A Wall of Hope: The Berlin Wall in Chicago

Front view of the wall, facing the west. Photo credit to the LSRCC.

Have you been at the Western Brown Line Station and noticed a large slab of concrete standing near the entrance? Well this 3-ton piece of rock was once a part of the Berlin Wall [1]. The city of Chicago was offered a piece of the wall by the Berlin government back in 2008 [2]. This donation symbolizes a gesture of gratitude towards the United States for helping secure the freedom of Berlin and the reunification process. While this gesture of goodwill is much appreciated, some may wonder why it was placed in a CTA station. Like so many other important historical artifacts, perhaps the wall should be kept at a museum or even a public library. However, the city decided to place it in Lincoln Square, a historically German neighborhood. Today, we’ll be looking at the history of Lincoln Square and why the Berlin Wall was placed there.

Lincoln Square saw its first settlers as far back as 1850 [3]. A majority of the settlers were farmers from Switzerland, Germany, and England. They would grow their produce and drive along Little Fort Road (Lincoln Ave.) to the market in Chicago. With Little Fort being a high traffic area, shops began to appear along the road. It wasn’t long until investors started building up the area and promoting it for commercial use. The area soon grew in popularity and saw tremendous growth in the early 1900s [4]. In 1907 the first elevated train made its way to Lincoln Square [5]. With the new train came even more residents and immigrants to the area. Over time, Lincoln Square was transformed from a small farming town to a thriving metropolitan area. And finally, in 1920 the town was annexed and became a part of the city of Chicago [6].

            During the large influx of immigration, numerous German families moved to Lincoln Square. When the town saw an increase in businesses they were primarily German-owned and operated. This encouraged even more German immigrants to move to the area. It is no surprise that German immigrants would want to move where there was a high concentration of German-Americans. Not only were they able to speak their language among their people, but they were able to shop for the items they used back home. Thus, over the years Lincoln Square earned the reputation as a historically German area. Even as the demographics of the area changed and became more diverse, the city promoted an “Old World flavor with European-style shops” [7]. Lastly, there are multiple German-American events that take place in Lincoln Park. The most famous and popular event that takes place is the German-American Oktoberfest. For one weekend in September, Chicagoans and visitors alike gather in Lincoln Square to celebrate everything German. The goal of the festival is to celebrate German heritage and help keep old traditions and culture alive. From this example it is clear to see just how prevalent German-American history and culture remains in Lincoln Square today. So when it came to the Berlin Wall being put on display, it seemed like the natural choice to place it in Lincoln Square.

            While this explains why the wall is in Lincoln Square, it does not answer why it was placed in the CTA. In 2009, the former Alderman of Lincoln Square, Gene Schulter, was interviewed by the McCormick Freedom Museum. The Alderman explained how he wanted it to be put in a prominent area so that it could inspire future generations. Not only would the monument help kids to understand the importance of the Berlin Wall but also teach them why it should never happen again. In the end, the Berlin Wall Monument is “a celebration of the true meaning of unity and liberty” [8]. Also, the citizens of Lincoln Square were thrilled to have the monument installed in the station. When an important monument, such as this one, is placed in a public area, it feels more accessible to the residents. As the Alderman puts it, having the wall in a public space demonstrates the more human side of it and how the Berlin Wall continues to affect people’s lives.

            This is not the only piece of the wall that was placed in a public area. Ever since its fall in 1989, the Berlin government has divided up the pieces to be donated to countries and cities around the world [9]. As of 2020, the Berlin Wall resides in over 40 different countries [10]. These pieces can be found in museums, libraries, businesses, parks, and even schools. Locations include the Berlin Park in Madrid, the Berlin Plaza in Seoul, and the campus of Loyola Marymount University in Los Angeles. In this way, the question of why the Berlin Wall is placed on the CTA changes to a question of why not? The Berlin Wall has always been about the people. While it was initially meant to divide the Communist East Berlin from the Democratic West Berlin, it has come to symbolize much more. This symbol of hatred has been re-imagined as its worst fears, a symbol of hope, liberty, and freedom.

           

A segment of the Berlin Wall in New York on East 53rd Street between 5th and Madison Avenues in Paley Park, later relocated to the lobby of the
building to the park’s right. https://commons.wikimedia.org/wiki/File:Berlin_Wall_piece_in_New_York.JPG. Gaurav1146, CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0, via Wikimedia Commons

To this day, there continue to be celebrations of the collapse of the Berlin Wall and what it means to the city of Chicago. In 2019, the Dank Haus German American Cultural Center hosted a celebration for the 30th Anniversary of the Berlin Wall’s dismantling [11]. The celebration took place at the Berlin Wall Monument for a rededication ceremony. Speakers included Consul General Wolfang Mössinger from Germany and Dank Haus President Dagmar Freiberger. Once the ceremony concluded guests were invited to share their stories about the events leading up to and eventual collapse of the Berlin Wall. This dedication and remembrance demonstrate the significance the wall has today and why it continues to be important to the city of Chicago.

