Jochen Hick - My wonderful West Berlin

My Wonderful West Berlin

Mein wunderbares West-Berlin (German title)

A documentary by Jochen Hick
Editor Thomas Keller
Research/Assistant Andreas Strohfeldt
Historic Advisor Karl-Heinz Steinle

Streaming on Amazon (Sooner Channel) and on (Channel of Jochen Hick)
in various language versions.

German theatrical & DVD/VOD release GALERIA ALASKA PRODUCTIONS

German theatrical start on 29 June 2017 (many screenings with Engl. subtitles)   Click for theatres and dates

Facebook   English   German

World premiere at Berlinale (Panorama), 11 Feb 2017

Has been playing on many film festivals around the world. With English subtitles. Subtitled versions in French, Spanish, Portuguese, Russian, Chinese and eventually Arabic soon available.

Produced by

Co-produced by
Rundfunk Berlin-Brandenburg

Supported by
Medienboard Berlin-Brandenburg,
Filmförderung Hamburg Schleswig-Holstein,
MFG Filmförderung Baden-Württemberg und
Deutscher Filmförderfonds

Movie trailer


Today's hip image of Berlin is based on the city’s vibrant and subversive subcultures, which originally emerged within the grey walls surrounding West Berlin. The queer scene played a major role in creating that subculture, with its sexual diversity and its wild and unconstrained party culture, ranging from notorious clubs to CSD. Many of the scene’s actors, such as the Gay Museum, the Teddy Award, AIDS help organizations, and the queer magazine Siegessäule originated before 1989.

Yet gays in West Berlin suffered greatly under an incongruous provision in German law – the infamous Paragraph 175 – that made homosexual acts between men a crime up until its reform in 1969. Raids and arrests in bars were common, yet ultimately failed in suppressing gay life in West Berlin. Instead, the city turned into a gay capital. The late seventies in particular were a period of great sexual and political freedoms and more intense social intermingling between the gay-, hetero-, and transsexual worlds. Then AIDS struck, wrecking greater havoc in Berlin than in any other German city.

After OUT IN EAST BERLIN (2013)*, MY WONDERFUL WEST BERLIN describes gay life in the western half of the city in the dynamic period between the end of WWII and the fall of the Berlin Wall, all the while referencing current social issues. The stories and experiences of political activists, party-goers, hedonists, club owners, musicians, fashion designers, a DJ, and a make-up artist paint a vivid picture of the gay scene in that period. The use of never before seen archival film footage completes the picture by allowing viewers to travel through time to a hitherto unknown WestBerlin.

MY WONDERFUL WEST BERLIN explores the historic roots of the fascinating city, that is a dream destination and a place of refuge for gay men form across the world to this day. The film is the second part of filmmaker Jochen Hick’s Berlin trilogy, the final part of which will focus on the period after the fall of the Wall, up until today.

* co-dir. A. Strohfeldt

In the media

Being gay in West Berlin


After the end of the Nazi era and the Second World War, Germany lay in ruins. The social structures were equally broken, with the liberal advances and achievements of the Weimar Republic long buried. The historic endeavors of the scientific and humanitarian committees of Markus Hischfeld and other organizations to rid the country of the notoriously discriminatory paragraph § 175 in German law had long been forgotten. Shortly after Hitler's rise to power in 1933, the Nazis closed down most gay venues and in 1935, tightened laws criminalizing gays. Before this time intercourse-like activities between men were already prosecutable, yet now even the more ambiguous notion of lusty arousal between men became a criminal offense. The Nazis also introduced paragraph § 175a, which sent men to prison for up to 10 years in the case of a severe sexual offense (such as sex with a minor or prostitution). The pink triangle that homosexuals were forced to wear in the concentration camps became a symbol for the immeasurable suffering, stigma, and State-run terror that gays and lesbians were subjected to.

Klaus Schumann

Secret Love: the 50's & 60's in the era of paragraph § 175

After the war, the Federal German lawmakers carried over paragraph § 175 unaltered, just as the Nazis had written it in its 1935 version.* This was justified by the contention that the tightening of the law by the Nazis was not based on Nazi concepts. A parliamentary document from 1962 reads: Where same-sex fornication abounds, the degeneration and moral decline of the populace follows. Within this legal framework, denunciation, raids, and summons were part of daily life for many homosexuals in West Germany. More than 50,000 men were convicted and served prison sentences under the provision of § 175 up until the 1960's. The efforts of some individuals to overturn the law through the dissemination of information and petitions to parliament, failed.

Gay West Berliners who grew up in the 50's and 60's knew that society not only disdained and condemned their sexual orientation, but also considered it criminal. However this was not something one talked about, as Klaus Schumann, who grew up in Schöneberg's red triangle district, states. Behind his back, Klaus was called a doll boy. At the time, he didn't know what it meant, but understood that it was not a good thing when he witnessed his parents throw a fit about the reference.

Meanwhile a gay subculture was beginning to flourish in Berlin, hidden away behind closed doors and ambiguous doorbell nameplates. Berlin and Hannover were the only cities in West Germany, where dancing between men was not prohibited. Dozens of gay bars actively reinforced Berlin's reputation as the most libertine and permissive city in the country, among them the Kleist Casino. René Koch, who worked there as a bartender, describes the extravagant interior as ritzy, lavish, classy, and with chandeliers – it was all poofy baroque.

One of the most prominent venues was the Eldorado, where drag artists like Marcel André performed. West Berlin abounded with public restrooms and parks that were well-known meeting places for gay sex. This licentiousness attracted young gays from across the country to West Berlin – students, draft dodgers, and hedonists of all colors.

Time of revolt: the gay and lesbian movement of the 70's

While the US was engaged in the Vietnam war during the late 60's, left-wing student movements were gaining ground throughout the Western world; and with them, the desire for more sexual freedom. On New York's Christopher Street in 1969, gays, lesbians, and transsexuals publicly took a stand against police discrimination for the first time. In the same year, West Germany overturned § 175 during a reform of the penal code. Four years later, a further amendment decreased the age of consent from 21 to 18 years. A Spiegel magazine cover from the time reads: Homosexuals: freed, but still ostracized.

During the Berlin film festival of 1971, Rosa von Praunheim's film It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives (co-author: Martin Dannecker) stirred up immense controversy and division in the gay world. While some homosexuals vehemently rejected the film as defamatory, others euphorically hailed it. The film's message was: Get out of the public toilets and into the streets! Screenings of the film resulted in the formation of gay action groups in many German cities.

