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Ampelmann - Stop

Ampelmann - Stop

With thanks to Wikipedia:

Ampelmannchen (help·info) (German: little traffic light man, pl. Ampelmannchen) is the symbolic person shown on traffic lights at pedestrian crossings in the former German Democratic Republic (GDR - East Germany). Prior to the German reunification in 1990, the two German states had different forms for the Ampelmannchen, with a generic human figure in West Germany, and a generally male figure wearing a hat in the east.

The Ampelmannchen is a beloved symbol in Eastern Germany, "enjoy[ing] the privileged status of being one of the few features of communist East Germany to have survived the end of the Iron Curtain with his popularity unscathed." After the fall of the Berlin Wall, the Ampelmannchen acquired cult status and became a popular souvenir item in the tourism business.
Concept and design

The first traffic lights at pedestrian crossings were erected in the 1950s, and many countries developed different designs (which were eventually standardized). At that time, traffic lights were the same for cars, bicycles and pedestrians. The East Berlin Ampelmannchen was created in 1961 by traffic psychologist Karl Peglau as part of a proposal for a new traffic lights layout. Peglau criticised the fact that the standard colours of the traffic lights (red, yellow, green) did not provide for road users who were unable to differentiate between colours (10 percent of the total population); and that the lights themselves were too small and too weak when competing against luminous advertising and sunlight. Peglau proposed to retain the three colours but to introduce intuitive shapes for each coloured light. This idea received strong support from many sides, but Peglau's plans were doomed by the high costs involved in replacing existing traffic light infrastructure.

Unlike motor traffic, pedestrian traffic has no constraints for age or health (physical or mental), and therefore must allow for children, elderly people and the handicapped. Peglau therefore resorted to the realistic-concrete scheme of a little man that is comprehensible for everyone and appeals to archetypical shapes. The thick outstretched arms of the frontal-standing red man is associated with the function of a blocking barricade to signal "stop", while the side-facing green man with his wide-paced legs is associated with a dynamic arrow, signalling the permission to "go ahead". The yellow light was abandoned from pedestrian traffic lights because of generally unhurried pedestrian traffic.

Peglau's secretary Anneliese Wegner drew the Ampelmannchen per Peglau's suggestions. The initial concept envisioned the Ampelmannchen to have fingers, but this idea was dropped for technical reasons of illumination. However, the man's "perky", "cheerful" and potentially "petit bourgeois" hat was retained to Peglau's surprise. The prototypes of the Ampelmannchen traffic lights were built at the VEB-Leuchtenbau Berlin. Four decades later, Daniel Meuren of the West German Der Spiegel described the Ampelmannchen as uniting "beauty with efficiency, charm with utility, [and] sociability with fulfilment of duties". The Ampelmannchen reminded others of a childlike figure with big head and short legs, or a religious leader.

History in East Germany

The Ampelmannchen was officially introduced on 13 October 1961 in Berlin, at which time the media attention and public interest focused on the new traffic lights, not the symbols. The first Ampelmannchen were produced as cheap decal pictures. Beginning in 1973, the Ampelmannchen traffic lights were produced at VEB Signaltechnik Wildenfels and privately-owned artisan shops.

The Ampelmannchen proved so popular that parents and teachers initiated the symbol to become part of road safety education for children in the early 1980s. The East German Ministry of the Interior had the idea to bring the two traffic light figures to life and turn them into advisors. Die Ampelmannchen were introduced with much media publicity. They appeared in strip cartoons, also in situations without traffic lights. The red Ampelmannchen appeared in dangerous moments, and the green Ampelmannchen was an advisor. Together with the Junge Welt publishing company, games with the Ampelmannchen were developed. Ampelmannchen stories were developed for radio broadcasts. Partly-animated Ampelmannchen stories with the name Stiefelchen und Kompa?kalle were broadcast once a month as part of the East German children's bedtime television programme Sandmannchen, which had one of the highest viewing figures in East Germany.[10] The animated Ampelmannchen stories raised international interest, and the Czech festival for road safety education films awarded Stiefelchen und Kompa?kalle the Special Award by the Jury and the Main Prize for Overall Accomplishments in 1984.

History after Reunification

Following the German unification in 1990, there were attempts to standardise all traffic

MO-Creve Coeur - Creve Coeur Cinema 2

MO-Creve Coeur - Creve Coeur Cinema 2

Creve Coeur Cinema
Creve Coeur, MO


This was a nice theater at one time, but I can't personally be too sentimental about it because every visit I made to the old Creve Coeur Cinema was something of a disaster. What's that you say? You want to hear all about it? Well, take a seat.

1) I have only ever had two birthday parties; the first was when I was five or six. My folks took me and a handful of my classmates to a matinee of "Pinocchio" at the Creve Coeur. It was not Disney's "Pinocchio." It was a live-action-and-puppet version...or maybe even all-puppet, which would have certainly made the basic premise of the story a little muddled for newbies. At any rate, it sucked and we all knew it.

2) I used to hang out with these guys who occupied a fairly squalid two-bedroom apartment that sometimes had as many as five dudes living in it--none of whom were romantically involved, mind you; each bedroom had two beds and there was almost always someone living on the sofa. Somehow, one could find attractive girls hanging out at this flophouse surprisingly often. One of them, who was usually pretty much just dragged there by her friend, liked to demonstrate that she was more culturally evolved than the rest of the group. When she mentioned that she'd like to see "The Unbearable Lightness of Being," I called her bluff. So we went. It was three hours long. I think she may have nodded off, but I didn't. It wasn't a bad movie, but it wasn't a first-date movie either. All in all, it was just a pretty stupid premise for a date.

3) Another bad date! I had met a girl at a party and we hit it off. We stayed up late drinking tea and decided we should go out together sometime soon. We agreed to see a movie...but we couldn't agree on a movie. There was really nothing out in current release that I was remotely interested in, and I was stupid enough to try to steer her away from a couple of movies she suggested. I talked her into "Carlito's Way" without realizing that the CCC was now a dollar show, and of course that would make me look cheap. (Great movie though.) But there's more! I had changed shirts at the last minute before leaving the house; I wanted to wear a new sport coat I liked, but it clashed with the dark-green shirt I was I changed into a white shirt. This wouldn't have been a problem, but I forgot I was ALSO wearing a t-shirt with a logo on the back until we got to the theater. I couldn't take my jacket off all night or the logo would've shown through my other shirt. And it got kinda warm.

The Creve Coeur Cinema is a rare case: A cool old mid-century building that I would like to have been allowed to take the first whack at with a wrecking ball.

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