Quotulatiousness

February 3, 2021

Just Following Orders? – Death Camp Commandants – WW2 Gallery

Filed under: Europe, Germany, History, Military, WW2 — Tags: , , , — Nicholas @ 04:00

World War Two
Published 2 Feb 2021

All Nazi transit, concentration, labour and extermination camps were led by Nazi officers. In this episode, we’re taking a look at some of them to see what kind of people rose to those positions and what impact they made.

The video Spartacus mentions about how Eicke created the Concentration Camp model is here: https://youtu.be/SjLFdw5u26s​

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Or join The TimeGhost Army directly at: https://timeghost.tv

Follow WW2 day by day on Instagram @ww2_day_by_day – https://www.instagram.com/ww2_day_by_day
Between 2 Wars: https://www.youtube.com/playlist?list…
Source list: http://bit.ly/WW2sources

Hosted by: Spartacus Olsson
Written by: Joram Appel and Spartacus Olsson
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Research by: Joram Appel
Edited by: Iryna Dulka
Sound design: Marek Kamiński
Map animations: Eastory (https://www.youtube.com/c/eastory​)

Colorizations by:
– Mikołaj Uchman
– Norman Stewart – https://oldtimesincolor.blogspot.com/​

Sources:
– United States Holocaust Memorial Museum
– Bundesarchiv: 152-01-14, 152-01-26, 152-01-024, 119-0052-01, 152-01-16, 183-W0402-503, 152-23-10A, 152-26-27, 183-78612-0004, 146-2007-0068, 152-23-21A
– Yad Vashem: 202_65, 202_71, 4613_666, 202_169, 202_167, 202_133, 192-093, 11CO3, 192-006, 11FO7, 1137_208
– Watchtower by Eliricon from the Noun Project

Soundtracks from the Epidemic Sound:
– Gunnar Johnsen – “Not Safe Yet”
– Cobby Costa – “From the Past”
– Brightarm Orchestra – “On the Edge of Change”
– Phoenix Tail – “Last Minute Reaction”
– Christian Andersen – “Barrel”
– Farrell Wooten – “Rainy Landscapes”
– Flouw – “Endlessness”
– Wendel Scherer – “Defeated STEMS INSTRUMENTS”
– Craft Case – “Secret Cargo”

Archive by Screenocean/Reuters https://www.screenocean.com​.

A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.

From the comments:

World War Two
5 hours ago (edited)
This is our first official “Gallery” episode. There are too many significant, impactful and interesting individuals to give them all their own Biography episodes. So we decided to bundle some of them together in categories in which they played a significant role, like the people who served as camp commandants in this episode. We will still do Biography specials when one individual story deserves to be told, but with the addition of this new format we will be able to cover a lot more and provide the broadest context to this immense war.

Fatah demands that Britain return Big Ben to its original Jerusalem home

Filed under: Britain, History, Middle East — Tags: , , , , , , — Nicholas @ 03:00

Daniel Greenfield unravels the historical misconceptions that informed the demand:

“Big Ben” by kev_zilla is licensed under CC BY-NC-ND 2.0

“The Jerusalem Clock is hidden in London today,” Fatah, the political movement behind the PLO and the Palestinian Authority, asserts in a post titled, “Jerusalem Stolen Clock”.

It goes on to claim that the British military ordered the clock tower dismantled. Then the “British moved the clock first to a new tower across from the municipality of Jerusalem, and transferred it to the British Museum in London, to become the famous British icon, ‘Big Ben’.”

How did Big Ben, which was built in 1859, become a Muslim clock tower from the 20th century?

There are some other slight differences between London’s Big Ben and the “stolen clock” such as the fact that Big Ben is 316 feet tall while the “Palestinian” clock tower was only 42 feet.

But the story of the “Palestinian clock” is also the story of the entire myth of “Palestine”.

When you believe that the Jerusalem of King David and King Solomon was originally yours, you can just as easily believe that London’s Big Ben was originally the property of “Palestine”.

The “Palestinian clock” is as real as “Palestine”. The myth of a “Palestinian” people propounded by Fatah which has spent decades killing over it is also the story of the “Palestinian clock”.

There’s no more of a “Palestinian” people who were dispossessed by the Jews than Big Ben is a “Palestinian” clock stolen and passed off as London’s Big Ben. Both are fake history built out of resentments and garbled stories whose context has been lost, but whose hatreds remain real.

