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Thanks to the noble men of the Mighty Eighth who had a one way ticket to Berlin in 1944 and their comrades in arms, many people the world over now live in peace and freedom.
When author John Meurs was a nine-year-old schoolboy living in Nazi-occupied Holland, an American B-17 bomber crashed behind his house near the village of Apeldoorn. The date was Sunday, November 26, 1944. Meurs always wanted to know more about what happened in the air on that Thanksgiving Sunday. So, more than sixty years later he started researching "his" B-17. He quickly found that the bomber was part of the 8th Air Force Air Combat Command. Meurs' findings intrigued him and after discovering many interesting facts, Meurs focused his research on the 34 heavy bombers of the Mighty Eighth that were lost that day. He collected the personal stories of veterans who lived through it, families of veterans lost, and witnesses of the crashes. These first-hand recollections, captured in this book, provide a compelling and terrifying account of the reality of war. Thanks to the noble men of the Mighty Eighth who "would not be home for Christmas" in 1944 and their comrades in arms, ma
“I think German Boy has all the qualities of greatness. I love the book.” -- from the Foreword by Stephen Ambrose As the Third Reich crumbled in 1945, scores of Germans scrambled to flee the advancing Russian troops. Among them was a little boy named Wolfgang Samuel, who left his home with his mother and sister and ended up in war-torn Strasbourg before being forced farther west into a disease-ridden refugee camp. German Boy is the vivid, true story of their fight for survival as the tables of power turned and, for reasons Wolfgang was too young to understand, his broken family suffered arbitrary arrest, rape, hunger, and constant fear. Because his father was off fighting the war as a Luftwaffe officer, young Wolfgang was forced to become the head of his household, scavenging for provisions and scraps with which to feed his family. Despite his best efforts, his mother still found herself forced to do the unthinkable to survive, and her sacrifices became Wolfgang’s worst nightmares. Somehow, with the resilience only children can muster, he maintained his youth and innocence in little ways–making friends with other young refugees, playing games with shrapnel, delighting in the planes flown by the Americans and the candies the GIs brought. In the end, the Samuels begin life anew in America, and Wolfgang eventually goes on to a thirty-year career in the U.S. Air Force. Bringing fresh insight to the dark history of Nazi Germany and the horror left in its wake, German Boy records the valuable recollections of an innocent’s incredible journey.
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What was the experience of war for a child in bombed and ravaged Germany? In this memoir, the voice of innocence is heard. "This is great stuff," exclaims Stephen E. Ambrose. "I love this book." In this gripping account, a boy and his mother are wrenched from their tranquil lives to forge a path through the storm of war and the rubble of its aftermath. In the past there has been a spectrum of books and films that share other German World War II experiences. However, told from the perspective of a ten-year-old, this book is rare. The boy and his mother must prevail over hunger and despair, or die. In the Third Reich, young Wolfgang Samuel and his family are content but alone. The father, a Luftwaffe officer, is away fighting the Allies in the West. In 1945 as Berlin and nearby communities crumble, young Wolfgang, his mother Hedy, and little sister Ingrid flee the advancing Russian army. They have no inkling of the chaos ahead. In Strasburg, a small town north of Berlin where they find refuge, Wolfgang begins to comprehend the evils the Nazi regime brought to Germany. As the Reich collapses, mother, son, and daughter flee again just ahead of the Russian charge. In the chaos of defeat they struggle to find food and shelter. Death stalks the primitive camps that are their temporary havens, and the child becomes the family provider. Under the crushing responsibility, Wolfgang becomes his mother's and sister's mainstay. When they return to Strasburg, the Communists in control are as brutal as the Nazis. In the violent atmosphere of arbitrary arrest, rape, hunger, and fear, the boy and his mother persist. Pursued by Communist police through a fierce blizzard, they escape to the West, but even in the English zone, the constant search for food, warmth, and shelter dominates their lives, and the mother's sacrifices become the boy's nightmares. Although this is a time of deepest despair, Wolfgang hangs on to the thinnest thread of hope. In June 1948 with the arrival of the Americans flying the Berlin Airlift, Wolfgang begins a new journey.