            If you haven’t seen the wall, you can visit it at 4648 N. Western Ave, the Western Brown Line CTA Station in Lincoln Square.

Jen Cimmarusti, Loyola University Chicago


            [1] McCormick Freedom, “Berlin Wall in Chicago,” produced by the McCormick Freedom Museum, November 9, 2009, accessed November 22, 2020.

            [2] B, Mona,“A Piece of Berlin in Lincoln Square,” Lincoln Square Ravenswood Chamber of Commerce (LSRCC), May 28, 2012, https://lincolnsquarecc.wordpress.com/2012/05/28/berlin-in-lincoln-square/. Accessed November 22, 2020.

            [3] “Cultural Information,” Lincoln Square Ravenswood Chamber of Commerce, http://lincolnsquare.org/cultural-information/. Accessed November 22, 2020.

            [4] Ibid.

            [5] Ibid.

            [6] Ibid.

            [7] Seligman, Amanda, “Lincoln Square,” Encyclopedia of Chicago, http://www.encyclopedia.chicagohistory.org/pages/747.html/. Accessed November 22, 2020.

            [8] McCormick Freedom, “Berlin Wall in Chicago.”

            [9] Ziv, Stav, “Where in the World Is the Berlin Wall?” Newsweek, November 11, 2014, https://www.newsweek.com/where-world-berlin-wall-283566. Accessed November 22, 2020.

            [10] Hernandez, Alex V, “30th Anniversary of Berlin Wall’s Demise to Be Celebrated At Monument In Lincoln Square,” November 1, 2019, https://blockclubchicago.org/2019/11/01/30th-anniversary-of-berlin-walls-demise-to-be-celebrated-at-monument-in-lincoln-square/. Accessed November 22, 2020.

            [11] Hernandez, Alex V, “30th Anniversary of Berlin Wall’s Demise.”

Bibliography

“About Us.” German-American Fest. Accessed November 23, 2020.

B, Mona.“A Piece of Berlin in Lincoln Square.” Lincoln Square Ravenswood Chamber of Commerce. May 28, 2012. https://lincolnsquarecc.wordpress.com/2012/05/28/berlin-in-lincoln-square/. Accessed November 22, 2020.

Chandler, Susan. “A German Flavor Lingers in Lincoln Square.” Chicago Tribune, January 23, 2000. https://www.chicagotribune.com/news/ct-xpm-2000-01-23-0001230342-story.html. Accessed November 22, 2020.

“Cultural Information.” Lincoln Square Ravenswood Chamber of Commerce. http://lincolnsquare.org/cultural-information/. Accessed November 22, 2020.

Hernandez, Alex V. “30th Anniversary of Berlin Wall’s Demise to Be Celebrated At Monument   In Lincoln Square.” November 1, 2019. https://blockclubchicago.org/2019/11/01/30th-anniversary-of-berlin-walls-demise-to-be-celebrated-at-monument-in-lincoln-square/. Accessed November 22, 2020.

McCormick Freedom. “Berlin Wall in Chicago.” Produced by the McCormick Freedom  Museum. November 9, 2009. Accessed November 22, 2020.

Seligman, Amanda. “Lincoln Square.” Encyclopedia of Chicago, http://www.encyclopedia.chicagohistory.org/pages/747.html/. Accessed November 22, 2020.Accessed November 22, 2020.

Ziv, Stav. “Where in the World Is the Berlin Wall?” Newsweek. November 11, 2014. https://www.newsweek.com/where-world-berlin-wall-283566. Accessed November 22, 2020.

Images

“Berlin Wall in Lincoln Square.” Lincoln Square Ravenswood Chamber of Commerce. https://lincolnsquarecc.wordpress.com/2012/05/28/berlin-in-lincoln-square/. Accessed December 6, 2020.

A segment of the Berlin Wall in New York on East 53rd Street between 5th and Madison Avenues in Paley Park, later relocated to the lobby of the building to the park’s right. https://commons.wikimedia.org/wiki/File:Berlin_Wall_piece_in_New_York.JPG. Gaurav1146, CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0, via Wikimedia Commons. Accessed October 17, 2021.