In Berlin, the group Homosexual Action West Berlin (HAW) was created. We wanted a gay revolution to overcome capitalism side by side with the working class and to free gays, explains Wolfgang Theis, who was part of the group from its start. The HAW took part in leftist demonstrations, collected signatures for a reversal of § 175, and mobilized against occupational bans targeting gay teachers. For many of its members, the HAW became like a family. Some even went a step further and began living together in gay communes. The most important campaigns of the highly politicized group were filmed by the openly gay teacher Wilfried Laule with his Super-8 camera.

Since most of the HAW members were students, their political point of views were as colorful and diverse as the left wing of that decade was. In the early days, they created a close alliance with equally political and combative lesbians. Yet the women soon dissociated themselves from the domineering gays. Heated discussions arose in the gay community about what gays should be like. Should gays act like real guys or rather be provocatively poofy? The painter and artist Salomé remembers: We created a drag faction. We would meet at the HAW and decide to do an action in the metro on the weekend. We'd tell everyone to come as dolled up as possible in order to be more visible. Yet this type of provocation was quite dangerous. I can remember a few situations when we had to jump out of the metro in order to avoid getting beaten up.

Activists from the HAW left their marks on society, some of which are still at work today. Gerhard Hoffmann was the creator of the magazine Die Schwuchtel (literally: The Pansy) and also started the gay café Anderes Ufer on a main street in Schöneberg in 1977. We opened the first homosexual bar that raised the blinds and allowed passers-by to look in, Hoffmann remembers. It was modern, avantgarde, and open to everybody, with lots of art and events. David Bowie, who lived two houses down the street, was a regular. The publishing house Pink Triangle, created in 1975 and headed by Egmont Fassbinder for over 20 years, published both fiction and non-fiction books on gay topics. Peter Hedenström and some friends opened the gay bookstore Prinz Eisenherz, which still exists today. In the mid 80's, Berlin's Schwulen Museum* (gay museum) was also founded by HAW members and co-founder Wolfgang Theis still works there today. The HAW also brought forth the gay center SchwuZ, which has also remained a trendy gay club and meeting place to this day.

The gay subculture that director Rosa von Praunheim had critically mirrored in his 1971 film continued to thrive throughout the 70's, with the annual drag ball being the most important event of the year for the bourgeois gay world. In 1974, the 26-year old transsexual drag artist Romy Haag opened the legendary club Chez Romy Haag. In the old West, there were no hierarchies or social classes. Everyone had to get along with everyone else, is how she describes the atmosphere that predominated in her club and the area. In the mid 70's, the gay leathermen scene opened Die Knolle, the first venue in Berlin with a darkroom. Berlin's gay scene was beginning to diversify.

New Lifestyles: the 80's

In the late 70's, Wolfgang Müller, founder of the punk band Die Tödliche Doris, came to Berlin and took part in the first CSD rally in 1979. West Berlin looked totally trashy and shoddy at the time. There were still all sorts of old former Nazis running around, who's views didn't fit into the culture of the West or the East, nor any other part of society. Partly due to the emergence of the SO36 club and the Oranienbar, the district of Kreuzberg became the quintessential embodiment of alternative lifestyles and a refuge for gay punks, squatters, and avantgarde artists. The club Metropol in Schöneberg also emerged as one of the top party spots in West Berlin, with far reaching consequences, as DJ Westbam remembers: Music as a wave of energy! That is what emerged from Berlin's gay nightlife and what paved the way for the techno revolution.

In a highrise block in northern Charlottenburg, teenagers Ades Zabel and Bob Schneider shot their first film, which is still considered a cult film in the trash genre: Edith Schröder. A German housewife. Bob Schneider describes the main characters of the film, Edith and Jutta, as: the absolute opposite of what Kreuzberg embodied. The opposite of house squats, rallies, and the left scene. They were a kind of a symbol for the square, middle-class narrow-mindedness of the other West Berlin.

The most important gay Berlin film of this era is Taxi zum Klo (1980). Director, writer, and lead actor Frank Ripploh (1949-2002) was a school teacher in real life. It was a really freeing film because for the first time, the pain and suffering of being gay was just left out. Instead, anarchical pleasures and self-destructive behavior featured center stage, remarks Wieland Speck, filmmaker and head of the Panorama section of the Berlin film festival since 25 years.

Disruption and the search for visibility: AIDS and its ramifications

Ripploh's film mirrored a new sexual freedom that was flourishing - unfettered by convention and partly fuelled by drugs - in Berlin's public toilets and throughout the increasingly self-confident gay scene. A freedom that was would be scrutinized and challenged anew with the arrival of HIV/AIDS in the mid 80's. The whole AIDS thing was like some sort of background noise for us at first. I ignored it, like many others, explains the journalist and author Dirk Ludigs. Then came the first HIV tests and every third person tested positive.

The German AIDS-Help organization and its Berlin subsidiary were founded in 1983 and 1985, respectively. Prominent celebrities campaigned for better information and support for the victims of the disease – and against the demands of the center-rightwing CSU party to implement compulsory testing and the internment of HIV-infected people. In the late 80's, German activists addressed the public with media-savvy political campaigns, mimicking their American role model ACT UP (AIDS Coalition to Unleash Power), created in 1987. One of the most spectacular campaigns took place during the final prayers of the Catholic Episcopal Conference in 1991. Berlin-based ACT-UP members disrupted the prayers to protest against the catholic church's prohibition of condoms and its stance on homosexuality and AIDS.

Many artists, including photographer Jürgen Baldiga (1959-1993), who grappled with the progression of his own disease on camera, were actively engaged in the struggle to shake up and galvanize society about AIDS. The AIDS crisis was a tragedy of momentous proportions that led to a greater visibility of homosexuality in society. To my surprise, AIDS actually gave us an opportunity to bring the topic of homosexuality to the center of society. Everyone knew someone who had died from AIDS. Many parents suddenly lost their sons. Celebrities were outed through the disease, explains Gerhard Hoffmann, who lost his partner to AIDS.

