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Iko Iko
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"Iko Iko"
Single by The Dixie Cups
from the album Chapel of Love
B-side
"Gee Baby Gee" or "I'm Gonna Get You Yet"
Released
March 1965
Format
7" vinyl
Recorded
1964
Genre
Rhythm and blues
Length
2:05
Label
Red Bird
Songwriter(s)
James Crawford, Barbara Hawkins, Rosa Hawkins and Joan Johnson
Producer(s)
Jerry Leiber, Mike Stoller, Ellie Greenwich and Jeff Barry
The Dixie Cups singles chronology
"Little Bell"
(1964) "Iko Iko"
(1965) "Gee the Moon Is Shining Bright"
(1965)
"Little Bell"
(1964) "Iko Iko"
(1965) "Gee the Moon Is Shining Bright"
(1965)
"Iko Iko" (/ˈaɪkoʊ ˈaɪkoʊ/) is a much-covered New Orleans song that tells of a parade collision between two tribes of Mardi Gras Indians and the traditional confrontation. The song, under the original title "Jock-A-Mo", was written and released as a single in 1953 by Sugar Boy and his Cane Cutters that failed to make the charts. The song first became popular in 1965 by the girl group, The Dixie Cups, who scored an international hit with "Iko Iko". In 1967 as part of a lawsuit settlement between "Sugar Boy" James Crawford and the Dixie Cups, the trio were given part songwriting credit to the song. In 1972, Dr. John had a minor hit with his version of "Iko Iko". The most successful charting version in the UK was recorded by Scottish singer Natasha England who took her 1982 version into the top 10. "Iko Iko" became an international hit again twice more, the first being the Belle Stars in June 1982 and again with Captain Jack in 2001.
Contents
[hide]
1 Sugar Boy and his Cane Cutters version
1.1 Background
1.2 "Sugar Boy" Crawford's story
2 The Dixie Cups version
2.1 Background
2.2 Legal battles
2.3 Chart performance
3 Dr. John version
3.1 Background
3.2 Chart performance
4 Natasha version
4.1 Background
4.2 Chart performance
5 The Belle Stars version
5.1 Background
5.2 Chart performance
6 Captain Jack version
6.1 Background
6.2 Chart performance
7 Other versions
8 Linguistic origins
9 Pop culture usage
9.1 Films
9.2 Television
9.3 Other
10 References
11 External links
Sugar Boy and his Cane Cutters version[edit]
Background[edit]
The song was originally recorded by and released as a single in November 1953 by James Crawford as "Sugar Boy and his Cane Cutters", on Checker Records (Checker 787). The single features Dave Lastie on tenor saxophone.[1] Crawford's version of the song did not make the charts. The story tells of a "spy boy" (i.e. a lookout for one band of Indians) encountering the "flag boy" or guidon carrier for another "tribe". He threatens to "set the flag on fire". Crawford set phrases chanted by Mardi Gras Indians to music for the song. Crawford himself states that he has no idea what the words mean, and that he originally sang the phrase "Chock-a-mo", but the title was misheard by Chess Records and Checker Records president Leonard Chess, who misspelled it as "Jock-a-mo" for the record's release.[2]
"Sugar Boy" Crawford's story[edit]
James "Sugar Boy" Crawford, gave a 2002 interview with OffBeat Magazine discussing the song's meaning:[2]
Interviewer: How did you construct 'Jock-A-Mo?'
Crawford: It came from two Indian chants that I put music to. “Iko Iko” was like a victory chant that the Indians would shout. “Jock-A-Mo” was a chant that was called when the Indians went into battle. I just put them together and made a song out of them. Really it was just like "Lawdy Miss Clawdy". That was a phrase everybody in New Orleans used. Lloyd Price just added music to it and it became a hit. I was just trying to write a catchy song....
Interviewer: Listeners wonder what 'Jock-A-Mo' means. Some music scholars say it translates in Mardi Gras Indian lingo as 'Kiss my ass,' and I’ve read where some think 'Jock-A-Mo' was a court jester. What does it mean?
Crawford: I really don't know. (laughs)
The Dixie Cups version[edit]
Background[edit]
The Dixie Cups version was the result of an unplanned jam in a New York City recording studio where they began an impromptu version of "Iko Iko", accompanying themselves with drumsticks on an aluminum chair, a studio ashtray and a Coke bottle.[3] After their producers cleaned up the track and added the backup vocals, bass and drums to the song, the single was then released in March 1965.[4] The Dixie Cups scored an international hit single with "Iko Iko" in May 1965 on the Billboard Hot 100 chart where their version peaked at number 20 and spent 10 weeks on the Top 100.[5] The song also charted at number 23 on the UK Singles Chart and peaked at number 20 on the R&B Chart.[6] In Canada "Iko Iko" reached number 26 on the RPM Chart.[7] It was the third single taken from their debut studio album Chapel of Love issued on Red Bird Records in August 1964.[8]
The Dixie Cups had learned "Iko, Iko" from hearing the Hawkins sisters' grandmother sing it,[3] but they knew little about the origin of the song and so the original authorship credit went to the members, Barbara Ann Hawkins, her sister Rosa Lee Hawkins, and their cousin Joan Marie Johnson.
The Dixie Cups' version was later included on the soundtrack to the 1987 film The Big Easy. This same version was also used on the soundtrack of the 2005 movie The Skeleton Key. In 2009, a version based on The Dixie Cups' was used in an ad for Lipton Rainforest Alliance Ice Tea.
Legal battles[edit]
After the Dixie Cups version of "Iko Iko" was a hit in 1965, they and their record label, Red Bird Records, were sued by James Crawford, who claimed that "Iko Iko" was the same as his composition "Jock-a-mo".[9] Although The Dixie Cups denied that the two compositions were similar, the lawsuit resulted in a settlement in 1967 with Crawford making no claim to authorship or ownership of "Iko Iko",[10] but being credited 25% for public performances, such as on radio, of "Iko Iko" in the United States. Even though a back-to-back listening of the two recordings clearly demonstrates that "Iko Iko" was practically the same song as Crawford's "Jock-a-mo", Crawford's rationale for the settlement was motivated by years of legal battles with no royalties. In the end, he stated, "I don’t even know if I really am getting my just dues. I just figure 50 percent of something is better than 100 percent of nothing."[2]
In the 1990s, the Dixie Cups became aware that another group of people were claiming authorship of "Iko Iko". Their ex-manager Joe Jones and his family filed a copyright registration in 1991, alleging that they wrote the song in 1963.[11] Joe Jones successfully licensed "Iko Iko" outside of North America. The Dixie Cups filed a lawsuit against Joe Jones. The trial took place in New Orleans and the Dixie Cups were represented by well-known music attorney Oren Warshavsky before Senior Federal Judge Peter Beer.[12] The jury returned a unanimous verdict on March 6, 2002, affirming that the Dixie Cups were the only writers of "Iko Iko" and granting them more money than they were seeking.[12] The Fifth Circuit Court of Appeals upheld the jury verdict and sanctioned Joe Jones.[13]
Chart performance[edit]
Chart (1965)
Peak
position
U.S. Billboard Hot 100 20
UK Singles Chart 23
U.S. R&B Chart 20
Canada RPM 26
Dr. John version[edit]
"Iko Iko"
Single by Dr. John
from the album Dr. John's Gumbo
B-side
"Huey Smith Medley"
Released
March 1972
Format
7" vinyl
Recorded
1972
Genre
Rhythm and Blues
Length
3:10
Label
Atco
Songwriter(s)
Barbara Hawkins, Rosa Hawkins, Joan Johnson, James Crawford
Producer(s)
Jerry Wexler, Harold Battiste
Dr. John singles chronology
"Wash, Mama, Wash"
(1970) "Iko Iko"
(1972) "Right Place Wrong Time"
(1973)
"Wash, Mama, Wash"
(1970) "Iko Iko"
(1972) "Right Place Wrong Time"
(1973)
Background[edit]
New Orleans singer and pianist Dr. John covered "Iko Iko" in 1972 for his fifth studio album Dr. John's Gumbo. Released as a single in March 1972 on Atco Records, his version of the song charted at number 71 on the Billboard Hot 100 chart. It was produced by Jerry Wexler and Harold Battiste. The following is the "Iko Iko" story, as told by Dr. John in the liner notes to his 1972 album, Dr. John's Gumbo, in which he covers New Orleans R&B classics:
The song was written and recorded back in the early 1950s by a New Orleans singer named James Crawford who worked under the name of Sugar Boy & the Cane Cutters. It was recorded in the 1960s by the Dixie Cups for Jerry Leiber & Mike Stoller's Red Bird Records, but the format we're following here is Sugar Boy's original. Also in the group were Professor Longhair on piano, Jake Myles, Big Boy Myles, Irv Bannister on guitar, and Eugene 'Bones' Jones on drums. The group was also known as the Chipaka Shaweez. The song was originally called 'Jockamo,' and it has a lot of Creole patois in it. Jockamo means 'jester' in the old myth. It is Mardi Gras music, and the Shaweez was one of many Mardi Gras groups who dressed up in far out Indian costumes and came on as Indian tribes. The tribes used to hang out on Claiborne Avenue and used to get juiced up there getting ready to perform and 'second line' in their own special style during Mardi Gras. That's dead and gone because there's a freeway where those grounds used to be. The tribes were like social clubs who lived all year for Mardi Gras, getting their costumes together. Many of them were musicians, gamblers, hustlers and pimps.
The song was performed by Dr. John during halftime of the 2008 NBA All-Star Game in New Orleans and again in 2014.
Chart performance[edit]
Chart (1972)
Peak
position
U.S. Billboard Hot 100 71
Natasha version[edit]
"Iko Iko"
Single by Natasha
from the album Captured
B-side
"I Should Have Known"
"I Still Love You" (12")
Released
1982 (UK)
Format
7" vinyl, 12" vinyl
Recorded
1982
Genre
Pop
Label
Towerbell
Songwriter(s)
Barbara Hawkins, Rosa Hawkins, Joan Johnson
Producer(s)
Tom Newman
Natasha singles chronology
"Strangest Feeling"
(1981) "Iko Iko"
(1982) "The Boom Boom Room"
(1982)
"Strangest Feeling"
(1981) "Iko Iko"
(1982) "The Boom Boom Room"
(1982)
Background[edit]
The most successful charting version in the UK was recorded by the Scottish singer Natasha, whose version reached number 10 on the UK singles chart in 1982.[14] The song also charted highly in Ireland and New Zealand. The single was produced by Tom Newman.[15] A remix of the single was released in 2007, and Natasha's version enjoyed a resurgence in 2014 when it was included on the soundtrack to the highest-grossing Italian film of 2014, Un Boss In Salotto.[16]
Chart performance[edit]
Chart (1982)
Peak
position
UK Singles Chart 10
The Belle Stars version[edit]
"Iko Iko"
Single by The Belle Stars
from the album The Belle Stars/Rain Man Soundtrack
B-side
"The Reason" (UK)
”Las Vegas” by Hans Zimmer (U.S.)
Released
1982 (UK)
1989 (U.S.)
Format
7" vinyl
Recorded
1982
Genre
Pop
Length
2:49
Label
Stiff (UK)
Capitol (U.S.)
Songwriter(s)
Barbara Hawkins, Rosa Hawkins, Joan Johnson
Producer(s)
Brian Tench
The Belle Stars singles chronology
