put together and paced, with emotional punches throughout, showing why it was the Academy Award winner.

Warnings: nudity (brief), on-screen beatings an executions, suicide

Available On: Prime Video, Apple TV, YouTube, Google Play, Vudu

[revelstein]

Hajl Herr Braun

Wybryk pana sturmbannführera Brauna nie jest zaskakujący. Nie pierwszy to jego wybryk, choć akurat wczoraj pojechał zdecydowanie po bandzie. Jak dotąd wybryki pana sturmbannführera Brauna w zasadzie nie spotykały się z żadną zdecydowaną reakcją. Pan sturmbannführer Braun, się więc nam rozochocił i jak na sturmbannführera przystało szturmem wziął płonącą na korytarzu menorę. Antysemicki gen…

[if-you-fan-a-fire]

"A prisoner being released from the new Nazi concentration camp for political prisoners at Oranienburg on the Haval river. Note the Nazi storm troopers on guard with Swastika insignia of their party banding their arms." - from the Kingston Whig-Standard. May 9, 1933. Page 2. [AL: Oranienburg concentration camp was recognised, financially supported and administratively overseen by various state bodies. Most of the inmates in this camp were interned on the orders of mayors and district administrators, as representatives of local government. The camp commandant, SA Sturmbannführer Werner Schäfer, also used Oranienburg concentration camp for propaganda purposes. Many reports and articles appeared in the German press about this “model” camp. Items about Oranienburg concentration camp were shown in the weekly newsreel report, the ‘Wochenschau’, in some 5,000 cinemas around Germany. Source.]

[dukeofriven]

Is one of the guys in the picture you shared on the sagaftra post Walt Disney? I don’t recognise the other guy at all, please, do you mind sharing who he is?

On the left is Walt Disney. On the right is SS-Sturmbannführer Dr. Wernher Magnus Maximilian Freiherr von Braun—the pride of Huntsville, Alabama.