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: Karolina Dołęga
Sound design: Marek Kamiński
Sources:
Picture of building appartement on Prinzregentenplatz 16, Munich in 1910. courtesy of Stadtarchiv München, DE-1992-FS-NL-PETT1-2847 https://stadtarchiv.muenchen.de/scope…
– Bundesarchiv
– National Archives NARA
– Imperial War Museum: IWM Art.IWM PST 4099
– United States Holocaust Memorial Museum
– Narodowe Archiwum Cyfrowe
– Nationaal Archief
– The picture of the Eagle’s Nest in 2020 courtesy of Marcus Hebel from Wikimedia – https://commons.wikimedia.org/wiki/Fi…
– The picture of the Eagle’s Nest in 2014 courtesy of Nordenfan – from Wikimedia https://commons.wikimedia.org/wiki/Fi…
– Icons from The Noun Project: barracks by Smalllike, Cook by Alice Design, Farm by Laymik, football field by Mavadee, House by Abhimanyu Bose, Kitchen by RD Design, Library by Adrien Coquet, Housekeeper by Richie Romero, Old Car by Halfazebra Studio, Pool by Loritas Medina, Projector by Ralf Schmitzer, Waiter by chris dawson, Woman by Deemak Daksina, Woman by Wilson Joseph, Woman hat by Xinh Studio, Woman With a Hat by Graphic Enginer
Soundtracks from Epidemic Sound:
– “The Inspector 4” – Johannes Bornlöf
– “London” – Howard Harper-Barnes
– “Other Sides of Glory” – Fabien Tell
– “Rememberance” – Fabien Tell
– “Deviation In Time” – Johannes Bornlof
– “Break Free” – Fabien Tell
– “March Of The Brave 10” – Rannar Sillard – Test
– “Ominous” – Philip Ayers
– “Symphony of the Cold-Blooded” – Christian Andersen
– “Please Hear Me Out” – Philip Ayers
The Doolittle Raid is just a little bombing raid over Tokyo that doesn’t do that much physical damage. It does, however, have big repercussions — partly in terms of future offensive plans for the Japanese fleet, and partly in terms of the thousands of Chinese lives taken in reprisals for allowing the US bombers to land in China. There is small scattered action on the Eastern Front, more Japanese advances in Burma, and a French VIP escapes captivity in Germany and heads for Switzerland and freedom.
Written and Hosted by: Indy Neidell
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: Indy Neidell
Edited by: Iryna Dulka
Sound design: Marek Kamiński
Map animations: Eastory (https://www.youtube.com/c/eastory)
Malta and British cities are victim to German bombs, while the Japanese advance in Burma causes a refugee crisis. In the Philippines, 80,000 Allied POWs walk the Bataan Death March.
Sources:
IWM C 4743, CL 2377
Bundesarchiv
From the Noun Project: Watchtower by Eliricon
Soundtracks from the Epidemic Sound:
Johan Hynynen – “Dark Beginning”
Fabien Tell – “Weapon of Choice”
Wendel Scherer – “Defeated”
Philip Ayers – “Trapped in a Maze”
Cobby Costa – “From the Past”
Cobby Costa – “Flight Path”
Wendel Scherer – “Growing Doubt”
Jon Bjork – “For the Many”
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
World War Two
3 days ago (edited)
Under our previous episode I told you about how YouTube has been age restricting these videos, effectively censoring them and turning the format into an echo chamber that doesn’t reach beyond the viewers who already know about it. As I explained we feel that it’s a great disservice to education and remembrance, and it has affected me deeply personally making me question why we do this. Two things happened:
1. You collectively gave us the most amazing reception and reminded us of how important the work we do is. I can’t thank you enough for the amazing comments, many of them where kind, supportive, and motivating far beyond what I feel we deserve. You lifted my spirits and brought me out of the slump I was in, cementing, and confirming that what we do matters. In the name of the entire team: thank you so much, it is an immense honor to have you all with us.
2. YouTube did not age restrict the video, and even cleared it for monetization, leading to that it once again reached a viewership like before the string of age restrictions we were struck with. We haven’t heard any explanation from YouTube and we won’t. Furthermore, I am painfully aware that these decisions depend completely on the whims of the individuals at Google who review the videos. We also know that these individuals are different for every video, so I fear that that this state of affairs will not remain. Already, this video was judged as “not suitable for all advertisers” and will therefore be recommended to viewers less often in YouTube’s system. Hence, although it pains us, and is against the principles we stand for, we have also prepared a version of this video with all images documenting the atrocities we expose blurred out – we can only hope that we don’t need it.