Gay film buff Manfred Salzgeber (1943-1994) also wanted to reach the general public. In 1985 he founded the distribution company Edition Manfred Salzgeber to give films about AIDS a platform. He also founded the Panorma section of the Berlin film festival one year later, and created the gay-lesbian Teddy award with Wieland Speck in 1987.

The Berlin Wall fell in the midst of the AIDS crisis and with the sudden reunification of Germany also came the end of the unique sociocultural biotope of West Berlin. Berlin's lesbian and gay movements were suddenly faced with new challenges and possibilities. But that is the topic for a different film.

To this day, none of the victims who were sentenced under the Federal German Republic's § 175 have been exonerated or indemnified.

* Unlike West Germany, in the penal code of the GDR, paragraph § 175 was adopted in its original Weimar Republic version. It was mitigated in 1957, then replaced by paragraph §151 in 1968, and finally omitted entirely in 1988.

** Until the mid 60's, when arrests were made during raids, suspects were taken to the police headquarters in Gothaer Strasse in Berlin's Schöneberg precinct and registered. In the case of minors, the parents were called to pick up their sons.

The Protagonists

Klaus Schumann, born 1937 in Berlin Schöneberg. After being a tailor's apprentice, he moved to Switzerland between 1957 and 1961. Jobs with distinguished fashion designers from West Berlin followed. He received his master craftsman certificate in 1975 and opened his own studio. Schumann outed himself publicly alongside more than 600 other gay men from West Berlin through a 1978 cover story by German news magazine Stern, titled We are gay. The publication caused a breach with his family. Schumann lost his long-time boyfriend to AIDS. At over 80, he still works in his studio in Berlin Wilmersdorf as a couturier for ladies fashion.

Udo Walz and René Koch René Koch, born 1945 in Heidelberg. René came to Berlin at age 18 and worked as a dishwasher, bartender, transvestite performer, and co-owner of a food store. He began his formation as a make-up artist in 1969 and became the chief make-up artist for Charles of the Ritz in New York in 1971. He returned to Berlin in 1990 and made a name for himself as one of the city's most sought after make-up artists. Koch became actively engaged in AIDS support organizations and launched the working group Camouflage in 1996 to support people with skin anomalies. He also established a lipstick museum in his home in Berlin Wilmersdorf and published an autobiography titled Abgeschminkt in 2016. René continues to maintain a decades-long friendship with star hairdresser Udo Walz.

Wolfgang Winkler, born 1936 in Berlin Mahlsdorf (former East Berlin). He had a affair with a West Berliner in the late 50's, but the construction of the Berlin Wall put an abrupt end to the relationship. Winkler studied economics and became a scientific librarian. He led the Theater Arts library, which he helped create, in the artist club Möwe between 1966 and 1991.

Wolfgang Theis Wolfgang Theis, born 1948 in Gärtringen, in Southern Germany. He trained as a cook, then completed his military service with the German Navy. He lives in Berlin since the late '60s – much of that time in a shared flat – and is a co-founder of the HAW (Homosexual Action Group). Wolfgang then launched his career as a film critic, and in 1984, he helped create the exhibition Eldorado – History, daily life and culture of homosexual women and men in Berlin 1850–1950 in the Berlin Museum. A year later, he co-founded the association Friends of the Gay Museum in Berlin and was awarded a Federal Cross of Merit in 2011 for his work for the Gay Museum. He still curates dozens of exhibitions at the museum.

Rosa von Praunheim, born 1942 in Riga, Latvia. He grew up in Teltow-Seehof and later on, in the district of Praunheim in Frankfurt am Main. Rosa moved to Berlin in 1962. The name Rosa is a reference to the pink triangle that identified gay prisoners in Nazi concentration camps. His film It is not the homosexual who is perverse, but the society in which he lives is considered a beacon of the gay rights movement of the 70's. His AIDS films from the late 80's and early 90's were a catalyst for the German AIDS movement.

Wilfried Laule, Detlef Mücke, Wolfgang Theis Detlef Mücke, born 1944. He grew up in Hannover, studied in Göttingen, and has been living and working as a teacher in Berlin since 1971. Detlev is a co-founder of the teacher's group in the HAW. As an activist, he worked to end occupational bans for gay teachers and homosexual discrimination in the school syllabus. He came-out publicly in front of his students in 1978 and was one of the initiators of the working group of homosexual teachers and educators in the Education and Science union.

Wilfried Laule, born 1945 in Eigeltingen near Konstanz am Bodensee. He studied fine arts in Stuttgart and then Berlin, where he lives since 1970. As a founding member of the HAW, he filmed many of the group's actions and campaigns with his Super-8 camera. Wilfried taught art in several schools in Berlin and still works as a painter and photographer. His work has been published in magazines and books, and has been shown in a number of exhibitions, including two solo shows in Berlin's Gay Museum.

Egmont Fassbinder Egmont Fassbinder, born 1945 in Kippenheim. He lives in Berlin since 1965, where he moved at the end of high school in order to avoid doing his military service. Egmont studied social sciences in Heidelberg and at Freie Universität in Berlin. He was a member of the student parliament in the German Socialist Student Alliance (SDS) and is a co-founder and active member of the HAW. Since 1978, he heads the publishing company Verlag rosa Winkel, which publishes fiction and non-fiction books on gay related topics.

Gerhard Hoffmann, born 1946. He studied political science in Munich and moved to Berlin in 1973 with his boyfriend Reinhard von der Marwitz. Both of them continued their studies at the Freie Universität. They were active in the HAW and co-founded the magazine Schwuchtel (1975), then the café Anderes Ufer (1977), and finally the publishing house Albino Verlag (1981). In 2016, he received the Federal Cross of Merit for his many years of activism in the gay rights movement.

Romy Haag Peter Hedenström, born 1948 in Lübeck. After high school, he studied German literature in Göttingen, and beginning in 1969, in Berlin. He was one of the founding members of HAW, as well as co-founder of the publishing house Verlag rosa Winkel (1975) and of the gay bookstore Prinz Eisenherz (1978), where he worked until 2003. In the mid 80's, the Prinz Eisenherz bookstore was one of Berlin's most important centers on AIDS information.

Wieland Speck, born 1951 in Freiburg im Breisgau. He lives in Berlin since 1972, where he studied German literature, Drama, and cultural anthropology at the Freie Universität. He has been living in a men's commune ever since and only moved out in 2016. He first began making films in the 70's and directed Westler, a gay East-West love story, for the television channel ZDF in 1985. Alongside Manfred Salzgeber, he founded the lesbian-gay Teddy film prize in 1987, which is awarded every year at the Berlin film festival. Since 1992, he is the head programmer of the Panorama section of the Berlin Film festival.

