Category: Places

Drano Is For The Weak

While I sit here at my desk I hear the grinding sound of a kind of chain running forth & back through a pipe. It was the background music for the whole day.
The housing management announced some weeks ago that workmen would take care of the downpipe in the bathroom of the appartements 2 (mine, I live in a “2”) and 4. It would be necessary that not only access to the flat is possible through the whole process, but that also an inhabitant shall be attending. I asked my janitor about this, because of my morning drive, I am usually back before or around nine o’clock. He advised me to pin a paper to my door and by this tell them that I’d be back at nine in the morning, and all is good : “They just need to have a look, no big deal.”
I wondered because I only had problems with the downpipe of the kitchen, and I know that other tenants had too. I think the number increased over the last two years.
This morning when I returned I met two young men in shock-orange, they were pretty upbeat. I mentioned that I’d have to leave in the afternoon – no, they do not expect to be here by then. And yes – it was the kitchen pipe they had to work on, no clue why someone had written “bathroom” in the announcement.
Soon they started to do what they had to do, and some interesting grinding sounds came to my ear. They came near my flat, becoming louder obviously, and went away, downwards. Some hours later Red (I’ll call him “Red”, he has red-golden hair ; his colleague may be called “Black” – sophisticated eh?!) came by and asked if all would be right. I said yes, no problems. The problem showed up when he turned on the faucet of my sink ; the water was spiralling down, and after some seconds it came back, and spurted out of the hole in the wall where the drain goes in.
He sighed deeply. I said that yesterday I had washed my dishes without any problems. He replied that this would be exactly one of those things that could happen. He marched off and soon another round of grinding noises started. I grabbed some rags and started the mop up. On second thoughts I took a small bucket with warm water & cleaner, and wiped the kitchen floor, it was needed anyway.
Some time later Red dropped by again, looking unhappy. He told me that the kitchen on the fifth floor was swimming, and the two ladies there were not happy about this. In fact they yelled some un-ladylike words, towards him and the world in general. But meanwhile the situation on the second floor would have resolved. I did not inquire.
I asked him why they would not simply throw some Drano down the pipe and hope for the best, at least he laughed.
Again some hours later I had to put my gear together and leave again. So I searched for Red & Black, because I wanted to know whether they still needed access to my flat. I found them on the highest level of the house in a maintenance room under the roof. Both looked tired.
Black was on the phone telling the foreman that they had lost that spirally thing they inserted into the pipe, a coupler or engagement thingy had given in. They had to stuff more than forty meters of this device into the pipe ; the pipe itself has a diameter of a little more than five centimeters, the cleaning thing exactly five. It moves, bangs, rotates, I have no clue what it needs to do to detach the slimy goop of forty years from the inside of the tube, but it does its job. Now it does nothing except blocking effectively a very long stretch of said tube. Don’t know how much they could pull out before the “thing” gave in.
I handed my key to Red, he would put it into my letterbox when they leave. He said that they would not plan to stay overnight here, with a wry grin … well …
Actually I have to drive a longish detour, so I have to start earlier in the morning to reach my first, most distant,  stop. In the evening I come back notably later than usual, despite the fact that when the kids are not aboard I can use some bumpy shortcuts.
I wondered how my kitchen would look like.
When I came home some hours later I found Black in my kitchen watching the drain and listening intensely. He told me that Red would be in the fourth, so I went there. Red had given the key to Beard, die Verstärkung, who actually was on the fifth. Beard was friendly, I got my key.
They now have to fight against blockage after blockage, it feels as if every ten centimeters a new obstacle arises. The spiral-thing is still in the tube, seemingly somewhere over the fifth floor. Without getting rid of the blockages they have no chance to reach the thingy from below and push it up with strong springs, or grab it with at least something. From above they have tried what there is to try. They have to clear this tube any way.
And exactly this is what they try to do.
Since I came home I had a sandwich, drank a beer, wrote this post. And listened to the interesting sounds in my kitchen wall. There seems no perceptible progress. In the end the poor sods will have to stay some more hours, sadly I can’t offer them at least a sandwich.