"Another Latin Love Song"
(1981) "Iko Iko"
(1982) "The Clapping Song"
(1982)
"Another Latin Love Song"
(1981) "Iko Iko"
(1982/89) “The Clapping Song"
(1982)
Background[edit]
In 1989, the British girl group the Belle Stars had a US chart hit with their cover of "Iko Iko" which reached number 14 on the Billboard Hot 100 chart in March, after it was included on the soundtrack of the film Rain Man, starring Tom Cruise and Dustin Hoffman.[17] The single was issued on Capitol Records. Their song is in the opening scene of the 1988 film.
It was originally released several years earlier on Stiff Records in 1982 as a single in the UK where it peaked at a modest number 35 on the UK Singles Chart in June 1982.[18] The track was produced by Brian Tench and was also featured on the band's eponymous debut album, The Belle Stars which reached number 15 on the UK Albums Chart.[18]
The Belle Stars version was also included in the 1997 film Knockin' on Heaven's Door,[19] K-9[20] and The Hangover in 2009. The Belle Stars' version of "Iko Iko" is used in a trailer for 20th Century Fox Family Features.
Chart performance[edit]
Chart (1982)
Peak
position
UK Singles Chart 35
Chart (1989)
Peak
position
U.S. Billboard Hot 100 14
Captain Jack version[edit]
"Iko Iko"
Single by Captain Jack
from the album Top Secret
Released
2001
Format
CD single
Recorded
2001
Genre
Eurodance
Length
3:13
Label
E-Park Records
Songwriter(s)
Barbara Hawkins, Rosa Hawkins, Joan Johnson, James Crawford
Producer(s)
Udo Niebergall and Eric Sneo
Captain Jack singles chronology
"Only You"
(2000) "Iko Iko"
(2001) "Say Captain Say Wot"
(2001)
"Only You"
(2000) "Iko Iko"
(2001) "Say Captain Say Wot"
(2001)
Background[edit]
The German Eurodance act Captain Jack recorded a cover version of "Iko Iko" for their fourth studio album, Top Secret in 2001. It was released on E-Park Records. The single was produced by Udo Niebergall and Eric Sneo. Captain Jack's version was a hit in several countries, reaching number 22 in Germany, number 62 in Switzerland and peaking at number 16 in Austria.[21]
Chart performance[edit]
Chart (2001)
Peak
position
German Singles 22
Swiss Singles 62
Austrian Singles 16
Other versions[edit]
Oddly, the Larry Williams version, included on the Specialty Records Larry Williams CD released in 1989, although it was recorded on April 26, 1957, still credits the song as being written by "Hawkins, Hawkins and Johnson" though the Dixie Cups, Barbara Ann and Rosa Lee Hawkins and Joan Marie Johnson, did not record it for another 8 years.[22]
Rolf Harris in 1965 recorded a cover version with slightly altered words, removing references to "flag boys" and other regionally specific lyrics, although much of the creole patois remained as a sort of nonsense scat. This version made the song popular in England and Australia in the 1960s. It was released in Australia both on the Rolf Harris Show album, and on the Jake The Peg picture-cover EP.
It has also been covered by the Grateful Dead who made "Iko Iko" a staple in their live shows from 1977 onward. It was included on their live album, Reckoning as a bonus track on the 2004 CD reissue.
The Neville Brothers recorded it in a medley with the melodically-related Mardi Gras song "Brother John" as "Brother John/Iko Iko" for their 1981 album Fiyo on the Bayou.
Saragossa Band recorded a cover of the song in 1981 as "Aiko Aiko".[23]
Cyndi Lauper covered the song on her True Colors album in 1986.
An a cappella version of the song was performed by Britta Phillips, Julia Roberts, Justine Bateman, and Trini Alvarado in the 1988 film Satisfaction.
Amy Holland covered the song in 1989 for the soundtrack of the film K-9.
Kids Incorporated covered the song in the episode "Pollution Problems", recorded in 1989 and released in 1990.
The song is regularly performed by artists from New Orleans such as The Radiators, Willy DeVille, Buckwheat Zydeco, Irma Thomas and Zachary Richard, and can often be heard on the streets and in the bars of New Orleans, especially during Mardi Gras.
Other remakes were by Cowboy Mouth, Warren Zevon, Long John Baldry (with backing vocal by Elton John), Dave Matthews & Friends, The Ordinary Boys, Glass Candy, and Sharon, Lois & Bram, among others.
Aaron Carter covered "Iko Iko" for 2000's The Little Vampire soundtrack and included it on his album Aaron's Party (Come Get It). He filmed a music video for his cover located in Honolulu, Hawaii.
A later version by Zap Mama, with rewritten lyrics, was featured in the opening sequences of the film Mission: Impossible 2 in 2000.
The band Schtärneföifi released a Swiss German version, "Heicho – Ohni Znacht is Bett", which has become a popular children's song in Switzerland. In 2009, the band rerecorded their version with The Dixie Cups and the Hot 8 Brass Band in New Orleans.[24]
Rooster Davis and Ann Vriend perform the song on Rooster Davis' album "For Saints and Sinners", released in 2015.
Alvin and the Chipmunks covered the song for their 2015 film and soundtrack Alvin and the Chipmunks: The Road Chip.
Turkish singer Gökçe Dinçer recorded a cover of the song in 2015 as "Tik Tak".[25]
Singer Sia Furler along with Jimmy Fallon, Natalie Portman and band The Roots performed the song for The Tonight Show Starring Jimmy Fallon in 2016.[26]
Linguistic origins[edit]
Linguists and historians have proposed a variety of origins for the seemingly nonsensical chorus, suggesting that the words may come from a melange of cultures.
An interpretation in Louisiana Creole French is:
Ena! Ena!
Akout, akout, an déyè
Chaque amour fi nou wa na né
Chaque amour fi na né
Translation:
Hey now! Hey now!
Listen, listen at the back
All our love made our king be born
All our love made it happen.[citation needed]
Linguist Geoffrey D. Kimball derives the lyrics of the song in part from Mobilian Jargon, an extinct American Indian trade language consisting mostly of Choctaw and Chickasaw words and once used by Southeastern American Indians, Blacks, and European settlers and their descendants in the Gulf Coast Region.[27] In Mobilian Jargon, čokəma fehna (interpreted as "jockomo feeno") was a commonly used phrase, meaning "very good".
Another possible translation interprets the third and fourth lines as:[28]
Chokma finha an dan déyè
Chokma finha ane.
Chickasaw words "chokma" ("it's good") and "finha" ("very"), Creole "an dan déyè" from French Creole "an dans déyè" ("at the back"), and the Creole "ane" from the French "année" ("year").
Translation:
It's very good at the rear
It's a very good year.
In a 2009 Offbeat article, the Ghanaian social linguist Dr. Evershed Amuzu said the chorus was "definitely West African", reflecting the tonal patterns of the region. He notes that the phrase ayeko—often doubled as ayeko, ayeko—is a popular chant meaning "well done, or congratulations" among the Akan and Ewe people in modern-day Togo, Ghana, and Benin.[29] Both groups were frequently taken in the slave trade, often through Haiti to Louisiana. Ewes in particular are credited with bringing West African cultural influences like Vodun rites to Haiti and on to New Orleans.
Musicologist Ned Sublette has backed the idea that the chorus might have roots in Haitian slave culture, considering that the rhythms of Mardi Gras Indians are nearly indistinguishable from the Haitian Kata rhythm. Yaquimo, he has also noted, was a common name among the Taino inhabitants of Haiti in the early years of the slave trade.[29] "Jakamo Fi Na Ye" is also, whether coincidentally or not, the phrase "The black cat is here" in Bambara, a West African Mandingo language.
In a 1991 lecture to the New Orleans Social Science History Association, Dr. Sybil Kein proposed the following translation from Yoruba and Creole:
Code language!
God is watching
Jacouman causes it; we will be emancipated
Jacouman urges it; we will wait.[30]
Voodoo practitioners would recognize many aspects of the song as being about spirit possession. The practitioner, the horse, waves a flag representing a certain god to call that god into himself or herself. Setting a flag on fire is a curse. The man in green, who either changes personality or whose appearance is deceiving, would be recognized in Voodoo as possessed by a peaceful Rada spirit, inclining to green clothes and love magic. The man in red, who is being sent to kill, would likely be possessed by a vengeful Petwo spirit.[31] The relationship of the song to voodoo and Hoodoo (folk magic) is celebrated in the movie The Skeleton Key.
Pop culture usage[edit]
Films[edit]
The Movie "The Big Easy" (1987) featured the Dixie Cups version of the song.
The movie Satisfaction (1988) pays homage to this song with the band singing the song on their way to their next gig.
The Belle Stars version is used in Rain Man (1988).[32]
The Todd Phillips movie The Hangover (2009) pays homage to the Belle Stars version with a scene (also a homage to Rain Man) in which the men attempt to win money at blackjack by counting cards.
A version in 1990 by Amit Kumar is performed in the Hindi movie Kishen Kanhaiya (1990).
Zap Mama covered the song for the opening scene of Mission: Impossible 2 (2000).
A recurring song in The Skeleton Key (2005).
Natasha's version is used in A Boss in the Living Room (Italian: Un Boss In Salotto) (2014).[33]
Alvin and the Chipmunks covered the song for their 2015 film and soundtrack Alvin and the Chipmunks: The Road Chip
Television[edit]
A modified version was created for a "Nickelodeon Nation" campaign.[34]
South African artist Kurt Darren created his own version of the song, entitled "Aiko Aiko".
In 1989, Mowaya covered this song in Season 1 of The All-New Mickey Mouse Club (now MMC).
Actress Kim Dickens' character Janette sings it while wandering the streets during Mardi Gras in episode 8, season 1 of the HBO series Treme. It also features in episode 4, season 3 of the series.
It was used as an opening song in Miss USA 2014 which was held in Baton Rouge, Louisiana.[citation needed]
It also made an appearance on The Fresh Prince of Bel Air in Season 2, when Will and Aunt Vivian play a jump rope game together singing the song.
It's featured in the 2017 series American Gods, during a bar fight scene depicting the joy of conflict.
Other[edit]
Abita Brewing Company produces a beer called Jockamo IPA.[35]
Advertising agency Saatchi & Saatchi (Australia) used the track as backing for a Cadbury Chocolates Australia 2014 ad campaign.
The protagonist of Neil Gaiman's novel American Gods recognizes the song as sung by the Dixie Cups as "an old children's song" while in a dive bar with the god Odin.
References[edit]
Jump up ^ "Who is the tenor sax player on James "Sugarboy" Crawford's 1953 recording "Jock-o-Mo" (the original of "Iko Iko")? - Quora". quora.com.
^ Jump up to: a b c "BackTalk with James "Sugar Boy" Crawford". Offbeat.com. 2002-02-01. Archived from the original on 2009-09-22. Retrieved 2011-11-22.
^ Jump up to: a b National Public Radio-Morning Edition news cast. "Interview with Barbara Ann Hawkins". |access-date= requires |url= (help)
