







FIRST DELIVERED IN SAN FRANCISCO FOLLOWING THE FALL OF THE BERLIN WALL
When I was accepting the invitation to speak at this Banquet, I began to ponder anew the question What is it like to be German, or German-American? How do I define my Germaneness? In personal terms, I have early memories of bombings and fires, of having to be carried frantically into a basement, of fear that gripped everyone at the sound of approaching Allied bomber squadrons that would inevitably unleash their destructive fury on cities and villages like mine, only to leave burning farms and screaming animals in flames in their wake.
I have memories of being hoisted onto the shoulders of my teenage brother so that I could see the city of Hamburg aflame after one of those devastating firebombings that left the city an inferno of which tens of thousands of civilians perished in one night.
I have memories of thousands of homeless and hungry people descending like desperate vultures, from devastated cities like Hamburg and Kiel, onto the countryside to frantically dig for any left over potatoes or kernels of wheat.
I have memories of Christmas Eve when my brother and I had to recite poetry to the local Santa Claus and sing “O Tannenbaum” and “Stille Nacht, Heilige Nacht” and only then could we turn to our presents, a pair of shoes perhaps, which would have to last until next Christmas.
I have memories of impromptu ice hockey games on frozen ponds and soccer games with pig bladders because we could not afford a real ball. Memories of a beloved father and hard school benches, of teachers who had come back from the Russian front with no legs and one arm, and great bitterness.
Memories of long hiking excursions on hot summer days, singing “Mein Vater war ein Wandersmann und mir liegt’s auch im Blut,” of secret rendezvous and adolescent kisses with my first love, Rosely, on country lanes. Of my mother saying, “Das koennen wir uns nicht leisten,” when my brother and I were coveting a pair of soccer shoes in the store window. Oh, when I think of my hardworking, proud mother and father, who experienced the two most cataclysmic and devastating wars in the history of mankind, and who each time had to start with nothing.
I remember Tanzschule, waltzing and doing the tango, and Elvis Presley, and Louis “Satchmo” Armstrong, and I remember leaving it all behind one day in May, when I was eighteen, while standing aboard the Hanseatic waving goodbye to my family while the orchestra was playing “Junge, Komm Bald Wieder”.
I remember the first sighting of the Statue of Liberty, the skyline of New York City, the sweltering heat, the frenetic hustle and bustle of white- and black- and brown-skinned people, of taking the Greyhound bus through Southern cities, where they had separate toilets and drinking fountain for whites and blacks, and where a genteel Southern lady expressed her love for castles on the Rhine and apfelstrudel, and asked me what I thought of Hitler, and I said, I didn’t and I hadn’t.
I remember fulfilling my childhood dreams of being a cowboy when I was in Montana and going to university there, and being asked, one day in a lecture on philosophy, in front of the whole class, how it was possible that a county that had produced Goethe and Schiller and Beethoven and Schubert could produce Hitler and concentration camps. I was eighteen then and couldn’t answer.
I remember the experience that left an indelible mark on my brain, and theretofore innocent German heart. It was in Los Angeles in a movie theater, where I saw a documentary of called Mein Kampf. I went to see it because its title promised something about Germany, and I was homesick. It showed scenes of concentration camps, goose-stepping soldiers, of Hitler kissing babies, corpses piled high in makeshift mass graves in concentration camps, of dead German soldiers standing frozen in the wind and the snow-swept steppes of Russia. It showed American soldiers liberating walking skeletons from camps.
It was then that I had lost my innocence, and no one was there to explain or quiet my deeply felt sense of anger, betrayal, and shame. Had my beloved mother and father been a part of that?
They just could not have, and yet I remember sending letters filled with anger and bitterness an inexplicable disappointment to my mother.