I’d like to end with an anecdote out of my motivation to create this series. Many, many moons ago, when I was in senior high at boarding school in Sweden, Elie Wiesel – author, chronicler of the Holocaust, and survivor of Auschwitz and Buchenwald came to our school. It was in 1986, the same year that he received the Nobel Peace Prize for his work, and if I remember correctly he had connected a lecture tour to his reception of the award.
In any case — I had the privilege of speaking to Mr. Wiesel in a small group. He explained something that has stayed with me ever since. To him, his experiences were not defeating, the entire Holocaust was not a defeat, not only had humanity been victorious in the end, but he and others had survived to tell the tale — which to him was a special kind of victory that came with the responsibility of sharing and educating.
Mr. Wiesel, a kind, warm hearted man, full of humor and life despite the horrors he had lived, passed five years ago. It is for him, for the other survivors of every ethnicity faced by any kind or terror, and for those who didn’t make it through that we do this — to celebrate their life and continue turning their suffering from defeat into victory by remembering even after they are gone.
Yours,
Spartacus
Comments Off on The Bataan Death March Begins – WAH 032 – April 1942, Pt. 1
Alexander Faludy outlines the horrific “success” of Adolf Eichmann’s activities in Hungary in 1944:
SS-Obersturmbannführer Adolf Eichmann (1906–1962), head of Reichssicherheitshauptamt (RSHA, Reich Security Central Office) Department IV B4 (Jewish affairs), who organized the deportation of Jews to the Auschwitz concentration camp in German-occupied Poland during the Holocaust. Taken in or around 1942, this appears to have been Eichmann’s official RSHA ID photograph. Photographer unknown, public domain image via Wikimedia Commons.
SS Obersturmbannführer (Lt. Col.) Adolf Eichmann, head of Reich Security Main Office IV.B.4 (Jewish Affairs), arrived at Budapest’s Keleti railway station together with 19 subordinates on 21 March 1944. Just 48 hours had passed since German troops had marched into the country, and a car was waiting to take Eichmann to the city’s Astoria Hotel close to the Pest riverbank. From these incongruously elegant surroundings Eichmann would commence the most feverous episode in the Final Solution of the Jewish question in Europe: the destruction of the Jews of Hungary, the only chapter in its history he was to supervise in person and in full.
For speed and scale the deportations went unmatched: 424,000 people were despatched by train in just 52 days, from 14 May to 9 July. In this fleeting window Hungarian Jews became the single largest group gassed at Auschwitz. The crematoria couldn’t cope with such “over-supply”, and Commandant Rudolf Höß ordered special fire pits dug — filling the camp with noxious smoke. According to Primo Levi, “there were weeks when only Hungarian was heard in Auschwitz”.
Physical annihilation was undergirded by Eichmann’s elaborate psychological strategy. Sophisticated Budapest Jews who might escape or resist were pacified by newspaper reports that only “ost Juden” from Hungary’s nether regions were being removed as “undesirables”. Many only saw through the lie, if at all, when deportations reached Budapest’s outer suburbs in early July — just before Admiral Miklós Horthy, Hungary’s Head of State, halted them under diplomatic pressure from the Western Allies and neutrals.
Throughout the deportations, and across Hungary’s length, Eichmann deluged Jews with ever more complex regulations covering the minutiae of daily life. These instilled a false sense of permanence which inhibited hiding or escape: “why would the authorities go to all this trouble if they were just going to get rid of us?”
Even as deportations rolled on, Eichmann conducted elaborate negotiations for fanciful “rescue schemes” including, but not limited to, the infamous “Blood for Trucks” project involving Rudolf Kastner — the proposed barter of one million Jewish lives for 10,000 Western motor vehicles for use on the Eastern front against the USSR. The aim, Eichmann later acknowledged, was not just to split Western powers from the Soviets, but also to distract Hungary’s Jewish leaders from counter-organising: keeping minds busy and hopes alive.
All the while Eichmann treated Jewish leaders in Budapest to flashes of menace. One day he promised them a return to normality “after the war”, the next he would snarl “Do you know who I am? I am a bloodhound!” With studied cruelty Eichmann arranged the ghettoisation of Hungary’s Jews to begin on Sunday, 16 April: the first day of Passover, 1944.
Eichmann did many things in Hungary; the one thing he did not do was simply “obey orders” — indeed over time he defied them with gathering frequency. That autumn as inevitable defeat became ever more apparent Eichmann, helped by local enthusiasts, intensified his efforts, instigating newly inventive means of eliminating Jews in Hungary and the Balkans through “death marches” and localised killing sprees. In doing so, Eichmann subverted instructions from Himmler who ordered cessation as part of a delusional plan to negotiate with the allies.