Jump up ^ Betrock, Alan (1982). Girl Groups The Story of a Sound (1st ed.). New York: Delilah Books. pgs. 90-94. ISBN 0-933328-25-7
Jump up ^ Whitburn, Joel (2009). Top Pop Singles 1955-2008 (12th ed.). Menomonee Falls, Wisconsin: Record Research Inc. p. 282.
Jump up ^ Whitburn, Joel (2008). Presents Across The Charts: The 1960s (first ed.). Menomonee Falls, Wisconsin: Record Research Inc. p.119.
Jump up ^ "Item Display - RPM - Library and Archives Canada". collectionscanada.gc.ca.
Jump up ^ Whitburn, Joel (1996). Top Pop Albums 1955-1996 (4 ed.). Hal Leonard Publishing Corporation. p. 222. ISBN 0-89820-117-9.
Jump up ^ [1][dead link]
Jump up ^ "Iko Iko. w & m Rosa Lee Hawkins, Barbara Anne Hawkins & Joan Marie Johnson". Cocatalog.loc.gov. Retrieved 2011-11-22.
Jump up ^ "Iko-Iko / words & music by Joe Jones, Sharon Jones, Marilyn Jones, Jessie". Cocatalog.loc.gov. Retrieved 2011-11-22.
^ Jump up to: a b "case:00-civ-03785". Ecf.laed.uscourts.gov. 1970-01-01. Retrieved 2011-11-22.
Jump up ^ "United States Court of Appeals - Fifth Circuit - FILED - August 29, 2003 - Charles R. Fulbruge III - Clerk" (PDF). Retrieved 2012-08-09.
Jump up ^ Betts, Graham (2004). Complete UK Hit Singles 1952-2004 (1st ed.). London: Collins. p. 546. ISBN 0-00-717931-6.
Jump up ^ "Natasha* - Iko-Iko (Vinyl)". Discogs.com. Retrieved 2016-10-07.
Jump up ^ Video on YouTube
Jump up ^ Whitburn, Joel (1996). The Billboard Book of Top 40 Hits (6th ed.). New York: Watson-Guptill Publications. p. 57. ISBN 0-8230-7632-6.
^ Jump up to: a b Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 53. ISBN 1-904994-10-5.
Jump up ^ "Knockin' on Heaven's Door (1997) : Soundtracks". IMDb.com. Retrieved 2016-10-07.
Jump up ^ "K-9 (1989) : Soundtracks". IMDb.com. Retrieved 2016-10-07.
Jump up ^ Steffen Hung. "Captain Jack - Iko Iko". Austriancharts.at. Retrieved 2016-10-07.
Jump up ^ Specialty Records SPCD 7002, Larry Williams CD liner notes
Jump up ^ Video on YouTube
Jump up ^ "Schtärneföifi performing their Iko Iko version at Swiss television". Videoportal.sf.tv. Retrieved 2011-11-22.
Jump up ^ Video on YouTube
Jump up ^ "Jimmy Fallon, Sia, Natalie Portman & The Roots Sing "Iko Iko"". YouTube. 2016-01-27. Retrieved 2016-10-07.
Jump up ^ Drechsel, Emanuel J. 1997. Mobilian Jargon: Linguistic and Sociohistorical Aspects of a Native American Pidgin. Oxford: Clarendon Press. p. 249.
Jump up ^ Janice A. Radway; Kevin Gaines; Barry Shank; Penny con Eschen (2009). American Studies: An Anthology. John Wiley & Sons. p. 207. ISBN 1405113510.
^ Jump up to: a b Hinshaw, Drew (April 1, 2009). "Iko Iko: In Search of Jockomo". OffBeat. Offbeat Publications. Retrieved 22 November 2011.
Jump up ^ "Iko, Iko Traditional Mardis Gras Indian Call" (PDF). Retrieved 2011-11-22.
Jump up ^ Murphy, Joseph. 2011. Creole Religions of the Caribbean: An Introduction from Vodou and Santeria to Obeah and Espiritismo. NY: New York City Press. 2nd ed. 116-154.
Jump up ^ "Rain Man (1988) : Soundtracks". IMDb.com. Retrieved 2016-10-07.
Jump up ^ "Un boss in salotto Soundtrack (2014)". Soundtrack.net. 2014-01-01. Retrieved 2016-10-07.
Jump up ^ Famiglietti, Phyllis. "Nickelodeon Nation House Party". Vimeo.com. Retrieved 2011-09-19.
Jump up ^ "Abita Brewing Co". Abita.com. Archived from the original on 2010-08-19. Retrieved 2011-11-22.
External links[edit]
Origins of the song "Iko Iko" - AMG website
Lyrics of this song at MetroLyrics
[show]
v
t
e
The Dixie Cups
Albums
Chapel of Love
Iko Iko
Singles
"Chapel of Love"
"People Say"
"Iko Iko"
"Gee The Moon Is Shining Bright"
Related topics
Red Bird Records
Ellie Greenwich
Jeff Barry
Mike Stoller
Jerry Leiber
[show]
v
t
e
Dr. John
Studio albums
Gris-Gris (1968)
Babylon (1969)
Remedies (1970)
The Sun, Moon & Herbs (1971)
Dr. John's Gumbo (1972)
In the Right Place (1973)
Desitively Bonnaroo (1974)
City Lights (1978)
Tango Palace (1979)
In a Sentimental Mood (1989)
ZuZu Man (1989)
Goin' Back to New Orleans (1992)
Television (1994)
Duke Elegant (1999)
Locked Down (2012)
Ske-Dat-De-Dat: The Spirit of Satch (2014)
Live albums
Hollywood Be Thy Name (1975)
Songs
"I Walk on Guilded Splinters"
"Iko Iko"
"Right Place, Wrong Time"
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text:
Talk:The Impression That I Get
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This article is within the scope of WikiProject Songs, a collaborative effort to improve the coverage of songs on Wikipedia. If you would like to participate, please visit the project page, where you can join the discussion and see a list of open tasks.
Stub This article has been rated as Stub-Class on the quality scale.
The following references may be useful when improving this article in the future:
http://www.stereogum.com/1921711/the-impression-that-i-get-turns-20/franchises/the-anniversary/
Contents
[hide]
1 Lyrics
2 Possible AIDS Reference
2.1 Fair use rationale for Image:The Impression That I Get.jpg
2.2 Lyrics Copyright violation
2.3 Original Release/Clinic Shooting
2.4 Clueless
2.5 Overall thoughts on the article....
Lyrics[edit]
I've actually found the lyrics annoying. I understand the sentiment that they are talking about and that's cool, but they clearly don't understand the phrase 'knock on wood'. I actually wandered over here to see if there was a controversy section similar to Alanis' Ironic and was surprised to find no mention at all.
'Knock on wood' is an expression used to ward off unfortunate events. You might say, "I've never broken any bones, knock on wood." There's no fear or challenge in saying it. The song is good and the idea of wondering if you are up to meeting life's challenges is a valid one, but that one phrase makes no sense in this context and makes an otherwise great song annoying. At least to me. Obviously, the other millions of people aren't bothered by it and probably don't even notice. PerlKnitter 12:41, 1 February 2007 (UTC)
If you read the article more carefully you will see it explained that the phrase "knock on wood" is used correctly. The article also addresses why a listener might be confused. House of Scandal 06:09, 1 May 2007 (UTC)
Hmm, I didn't consider it as a parenthetical clause. It doesn't really sound like it, but then, as fast as the music goes, he doesn't really have time to put pauses around it. Cool, I'll try listening to it a few times and see if I can retrain my brain. :-) PerlKnitter 11:56, 14 May 2007 (UTC)
Perhaps the unfortunate event the singer is trying to ward off is experiencing a tragic event on a personal level as those he is observing have done. TGReaver 05:48, 7 March 2007 (UTC)TGReaver
The lyrics section seems to be a bit pointless as tends to just repeat the lyrics to what I would deem an obvious amount. Should the amount of quotation of the lyrics be reduced? Mozzley 17:21, 12 July 2007 (UTC)
Possible AIDS Reference[edit]
There is a common perception that this song is about the speaker's reaction to a friend to being tested for AIDS. This is implied by the lyrics:
I'm not a coward,
I've just never been tested
I'd like to think that if I was,
I would pass
Look at the tested and think "there but for the grace go I"
I might be a coward,
I'm afraid of what I might find out.
I've never had to knock on wood
But I know someone who has
However, in an online chat, Dickie indicated that the referenced "test" is more about life's tests than AIDS specifically.
Reference: Transcript of Yahoo! Chat with The Mighty Mighty Bosstones
--68.193.239.147 15:55, 21 April 2007 (UTC)
Fair use rationale for Image:The Impression That I Get.jpg[edit]
Image:The Impression That I Get.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.
Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Wikipedia:Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.
If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.
BetacommandBot 05:24, 29 September 2007 (UTC)
Lyrics Copyright violation[edit]
I removed the full text of the lyrics, as they constituted a copyright violation as per WP:COPY 69.181.101.68 (talk) 06:57, 21 December 2007 (UTC)
Original Release/Clinic Shooting[edit]
I was shocked to find there was no r eference to the song's earlier release or its connection to the clinic shootings. Personally, what most people think are references to AIDS in the song are actually references to the women shot at the clinics. 66.31.78.14 (talk) 19:12, 18 March 2008 (UTC)
Citation? --12.22.197.194 (talk) 19:27, 17 August 2014 (UTC)
Clueless[edit]
I know the Bosstones were in Clueless, but I am fairly certain this song isn't. I will look for sources to confirm either way.Ucscottb4u (talk) 18:04, 15 December 2010 (UTC)
Overall thoughts on the article....[edit]
I think the postulations regarding the AIDS virus in this piece are, at this point, mostly speculative. More complete analysis of the idiomatic "knock on wood" and "but for the grace of God do I" phrases could point out valuable metaphors. I'm not against the plausibility of this song being about AIDS or STDS in general, but a paucity of sources may make that difficult to prove. There are some contradictions in the phrasing of this song that are interesting in their own right, from a linguistic point of view. There is some good information here, and I wouldn't delete a thing unless we can provide sources to that end. 184.7.175.199 (talk) 02:45, 2 October 2014 (UTC)
According to the band's FAQ[1], there's no reference to AIDS in this song. Mari Adkins 11:05, 19 October 2017 (UTC) — Preceding unsigned comment added by MariAdkins (talk • contribs)
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text:
Memorial to the Murdered Jews of Europe
From Wikipedia, the free encyclopedia
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Visitors walking among the stelae
The Memorial to the Murdered Jews of Europe[1] (German: Denkmal für die ermordeten Juden Europas), also known as the Holocaust Memorial (German: Holocaust-Mahnmal), is a memorial in Berlin to the Jewish victims of the Holocaust, designed by architect Peter Eisenman and engineer Buro Happold. It consists of a 19,000 m2 (4.7-acre) [2][3] site covered with 2,711 concrete slabs or "stelae", arranged in a grid pattern on a sloping field. The stelae are 2.38 m (7 ft 10 in) long, 0.95 m (3 ft 1 in) wide and vary in height from 0.2 to 4.7 m (7.9 in to 15 ft 5.0 in).[2] They are organized in rows, 54 of them going north–south, and 87 heading east–west at right angles but set slightly askew.[4][5] An attached underground "Place of Information" (German: Ort der Information) holds the names of approximately 3 million Jewish Holocaust victims, obtained from the Israeli museum Yad Vashem.[6]
Building began on April 1, 2003, and was finished on December 15, 2004. It was inaugurated on May 10, 2005, sixty years after the end of World War II, and opened to the public two days later. It is located one block south of the Brandenburg Gate, in the Mitte neighborhood. The cost of construction was approximately €25 million.[7]