Romy Haag Romy Haag, born in the Netherlands. After stints in Paris and New York, she moved to Berlin and opened the nightclub Chez Romy Haag in 1974, where she performed as a drag artist. The club was extremely popular up until 1983, when it closed its doors. Romy also acted in films, had her own TV show, and released several albums as a singer. To this day, she is considered one of the most versatile queer artists in Germany. She has been a member of the board of trustees of the Berlin AIDS support organization since the late 80's.

Salomé, born 1954 in Karlsruhe. He came to Berlin in 1973 and was part of the drag faction of the HAW while he studied at the Universität der Künste. As an artist, he was considered part of the Neue Wilde movement of young painters from Germany and Austria. His big international break arrived in 1982, when his work was shown at the documenta 7 in Kassel. From 1983, he lived and worked as a painter and performance artist in New York, and returned to Berlin Kreuzberg in 1998.

Wolfgang Müller, born 1957 in Wolfsburg. He had his coming-out in his home town and created the city's first gay group. In 1979 he participated in West Berlin's first Gay Pride march. Between 1980 and 1985, Wolfgang studied at Berlin's Hochschule der Künste and created an experimental band Die tödliche Doris with Nikolaus Utermöhlen. His book, Geniale Dilletanten, was published by Merve-Verlag in 1982. It became a manifesto of the young music and cultural scene of Berlin at the time. Since 1990, Wolfgang lives between Reykjavík and Berlin.

Ades Zabel, born 1963 in Berlin Haselhorst. He grew up in Charlottenburg's Paul-Hertz neighborhood in West Berlin. Ades completed an apprenticeship in the men's wear department of the famous KaDeWe department store. A big fan of Super-8 movies, he shot his first film with friends in the early 80's, titled Edith Schröder. A German housewife, which became a cult hit. He made his living as a projectionist at the Moviemento cinema in Kreuzberg. Between 1987 and 1992, he created and acted (as Edith) alongside Bob Schneider (who played Jutta) in the film trilogy Drei Drachen vom Grill, a parody of the TV trilogy Drei Damen vom Grill. Ades Zabel and Bob Schneider still perform together in the same roles.

Bob Schneider, grew up in the same building as Ades Zabel. They first met on a bus on the way home from the nightclub Dschungel on Adenauerplatz and have been working together ever since. Like Ades, Bob also worked as projectionist at the Moviemento cinema. In the 90's, he studied editing at the film school in Potsdam Babelsberg. In the role of Jutta, he performs as a tourist tour guide of Berlin on a comedy bus and comedy boat. He is also the creator of a variety of theatrical performances.

DJ Westbam DJ Westbam, born 1965 in Münster, was a major fan of punk music as a teenager. He moved to Berlin in 1983 and began his career as a DJ in the Metropol nightclub. In 1984 he published the text What is record art, in which he describes the DJ as a musician who composes entirely new pieces from existing albums. As a producer, Westbam is considered one of the pioneers of techno music. His name is short for Westfalia Bambaataa, a reference to the famous New York hip hop DJ Afrika Bambaataa.

Dirk Ludigs, born 1965, grew up in the Saarland region and founded a lesbian-gay youth group in his home town in 1983. After graduating from high school, he came to Berlin and developed his own performance program in the SchwuZ nightclub in 1985. In 1987 he began working as a freelance journalist for the alternative radio station 100. He currently lives in the US.

Patsy l'Amour laLove, refers to herself as a professional drag queen. She studied at Humboldt Universität in Berlin and wrote her dissertation about the gay movement of the 70's. She calls the leading gay activists of the time her mothers and sisters. Patsy organizes scientific and cultural events like the Polymorphia party in SchwuZ club and is active on the advisory board of Berlin's Gay Museum. In 2016, her book Self-hate & emancipation was published by Querverlag.

The Director

Jochen Hick
Photo: © Hick / Galeria Alaska Prod.

Jochen Hick, born 1960 in Darmstadt. He grew up in the Taunus region, in Munich, and in Stuttgart. From 1981–87, Jochen studied film in Bologna, Italy, and at Hamburg's Hochschule für Bildende Künste, with professors like Helke Sander. Since graduation, he has worked as a film director, author, journalist and producer for film and television, with a special focus on socio-cultural and LGBT topics. In 1994 he created his own production company, Galeria Alaska Productions, with which he has produced a multitude of reports and documentaries for television stations ARD, ZDF/ARTE, 3sat, and Spiegel TV. Between 2007 and 2010, Jochen was the deputy program director and editor-in chief at TIMM, the first TV channel for gay men in the German-speaking world. Hick's films were presented at more than 300 international film festivals and received a number of awards, including the advancement award by German Film Critics (1987) and the Teddy award for best documentary (2003).


1984Mond über Pittsburg (short)
1987Gerd Hansen, 55 (short)
1990Via Appia (feature film)
1991Teufel im Paradies (documentary)
1992Willkommen im Dom (short documentary)
1995Menmaniacs – The Legacy of Leather (documentary)
1998Sex/Life in L.A. (documentary)
2000No One Sleeps (feature film)
2003Ich kenn keinen – Allein unter Heteros (documentary)
2005Cycles of Porn – Sex/Life in L.A. 2 (documentary)
Am Ende des Regenbogens (tv documentary)
2006Hallelujah! (short)
2007Deutschland – Ein Herbstmärchen (short)
2008East/West – Sex & Politics (documentary)
2009The Good American (documentary)
2013Out in Ost-Berlin – Lesben und Schwule in der DDR (documentary)
2016Der Ost-Komplex (documentary)
2017Mein wunderbares West-Berlin (documentary)



Egmont Fassbinder
Romy Haag
Peter Hedenström
Gerhard Hoffmann
René Koch
Patsy L‘Amour laLove
Wilfried Laule
Dirk Ludigs
Detlef Mücke
Wolfgang Müller
Aron Neubert
Rosa von Praunheim
Bob Schneider
Klaus Schumann
Wieland Speck
Wolfgang Theis
Udo Walz
Judy Winter
Ades Zabel