Stranger Than History: The Art of Historical Fiction

Conversations at the Newberry Library recently featured “Stranger than Fiction: Tasha Alexander and Susanna Calkins on the Art of Historical Fiction.” The two authors reflected on how their backgrounds as academically-trained historians prepared them for the world of fiction-writing. Alexander and Calkins addressed concerns relevant to writing historical fiction, like heeding the historical mindset of their characters, capturing the tone and rhythm of their characters’ dialogue, and knowing how to use their research effectively to tell captivating, enriching stories.

Maggie McClain, Kelly Schmidt, and Hannah Zuber attended the event. Below are their reactions to the conversation. A full recording of the conversation can be found here.

Writing historical fiction. It seems like an exhilarating, daunting, fulfilling process. I personally have never undertaken writing a book, but I’ve always enjoyed reading historical fiction. Really great writers transport you to a different time and place through their mastery of the written word. Composing a great story requires in-depth research and clear, concise writing. Historians are trained to do exactly that, so it is no wonder that some go into the profession of historical fiction writing.

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Navigating the Past from our Pockets : Instagram and Public History

Anyone that knows me personally knows I’m quite the nerdy hobby photographer. Just read my archives on this blog to find out for yourself. So, when I caved and finally purchased my first smart phone last December, I immediately uploaded Instagram and started snapping away. For those of you scratching your heads and asking, “Insta-what?”, Instagram is a smart phone app (now also available on iPads) that functions like Twitter for the aspiring photographers of the world. You snap photos, add filters, and can share your photos with other Instagrammers who “follow” your feed. In turn, you can follow others, too.

With Web 2.0 now all the rage, a variety of history-related apps are available for our smart technologies. From the Library of Congress Virtual Tour to Historypin to Oregon Trail, history is literally right inside our pockets and purses. Smart phone technology has in many ways democratized access to history and history-related resources like never before. Which leads me back to Instragram. As a public historian, over-eager photog and smart phone user, I find these three worlds colliding on my iPhone 5 all the time.  In their photo-sharing ways, Instagram users are also sharing, shaping and navigating the past. So, how do we explore history with Instragram? How do I?

Below are just some of the ways. I’ve included my original captions with the images. To follow my Instagram happenings, you can follow my account annie_cullen on your smart technology or take a peek at my online profile here. Disclaimer: yes, I take too many pictures of my cats.

Instagramming History
Dream bathroom. #cuneomansion #oldshit #latergram #publichistory @zhenshchina

Instagramming History
Last set of books for the last semester of graduate school.

Continue reading “Navigating the Past from our Pockets : Instagram and Public History”

A Public History Mixed Tape: Famous Figures

My colleagues have filled the Lakefront Historian with a number of critical reviews of historical fiction films.  And this year there so were many films to choose from: Abraham Lincoln Vampire Hunter, Lincoln, Django Unchained, and others we didn’t even get to. But another popular medium of public history has recently caught my attention: music. I’ve been keeping a long list of songs about historical events and people. Below are just a few of those focusing on famous figures. They range from past presidents (and there are a LOT of those) to French monarchs in genres as broad as country to indie pop. How such songs both reflect and shape popular memory deserves its own line of inquiry on this blog. (In fact, read Rachel Boyle’s excellent review of Fun.’s music video “Some Nights.”) I hope you enjoy this mixed tape and keep your eyes peeled for more to come.

“Andrew Jackson” by Wallace House
“FDR in Trinidad” by Ry Cooder
“Hurricane” by Bob Dylan
“Abe Lincoln” by Best Friends Forever
“James K. Polk” by They Might Be Giants
“Alexander Graham Bell” by Sweet
“Killer Queen” by Queen
“Louis Quatorze” by Bow Wow Wow
“Eisenhower is the Father” by Best Friends Forever
“Holland, 1945” by Neutral Milk Hotel
“Sacré Charlemagne” by France Gall
“Ballad of Ira Hayes” by Johnny Cash
“Cortez the Killer” by Neil Young & Crazy Horse
“So Long, Frank Lloyd Wright” by Simon & Garfunkel
“We Didn’t Start the Fire” by Billy Joel (Sorry, I had to sneak this in.)

What are your favorite songs about historical figures and people(s)?

Vengeance and History in Django Unchained

This is one of two reviews of “Django Unchained” by Lakefront Historian bloggers. See also ajdilorenzo’s post on the film.

 

Who would guess that in the past year two of the most talked about movies would be on the topic of American slavery? If you have not noticed yet Lincoln and Django Unchained deal with the history of slavery very differently. Some Americans, interestingly a select few African Americans, have decried the film as irreverent in its revisionism of slavery or paradoxically for its use of the “n-word”. I suggest that the film memorably revises the remembrance of slavery and, in particular, plays to the emotions of modern descendants of enslaved people.