This “Eichmann in Budapest” should be recalled while contemplating the later Eichmann in Jerusalem.
The slogan into which the Nazis condensed their economic philosophy, viz., Gemeinnutz geht vor Eigennutz (i.e., the commonweal ranks above private profit), is likewise the idea underlying the American New Deal and the Soviet management of economic affairs. It implies that profit-seeking business harms the vital interests of the immense majority, and that it is the sacred duty of popular government to prevent the emergence of profits by public control of production and distribution.
After holding out since the beginning of the year, the American and Filipino defenders at Bataan can do so no more, and they surrender to the Japanese — the Bataan Death March for the 75,000 prisoners begins. Meanwhile, the Japanese carrier fleet launches a raid on Colombo and shipping in the Bay of Bengal, wrecking Britain’s Eastern Fleet in the process and forcing them to move to African coastal bases. Adolf Hitler issues the directive outlining his plans for a summer offensive against the USSR that aim south toward the Caucasus.
Written and Hosted by: Indy Neidell
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: Indy Neidell
Edited by: Iryna Dulka
Sound design: Marek Kamiński
Map animations: Eastory (https://www.youtube.com/c/eastory)
Colorizations by:
– Mikołaj Uchman
– Daniel Weiss
– Norman Stewart – https://oldtimesincolor.blogspot.com/
Sources:
– IWM A 25477, A 10499
Soundtracks from Epidemic Sound:
– Rannar Sillard – Easy Target
– Jo Wandrini – Dragon King
– Farrell Wooten – Duels
– Andreas Jamsheree – Guilty Shadows 4
– Howard Harper-Barnes- Underlying Truth
– Johan Hynynen – Dark Beginning
– Gunnar Johnsen – Not Safe Yet
– Flouw – A Far Cry
– Brightarm Orchestra – On the Edge of Change
Archive by Screenocean/Reuters https://www.screenocean.com.
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
Comments Off on America Surrenders – The Fall of Bataan – 137 – April 10, 1942
Under the violent occupation by Axis forces, dozens all over the globe resisted or took up arms to fight for the survival of their nation, ethnicity, ideology or ideals.
Sources:
Marxist Internet Archive
Picture of Tito during a Partisan gathering, courtesy of Музеј Старе Херцеговине
Yad Vashem 75FO4, 4613/899, 4248/20, 1605/91
Bundesarchiv
USHMM
IWM NA 15129
Soundtracks from the Epidemic Sound:
Phoenix Tail – “At the Front”
Reynard Seidel – “Deflection”
Hakan Eriksson – “Epic Adventure Theme 4”
Johannes Bornlof – “The Inspector 4”
Fabien Tell – “Last Point of Safe Return”
Howard Harper-Barnes – “London”
Rannar Sillard – “March Of The Brave 10”
Patriotism and war enthusiasm sweeps through the totalitarian countries in the run-up to the Second World War. This doesn’t leave out children either, who are supposed to become the prime soldiers of the future.
Hosted by: Anna Deinhard
Written by: Fiona Rachel & 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: Fiona Rachel
Edited by: Karolina Dołega
Sound design: Marek Kamiński
Colorizations by:
– Mikołaj Uchman
– Daniel Weiss
Sources:
– Bundesarchiv
– Library of Congress
– RIAN NOVOSTI: 25358
– Narodowe Archiwum Cyfrowe NAC
– Yad Vashem: 6884/13, 6884/14, 6884/5
– National Archives NARA
– Picture of Boy Scouts at a Campsite courtesy of Springfield College, Archives and Special Collections
– English children at school in 1920s courtesy of pellethepoet from Flickr – https://tinyurl.com/yerg47hn
– Fortepan: 5660, 1371, 32045, 55755,
– Picture of the League of German Girls with children courtesy of Facing History and Ourselves & Hoover Institution Archives – https://tinyurl.com/yzrfozas
Soundtracks from Epidemic Sounds:
– “The Inspector 4” – Johannes Bornlöf|
– “Weapon of Choice” – Fabien Tell
– “Remembrance” – Fabien Tell
– “Moving to Disturbia” – Experia
– “Break Free” – Fabien Tell
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
World War Two
3 hours ago (edited)
When thinking of people who have been affected by the horrors of war, children are not usually the first group to pop into one’s mind. Of course, fathers away at the front and wartime propaganda bring the war closer to children’s homes, but with state-controlled youth organizations in totalitarian countries, we have yet another topic at our hands, how the war crept into children’s lives. Even though with the end of the war this dark chapter of youth movements in Europe mostly got to an end, clubs and associations are still an important part of youth culture to network and emancipate oneself. Have you been part of a club or other youth organizations in your childhood? Please let us know in the comments.