Bob, Biggy van Blond, Mabel Aschenneller, Gaby Böldt, Hans-Dieter Eickmeyer, Manuela Kay, Thomas Katt, Dilek Kolat, Mahide Lein, Melina M, Angela Parker, Patachou, Renata Ravell, Marianne Rosenberg, Marco Schacht, Walter Schörling, Christiane Steiner


Karl-Heinz Steinle


Thomas Keller


Alexander Gheorghiu & Jochen Hick


Andreas Strohfeldt, Gilles Lasnet,
Bernard Homann, Daniel Sander


Andreas Strohfeldt,
Jörg Polzer, Mischa Pfisterer


Andreas Strohfeldt, Karl-Heinz Steinle,
Linda Förster, Friedrich Rother


Peter Kolano


Jörg Theil & André Zacher


Michael Kaczmarek – K13


Christoph Weber


Hermann Hick & Ursula Scheid


Rainer Baumert


Rolf Bergmann


Jochen Hick


Westbam ...And Party, Beatbox Rocker, Monkey say, Monkey do
Claude Debussy, Edvard Grieg, Wolfgang Amadeus Mozart, Richard Wagner
David Harrow, Kevin McLeod



Schwules Museum* Berlin

Wolfgang Cortjaens & Kristine Schmidt



Deutsche Oper Berlin

Stefan Bock & Kirsten Heymeyer, Dorothea Katzer


Schwules Museum*, Fernseharchiv des RBB, BStU, Spinnboden-Archiv,
Landesarchiv Berlin, Polizeiarchiv Berlin, Archive der Berliner Bezirke
BStU: Oliver Strübing, Dagmar Hovestädt, Friedrich Rother
& Rüdiger Droysen von Hamilton


Horst Blohm, Eberhard Brucks, Egmont Fassbinder, Peter Hedenström,
Gerhard Hoffmann, Detlef Mücke, Wolfgang Müller, Bob Schneider,
Wieland Speck, Wolfgang Theis, Wolfgang Winkler, Horst Wachholz, Ades Zabel


Johannes Aevermann, Jürgen Baldiga, Berliner Aids-Hilfe, BStU, Deutsche AIDS-Hilfe,
Martin Eberle, Rolf H. Fischer, Gerhard Faulhaber, Tina Hegewisch, Elfi Mikesch,
Jearld Moldenhauer, Cristina Perincioli, Werner Müller, Aron Neubert,
Polizeihistorische Sammlung Berlin, Rosa von Praunheim Filmproduktion, Barbara Schier,
Prinz Eisenherz Buchladen, Schwules Museum*, SchwuZ Archiv,
Wieland Speck Filmproduktion, Karl-Heinz Steinle, Gregor Stix, Detlef Stoffel,
Ingo Taubhorn, Teufelsberger Produktion, Rüdiger Trautsch, Inge Werth,
Regina Ziegler Filmproduktion


Heiner Beisswenger, Carl Bergengruen, Dagmar Boek-Siebenhaar, Michael Brynntrup, Martin Dannecker, Jens Dobler, Klaus Dufke, Hans-Dieter Eickmeyer, Claudia Fierke, Bernd Gaiser, Harald Glööckler, Bruno Gmünder, Ogar Grafe, Carsten Grunwald, Tony B. Heric, Eva Hubert, Hans Hütt, Elmar Kraushaar, Jürgen Laarmann, Lothar Lambert, Carsten Mach-Bleyl, Dorothee Martin, Katrin Mersmann, Kirsten Niehuus, Michael Ostwald, Peter Rehberg, Reiner Rosner, Daniel Saltzwedel, Ric Schachtebek, Brigitte Schlögel, Axel Schock, Dieter Rita Scholl, Heidi Springfeld, Michael Stock, BeV StroganoV, Carsten Thamm-Walz, Stefan M. Weber, Lars Vestergaard von Laustsen, Gloria Viagra, Karin Wallenczus, Bob Young, Monika Zabel, Kai Zander, Zazie de Paris, Oliver Zeller


Berliner Aids-Hilfe, Berliner Verkehrsgesellschaft, Gay Wiesn, Café Grosz, Café Impala,
CSD Berlin e.V. / Pride Berlin, Deutsche Bahn AG / PR & Int. Kommunikation
Dyke March Berlin, Folsom Europe, Friseur Araz Cut, Hotel de Rome, HustlaBall Berlin
Kleine Philharmonie, Lesbisch-Schwules Stadtfest, Lippenstiftmuseum
Möbel Olfe, More Restaurant, Paris Bar, Polymorphia Show, Prinzknecht Bar, Scheune Bar, SchwuZ
Südblock, Wohnzimmer Bar, Wintergarten Varieté, Vagabund
Schwules Museum*, Berlin










© 2017


Contact & World distribution

Galeria Alaska Productions
Jochen Hick

P.O. Box 201620
D-20206 Hamburg / Germany

Phone: +49-40-4208199
Fax: +49-3212-1206473

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Press contact: Christian Weber
Phone: +49-30-28529070

Booking for Germany: Juergen Pohl
Phone: +49-30-28529022

Impressum / Imprint / Legal notice

Galeria Alaska Productions
Jochen Hick

P.O. Box 201620
D-20206 Hamburg / Germany

Phone: +49-40-4208199
Fax: +49-3212-1206473

Property and responsible for page content:

Jochen Hick
This Site is owned and operated by GALERIA ALASKA PRODUCTIONS/Jochen Hick and materials on the Site are mainly owned by the company. The Site may also include materials owned by third parties and posted on the Site by virtue of a license, grant or some other form of agreement between the third party and GALERIA ALASKA PRODUCTIONS/Jochen Hick

Responsible for the content of sites of external links are the owners and operaters of those sites. We try to survey those contents as careful as possible.

The EU General Data Protecction Regulation (GDPR) is applicable from May 25, 2018 - pls. click here.