Irving Berlin's songs have been the soundtrack of America for a century, but his most profound contribution to the nation is to Broadway. Award-winning music historian Jeffrey Magee's chronicle of Berlin's theatrical career is the first book to fully consider the songwriter's immeasurable influence on the Great White Way. Tracing Berlin's humble beginnings on the lower-east side to his rise to American icon, Irving Berlin's American Musical Theatre will delight theater aficionados as well as students of music, and popular culture, and anyone interested in the story of a man whose life and work expressed so well the American dream.
San Francisco Berlin features straight portraits of gay men geared up for play, shot in an improvised street studio over fetish-themed weekends, in the two cities that between them have defined the aesthetics and social character of the contemporary gay scene. Ruizs pictures are documentary, while at the same time reflecting the crafted image of the subject; many are sexy, some are sad, some for instance the master and slave photographs are provocative. With texts drawn from interviews with some of the subjects, and an introduction by Chris Boot, this book is an entertainment in fashion and style, and a serious consideration of the origins and expression of contemporary gay sexual identity.
Since 1974, German filmmaker Ulrike Ottinger has created a substantial body of films that explore a world of difference defined by the tension and transfer between settled and nomadic ways of life. In many of her films, including Exile Shanghai, an experimental documentary about the Jews of Shanghai, and Joan of Arc of Mongolia, in which passengers on the Trans-Siberian Express are abducted by Mongolian bandits, she also probes the encounter with the other, whether exotic or simply unpredictable. In Ulrike Ottinger Laurence A. Rickels offers a series of sensitive and original analyses of Ottinger’s films, as well as her more recent photographic artworks, situated within a dazzling thought experiment centered on the history of art cinema through the turn of the twenty-first century. In addition to commemorating the death of a once-vital art form, this book also affirms Ottinger’s defiantly optimistic turn toward the documentary film as a means of mediating present clashes between tradition and modernity, between the local and the global. Widely regarded as a singular and provocative talent, Ottinger’s conspicuous absence from critical discourse is, for Rickels, symptomatic of the art cinema’s demise. Incorporating interviews he conducted with Ottinger and illustrated with stunning examples from her photographic oeuvre, this book takes up the challenges posed by Ottinger’s filmography to interrogate, ultimately, the very practice-and possibility-of art cinema today. Laurence A. Rickels is professor of German and comparative literature at the University of California, Santa Barbara, and the author of several books, including The Case of California, The Vampire Lectures, and the three-volume Nazi Psychoanalysis (all published by Minnesota). He is a recognized art writer whose reflections on contemporary visual art appear regularly in numerous exhibition catalogues as well as in Artforum, artUS, and Flash Art.
Competition policy is an integral and prominent part of economic policy-making in the European Union. The EU Treaty prescribes its member states to conduct economic policy ‘in accordance with the principle of an open market economy with free competition’. More precisely, the goal of EU competition policy is “to defend and develop effective competition in the common market” (European Commission, 2000: 7). Under its Commissioners van Miert, Monti and, most - cently, Kroes the EU Commission has stepped up its effort to pursue and achieve the aforementioned goal. A number of so-called hard-core cartels, such as the - torious “vitamin cartel” led by Roche, have been detected, tried in violation of Art. 81 of the Maastricht Accord and punished with severe fines. Also Microsoft was hit hard by the strong hand of the Commission having been severely fined for - ploiting a dominant market position. Economic analysis has been playing an increasingly significant role in the Commission’s examination of competition law cases. This holds true in particular for merger control. Here, however, the Commission has had to accept some poi- ant defeats in court, such as the Court’s reversals of Airtours-First Choice or GE- Honeywell. Among other things, the European Court of Justice found the e- nomic analysis as conducted by the EU’s Directorate General for Competition to be flawed and the conclusions drawn not to be convincing. These rejections by the courts have stirred up the scholarly debate on the conceptual foundations of Eu- pean competition policy.