Memorial to the Murdered Jews of European dusk
Contents
[hide]
1 Location
2 Interpretations
3 Place of Information
4 History
4.1 Beginnings
4.2 First competition
4.3 Eisenman design
4.4 Construction
4.5 Completion and opening
5 Public reception and criticisms
5.1 Vandalism
5.2 Construction defects
6 Controversy
6.1 Controversy over the abstraction of the Memorial
6.2 Degussa controversy
7 Gallery
8 See also
9 Notes
10 References
11 External links
Location[edit]
View from South to Memorial
Denkmal für die Ermordeten Juden Europas—a Memorial to the Murdered Jews of Europe is located on Cora-Berliner-Straße 1, 10117 in Berlin, a city that had one of the largest Jewish populations in Europe before the Second World War.[8] Nestled next to the Tiergarten, it has a central location in the Friedrichstadt district of Berlin. The memorial is close to the Reichstag building and the Brandenburg Gate. It can be reached by public transportation, via the Potsdamer Platz exit on the U-Bahn Line 2, Lines S1, S2, or S25 of the S-Bahn and Bus Lines 100, 200, 347, M41, or M85.[9]
The monument is located on the former location of the Berlin Wall, where the “death strip” once divided the city. It acts as a focal point, connecting the various holocaust monuments spread across the city and the country; the monument provides a central reference point for visitors. "The center represents a central focus on the diverse memorial sites across Germany which stress the living memory aspect of remembrance. In Berlin an example of this is the Stolpersteine (tripping stones) initiative – plaques on street pavements, usually outside the house's main entrance, commemorating deported Jewish residents”.[8]
The monument is composed of 2711 rectangular concrete blocks, laid out in a grid formation, the monument is organized into a rectangle-like array covering 1.9 ha (4.7 acres). This lets for long, straight, and narrow alleys between them, along which the ground undulates. The installation is a living experiment in montage, a Kuleshov effect by the juxtaposition of image and text. People have applauded the location of the memorial. During the war, the area acted as the administrative center of Hitler's killing machine. “His chancellery building, designed by Albert Speer and since demolished, was a few hundred yards away just to the south; his bunker lies beneath a nearby parking lot”.[10] The memorial is located near Berlin’s foreign embassies, allowing political diplomats and leaders from around the world to observe how Germany acknowledges its past while continuing to move forward.[9]
Interpretations[edit]
According to Eisenman's project text, the stelae are designed to produce an uneasy, confusing atmosphere, and the whole sculpture aims to represent a supposedly ordered system that has lost touch with human reason.[11] The Foundation Memorial to the Murdered Jews of Europe official English website[2] states that the design represents a radical approach to the traditional concept of a memorial, partly because Eisenman said the number and design of the monument had no symbolic significance.[12][13] However, observers have noted the memorial's resemblance to a cemetery.[14][15][16] The abstract installation leaves room for interpretation. The most common being that of a graveyard. “The memorial evokes a graveyard for those who were unburied or thrown into unmarked pits, and several uneasily tilting stelae suggest an old, untended, or even desecrated cemetery[17]”. Many visitors have claimed that from outside the memorial, the field of grey slabs resemble rows of coffins. While each stone slab is approximately the side and width of a coffin, Eisenman has denied any intention to resemble any form of a burial site.[18] The memorial's grid can be read as both an extension of the streets that surround the site and an unnerving evocation of the rigid discipline and bureaucratic order that kept the killing machine grinding along[3]”. Wolfgang Thierse, the president of Germany's parliament described the piece as a place where people can grasp "what loneliness, powerlessness and despair mean".[19] Mr. Thierse talked about the memorial as creating a type of mortal fear in the visitor. Visitors have described the monument as isolating, triggered by the massive blocks of concrete, barricading the visitor from street noise and sights of Berlin.[19]
Many visitors and Berliners have also interpreted the contrast between the grey flat stones and the blue sky as a recognition of the “dismal times” of the Holocaust.[20] As one slopes downwards into the memorial entrance the grey pillars begin to grow taller until they completely consume the visitor. Eventually the grey pillars become smaller again as visitors ascend towards the exit. Some have interpreted this as the rise and fall of the Third Reich or the Regime’s gradual momentum of power that allowed them to perpetrate such atrocities on the Jewish community. The space in between the concrete pillars offers a brief encounter with the sunlight. As visitors wander through the slabs the sun disappears and reappears. One is constantly tormented with the possibility of a warmer brighter life. Some have interpreted this use of space as a symbolic remembrance of the volatile history of European Jews who's political and social rights constantly shifted. Many visitors have claimed walking through the memorial makes one feel trapped without any option other than to move forward. Some claim the downward slope that directs you away from the outside symbolically depicts the gradual escalation of the Third Reich’s persecution of European Jewish community. First, they were forced into ghettos and removed from society and eventually they were removed from existence. The more a visitor descends into the memorial, he or she is without any visible contact of the outside world. He or she is completely ostracized and hidden from the world. It is common for group of visitors to loose each other as they wander deeper into the memorial. This often reminds one of the separation and loss of family among the Jewish community during the Holocaust.[21]
Some have interpreted the shape and color of the grey slabs to represent the loss of identity during the Third Reich Regime. As one move descends into memorial the space between the shapes widen. Identity in a regime is largely shaped by belongingness defined through ‘sameness’ and the “repetition of the same”.[22] Some blocks are spaced father apart and are isolated from other blocks. This is often understood as a symbolic representation of the forced segregation and confinement of Jews during the Nazi regime. The continuation of “sameness” and unity in the Nazi regime depended on the act of exclusion. Architectural historian Andrew Benjamin has written that the spatial separation of certain blocks represents “a particular [as] no longer an instance of the whole”. [23] The lack of unified shape within the group of blocks has also been understood a symbolic representation of the “task of remembering”.[24] Some of the blocks appear to be unfinished. Many see this unfinished appearance as asserting that the task of remembering the holocaust is never over. Architectural analysis, Andrew Benjamin has said “The monument works to maintain the incomplete”.[25] As the effects of the Holocaust are impossible to fully represent, the memorial’s structures have remained unfinished. The missing parts of the structure illustrate the missing members of the Jewish community that will never return. The destruction of the Holocaust has resulted in a missing epoch of Jewish heritage.[26]
The memorial’s structures also deny any sense of collectivity. Some have interpreted this to reflect the lack of collective guilt amongst the German population. Others have interpreted the spatial positioning of the blocks to represent an individual guilt for the Holocaust. Many Germans have viewed the memorial to target German society and claim the memorial is presented as “an expression of our- non- Jewish Germans’- responsibility for the past”.[27] The site is also enclosed by borders of trees and Berlin’s center city. The enclosure from these borders has often evoked feelings of entrapment. This can be understood as a symbolic representation of the closure of European and American borders following the Evian Conference that forced Jews to stay in Germany.[28]
Three years after the official opening of the memorial, half of the blocks made from compacting concrete started to crack. While some interpret this defect as an intentional symbolization of the immortality and durability of the Jewish community, the Memorials’ Foundation deny this. Many analyze the lack of individual names on the monument as an illustration of the unimaginable number of murdered Jews in the Holocaust. In this way, the memorial illustrates that the number of Jewish individuals lost in the Holocaust was so colossal that is impossible to physically visualize. [29]
Place of Information[edit]
The information center, which is located at the site's eastern edge, begins with a timeline that lays out the history of the Final Solution, from when the National Socialists took power in 1933 through the murder of 500,000 Soviet Jews in 1941. The rest of the exhibition is divided into four rooms dedicated to personal aspects of the tragedy, e.g. the individual families or the letters thrown from the trains that transported them to the death camps.[30] The Room of Families focuses on the fates of 15 specific Jewish families. In the Room of Names, names of all known Jewish Holocaust victims obtained from the Yad Vashem memorial in Israel are read out loud.[31] Each chamber contains visual reminders of the stelae above: rectangular benches, horizontal floor markers and vertical illuminations.[4]
Critics have questioned the placement of the center. It is discreetly placed on the eastern edge of the monument. Architecturally, the information center's most prominent feature lies in its coffered concrete ceilings. The undulating surfaces mirror the pattern of the pillars and pathways overhead, causing the visitor to feel like they have entered a collection of graves.[10] “Aesthetically, the Information Center runs against every intention of the open memorial. The aboveground pavilion of the subterranean documentation area mars the steady measure of the order of rectangles. Admittedly, all objections against this pedagogical extra fall silent when one has descended the stairs to the Information Center and entered the first four rooms”.[32]
The visitors center contains and displays some of the most important moments and memories of the Holocaust, through carefully chosen examples in a concise and provocative display. The entrances cut through the network of paths defined by the stelae, and the exhibit area gives the memorial that which by its very conception it should not have: a defined attraction.[32] “The exhibitions are literal, a sharp contrast to the amorphous stelae that the memorial is composed of. “It is as if they (exhibits) were directed at people who cannot find the capacity to believe that the Holocaust occurred”.[10]