Website artwork and creation:
Concept, Screendesign and Programming: Axel Gajewski and Olrik Neubert
Text: Jochen Hick

VAT Number: DE119024509

Contact to Site Administrator:
Any questions or comments regarding, or problems with, this Site should be sent to the Site Administrator at:

Impressum / Imprint / Legal Notice

Angaben gemäß § 5 TMG

Jochen Hick
Falkenried 56
20251 Hamburg

Vertreten durch:
Jochen Hick

Telefon: 040-4208199
Fax: 03212-1206473

Umsatzsteuer-Identifikationsnummer gemäß §27a Umsatzsteuergesetz: DE119024509


Verantwortlich für den Inhalt nach § 55 Abs. 2 RStV:
Jochen Hick
Falkenried 56
20251 Hamburg


Haftung für Inhalte

Die Inhalte unserer Seiten wurden mit größter Sorgfalt erstellt. Für die Richtigkeit, Vollständigkeit und Aktualität der Inhalte können wir jedoch keine Gewähr übernehmen. Als Diensteanbieter sind wir gemäß § 7 Abs.1 TMG für eigene Inhalte auf diesen Seiten nach den allgemeinen Gesetzen verantwortlich. Nach §§ 8 bis 10 TMG sind wir als Diensteanbieter jedoch nicht verpflichtet, übermittelte oder gespeicherte fremde Informationen zu überwachen oder nach Umständen zu forschen, die auf eine rechtswidrige Tätigkeit hinweisen. Verpflichtungen zur Entfernung oder Sperrung der Nutzung von Informationen nach den allgemeinen Gesetzen bleiben hiervon unberührt. Eine diesbezügliche Haftung ist jedoch erst ab dem Zeitpunkt der Kenntnis einer konkreten Rechtsverletzung möglich. Bei Bekanntwerden von entsprechenden Rechtsverletzungen werden wir diese Inhalte umgehend entfernen.

Haftung für Links

Unser Angebot enthält Links zu externen Webseiten Dritter, auf deren Inhalte wir keinen Einfluss haben. Deshalb können wir für diese fremden Inhalte auch keine Gewähr übernehmen. Für die Inhalte der verlinkten Seiten ist stets der jeweilige Anbieter oder Betreiber der Seiten verantwortlich. Die verlinkten Seiten wurden zum Zeitpunkt der Verlinkung auf mögliche Rechtsverstöße überprüft. Rechtswidrige Inhalte waren zum Zeitpunkt der Verlinkung nicht erkennbar. Eine permanente inhaltliche Kontrolle der verlinkten Seiten ist jedoch ohne konkrete Anhaltspunkte einer Rechtsverletzung nicht zumutbar. Bei Bekanntwerden von Rechtsverletzungen werden wir derartige Links umgehend entfernen.


Die durch die Seitenbetreiber erstellten Inhalte und Werke auf diesen Seiten unterliegen dem deutschen Urheberrecht. Die Vervielfältigung, Bearbeitung, Verbreitung und jede Art der Verwertung außerhalb der Grenzen des Urheberrechtes bedürfen der schriftlichen Zustimmung des jeweiligen Autors bzw. Erstellers. Downloads und Kopien dieser Seite sind nur für den privaten, nicht kommerziellen Gebrauch gestattet. Soweit die Inhalte auf dieser Seite nicht vom Betreiber erstellt wurden, werden die Urheberrechte Dritter beachtet. Insbesondere werden Inhalte Dritter als solche gekennzeichnet. Sollten Sie trotzdem auf eine Urheberrechtsverletzung aufmerksam werden, bitten wir um einen entsprechenden Hinweis. Bei Bekanntwerden von Rechtsverletzungen werden wir derartige Inhalte umgehend entfernen.


Die Nutzung unserer Webseite ist in der Regel ohne Angabe personenbezogener Daten möglich. Soweit auf unseren Seiten personenbezogene Daten (beispielsweise Name, Anschrift oder eMail-Adressen) erhoben werden, erfolgt dies, soweit möglich, stets auf freiwilliger Basis. Diese Daten werden ohne Ihre ausdrückliche Zustimmung nicht an Dritte weitergegeben.
Wir weisen darauf hin, dass die Datenübertragung im Internet (z.B. bei der Kommunikation per E-Mail) Sicherheitslücken aufweisen kann. Ein lückenloser Schutz der Daten vor dem Zugriff durch Dritte ist nicht möglich.
Der Nutzung von im Rahmen der Impressumspflicht veröffentlichten Kontaktdaten durch Dritte zur Übersendung von nicht ausdrücklich angeforderter Werbung und Informationsmaterialien wird hiermit ausdrücklich widersprochen. Die Betreiber der Seiten behalten sich ausdrücklich rechtliche Schritte im Falle der unverlangten Zusendung von Werbeinformationen, etwa durch Spam-Mails, vor.

Google Analytics

Diese Website benutzt Google Analytics, einen Webanalysedienst der Google Inc. (''Google''). Google Analytics verwendet sog. ''Cookies'', Textdateien, die auf Ihrem Computer gespeichert werden und die eine Analyse der Benutzung der Website durch Sie ermöglicht. Die durch den Cookie erzeugten Informationen über Ihre Benutzung dieser Website (einschließlich Ihrer IP-Adresse) wird an einen Server von Google in den USA übertragen und dort gespeichert. Google wird diese Informationen benutzen, um Ihre Nutzung der Website auszuwerten, um Reports über die Websiteaktivitäten für die Websitebetreiber zusammenzustellen und um weitere mit der Websitenutzung und der Internetnutzung verbundene Dienstleistungen zu erbringen. Auch wird Google diese Informationen gegebenenfalls an Dritte übertragen, sofern dies gesetzlich vorgeschrieben oder soweit Dritte diese Daten im Auftrag von Google verarbeiten. Google wird in keinem Fall Ihre IP-Adresse mit anderen Daten der Google in Verbindung bringen. Sie können die Installation der Cookies durch eine entsprechende Einstellung Ihrer Browser Software verhindern; wir weisen Sie jedoch darauf hin, dass Sie in diesem Fall gegebenenfalls nicht sämtliche Funktionen dieser Website voll umfänglich nutzen können. Durch die Nutzung dieser Website erklären Sie sich mit der Bearbeitung der über Sie erhobenen Daten durch Google in der zuvor beschriebenen Art und Weise und zu dem zuvor benannten Zweck einverstanden.