Cheers, Fiona
Comments Off on Hitler and Stalin’s Child Soldiers: The Hitler Youth and KOMSOMOL – WW2 – On the Homefront 008
Britain’s campaign to firebomb the old towns of Germany where civilians reside begins in earnest this week. The British also destroy the port at St. Nazaire in commando action. In the Indian Ocean, however, they are avoiding contact with the Japanese, even while on land the Japanese advance in both Burma and New Guinea.
Written and Hosted by: Indy Neidell
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: Indy Neidell
Edited by: Iryna Dulka
Sound design: Marek Kamiński
Map animations: Eastory (https://www.youtube.com/c/eastory)
I was involved in a discussion on the TimeGhost Army forum on the reasons the Wehrmacht didn’t get as much use out of the existing Soviet railway system to support their forces. I ended up writing enough that I thought it’d be worth pulling together into a blog post. The original question was why didn’t the Germans build new rail lines in Poland to the Russian gauge — which was different enough from the standard 4′ 8 1/2″ gauge used in most of the rest of Europe to help supply their armies.
Example of the damage to Soviet railway lines conducted during the Soviet retreat in 1941. This photo originally from Wydawnictwo Prasowe Kraków-Warszawa via Wikimedia Commons.
In Christian Wolmar’s Engines of War: How Wars Were Won and Lost on the Railways, he outlines the troubles the Germans faced after launching Operation Barbarossa with regard to logistics on the railway network. Each of the main Germany axes of advance had only one Soviet rail line to provide the bulk of the transport, but the Soviets had successfully withdrawn or destroyed the majority of the locomotives and rolling stock. German industry could have been assigned the task of producing new locomotives to fit the Russian gauge, but re-gauging the existing track was significantly faster.
This meant a significant labour requirement to unload incoming German trains at the furthest point of conversion and re-loading onto the few Russian trains that were able to be put back into service. This was a major task for the German army even before Partisan activity began in earnest. The available coal to fuel the engines in Russia was of inferior thermal quality to the coal the German locomotives were designed to use, so in addition to all the military supplies that had to be carried, the Germans also had to supplement the Russian coal with significant amounts of better coal from elsewhere in Europe.
The next problem didn’t show up until late in 1941, but it was the same problem the fighting troops had to contend with: the Russian winter. Russian railway locomotives were engineered to operate throughout the year, but German locomotives almost never faced the low temperatures that happen in Russia, so any German locomotive allowed to freeze was almost certainly lost to permanent mechanical failure (the locomotive’s entire boiler would need to be replaced, which was not a repair that could be made in the field).
Compounding the problems for the Germany railway troops was that the military planners failed to give the railway troops any priority for supplies and reinforcements, which meant that the higher priority troops (the front-line soldiers) often had to wait longer and/or receive less because the railways weren’t able to repair damaged track or rolling stock or increase the speed of re-gauging the Russian railways.
Somone agreed that these were significant problems for the Wehrmacht, but weren’t they at least somewhat taken into consideration in the planning process:
You’re quite correct that the military planners must have been aware of these issues and a rational army staff would have taken them fully into account in their war plans. It’s possible that they expected to capture a much larger proportion of the Russian locomotives and rolling stock in the initial attacks, but they should have made contingency plans that didn’t absolutely depend on all of them falling into German hands … which is what appears to have been their “plan”.
I agree that it would have been a sensible thing to take into consideration that even if everything went off perfectly – and it never does in wartime – large parts of the German military were going to be staying in Russia for a very long time. Russian winter is, thanks to the historical experiences of Charles XII and Napoleon, proverbial. Hitler’s interventions in the planning process can only account for so much of the irrational optimism: the rest is clearly staff failure at many different levels.
Historical changes of gauge in peacetime have been achieved in amazingly short periods of time … but that was with the advantage of advance planning and having vast numbers of workers available on a tight timetable to get it done. My personal sense (not derived from Christian Wolmar’s book) is that the German military as a whole put too much emphasis on the “teeth” and no where near enough on the “tail” for anything other than a “short, victorious war”.
Railways in North America had certainly tried to adopt as many mechanical aids to track maintenance as they could afford, but I’m not sure if that was equally true of European railways at that time. I recall watching a late 1940s promotional film by one of the “Big Four” British railways showing the innovative way they were now doing track work, and even with some quite modern mechanical aids, there were still dozens of workers clustered around the work (in that time period, not wearing any of what we’d now consider essential safety gear), because labour was still relatively cheap and plentiful.