What is actually the name for that stuff that blocks a downpipe ? Any thing in mechanics, plumbing, in technics in general, has a (speaking) name, why not this stuff ? Does nobody collect & analyse it ? Ach, the wonderful, undetected world of gunk !
I really wonder when they will give in. And only hope that “gunk” will not explode into my kitchen tonight.

It was remarkably quiet for some time now. I thought that they left, but a glance in the yard where their vans are parked, shows me that an other one arrived. So they called for additional help and may pause, well deserved after more than twelve hours.

Just some minutes ago Black came by and told me that they have finished the job. Not much left from the matutinal shock-orange of his workwear, it’s more a solid black with orange dots. What a job.

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Sunday Music

What a fitting title – because a sun-day it was.
I went out and it was pretty sobering. Not that I had been drinking through last night, but actually walking in the sun showed me clearly that this infection is still not gone totally. After some hundred meters I was coughing an wheezing, but I chose to ignore it.
While on my way I clicked some photographic images, here are two to illustrate how this day looked.

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View into the Franconian Wilderness on Sunday 15th of October 2017

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Another View into the Franconian Wilderness, taken from the same spot, just a little bit more to the left

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While one looks into the wilderness, houses are built behind one’s back. That’s what “P3” is for.

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Middle of October may be a bit early for a Christmas lp, but “My Favorite Things” is a nice little song, here in the version of Mr Kenny BURRELL (Eng., Ger.) from his album Have Yourself a Soulful Little Christmas (1966) (Eng.) … aaawwwhhh ….

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Hope You enjoy the music. May the week be peaceful and sunny for all of us !

 

… That Becomes Even Stranger

The mentioned “Aktwerk” contains 24 photographs by 14 different photographers, all names unknown to me – here’s the list : Willy Zielke (3), Heinz von Perckhammer, Bruno Schultz (8), Carl Semon, Alfred Grabner, Viktor Hayd, Trude Fleischmann, Max Rothkegel, Franz Grainer, Heinz Hajek-Halke (2), Franz Kepler, Ewald Hoinkis, Ursula Lang-Kurz und Heinrich Iffland.
I looked through the names and read wikipedia-articles, as far as they exist, and the last one – yes, I do lists from behind, the “wrong” way ; I simply do this, I can’t explain – and the last one was Willy ZIELKE (Ger.) (1902-1989) “…. photographer … expressionistic … who did “Das STAHLTIER” …” – ?
What ?
I thought I knew the canon of expressionistic German fillums from the 1920s & 1930s, but this one had escaped me. Also ZIELKE’s biography. He learned in Munich at the Staatslehranstalt für Lichtbildwesen in 1923 and 1924 (what later became the Fachakademie für Fotodesign), and was teaching there from 1928 until 1936. He took part in the Werkbundausstellung “Film und Foto” and so became known to a wider audience. In the early 1930s he started to make films, his first independent solo work was “Arbeitslos – Ein Schicksal von Millionen” (Unemployed – One of Millions) from 1933.
ZIELKE was commissioned to produce a film for the hundredth “birthday” of the Deutsche Reichsbahn, this is the already mentioned “Stahltier” from 1935. The heads of the railway expected a nice advertisement or promotion picture, and were less than underwhelmed with the finished product – much to ZIELKE’s shock and dismay.
He constructed a story around a Werkstudent / student employee who has to complete field training with a group of workers ; the relationship between the group and the “intellectual”, ongoing engineer, develops, especially because the young man knows the history of the railroad and tells & explains it to the workers. As I read the picture does not follow ns aesthetics, does not use contemporary symbols, depicts neither student nor workers as aryan superhumans or lies about the history of the steaming engine. In fact ZIELKE did an aesthetically outstanding artful picture in the category corporate film / Industriefilm that the purchaser did not like : They blabbed something about “communist aesthetics” and threw the thing in the drawer.
Interestingly this film later was used within the training of cameramen for German propaganda units, as example for what is possible.
After the war a complete copy was found in Paris, but the successor of the Deutsche Reichsbahn, the Deutsche Bahn, still regarded the film as “not publishable”, and urged ZIELKE to shorten his work. So from circa 1955 onwards exists a crippled 50 (?) minutes version of the original 70 minutes film. Only much later, in the 1980s, the uncut original was shown publicly.
ZIELKE’s STAHLTIER (GOd, what a title !) brought him to the attention of Leni RIEFENSTAHL. She had him as collaborator for her Olympia films, and ZIELKE independently made the “Prolog” for the pictures. There was a contract, and he had it notariazed, nevertheless he is not in the credits of said picture(s), RIEFENSTAHL just dispersed him.
What follows is disputable. It is a fact that ZIELKE from February 1937 until August 1942 was held as patient in the mental asylum / Kreisirrenanstalt Haar. He describes it as kidnapping and accuses RIEFENSTAHL of pulling strings. I am not convinced, RIEFENSTAHL simply would have not needed to do something like that. She was in a nearly untouchable position in Nazi Germany. Earlier she even had shown the STAHLTIER to GOEBBELS and argued for the picture – in vain, GOEBBELS simply did not like it.
I think ZIELKE suffered from a nervous breakdown, the diagnosis “Verfolgungswahn” / paranoia / delusions of persecution may be valid or not, I have no clue. ZIELKE was castrated while in Haar, against his will, but according to the law, as a German judge told him after the end of the Third Reich when he asked for compensation. ZIELKE says he was subjected to experiments, but I think that was not verified. He was glad not to be executed (Ger., Eng.), Haar was part of the murder machinery.
In August 1942 RIEFENSTAHL – of all humans ! – took him out from Haar, and used him as cameraman for Tiefland (Ger., Eng.).
ZIELKE survived the war, started to produce small films in the 1950s and worked as cameraman again. I read that at the beginning of the 1970s, when he was completely out of the public’s eye and forgotten, a French collector “borrowed” his collection of negatives, and “forgot” to give it back. At least one of his negatives was sold for a pretty large sum via an auctioneer’s house while ZIELKE had to live from benefits. He died in June 1989, 86 years old.
What a life.