History[edit]
Beginnings[edit]
The debates over whether to have such a memorial and what form it should take extend back in the late 1980s, when a small group of private German citizens, led by a television journalist, Lea Rosh, and a historian, Eberhard Jäckel, neither of whom is Jewish, first began pressing for Germany to honor the six million Jews murdered in the Holocaust.[7][33] Rosh soon emerged the driving force behind the memorial. In 1989, she founded a group to support its construction and to collect donations.[34] With growing support, the Bundestag passed a resolution in favour of the project. On 25 June 1999, the German Federal Parliament decided to build the memorial designed by Peter Eisenman. A federal foundation (Foundation Memorial to the Murdered Jews of Europe) was consequently founded to run it.[8]
First competition[edit]
The Memorial
In April 1994 a competition for the memorial's design was announced in Germany's major newspapers. Twelve artists were specifically invited to submit a design and given 50,000 DM (€25,000) to do so. The winning proposal was to be selected by a jury consisting of representatives from the fields of art, architecture, urban design, history, politics and administration, including Frank Schirrmacher, co-editor of the Frankfurter Allgemeine Zeitung. The deadline for the proposals was October 28. On May 11, an information colloquium took place in Berlin, where people interested in submitting a design could receive some more information about the nature of the memorial to be designed. Ignatz Bubis, the president of the Central Council of Jews in Germany, and Wolfgang Nagel, the construction senator of Berlin, spoke at the event.[35]
Before the deadline, the documents required to submit a proposal were requested over 2,600[citation needed] times and 528 proposals were submitted. The jury met on January 15,[citation needed] 1995 to pick the best submission. First, Walter Jens, the president of the Akademie der Künste was elected chairman of the jury. In the following days, all but 13 submissions were eliminated from the race in several rounds of looking through all works.[citation needed] As had already been arranged, the jury met again on March 15.[citation needed] Eleven submissions were restored to the race as requested by several jurors, after they had had a chance to review the eliminated works in the months in between the meetings.[citation needed][7]
Two works were then recommended by the jury to the foundation to be checked as to whether they could be completed within the price range given. One was designed by a group around the architect Simon Ungers from Hamburg; it consisted of 85x85 meters square of steel girders on top of concrete blocks located on the corners. The names of several extermination camps would be perforated into the girders, so that these would be projected onto objects or people in the area by sunlight. The other winner was a design by Christine Jackob-Marks. Her concept consisted of 100x100 meters large concrete plate, seven meters thick. It would be tilted, rising up to eleven meters and walkable on special paths. The names of the Jewish victims of the Holocaust would be engraved into the concrete, with spaces left empty for those victims whose names remain unknown. Large pieces of debris from Massada, a mountaintop-fortress in Israel, whose Jewish inhabitants killed themselves to avoid being captured or killed by the Roman soldiers rushing in, would be spread over the concrete plate. Other ideas involved a memorial not only to the Jews but to all the victims of Nazism.[33]
Chancellor Helmut Kohl, who had taken a close personal interest in the project, expressed his dissatisfaction with the recommendations of the jury to implement the work of the Jackob-Marks team. A new, more limited competition was launched in 1996 with 25 architects and sculptors invited to submit proposals.[7]
Eisenman design[edit]
The date for the inauguration was scrapped and in 1997 the first of three public discussions on the monument was held.[36] The second competition in November 1997 produced four finalists, including a collaboration between architect Peter Eisenman and artist Richard Serra whose plan later emerged as the winner. Their design originally envisaged a huge labyrinth of 4,000 stone pillars of varying heights scattered over 180,000 square feet.[37] Serra, however, quit the design team soon after, citing personal and professional reasons that "had nothing to do with the merits of the project."[38] Kohl still insisted on numerous changes, but Eisenman soon indicated he could accommodate them.[38] Among other changes, the initial Eisenman-Serra project was soon scaled down to a monument of some 2,000 pillars.[37]
By 1999, as other empty stretches of land nearby were filled with new buildings, the 4.9-acre vacant lot began to resemble a hole in the city's center.[39]
In a breakthrough mediated by W. Michael Blumenthal and negotiated between Eisenman and Michael Naumann in January 1999, the essence of the huge field of stone pillars – to which the incoming German government led by Gerhard Schröder had earlier objected – was preserved.[40] The number of pillars was reduced from about 2,800 to somewhere between 1,800 and 2,100, and a building to be called The House of Remembrance – consisting of an atrium and three sandstone blocks – was to be added. This building – an archive, information center and exhibition space – was to be flanked by a thick, 100-yard-long Wall of Books that would have housed a million books between an exterior made of patterned black steel and a glass interior side. The Wall of Books, containing works that scholars would have been able to consult, was intended to symbolize the concern of the Schröder government that the memorial not be merely backward-looking and symbolic but also educational and useful.[40] Agreement was also reached that the memorial would be administered by the Jewish Museum.[40]
On June 25, 1999, a large majority of the Bundestag – 314 to 209, with 14 abstentions – decided in favor of Eisenman's plan,[39] which was eventually modified by attaching a museum, or "place of information," designed by Berlin-based exhibition designer Dagmar von Wilcken. Across the street from the northern boundary of the memorial is the new Embassy of the United States in Berlin, which opened July 4, 2008. For a while, issues over setback for U.S. embassy construction impacted the memorial. It also emerged in late 1999 that a small corner of the site was still owned by a municipal housing company, and the status of that piece of land had to be resolved before any progress on the construction could be made.[41]
In July 2001, the provocative slogan The Holocaust never happened appeared in newspaper advertisements and on billboards seeking donations of $2 million for the memorial. Under the slogan and a picture of a serene mountain lake and snow-capped mountain, a smaller type said: "There are still many people who make this claim. In 20 years there could be even more."[42]
Construction[edit]
On January 27, 2000 a celebration was held marking the symbolic beginning of construction on the memorial site. The first provisional stelae were erected in May 2001. An international symposium on the Memorial and the Information Centre together with historians, museum experts, art historians and experts on architectural theory was held by the Foundation in November 2001. In the spring of 2003, work began on the construction of the Memorial. At the same time, an information point was erected at the fence surrounding the construction site. On December 15, 2004 there was a public ceremony to put the last of the 2,711 stelae in place. The official ceremony opening of the memorial was on May 10, and the Memorial and the Information Centre was opened to the public on May 12, 2005. By the end of 2005 around 350,000 people had visited the Information Centre.[7]
Completion and opening[edit]
On December 15, 2004, the memorial was finished. It was dedicated on May 10, 2005, as part of the celebration of the 60th anniversary of V-E Day and opened to the public two days later.[43] It was original to be finished by January 27, 2004, – the 59th anniversary of the liberation of Auschwitz.[44]
The inauguration ceremony, attended by all the senior members of Germany's government, including Chancellor Gerhard Schröder, took place in a large white tent set up on the edge of the memorial field itself, only yards from the place where Hitler's underground bunker was.[33] Holocaust survivor Sabina Wolanski was chosen to speak on behalf of the six million dead. In her speech, she noted that although the Holocaust had taken everything she valued, it had also taught her that hatred and discrimination are doomed to fail. She also emphasized that the children of the perpetrators of the Holocaust are not responsible for the actions of their parents.[45] The medley of Hebrew and Yiddish songs that followed the speeches was sung by Joseph Malovany, cantor of the Fifth Avenue Synagogue in New York, accompanied by the choir of the White Stork Synagogue in Wrocław, Poland, and by the Lower Silesian German-Polish Philharmonic Youth Orchestra.[33]
In the first year after it opened in May 2005, the monument attracted over 3.5 million visitors.[46] It is estimated that some 5 million visitors have visited the Information Centre between its opening in May 2005 and December 2015. Over the past 10 years (2006 - 2015), an average of 460,000 people have visited, or over 1,000 per day.[47] The foundation operating the memorial considered this a success; its head, Uwe Neumärker, called the memorial a "tourist magnet".[46]
Public reception and criticisms[edit]
The memorial covered in snow, February 2009
The monument has been criticized for only commemorating the Jewish victims of the Holocaust,[48] however, other memorials have subsequently opened which commemorate other identifiable groups that were also victims of the Nazis, for example, the Memorial to Homosexuals Persecuted Under Nazism (in 2008) and the Memorial to the Sinti and Roma Victims of National Socialism (in 2012). Many critics argued that the design should include names of victims, as well as the numbers of people killed and the places where the killings occurred.[3][38] Meanwhile, architecture critic Nicolai Ouroussoff claimed the memorial "is able to convey the scope of the Holocaust's horrors without stooping to sentimentality – showing how abstraction can be the most powerful tool for conveying the complexities of human emotion."[30]