Google AdSense

Diese Website benutzt Google Adsense, einen Webanzeigendienst der Google Inc., USA (''Google''). Google Adsense verwendet sog. ''Cookies'' (Textdateien), die auf Ihrem Computer gespeichert werden und die eine Analyse der Benutzung der Website durch Sie ermöglicht. Google Adsense verwendet auch sog. ''Web Beacons'' (kleine unsichtbare Grafiken) zur Sammlung von Informationen. Durch die Verwendung des Web Beacons können einfache Aktionen wie der Besucherverkehr auf der Webseite aufgezeichnet und gesammelt werden. Die durch den Cookie und/oder Web Beacon erzeugten Informationen über Ihre Benutzung dieser Website (einschließlich Ihrer IP-Adresse) werden an einen Server von Google in den USA übertragen und dort gespeichert. Google wird diese Informationen benutzen, um Ihre Nutzung der Website im Hinblick auf die Anzeigen auszuwerten, um Reports über die Websiteaktivitäten und Anzeigen für die Websitebetreiber zusammenzustellen und um weitere mit der Websitenutzung und der Internetnutzung verbundene Dienstleistungen zu erbringen. Auch wird Google diese Informationen gegebenenfalls an Dritte übertragen, sofern dies gesetzlich vorgeschrieben oder soweit Dritte diese Daten im Auftrag von Google verarbeiten. Google wird in keinem Fall Ihre IP-Adresse mit anderen Daten der Google in Verbindung bringen. Das Speichern von Cookies auf Ihrer Festplatte und die Anzeige von Web Beacons können Sie verhindern, indem Sie in Ihren Browser-Einstellungen ''keine Cookies akzeptieren'' wählen (Im MS Internet-Explorer unter ''Extras > Internetoptionen > Datenschutz > Einstellung''; im Firefox unter ''Extras > Einstellungen > Datenschutz > Cookies''); wir weisen Sie jedoch darauf hin, dass Sie in diesem Fall gegebenenfalls nicht sämtliche Funktionen dieser Website voll umfänglich nutzen können. Durch die Nutzung dieser Website erklären Sie sich mit der Bearbeitung der über Sie erhobenen Daten durch Google in der zuvor beschriebenen Art und Weise und zu dem zuvor benannten Zweck einverstanden.

Impressum vom der Rechtsanwältin Franziska Hasselbach, Bonn

Privacy Policy

Galeria Alaska Productions
Jochen Hick

P.O. Box 201620
D-20206 Hamburg / Germany

Phone: +49-40-4208199
Fax: +49-3212-1206473


Privacy Policy

We are very delighted that you have shown interest in our enterprise. Data protection is of a particularly high priority for the management of the GALERIA ALASKA PRODUCTIONS / Jochen Hick. The use of the Internet pages of the GALERIA ALASKA PRODUCTIONS / Jochen Hick is possible without any indication of personal data; however, if a data subject wants to use special enterprise services via our website, processing of personal data could become necessary. If the processing of personal data is necessary and there is no statutory basis for such processing, we generally obtain consent from the data subject.

The processing of personal data, such as the name, address, e-mail address, or telephone number of a data subject shall always be in line with the General Data Protection Regulation (GDPR), and in accordance with the country-specific data protection regulations applicable to the GALERIA ALASKA PRODUCTIONS / Jochen Hick. By means of this data protection declaration, our enterprise would like to inform the general public of the nature, scope, and purpose of the personal data we collect, use and process. Furthermore, data subjects are informed, by means of this data protection declaration, of the rights to which they are entitled.

As the controller, the GALERIA ALASKA PRODUCTIONS / Jochen Hick has implemented numerous technical and organizational measures to ensure the most complete protection of personal data processed through this website. However, Internet-based data transmissions may in principle have security gaps, so absolute protection may not be guaranteed. For this reason, every data subject is free to transfer personal data to us via alternative means, e.g. by telephone.

1. Definitions

The data protection declaration of the GALERIA ALASKA PRODUCTIONS / Jochen Hick is based on the terms used by the European legislator for the adoption of the General Data Protection Regulation (GDPR). Our data protection declaration should be legible and understandable for the general public, as well as our customers and business partners. To ensure this, we would like to first explain the terminology used.

In this data protection declaration, we use, inter alia, the following terms:

2. Name and Address of the controller

Controller for the purposes of the General Data Protection Regulation (GDPR), other data protection laws applicable in Member states of the European Union and other provisions related to data protection is:


Falkenried 56

20251 Hamburg


Phone: 040-4208199



3. Cookies

The Internet pages of the GALERIA ALASKA PRODUCTIONS / Jochen Hick use cookies. Cookies are text files that are stored in a computer system via an Internet browser.

Many Internet sites and servers use cookies. Many cookies contain a so-called cookie ID. A cookie ID is a unique identifier of the cookie. It consists of a character string through which Internet pages and servers can be assigned to the specific Internet browser in which the cookie was stored. This allows visited Internet sites and servers to differentiate the individual browser of the dats subject from other Internet browsers that contain other cookies. A specific Internet browser can be recognized and identified using the unique cookie ID.

Through the use of cookies, the GALERIA ALASKA PRODUCTIONS / Jochen Hick can provide the users of this website with more user-friendly services that would not be possible without the cookie setting.

By means of a cookie, the information and offers on our website can be optimized with the user in mind. Cookies allow us, as previously mentioned, to recognize our website users. The purpose of this recognition is to make it easier for users to utilize our website. The website user that uses cookies, e.g. does not have to enter access data each time the website is accessed, because this is taken over by the website, and the cookie is thus stored on the user's computer system. Another example is the cookie of a shopping cart in an online shop. The online store remembers the articles that a customer has placed in the virtual shopping cart via a cookie.

The data subject may, at any time, prevent the setting of cookies through our website by means of a corresponding setting of the Internet browser used, and may thus permanently deny the setting of cookies. Furthermore, already set cookies may be deleted at any time via an Internet browser or other software programs. This is possible in all popular Internet browsers. If the data subject deactivates the setting of cookies in the Internet browser used, not all functions of our website may be entirely usable.

4. Collection of general data and information

The website of the GALERIA ALASKA PRODUCTIONS / Jochen Hick collects a series of general data and information when a data subject or automated system calls up the website. This general data and information are stored in the server log files. Collected may be (1) the browser types and versions used, (2) the operating system used by the accessing system, (3) the website from which an accessing system reaches our website (so-called referrers), (4) the sub-websites, (5) the date and time of access to the Internet site, (6) an Internet protocol address (IP address), (7) the Internet service provider of the accessing system, and (8) any other similar data and information that may be used in the event of attacks on our information technology systems.