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The only account of ZIELKE’s biography and his film is found here (part I) & here (part II) (Go there for pictures !), written by Manfred POLAK. Of course my scribble heavily relies on Herr POLAKs work.
It would be very helpful if the article by Herr POLAK would be translated professionally into English. Also English versions of the German wikipedia articles about ZIELKE and Das STAHLTIER would be very helpful.

Suebia, eh ?

I realised this morning that one can hear emptiness.
All the usual sounds that can be expected in a large appartement building located in a reasonable quiet neighbourhood, with some green around – even large trees -, and parking spaces over ground, balcony door open, through a bog-normal Wednesday late morning, like water rushing through pipes for whatever use, elevator doors clunking, car doors slamming, trees rushing in a lovely breeze, the occasional toddler yelling a bit – just stand there with eyes closed & listen … the place is empty.
Of course there may be scientific explanations that involve rugs, curtains and pictures on the wall, let’s not forget the lack of ameublement, but this is not what I mean.
It is not about silly sound waves behaving different, is not something missing, it is something else, something additional I can’t name.
To step in routinely like done for ages – “ages” may mean ten years and perhaps a bit more – comes to a halt when the usual choreography of moves stops because there is no more place to put the wallet and the keys – the shoe cabinet in the Diele (it is impossible to translate the name of this little anteroom with “hallway” or “vestibule” – it is a Diele or a Flur ) is gone.
Obviously something changed.
It is easy to say “And of course I am ready to move for this job”, it is easy to plan such a move, and have a look at the different pieces of stuff that surround one. It is a bit more challenging to search for and finally find a new appartement that “fits the bill” in all – or at least all serious – points. It can be a bit of a task to fill boxes with stuff – that seemingly has a life of its own, even after years of culling ; this usually leads to some introspection – and finally “the day” arrives : All is prepared, professionals move in, and within two hours the place is cleared, engines start, and something new begins. This can be a bit upsetting, worrying even.
DOn’t get me wrong, dear reader : This is not about an ending of sorts, a drama, it is about the aftermath of a new beginning.
It is only about a middle-aged man who switches off the hoover in a large empty room, closes his eyes, and listens.