Some Germans have argued the memorial is only statuary and does little to honor those murdered during the Nazi Regime. Some claimed the erection of the memorial ignored Germany’s responsibility to engage in more active forms of remembrance. Others assert that the erection of the memorial ignored the memory of the two separate totalitarian regimes in Germany. Certain German civilians were angered that no memorial had been erected remembering the Flight and expulsion of Germans from Eastern territories. Some critics claimed there was no need for a memorial in Berlin as several concentration camps were memorialized, honoring the murdered Jews of Europe. Others have claimed the presence of a memorial in Berlin is essential to remember the once thriving Jewish community in Berlin.[49]
In early 1998, a group of leading German intellectuals, including Germany's best-known writer, Günter Grass, argued that the monument should be abandoned.[38] Several months later, when accepting the Peace Prize of the German Book Trade,[50] German novelist Martin Walser cited the Holocaust Memorial. Walser decried "the exploitation of our disgrace for present purposes." He criticized the "monumentalization", and "ceaseless presentation of our shame." And said: "Auschwitz is not suitable for becoming a routine-of-threat, an always available intimidation or a moral club [Moralkeule] or also just an obligation. What is produced by ritualisation, has the quality of a lip service".
Eberhard Diepgen, mayor of Berlin 1991-2001, had publicly opposed the memorial and did not attend the groundbreaking ceremony in 2000. Diepgen had previously argued that the memorial is too big and impossible to protect.[41]
Reflecting the continuing disagreements, Paul Spiegel, then the president of the Central Council of Jews in Germany and a speaker at the opening non-Jewish victims, the memorial suggests that there was a "hierarchy of suffering," when, he said, "pain and mourning are great in all afflicted families." In addition, Spiegel criticized the memorial for providing no information on the Nazi perpetrators themselves and therefore blunting the visitors' "confrontation with the crime."[33]
In 2005, Lea Rosh proposed her plan to insert a victim's tooth which she had found at the Bełżec extermination camp in the late 1980s into one of the concrete blocks at the memorial. In response, Berlin's Jewish community threatened to boycott the memorial, forcing Rosh to withdraw her proposal. According to Jewish tradition, the bodies of Jews and any of their body parts can be buried only in a Jewish cemetery.[51]
In January 2013, a controversy was sparked after the blog Totem and Taboo posted a collection of profile pictures from the gay dating app Grindr, taken at the memorial.[52][53] The emerging trend met with mixed responses - while Grindr's CEO Joel Simkhai was "deeply moved" by how app members "take part in the memory of the holocaust", others found using the memorial as a backdrop for hook up profiles to be disrespectful.[54][55]
The monument is often used a recreational space, inciting anger from those who see the playful use of the space as a desecration of the memorial. “The day I visited the site, a 2-year-old boy was playing atop the pillars -- trying to climb from one to the next as his mother calmly gripped his hand.[10] A 2016 controversy occurred with the app Pokemon Go. “The Foundation Memorial to the Murdered Jews of Europe told The Local that the Holocaust memorial in Berlin has been reported as a site where people could find and catch Pokemon creatures through the augmented reality game”.[56] This caused anger among many people who felt that it was desecrating the site. “This is a memorial space for the six million Jews who were murdered and it is inappropriate for this kind of game,” said foundation spokeswoman Sarah Friedrich, adding that she hoped the company would remove the memorial as a possible location.[56] In early 2017, an Israeli artist, Shahak Shapira, after noticing numerous instances on social media such as Facebook, Instagram, Tinder and Grindr of mostly young people posting smiling selfies with the memorial as a backdrop, or photos of themselves doing yoga or otherwise jumping or dancing on the memorial's stone slabs, began an online art project juxtaposing those found images with archival pictures of Nazi death camps, to ironically point out the jarring disconnect of taking such inappropriately cheerful pictures in so somber a setting, calling it "Yolocaust".[57]
The memorial has also come under fire for perpetuating what some critics call an “obsession with the Holocaust”. Michal Bodemann, a professor of sociology at the University of Toronto, is critical of what he calls the "permanent" and "brooding" culture of Holocaust commemoration in Germany. He studies postwar German-Jewish relations and told Die Tageszeitung that Germany's focus on the past overlooks the racist tendencies in society today and suggests a hopelessness toward the future. "My impression is that you hide yourself away in history in order to keep the present from cutting too close".[58]
Vandalism[edit]
There have been various incidents of vandalism. Despite Eisenman's objections, for example, the pillars were protected by a graffiti-resistant coating because the government worried that neo-Nazis would try to spray paint them with swastikas.[30] Indeed, swastikas were drawn on the stelae on five different occasions in this first year.[59] In 2009, swastikas and anti-Semitic slogans were found on 12 of the 2,700 gray stone slabs.[60] In 2014, the German government promised to strengthen security at the memorial after a video published on the Internet showed a man urinating and people launching fireworks from its grey concrete structure on New Year's Eve.[61]
Construction defects[edit]
Original worries about the memorial's construction focused on the possible effects of weathering, fading, and graffiti.[62] Already by 2007, the memorial was said to be in urgent need of repair after hairline cracks were found in some 400 of its concrete slabs. Suggestions that the material used was mediocre have been repeatedly dismissed by Peter Eisenman.[62][63] In 2012, German authorities started reinforcing hundreds of concrete blocks with steel collars after a study revealed they were at risk of crumbling.[64]
Controversy[edit]
Controversy over the abstraction of the Memorial[edit]
Many critics found the “vagueness” of the stelae disturbing. The concrete blocks offer no detail or reference to the Holocaust. The title of the monument does not include the words “Holocaust” or “Shoah”. Critics have raised questions about the memorial’s lack of information. “It doesn’t say anything about who did the murdering or why—there’s nothing along the lines of “by Germany under Hitler’s regime,” and the vagueness is disturbing”.[17] The question of the dedication of the memorial is even more powerful. “In its radical refusal of the inherited iconography of remembrance, Berlin's field of stones also forgoes any statement about its own reason for existence. The installation gives no indication who is to be remembered. There are no inscriptions. One seeks in vain for the names of the murdered, for Stars of David or other Jewish symbols”.[32] Many of the installations greatest critics fear that the memorial does not do enough to address a growing movement of holocaust deniers. “The failure to mention it at the country’s main memorial for the Jews killed in the Holocaust—separates the victims from their killers and leaches the moral element from the historical event”.[17] Critics say that the memorial assumes that people are aware of the facts of the Holocaust. “The reduction of responsibility to a tacit fact that “everybody knows” is the first step on the road to forgetting”.[17] Critics also feared the monument would become a place of pilgrimage for the neo-Nazi movement. With the rise of the alt-right movement in recent years, fears have once again arisen over the sanctity of the monument and its preservation against extremist groups.[19]
Degussa controversy[edit]
On October 14, 2003, the Swiss newspaper Tages-Anzeiger published a few articles presenting as a scandal the fact that the Degussa company was involved in the construction of the memorial producing the anti-graffiti substance Protectosil used to cover the stelae, because the company had been involved in various ways in the National-Socialist persecution of the Jews. A subsidiary company of Degussa, Degesch, had even produced the Zyklon B gas used to poison people in the gas chambers. At first these articles did not receive much attention, until the board of trustees managing the construction discussed this situation on October 23 and, after turbulent and controversial discussions, decided to stop construction immediately until a decision was made. Primarily it was representatives of the Jewish community who had called for an end to Degussa's involvement, while the politicians on the board, including Wolfgang Thierse, did not want to stop construction and incur further expense. They also said it would be impossible to exclude all German companies involved in the Nazi crimes, because — as Thierse put it — "the past intrudes into our society".[65] Lea Rosh, who also advocated excluding Degussa, replied that "Zyklon B is obviously the limit."[66]
In the discussions that followed, several facts emerged. For one, it transpired that it was not by coincidence that the involvement of Degussa had been publicized in Switzerland, because another company that had bid to produce the anti-graffiti substance was located there. Further, the foundation managing the construction, as well as Lea Rosh, had known about Degussa's involvement for at least a year but had not done anything to stop it. Rosh then claimed she had not known about the connections between Degussa and Degesch. It also transpired that another Degussa subsidiary, Woermann Bauchemie GmbH, had already poured the foundation for the stelae. A problem with excluding Degussa from the project was that many of the stelae had already been covered with Degussa's product. These would have to be destroyed if another company were to be used instead. The resulting cost would be about €2.34 million. In the course of the discussions about what to do, which lasted until November 13, most of the Jewish organizations including the Central Council of Jews in Germany spoke out against working with Degussa, while the architect Peter Eisenman, for one, supported it.[67]
On November 13, the decision was made to continue working with the company, and was subsequently heavily criticized.[68] German-Jewish journalist, author, and TV personality Henryk M. Broder said that "the Jews don't need this memorial, and they are not prepared to declare a pig sty kosher."[69][70]
Gallery[edit]
The Memorial in spring 2004.
Summer 2006.
A path between rows of stelae.
A view between the stelae.
At dusk.
Memorial by night.
Summer 2013.
Underground of memorial.
Aerial view.
A view of the path between the rows of stelae, showing the uneven walking surface.
View of stelae from corner of Behrenstrasse and Ebertstrasse July 2014
See also[edit]
Holocaust memorial landscapes in Germany