There were never any Palestinians. When the clock was built the region had been part of the Ottoman Empire, the last Caliphate until ISIS. The caliphates had settled it with Arab Muslim clans who dominated Christian refugees fleeing Muslim persecution, along with groups of other minorities from escaped slaves to gypsies, along with the indigenous Jewish population.

The Ottomans had become obsessed with clock towers as a symbol of their empire. But the Ottomans hadn’t invented them, they had adopted them from Europe, and planted them in major cities of the empire to create a common sense of time and belonging for their subjects.

Sultan Abdul Hamid II, the last real sultan of the empire, obsessively erected clock towers to show off how modern the Ottoman Empire was. But by then the Empire was anything but modern and Hamid’s clock tower craze was powered by his German allies. Kaiser Wilhelm II gave Hamid a batch of clocks at the turn of the century which the Turks put into clock towers.

The Ottoman Empire erected some of its clock towers in Israel. These clock towers utilized the talents and funds of the indigenous Jewish and the Arab Muslim settler population. The clock tower projects in Israel began in 1901 which is also the date when Wilhelm sent Hamid a whole bunch of clocks. One of these clock towers was stuck on Jerusalem’s Jaffa Gate which Hamid had previously cut a hole in so that the Kaiser could enter Jerusalem in his tall plumed helmet.

H/T to Kate at SDA for the link.

Germany’s WW1 “Kurz” Model Tankgewehr

Filed under: Germany, History, Military, Weapons, WW1 — Tags: , , , — Nicholas @ 02:00

Forgotten Weapons
Published 29 Oct 2020

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When the German Tankgewehr was introduced in May 1918, the first 300 or so guns were of a different pattern than the standard production that would follow (and of which about 16,000 would be made). The Kurz model had a barrel about 4 inches shorter than the standard, and was about 2 pounds heavier, because that barrel (although shorter) was much larger in diameter than the standard pattern.

Contact:
Forgotten Weapons
6281 N. Oracle #36270
Tucson, AZ 85740

QotD: The “Parkerization” of wine

Filed under: Business, Economics, Quotations, Wine — Tags: , , , , — Nicholas @ 01:00

… mega-star wine critic Robert Parker Jr., a man who has more influence on the taste and price of wine than anyone else has, or ever had had. Now in his seventies, Parker is retired. But back in 1975, the former lawyer, taking his lead from former presidential candidate, Ralph Nader — a consumer rights advocate — began to publish The Wine Advocate, a kind of consumer guide to fancy wine.

The world of wine had never seen anything like it. Parker was on a mission to demythologise all the snobby and obscure terminology under which fine wine was clouded and developed a simple 100 point scale on which wines could be judged.

As his influence grew, a Parker wine score in the 90s would pretty much guarantee considerable financial success to a vineyard. Inevitably, so the argument goes, those who made wine started to adjust the taste of their product so that it would suit the arbiter’s palate.

Parker generally likes big, dark, gutsy, jammy, tannic wines that can, his critics say, be engineered to taste that way in post-production, often by use of imported yeasts or through the use of young oak barrels. It’s more about clever chemistry than the particular charisma of the local terroir. Parker’s taste favours the muscular Californian Cabernet wines and the great Château wines of Bordeaux, yet has little appreciation for the lighter, less tannic, more subtle Pinot Noirs from Burgundy or Gamays from the Loire Valley. “Bad critics look at Pinot through Cabernet-tinted spectacles and so criticise it for being something it never set out to be,” writes Clive Coates, in a not so subtle dig at Parker, in his encyclopaedic The Wines of Burgundy.

Those who bewail Parker’s phenomenal influence speak of “parkerisation” as the wine equivalent of globalisation. The New York Times wine critic Alice Feiring writes that this is how “Rioja loses its Spanish accent”: parkerisation leads to an increasingly homogenised style of wine in which the diversity of grapes and wine tastes come to be submerged under the over powerful influence of Parker’s very particular palate. Those, like her, who prefer subtlety in their wine speak dismissively of Parker’s love for “jam bombs”.

Those who defend Parker, argue that his 100 point scale works as a kind of bullshit detector. It’s cutting through all the fancy talk and obscure (often) French classifications, to focus on the taste and the taste alone.

Giles Fraser, “Is wine starting to taste the same?”, UnHerd, 2020-10-14.

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