When using these general data and information, the GALERIA ALASKA PRODUCTIONS / Jochen Hick does not draw any conclusions about the data subject. Rather, this information is needed to (1) deliver the content of our website correctly, (2) optimize the content of our website as well as its advertisement, (3) ensure the long-term viability of our information technology systems and website technology, and (4) provide law enforcement authorities with the information necessary for criminal prosecution in case of a cyber-attack. Therefore, the GALERIA ALASKA PRODUCTIONS / Jochen Hick analyzes anonymously collected data and information statistically, with the aim of increasing the data protection and data security of our enterprise, and to ensure an optimal level of protection for the personal data we process. The anonymous data of the server log files are stored separately from all personal data provided by a data subject.

5. Contact possibility via the website

The website of the GALERIA ALASKA PRODUCTIONS / Jochen Hick contains information that enables a quick electronic contact to our enterprise, as well as direct communication with us, which also includes a general address of the so-called electronic mail (e-mail address). If a data subject contacts the controller by e-mail or via a contact form, the personal data transmitted by the data subject are automatically stored. Such personal data transmitted on a voluntary basis by a data subject to the data controller are stored for the purpose of processing or contacting the data subject. There is no transfer of this personal data to third parties.

6. Comments function in the blog on the website

The GALERIA ALASKA PRODUCTIONS / Jochen Hick offers users the possibility to leave individual comments on individual blog contributions on a blog, which is on the website of the controller. A blog is a web-based, publicly-accessible portal, through which one or more people called bloggers or web-bloggers may post articles or write down thoughts in so-called blogposts. Blogposts may usually be commented by third parties.

If a data subject leaves a comment on the blog published on this website, the comments made by the data subject are also stored and published, as well as information on the date of the commentary and on the user's (pseudonym) chosen by the data subject. In addition, the IP address assigned by the Internet service provider (ISP) to the data subject is also logged. This storage of the IP address takes place for security reasons, and in case the data subject violates the rights of third parties, or posts illegal content through a given comment. The storage of these personal data is, therefore, in the own interest of the data controller, so that he can exculpate in the event of an infringement. This collected personal data will not be passed to third parties, unless such a transfer is required by law or serves the aim of the defense of the data controller.

7. Routine erasure and blocking of personal data

The data controller shall process and store the personal data of the data subject only for the period necessary to achieve the purpose of storage, or as far as this is granted by the European legislator or other legislators in laws or regulations to which the controller is subject to.

If the storage purpose is not applicable, or if a storage period prescribed by the European legislator or another competent legislator expires, the personal data are routinely blocked or erased in accordance with legal requirements.

8. Rights of the data subject

9. Data protection for applications and the application procedures

The data controller shall collect and process the personal data of applicants for the purpose of the processing of the application procedure. The processing may also be carried out electronically. This is the case, in particular, if an applicant submits corresponding application documents by e-mail or by means of a web form on the website to the controller. If the data controller concludes an employment contract with an applicant, the submitted data will be stored for the purpose of processing the employment relationship in compliance with legal requirements. If no employment contract is concluded with the applicant by the controller, the application documents shall be automatically erased two months after notification of the refusal decision, provided that no other legitimate interests of the controller are opposed to the erasure. Other legitimate interest in this relation is, e.g. a burden of proof in a procedure under the General Equal Treatment Act (AGG).

10. Legal basis for the processing

Art. 6(1) lit. a GDPR serves as the legal basis for processing operations for which we obtain consent for a specific processing purpose. If the processing of personal data is necessary for the performance of a contract to which the data subject is party, as is the case, for example, when processing operations are necessary for the supply of goods or to provide any other service, the processing is based on Article 6(1) lit. b GDPR. The same applies to such processing operations which are necessary for carrying out pre-contractual measures, for example in the case of inquiries concerning our products or services. Is our company subject to a legal obligation by which processing of personal data is required, such as for the fulfillment of tax obligations, the processing is based on Art. 6(1) lit. c GDPR. In rare cases, the processing of personal data may be necessary to protect the vital interests of the data subject or of another natural person. This would be the case, for example, if a visitor were injured in our company and his name, age, health insurance data or other vital information would have to be passed on to a doctor, hospital or other third party. Then the processing would be based on Art. 6(1) lit. d GDPR. Finally, processing operations could be based on Article 6(1) lit. f GDPR. This legal basis is used for processing operations which are not covered by any of the abovementioned legal grounds, if processing is necessary for the purposes of the legitimate interests pursued by our company or by a third party, except where such interests are overridden by the interests or fundamental rights and freedoms of the data subject which require protection of personal data. Such processing operations are particularly permissible because they have been specifically mentioned by the European legislator. He considered that a legitimate interest could be assumed if the data subject is a client of the controller (Recital 47 Sentence 2 GDPR).

11. The legitimate interests pursued by the controller or by a third party

Where the processing of personal data is based on Article 6(1) lit. f GDPR our legitimate interest is to carry out our business in favor of the well-being of all our employees and the shareholders.

12. Period for which the personal data will be stored

The criteria used to determine the period of storage of personal data is the respective statutory retention period. After expiration of that period, the corresponding data is routinely deleted, as long as it is no longer necessary for the fulfillment of the contract or the initiation of a contract.

13. Provision of personal data as statutory or contractual requirement; Requirement necessary to enter into a contract; Obligation of the data subject to provide the personal data; possible consequences of failure to provide such data

We clarify that the provision of personal data is partly required by law (e.g. tax regulations) or can also result from contractual provisions (e.g. information on the contractual partner). Sometimes it may be necessary to conclude a contract that the data subject provides us with personal data, which must subsequently be processed by us. The data subject is, for example, obliged to provide us with personal data when our company signs a contract with him or her. The non-provision of the personal data would have the consequence that the contract with the data subject could not be concluded. Before personal data is provided by the data subject, the data subject must contact any employee. The employee clarifies to the data subject whether the provision of the personal data is required by law or contract or is necessary for the conclusion of the contract, whether there is an obligation to provide the personal data and the consequences of non-provision of the personal data.

14. Existence of automated decision-making

As a responsible company, we do not use automatic decision-making or profiling.

This Privacy Policy has been generated by the Privacy Policy Generator of the German Association for Data Protection that was developed in cooperation with Privacy Lawyers from WILDE BEUGER SOLMECKE, Cologne.