Cuba’s deadly disrepair

We’re so accustomed to seeing America’s mainstream media celebrating Havana as “exotic” and “quaint” and “unspoiled” that it came as something of a surprise to see USA Today, on December 2, running a piece headlined “How Havana is collapsing, building by building.”

A couple of Havana’s “architectural gems”

Reporters Tracey Eaton and Katherine Lewin didn’t pull any punches. They talked to one Rafael Álvarez, who “was up at 6:30 a.m. to warm milk for his baby daughter when he heard the sound of pebbles falling.” Next thing he knew, in his words, “the floor below us came loose. We were left hanging in the air, then fell into the abyss.” He ended up “buried in rubble to his waist.” But he was the lucky one. He lost his mother, daughter, and two others in the collapse of his apartment building. It was 101 years old.

Exotic Havana

They talked to Carlos Guerrero, who lives with his family in another building that looks as if it’s about to go any minute. “Neighbors tell them, ‘Get out of there! It’s going to collapse!’” They talked to Yanelis Flores, who says her own flat, where “daylight shines through terrifying cracks in the walls,” is “worse than a pig pen.” A staircase collapsed last year, stranding people on the upper floors. And they talked to Magaly Marrero, who “said her apartment is so bad that she showers in the kitchen and relieves herself in a bucket.”

And they talked to others. Plenty of others. They provided statistics showing that these anecdotes were only the tip of a massive iceberg. “In Havana,” they wrote, “some of the same architectural gems that draw tens of thousands of American tourists crash to the ground every year.” Their piece amounted to a powerful indictment of Communism.

Katherine Lewin

Except for the fact that Eaton and Lewin didn’t really focus on Communism as the ultimate cause of all this decay. No, when it came to causes they turned coy. Here, in fact, is how they put it: “Causes [for all these building collapses] range from weather and neglect to faulty renovations and theft of structural beams.” Well, yes, those may be the immediate causes. But the reason why these “architectural gems” haven’t been properly maintained over the decades – or torn down and replaced by safer structures – is, quite simply, Communism.

Tracey Eaton


If you’d taken a stroll around East Berlin just before the Wall fell, you’d have seen the same kind of miserable dilapidation – derelict blocks of flats that had pieces missing and in which you could still see bullet holes dating back to World War II. Venezuela, of course, is headed down the same road. Meanwhile in the U.S., we have a younger generation that’s been brainwashed into thinking that socialism is just dandy and that is sending the likes of Alexandria Ocasio-Cortez to Washington. Congratulations to USA Today, then, for documenting the dire consequences of Communism, but please: next time, be more up front about what’s really behind all this deadly disrepair.

The Master Race’s master builder

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Albert Speer on trial in Nuremberg

Leni Riefenstahl was an intimate friend of Hitler’s, and sculptor Arno Breker was like a son to him; but the artist who worked most closely of all with the Führer, and whose oeuvre is most inextricable from the Third Reich project, was Albert Speer.

A Nazi Party member since 1931, Speer was tapped by Hitler two years later to oversee the artistic and technical design of Nazi rallies. In 1934, Hitler, who saw Speer as a “kindred spirit,” made him the Party’s chief architect; in 1937, he put him in charge of inspecting buildings in Berlin. Speer designed the Zeppelinfeld stadium (where the annual Nuremberg rallies took place), the German pavilion for a world exposition in Paris, and a new Reich Chancellery. His biggest assignment of all – though it never came to fruition – was almost certainly the most massive architectural enterprise ever conceived. The goal was nothing less than to design an entirely new Berlin.

Speer showing Hitler his design for the German pavilion at the 1937 Paris exposition

The thoroughly transformed city would be called Germania, and would be the capital not only of Germany but of the whole civilized world, once it came under Hitler’s thumb. There would be new airports, two new railroad stations, four new ring roads, and new suburbs big enough to house 200,000 people. A building called the Grand Hall would have been the world’s largest enclosed space, with a dome sixteen times the size of St. Peter’s Basilica. Unveiled in January 1938, the plans for Germania – which envisioned a gleaming metropolis of white stone that was reminiscent of ancient Rome – provided a vivid measure of the scale of Hitler’s ambition, not to say megalomania. The demolition work necessary to clear the ground for the construction of Germania was carried out by about 130,000 prisoners of war and forced laborers between 1939 and 1942.

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Hitler and Speer inspect a scale model of Germania

Riefenstahl was able to get off scot-free after the war; not Speer. Tried for war crimes at Nuremberg, he was found guilty, but the judges bought his claim to have been unaware of the Holocaust while it was underway and thus sentenced him only to twenty years in prison instead of death by hanging. Not until 2007, sixteen years after his death, did a letter emerge, written by Speer in 1971, in which he admitted to having attended a speech by Gestapo and SS chief Heinrich Himmler outlining plans for the Holocaust. In short, he had known about the extermination of the Jews all along – and it was foolish of anyone to have believed otherwise.

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Germania

But they did believe. And consequently, during his prison years and afterwards, Speer underwent an considerable image boost. He came to be viewed as the “good Nazi” – as a gifted architect who had simply found himself in the wrong place at the wrong time. This was sheer nonsense. Speer, as noted, had joined the Nazi Party early on. Although he lied about his knowledge of the Holocaust, he never denied having been an ardent believer in Hitler and a fervent supporter of the war. He looked forward to a world run by his Führer; their glorious plans for Germania, after all, would only have made sense if the city was the capital of the entire Western world.

Speer knew, then, the nature of the man he served; and he approved of that man, and dedicated his art to the singular task of glorifying him. He was no victim of circumstance, but a conscious instrument of evil – a stooge of the first order.