ce where he’d lived in the Schönenberg district, at Haupt - straße 155. He lived in a se- ven-room apartment on the first floor of this fairly nondes - cript old Berlin building from 1976 to 1978. The flat was pretty much unfurnished, and the famous tenant and his friends mostly ate and spent ti- me outside. Bowie had a fa- mous roommate for a while in the form of Iggy Pop, who al - so recorded great music in Ber- lin (his ingenious album Lust for Life), but Bowie soon kicked him out for stealing food from the fridge?!? This prompted the Stooges frontman to move to a smaller flat in an adjacent bu - ilding. I don’t really know what I expe- cted to happen in this place, maybe for Bowie’s ghost to smile at me from the window, but there was nothing special about that building and entran- ce. If not for the plaque con- firming that he lived there for two years and that he recor- ded his aforementioned tri- logy in Berlin, it would be a rat - her dull building. Of course, for all of us who love Bowie, this is a must-see place, as is the next place we visited: the famo- us Hansa Studios, which used to be known as “the studio by the Wall”, because from there one could clearly see the Ber- lin Wall. This location played an important role in the creation of the album Heroes, which was recorded under the influence of the city and the wall beside which Bowie stands, calling for reunification. The title track of the album Heroes, which was recorded in the legendary Me- istersaal (Masters Hall), beca - me the anthem of this divided city and its yearning for free- dom. This studio, that would la - ter become a recording venue for the likes of U2, Depeche Mo - de, Nick Cave and many others, is located at Köthener Strasse 38 in Kreuzberg, near Potsda -
ndlessness was finally bro- ught down on 9 th November 1989, and something that had symbolised the hatred, division and madness of one period of time instantly be- came a symbol of unity, lo - ve and peace. It became an eternal reminder of what had been, but also of what is im - portant. The remains of the wall are marked with me- tal plaques all over the pa- vements of the city, but the East Side Gallery has preser - ved a large piece that has been decorated with intere- sting works by more than 100 artists from over 20 co- untries. The most famous is undoubtedly the “Frater- nal Kiss”, depicting the “lo - ve” between Brezhnev and Honecker, but there is also the famous Trabant car bre- aking through the wall, as well as many other murals testifying to hope and love. Remembering And if instead of taking Un- ter den Linden boulevard you’d headed alongside Brandenburg Gate, you wo - uld have come across one of the reminders of the horrors of the Holocaust, because Berlin constantly reminds you of the crimes that took place there. It is very difficult to stand in front of some of the monuments, pictures of victims, rooms of silen - ce etc., but it simply mustn’t be missed. At the Memorial to the Murdered Jews of Eu- rope, among the thousands of dark grey concrete blocks, we had a clear impression of emptiness, calamity and ho - pelessness. With barely vi- sible small parts of the sky, while the ground level rises and falls under your feet... There are many such pla- ces in Berlin. Never to be for- gotten.
BERLIN ZA LJUBITELJE Ako volite Bouvija, ne treba vam pričati o tome koliko je Berlin za njega bio važan, ma - da je u ovom gradu živeo tek dve godine. Impresioniran pre- dratnom nemačkom kultu - rom i ekspresionizmom s jed- ne strane, a zainteresovan za elektronsku muziku i nemački krautrok sa druge, Bouvi pono- vo definiše sebe kao umetni - ka nakon faze Zigija Starda- sta. U tom kratkom begu iz Los Anđelesa stiže u tada još uvek teško podeljeni, opkolje- ni Zapadni Berlin, u kojem na- staje Berlinska trilogija i al- bumi „Low“, „Heroes“ (oba iz 1977) i „Lodger“ (1979). Meni je još dok smo sletali, Dejvid u glavi uveliko pevao da može - mo da budemo heroji, pa sam jedva čekala da na neki način osetim mesta na kojima je te pesme, za mene tako važne, stvarao. Prvo smo otišli tamo gde je ži -
BERLIN FOR FANS If you love Bowie, there’s no need to tell you how important Berlin was to him, despite him having only spent two years li- ving in this city. Impressed by the culture and expressionism of pre-war Germany on the one hand, and interested in electro - nic music and German “krau- trock” on the other, Bowie re - defined himself as an artist following the Ziggy Stardust period. On a short break from Los Angeles, he arrived in what was then a still heavily divided and besieged West Berlin, whe - re his Berlin Trilogy of studio albums – Low, Heroes (both from 1977) and Lodger (1979) – were created. Already as we landed, in my head I could he - ar David singing about how we can be heroes, so I could hardly wait to feel the places where he created those songs that are so important to me. We first headed to the pla -
ji je nesumnjivo „Bratski polju- bac“, koje prikazuje takozvanu ljubav Brežnjeva i Honeke - ra, ali tu je i čuveni trabant ko - ji probija Zid, kao i mnogi dru- gi murali koji govore o nadi i ljubavi. Sećanje A da ste umesto u Ulicu pod li- pama krenuli pored Branden- burške kapije, stigli biste do jednog od podsetnika na uža - se holokausta, jer Berlin ne prestaje da vas podseća na zločine koji su se tamo do - godili. Mnogo je teško stajati pred nekim spomenicima, sli- kama stradalih, sobama tiši- ne... Ali to se ne sme propu- stiti. U Memorijalu ubijenim Jevrejima u Evropi, među hi - ljadama betonskih tamnosivih kocki, imali smo jasan utisak praznine, propasti i beznađa. Sa jedva vidljivim malim de- lovima neba, dok se nivoi ze- mlje ispod nogu dižu i spušta - ju... Takvih je mesta u Berlinu mnogo. Da se ne zaboravi.
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