American slavery remains as a stain on our history, one of its greatest philosophical hypocrisies. Slavery for many contemporary Americans is widely considered immoral and shameful yet socially irrelevant in our daily lives today. On the other hand, bring up slavery with an African American and you may get reaction ranging from ambivalence to anger to, more insidiously, shame. What Quentin Tarantino really does with his film is counteract the shame or guilt that occurs when someone asks: ‘why didn’t they fight?’ or ‘why didn’t we fight back?’ when referring to slaves. In fact, Tarantino includes that theme in his dialogue. The character Django is not the slave who is simply worked, branded, sold, and tortured (even though all of those things happen to him); he is the symbol of retribution and the Black hero who independently delivers his bloody judgment on the institution of slavery. Django is the answer to the question, at least in fantasy.

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Civility and Savagery in Django Unchained

This is one of two reviews of “Django Unchained” by Lakefront Historian bloggers. See also Courtney Baxter’s post on the film. 

In the wake of Steven Spielberg’s Lincoln, Quentin Tarantino’s spaghetti western inspired take on antebellum American slavery Django Unchained risked misinterpretation of its tone and message. Throughout the film, however, Tarantino deftly strikes the right balance between genre bending playfulness and respect for the weighty subject matter. Like his last film Inglorious Bastards, Django Unchained is a revenge fantasy, empowering an oppressed group against powerful enemies. Taking on two of the darkest chapters in human history, the holocaust and racial slavery, while maintaining his slick sense of humor and film geek B-movie references seems a recipe doomed to trivialize and offend. Yet somehow Tarantino pulls it off.ImageImage

For the record, I have never been as enamored with his work as others. Prior to Inglorious Bastards, I respected his craftsmanship and flare for dialogue, but his movies always seemed hyper referential and lacking in authenticity. It is often difficult to tell where the film geek allusions and homages end and Quentin the auteur begins. His breakthrough film Pulp Fiction, while bursting with style, offered few genuine insights or emotional depth. The promise of this recent turn toward historical (or counter-historical) subject matter is that he has found a way to employ his talent for subverting genre as a means to analyze the process of historical memory. For better or for worse, the movies have become probably the most powerful medium for the transmission of historical knowledge. There have been plenty of films that have focused on the Civil War, but few have  engaged with the savagery of slavery in an immediate way. In Django Unchained Tarantino seems to be saying, “why not remember it this way?” But the key to the success of this approach is that he delivers a serious counter-narrative within the guise of a celebrated and seemingly benign genre, the spaghetti western.

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Lincoln Review: Devin Hunter

A Lincoln statue, on Lincoln Avenue, in Chicago’s Lincoln Square neighborhood, in the Land of Lincoln. (Flickr/Brad Heird)

In this five-part series, Lakefront Historian contributors respond to the critically acclaimed blockbuster Lincoln, directed by Steven Spielberg and starring Daniel Day Lewis.

Lincoln as Challenge and Opportunity for Public Historians

Like all texts, Steven  Spielberg’s Lincoln should be critiqued on several levels. Film scholars will analyze the script and cinematography, while popular press movie critics will judge the work as both a creative and commercial product. Being a historical film, Lincoln has also attracted the attention of academic scholars. But what about Lincoln as a piece of public history? And what are its implications for public historians? These are no easy questions–and their answers can easily morph into an unwieldy meta-narrative of aesthetics, commercial production, and speculation on reception. Here, I offer a just an introduction to the public history context of Lincoln and encourage any expansion or complications of these impressions in comments below.

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Lincoln Review: Will Ippen

In this five-part series, Lakefront Historian contributors respond to the critically acclaimed blockbuster Lincoln, directed by Steven Spielberg and starring Daniel Day Lewis.

Lincoln: Public History in Hollywood

Once again a heavyweight filmmaker and a well-selected ensemble cast tackle a defining subject in American history. Once again a blockbuster forces me to reconcile the critical eye of historical training with the evangelical impulses inherent to public history. Hollywood historical fiction is a mixed blessing for public historians in an era when most Americans engage the past through popular entertainment rather than monographs or museums and tend to trust the judgment of respected filmmakers such as Steven Spielberg. Historical blockbusters expose large crowds to important historical subjects, but their biographical and narrative-driven format imposes interpretive choices that all too often minimize the film’s utility as public history. The substantial shortcomings in Lincoln, which my fellow reviewers discuss aptly, result from the genre’s conventions. My main objections include the surprising lack of African American perspectives and agency and the perpetuation of history as emanating from the words and deeds of elites.

Continue reading “Lincoln Review: Will Ippen”