I remember later playing for a Jewish team called Maccabees. I fought hard for them, perhaps in vain hope of atoning for the sins committed by some members of my parents’ generation. I met Jews from Hamburg, a village in Hessen, from Cologne, Jews who had left in the thirties and who seemed more German in their old-fashioned ways and attitudes than I was. I met Jews who accepted me because I was too young, and Jews who did not accept me because I was German, and Jews who talked nostalgically of their favorite prewar soccer teams: Eintracht Frankfurt, or Dresden, or Hamburg or reminisced bitterly about the insidious ways of anti-Semitism. I met Germans who called me a traitor because I played for a Jewish team, and I remember an Israeli teammate who talked like a racist about blacks and was suspicious of me because I was German.
I remember my first agent in Hollywood, a Jew, who was kindhearted and helpful, and gave me my first break in this tough business of acting. I recall Americans coming up to me when I played Captain Dietrich on The Rat Patrol, saying, “I wish you Germans had wan the war, we wouldn’t have to worry about the damn Russians.”
I remember fighting with producers on how to play my role in The Rat Patrol. They wanted an eye patch and a limp so as to perpetuate the stereotypical image of a German soldier. I insisted on playing the Rommel-like figure as a human being with dignity because the German soldier of the Wehrmacht, who came back from the Russian front, was decent and brave and tough and fought for his country just like any other soldier. I remember a conversation with Curt Jüergens on the way to the theater in New York where I played his son in a Broadway play. He thought I should go back to Germany because in America I would play nothing but those damn Nazi roles, and I said it may take me a while, but I was determined to help destroy that caricature. I was determined to show that we were human beings with all the strengths and frailties, with all the feelings and thoughts, of any human being.
I remember my son coming home from grade school one day and telling me that he had been called a Nazi, and asking me what that meant. I remember my trying to explain something I had taken years to study and understand to a little boy.
I remember reading William L. Shirer’s Rise and Fall of the Third Reich, and Alan Bullock’s Study in Tyranny, and Albert Speer’s Inside the Third Reich, and the best book about that faithful period, Sebasian Haffner’s Anmerkungen zu Hitler (Anecdotes to Hitler).
I remember Simon Wiesenthal, during an interview, saying that the actual perpetrators of atrocities numbered about a hundred thousand, and Henry Kissinger say under no circumstances is the postwar German generation to be held responsible for Auschwitz. I remember admiration and respect of the German National Soccer Team, playing the World Cup in Italy. And then we became world champions. It was almost all too good to be true. Then came some editorials in the newspapers about the renaissance of German power and the caricature of Helmut Kohl as the new Hitler, and the many scathing remarks made by the cheap English press and character assassination by Margaret Thatcher and her cabinet, all warning of German power while bemoaning the loss of their own.
As a German, I wanted to shout out to the world “When will you ever stop talking about those damn twelve years? When will you ever give us credit for more than forty peaceful democratic years during which Germany has been an exemplary democracy, a loyal ally of the Western Alliance, an unwavering friend of both America and Israel, a patient initiator through its Ostpolitic with a Communist East, and a country that has opened it arms to more politically disenfranchised, the persecuted and hungry, than any other except perhaps America? When will you ever talk about and acknowledge the untold contributions made by German immigrants who toiled for you, America, as carpenters, farmers, mechanics, long-shore-men, doctors and nurses, coal miners, machinists, lawyers, surgeons and generals, teachers and scientists? When?” I ask.
Well, it will happen when we German immigrants and Americans of German descent start talking about it, and when we start addressing the issues that concern us, when we open our hearts and extend our hands to each other and to those who were wronged by another generation, when we became aware of our profound contributions to the success in freedom and democracy that is America.
For that purpose, a few friends of mine and I have founded the German American Cultural Heritage Society of Los Angeles. We want to preserve the histories of German Americans and their immigrant ancestors – be they Catholic or Protestant or Jew.
Our formerly divided Germany will become one again. Let us not forget Reagan, Bush, Baker and Mitterand, Kohl and Genscher, Gorbachev and Shevardnadze who made the seemingly impossible a reality, and the thousands of brave East Germans who courageously cried out for freedom.
Because of our historical legacy, we Germans have a profound responsibility to be tolerant of others and to cooperate as equal partners in this world of many peoples. Tonight, let us remember the many positive contributions the Germans have made to mankind.