Memorial to Polish Soldiers and German Anti-Fascists
Shoes on the Danube Bank Memorial built in Budapest in 2005
Soviet War Memorial (Treptower Park)
United States Holocaust Memorial Museum
Culture of Remembrance
Notes[edit]
Jump up ^ Title as given in the official website: Memorial to the Murdered Jews of Europe and Information Centre http://www.stiftung-denkmal.de/startseite.html
^ Jump up to: a b c "The Memorial to the Murdered Jews of Europe - Field of Stelae". Foundation Memorial to the Murdered Jews of Europe. Retrieved 4 February 2016.
^ Jump up to: a b c Brody, Richard (12 July 2012). "The Inadequacy of Berlin's "Memorial to the Murdered Jews of Europe"". The New Yorker.
^ Jump up to: a b Willard Spiegelman (July 16, 2011), The Facelessness of Mass Destruction Wall Street Journal.
Jump up ^ Tom L. Freudenheim (June 15, 2005), Monument to Ambiguity Wall Street Journal.
Jump up ^ "Information Centre ·Yad Vashem Portal". Foundation Memorial to the Murdered Jews of Europe. Retrieved 4 February 2016.
^ Jump up to: a b c d e "The Memorial to the Murdered Jews of Europe -History". Foundation Memorial to the Murdered Jews of Europe. Retrieved 4 February 2016.
^ Jump up to: a b c Seemann, Uwe. "Stiftung Denkmal für die ermordeten Juden Europas: The Memorial to the Murdered Jews of Europe". www.stiftung-denkmal.de. Retrieved 2016-12-16.
^ Jump up to: a b "Berlin's Holocaust Memorial - Europe Up Close". Europe Up Close. 2010-10-24. Retrieved 2016-12-16.
^ Jump up to: a b c d Ouroussoff, Nicolai (2005-05-09). "A Forest of Pillars, Recalling the Unimaginable". The New York Times. ISSN 0362-4331. Retrieved 2016-12-16.
Jump up ^ "Peter Eisenman – Architect of the Field of Stelae". Foundation Memorial to the Murdered Jews of Europe. Retrieved 4 February 2016.
Jump up ^ Chin, Sharon; Franke, Fabian; Halpern, Sheri. "A Self-Serving Admission of Guilt: An Examination of the Intentions and Effects of Germany's Memorial to the Murdered Jews of Europe". Humanity In Action. Retrieved 4 February 2016.
Jump up ^ "Editorial - A Holocaust memorial". Japan Times. May 14, 2005. Retrieved 4 February 2016.
Jump up ^ "Germany's Memorial - Germany's National Memorial To The Murdered Jews Of Europe | A Jew Among The Germans | Frontline". PBS. 2012-07-12. Retrieved 2013-02-27. The plan also gives the impression of a massive cemetery.
Jump up ^ Brody, Richard. "The Inadequacy of Berlin's "Memorial to the Murdered Jews of Europe"". The New Yorker. Retrieved 2013-02-27. The memorial also evokes a graveyard for those who were unburied or thrown into unmarked pits, and several uneasily tilting stelae suggest an old, untended, or even desecrated cemetery.
Jump up ^ "Lost and found in European wanderings". Seattle Times. 2012-11-25. Retrieved 2013-02-27. [...] memorial to the Holocaust by Peter Eisenman, the stones at odd angles like the cemetery in Prague.
^ Jump up to: a b c d "The Inadequacy of Berlin's "Memorial to the Murdered Jews of Europe"". The New Yorker. 2012-07-12. Retrieved 2016-12-16.
Jump up ^ Mumma, Rachel (2018). "A Reaction to the Memorial to the Murdered Jews of Europe". Northwest University Scholar: 57–.
^ Jump up to: a b c Germany, SPIEGEL ONLINE, Hamburg. "Remembering the Holocaust: Extracting Meaning from Concrete Blocks". SPIEGEL ONLINE. Retrieved 2016-12-16.
Jump up ^ Benjamin, Andrew. "NOW STILL ABSENT: Eisenmans Memorial to the Murdered Jews of Europe". Architectural Theory Review. 8 (1): 57–62. doi:10.1080/13264820309478473.
Jump up ^ "A Reaction to the Memorial to the Murdered Jews of Europe". Northeastern University Scholars. 8. 2018. |first1= missing |last1= in Authors list (help)
Jump up ^ Benjamin, Andrew. "NOW STILL ABSENT: Eisenmans Memorial to the Murdered Jews of Europe". Architectural Theory Review. 8 (1): 57–62. doi:10.1080/13264820309478473.
Jump up ^ Benjamin, Andrew. "NOW STILL ABSENT: Eisenmans Memorial to the Murdered Jews of Europe". Architectural Theory Review. 8 (1): 57–62. doi:10.1080/13264820309478473.
Jump up ^ Benjamin, Andrew. "NOW STILL ABSENT: Eisenmans Memorial to the Murdered Jews of Europe". Architectural Theory Review. 8 (1): 57–62. doi:10.1080/13264820309478473.
Jump up ^ Benjamin, Andrew. "NOW STILL ABSENT: Eisenmans Memorial to the Murdered Jews of Europe". Architectural Theory Review. 8 (1): 57–62. doi:10.1080/13264820309478473.
Jump up ^ Benjamin, Andrew. "NOW STILL ABSENT: Eisenmans Memorial to the Murdered Jews of Europe". Architectural Theory Review. 8 (1): 57–62. doi:10.1080/13264820309478473.
Jump up ^ Neumärker, Uwe. "Germany's memorial to the murdered Jews of Europe: Debates and reactions". Filozofija i drustvo. 23 (4): 139–147. doi:10.2298/fid1204139n.
Jump up ^ Neumärker, Uwe. "Germany's memorial to the murdered Jews of Europe: Debates and reactions". Filozofija i drustvo. 23 (4): 139–147. doi:10.2298/fid1204139n.
Jump up ^ Mügge, Maike. "Politics, space and material: the 'Memorial to the Murdered Jews of Europe' in Berlin as a sign of symbolic representation". European Review of History: Revue europeenne d'histoire. 15 (6): 707–725. doi:10.1080/13507480802500640.
^ Jump up to: a b c Nicolai Ouroussoff (May 9, 2005), "A Forest of Pillars, Recalling the Unimaginable" New York Times.
Jump up ^ Karen Leland (March 13, 2011), Amid bustling Berlin, stillness in the Holocaust Memorial Los Angeles Times.
^ Jump up to: a b c "Germany's Memorial - "the Holocaust Memorial | A Jew Among The Germans | FRONTLINE | PBS". www.pbs.org. Retrieved 2016-12-16.
^ Jump up to: a b c d e Richard Bernstein (May 11, 2005), Holocaust Memorial Opens in Berlin New York Times
Jump up ^ Hugh Williamson (May 4, 2005), Painful birth for memorial to Holocaust Financial Times.
Jump up ^ Leggewie/Meyer 2005 pg. 91-94
Jump up ^ John Hooper (26 September 2000), Monumental hassles in Berlin The Guardian.
^ Jump up to: a b Alan Cowell (July 26, 1998), An Opponent Of Kohl Puts Taboo Topic Into Election New York Times.
^ Jump up to: a b c d Edmund L. Andrews (June 4, 1998), Serra Quits Berlin's Holocaust Memorial Project New York Times.
^ Jump up to: a b Cohen, Roger. "Berlin Holocaust Memorial Approved". The New York Times. Retrieved 4 February 2016.
^ Jump up to: a b c Roger Cohen (January 18, 1999), Schroder Backs Design for a Vast Berlin Holocaust Memorial New York Times.
^ Jump up to: a b Roger Cohen (2000-01-18). "Berlin Mayor to Shun Holocaust Memorial Event". New York Times. Retrieved 2003-08-12.
Jump up ^ Victor Homola (July 18, 2001), Germany: Holocaust Memorial Campaign New York Times.
Jump up ^ Bertrand Benoit (May 11, 2005), Vast Holocaust memorial opens in central Berlin Financial Times.
Jump up ^ Luke Harding (October 27, 2003), Berlin's Jewish memorial halted after firm linked with supply of Nazi gas The Guardian.
Jump up ^ "The Girl From Boryslaw: Australian Story with Sabina Wolanski". ABC. Retrieved 11 June 2011.
^ Jump up to: a b Sion, Brigitte (2014). Memorials in Berlin and Buenos Aires: Balancing Memory, Architecture, and Tourism. Lexington Books. p. 81. ISBN 978-0739176306. Retrieved 4 February 2016.
Jump up ^ "Numbers of visitors in the Information Centre". Foundation Memorial to the Murdered Jews of Europe. Retrieved 4 February 2016.
Jump up ^ "Press cool on Berlin memorial". BBC News. 2005-05-10. Retrieved 2013-08-18.
Jump up ^ Neumärker, Uwe. "Germany's memorial to the murdered Jews of Europe: Debates and reactions". Filozofija i drustvo. 23 (4): 139–147. doi:10.2298/fid1204139n.
Jump up ^ Full text in German Archived February 14, 2008, at the Wayback Machine.
Jump up ^ Connelly, Kate (13 May 2005). "Jews angry over memorial plan for death camp tooth". The Telegraph. Retrieved 4 February 2016.
Jump up ^ Beth Stebner (2013-01-31). "Outrage as Grindr users post revealing pictures of themselves in front of Berlin Holocaust memorial". Dailymail.co.uk. Retrieved 2013-08-18.
Jump up ^ "Totem and Taboo: Grindr remembers the holocaust". Grindr-remembers.blogspot.co.uk. Retrieved 2013-08-18.
Jump up ^ Daniel D'Addario (2013-01-30). "Grindr's odd Holocaust fetish". Salon.com. Retrieved 2013-08-18.
Jump up ^ "Grindr Users Post 'Sexy' Pictures From Holocaust Memorial In Bizarre, Ironic Trend". Huffingtonpost.com. 2013-01-31. Retrieved 2013-08-18.
^ Jump up to: a b Anderson, Emma. "Please stop playing Pokemon at Germany's Holocaust sites'".
Jump up ^ https://www.theguardian.com/world/2017/jan/19/yolocaust-artist-shahak-shapira-provokes-debate-over-commemorating-germanys-past
Jump up ^ "Germans, Jews & History - "how Do Young Germans Deal With The Legacy Of The Holocaust And The Third Reich?" | A Jew Among The Germans | FRONTLINE | PBS". www.pbs.org. Retrieved 2016-12-16.
Jump up ^ (in German) Wefing, Heinrich. "Sehr populär und knapp bei Kasse" in FAZ. May 9, 2006. Retrieved May 17, 2006.
Jump up ^ Michelle Fay Cortez (January 3, 2009), Swastikas Are Found on Berlin’s Holocaust Memorial, AP Reports Bloomberg.
Jump up ^ Thomas Seythal (January 9, 2014), Berlin to protect Holocaust memorial after vandalism Reuters.
^ Jump up to: a b Josh Ward (August 8, 2007), Monument in Danger? Widespread Cracking Found in Berlin's Holocaust Memorial Der Spiegel.
Jump up ^ Kate Connolly (August 9, 2007), Cracks appear in Berlin's Holocaust memorial The Guardian.
Jump up ^ Alice Baghdjian (March 15, 2012), Berlin's Holocaust memorial at risk of crumbling Reuters.
Jump up ^ Original quote: "Die Vergangenheit ragt in unsere Gesellschaft hinein". Quoted in Leggewie/Meyer 2005 p. 294.
Jump up ^ Original quote: "Die Grenze ist ganz klar Zyklon B". Quoted in Leggewie/Meyer 2005 p. 294.
Jump up ^ (in German) Eisenman, Peter. "Geisel der Geschichte" in Die Zeit. October 30, 2003. Retrieved July 18, 2011.
Jump up ^ Jeffrey Fleishman (November 14, 2003), Nazi-Era Firm Finds Forgiveness Los Angeles Times.
Jump up ^ Original quote: "Die Juden brauchen dieses Mahnmal nicht, und sind nicht bereit, eine Schweinerei als koscher zu erklären." Quoted in Leggewie/Meyer 2005 p. 296.
Jump up ^ Leggewie/Meyer 2005 p. 287-300
References[edit]
Saehrendt, Christian. "The Holocaust Memorial in Berlin". The Burlington Magazine, No. 1233, Vol 147, December 2005.
(in German) Leggewie, Claus/Meyer, Erik: "Ein Ort, an den man gerne geht". Carl Hanser Verlag. 2005. ISBN 3-446-20586-1
http://www.goethe.de/kue/arc/dos/dos/zdk/en204106.htm
External links[edit]
Wikimedia Commons has media related to Memorial to the Murdered Jews of Europe.
Home page of the project
Archived Information on The Foundation Memorial to the Murdered Jews of Europe
The Economist: Germany's Jews (Jan. 3, 2008)
Memorial to the Murdered Jews of Europe at Archiplanet
Coordinates: 52°30′50″N 13°22′44″E / 52.51389°N 13.37889°E / 52.51389; 13.37889
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VIAF: 153395626
GND: 5546317-4
Retrieved from "https://en.wikipedia.org/w/index.php?title=Memorial_to_the_Murdered_Jews_of_Europe&oldid=815774599"
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values: Monument vir die vermoorde Jode van Europa – Afrikaans