What does it mean to be German? It means that we are part of a community of mankind with a specific and complex heritage, and I am proud of that heritage. Thank you.
October 2, 1987
Interview by Barbara Manning
TV’s ‘RESTLESS’ actor meets the president
Everything’s coming up roses for Eric Braeden.
The dark-haired German actor has received such attention for his portrayal of dashing Victor Newman on The Young and the Restless, he’s been invited by President Reagan to join him in the White House Rose Garden today to celebrate German-American Heritage Day.
“For someone who came to this country with $50 in his pocket, I am deeply touched and very honored,” Braeden says. “It is nice for once to be identified as a German in a positive light.”
Braeden, 44, who was born Hans Gudegast in Kiel, West Germany, and came alone to the United States at age 18, knows all too well the other side of the coin. For nearly two decades he was mired in roles that portrayed Germans in the most negative way.
He turned to acting (after attending Montana State University on a partial track scholarship and working for a time as a cowboy) when he wound up in L.A. seeking a distributor for a documentary about the Salmon River in Idaho.
He heard German actors were being sought and figured he’d give acting a shot.
“We read poems and excerpts from plays aloud in school and I was good at those,” says Braeden, who learned British English in high school.
His first role was in the feature Operation Eichmann. By 1966 he was cast as Capt. Hauptmann Hans Dietrich, commander of an armed unit and nemesis of the Rat Patrol in the series of the same name.
Braeden was still going by Hans Gudegast. But when Colossus: The Forbin Project came along he was pressed to change his name. “Eric was a family name and Braedenback the name of my village in Germany.”
Eventually he tired of playing Germans all the time – especially Nazis who cracked their whips and snarled “Heil, Hitler.”
“I was determined to play other things after 16 or 17 years of playing the bad guy.” Friend and tennis partner Dabney Coleman encouraged him to try the soaps route. “Dabney had done a soap and told me I’d love it.”
Although Victor premiered as a bit of a sleaze, he has mellowed and become a key character on the hit CBS soap.
“I’ve been on the show for almost seven years and I love my work thoroughly.”
Braeden, his wife of 21 years, Dale, and their 17-year-old son Christian live in Pacific Palisades in a contemporary house overlooking the Malibu Canyon. On a clear day you can see the Pacific Ocean.
The 6-foot-1 actor, a German youth champion in discus, javelin and shot put, keeps fit by playing soccer and working out in his home gym, which he calls his “temple.”
“I sit and regather my thoughts and strengths,” he says of the remodeled garage that houses barbells, boxing gloves, slant boards and exercise machines.
“I workout usually in the evenings from 45 minutes to an hour and a half.”
Lifting weights has a calming effect. “You actually feel the tension leave the body.”
He has adjusted comfortably to life in the USA. And one of the special pleasures, a recent boon, is that “they recognize me in Bergdorf-Goodman’s in New York now, at airports and even on the park benches in Central Park.”
Entertainment / The Arts / TV Listings
April 18, 1994
Interview by Libby Slate
From a ‘Rat’ to Playing ‘Young and Restless’ For the past 14 years, Eric Braeden has portrayed wealthy Victor Newman on CBS’ top-rated daytime soap opera, “The Young and the Restless.” A powerful, sophisticated and sometimes ruthless international businessman, his character has been involved for most of those years in a volatile, on-again, off-again relationship with ex-stripper and one-time wife Nikki Abbott, played by Melody Thomas Scott, and is now in love with blind farmer Hope Adams, played by Signy Coleman. Braeden came to the daytime series after a successful acting career in films and in prime-time television, including a starring role in the 1966-68 action-adventure series “The Rat Patrol” under his real name, Hans Gudegast. A native of Kiel, Germany, he was pressed to change his name upon landing a leading role in the 1969 Universal feature “Colossus: the Forbin Project,” when he says studio chief Lew Wasserman told him that no German actor would star in American films. Braeden had come to the United States about 10 years earlier after his high school graduation. Unlike his “Y and R” character, Braeden has been married to one woman, Dale, for 28 years and has a 24-year-old son, Christian, a UCLA Film School graduate. A lifelong athlete, he won the 1958 German Youth Championship with his team, the Rendsburger T.S.V., in track and field and the 1972-73 National Soccer Championship with a Los Angeles-based team, the Maccabees. In 1990, he co-founded the German-American Cultural Society to promote a positive, realistic image of Germans in this country and to advance German/Jewish dialogue.