values: النصب التذكاري للقتلى اليهود في أوروبا – Arabic

values: Denkmal für die ermordeten Juden Europas – Breton

values: Monument als jueus assassinats d'Europa – Catalan

values: Mindesmærke for Europas myrdede jøder – Danish

values: Denkmal für die ermordeten Juden Europas – German

values: Monumento a los judíos de Europa asesinados – Spanish

values: Memorejo por la murditaj judoj de Eŭropo – Esperanto

values: Eraildako Europako Juduen aldeko monumentua – Basque

values: Mémorial aux Juifs assassinés d'Europe – French

values: 학살된 유럽 유대인을 위한 기억물 – Korean

values: Memoriale per gli ebrei assassinati d'Europa – Italian

values: אנדרטה לזכר יהודי אירופה שנרצחו – Hebrew

values: Memorial fir déi ermuert Judden aus Europa – Luxembourgish

values: 虐殺されたヨーロッパのユダヤ人のための記念碑 – Japanese

values: Minnesmerket over Europas myrdete jøder – Norwegian

values: Pomnik Pomordowanych Żydów Europy – Polish

values: Memorial aos Judeus Mortos da Europa – Portuguese

values: Мемориал жертвам Холокоста – Russian

values: Pomník zavraždeným Židom Európy – Slovak

values: Euroopan murhattujen juutalaisten muistomerkki – Finnish

values: Katledilen Avrupalı Yahudiler Anıtı – Turkish

values: 歐洲被害猶太人紀念碑 – Chinese

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