Q: Daytime television is often compared to performing in Siberia, by actors and the entertainment industry at large. But you thrive on it. Why? A: Prior to my work on “The Young and the Restless,” I’d worked for 16 years in this town, mostly as a bad guy. I’d run dry. I think there was an enormous need in me as a German actor to show that we have feelings just like anyone else, that we have enormous conflicts just like anyone else, that we are very emotional people. I think that because of the dehumanizing effect of playing nothing but bad guys-and often, as it was in the very early parts, Nazis-there was an enormous need to connect with something in my work that had warmth, empathy, commiseration, that conveyed more positive feelings. I’m eternally grateful to this medium and specifically this soap for having given me that chance.
Q: Victor’s relationship with Nikki has registered an enduring appeal among viewers. Why do you think it has so captured their fancy? A: Arguably, it’s the idea of this incredibly powerful, wealthy man taking a woman who comes from the wrong side of the tracks into his life, and shaping her and forming her more to his liking. But, of course, no one can shape or form anyone-she remains who she is, has retained her strength, and that causes conflict. Those are the outward appearances. But what I think happens to us on screen is that she and I fight very well. When Mel and I have these emotional scenes, and there are many of them, something just clicks. I can’t explain it, except to say that you always hope to reach with an actor or actress some truth, some honesty, some reality, and in scenes with her I approximate that. And now I have that with Hope-Signy Coleman. I don’t know why that happens between some actors and not with others.
Q: “The Young and the Restless” celebrated its 21st anniversary last month.
It has been the No. 1-rated soap for the past five years, week in and week out. How do you account for that astonishing track record? A: Because (co-creator/senior executive producer) Bill Bell deals with basic emotions-love, hate, greed. Then he intertwines social issues in the stories that affect our lives in one way or another, be it alcohol, AIDS, divorce, teen-age pregnancy, teen-age marriage. So he taps into things people can identify with. Now, you embellish that by creating characters like Victor Newman, for example, who’s enormously wealthy and can call up his pilot any day to fly to Paris at the wink of an eye, and is mixed up with beautiful women. So you have what Hollywood has always provided: a visual pleasure but also a means by which the audience can identify with the characters’ emotional metamorphoses, conflicts and ups and downs.
Q: Unlike most soap actors, you also appear occasionally on prime-time television, such as a Perry Mason movie, the miniseries “Lucky/Chances” and, most recently, “The Nanny.” A: I usually do not do prime time, for a very specific reason. In the early 1970’s, a studio-and I won’t say who-summarily lowered its guest-star salaries by two-thirds. That, to me, was one of the most egregious affronts to actors. Agents cowardly acquiesced, and nothing was done about it. I still resent that situation and will not help perpetuate it. That’s one of the major reasons I’m doing the soap. I did “The Nanny” because I have great respect for (series star, co-creator and co-producer) Fran Drescher and the way she brought the whole thing about. And my wife thought it was a funny show.
Q: Your soap role is not your only outlet to communicate the fact that Germans are not the cold, heartless people that historically inspired stereotypes would hold. Why did you help create the German-American Cultural Society? A: I’ve listened for over 30 years to vilification of where I come from. The concept of Germany is usually synonymous with that 12-year period (surrounding World War II). I’ve always been deeply, deeply upset and angered by that, but it’s a kind of impotent anger, because what happened, happened. We are trying to have open dialogues between Germans and Jews. You openly talk to each other and discover what we have in common as human beings, not what differentiates us from a stupid religious point of view. We’ve talked about whether normal relations are possible, about German and Jewish contributions in America, present-day Germany, the consequences of reunification. What it really boils down to is this: Jews must not make the same mistake that was made about them. They were collectively and dismissively called “The Jews.” Don’t collectively and dismissively call us “The Germans.”