[…]
There’s a hoary old saying about amateurs plan strategy, but professionals plan logistics. Despite having the benefit of basically inventing the modern military staff system, German plans in WW2 appear in hindsight to be very amateurish once you get to the strategic scale. […] Given the constraints, I think the Germans did far better than they should have done to get as close to Moscow as they did. […] Human psychology plays a large part in explaining both the Germans’ incredible over-confidence (what the Japanese termed “Victory disease”) and Stalin’s willing self-delusion that the Germans wouldn’t attack him while his forces weren’t ready.
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The Allies make plans to bring the war to Germany by possibly attacking in North Africa. Holding Malta might be the key to such adventures, but it is increasingly harder to do. The Soviets and German make plans for adding millions of soldiers to their ranks, while springtime mud has kept the front mostly quiet. The Japanese plans for the conquest of Burma are still advancing, though the fighting this week is especially brutal.
Written and Hosted by: Indy Neidell
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: Indy Neidell
Edited by: Iryna Dulka
Sound design: Marek Kamiński
Map animations: Eastory (https://www.youtube.com/c/eastory)
A report on the effect of strategic bombing called the “Dehousing Paper” is spread to justify the targeting of the civilian population of Germany. In Poland, one by one, extermination camps are starting construction. This month, a new one is finished, named Belzec. Here, Jews and other minority undesirables from Poland are gassed.
Hosted by: Spartacus Olsson
Written by: Spartacus Olsson and Joram Appel
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: Miki Cackowski
Sound design: Marek Kamiński
Map animations: Miki Cackowski, Eastory (https://www.youtube.com/c/eastory)
Colorizations by:
Mikołaj Uchman
Daniel Weiss
Dememorabilia – https://www.instagram.com/dememorabilia/
Julius Jääskeläinen – https://www.facebook.com/JJcolorization/
Sources:
Yad Vashem 1935/15, 3016/2, 1137/217, 10094/1, A4613/1116, 3518/7,1554/1
IWM ART 15747 12, HU 56848, MH 24747, CL 2377, ME(RAF) 3703, HU 107752, C 2364, C 4748, C 4743, HU 74904
Bundesarchiv
Graphic of Vickers Wellington bomber, courtesy of Emoscopes https://commons.wikimedia.org/wiki/Fi…
Graphic of Short Stirling bomber, courtesy of Emoscopes https://commons.wikimedia.org/wiki/Fi…
www.auschwitz.org
www.deathcamps.org
USHMM
Picture of scratches on a wall of a gas chamber at Auschwitz, courtesy of Lasy https://commons.wikimedia.org/wiki/Fi…
from the Noun Project: Watchtower by Eliricon
Soundtracks from the Epidemic Sound:
Johan Hynynen – “Dark Beginning”
Wendel Scherer – “Growing Doubt”
Peter Sandberg – “Document This 1”
Jon Bjork – “Disposal”
Philip Ayers – “Trapped in a Maze”
Fabien Tell – “Never Forget”
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
World War Two
2 days ago
On the horrors of crafting this, on age restriction, and on covering Allied war crimes – by Spartacus
All episodes of War Against Humanity are difficult to make, but this was an especially harrowing episode to host. When I wrote the conclusion based on Joram’s initial draft, I was composed — it was an intellectual exercise still. That changed once I started giving the words a voice, and as you can see at the end of the episode I had difficulties keeping my composure — when I was done I cried bitterly. But that is how it is supposed to be — the totality of our creation is what brings it home, together with Joram I compile the knowledge, Miki or Karo put it into images under Wieke’s direction, and within all of that it is my job to express it in spoken language as best as I can.
Yes, it is difficult to make and it is difficult to watch — but we sincerely believe that none of us should look away lest we forget. We take upon ourselves to spend hours every week to sift through the minutiae of these events so that we can compress it into 15 minutes every two weeks. We do it not for money, not for fame, and not out of pleasure, but because it needs to be done so that others can spend less time on it than us and still see this time for what it was. It needs to be done by neither glossing over any events, nor the images as horrible as they are. This has two important purposes:
1. driving home that this really happened and
2. defeating any claims towards that we’re just making this up, or exaggerating.
Within that responsibility it is also our duty to report, without prejudice, on what the Allies did that was against human values and rights in this war. We don’t do that because there is an equivalence between events, or to create such an equivalence — we do it for the exact opposite purpose — to show the complete picture and preempt any calls for “what about the bombing of Germany and Hiroshima!?” We do it because we are dedicated to the facts, and the events must be permitted to speak for themselves.
We’re doing all of this in a time when the horrors of WW2 are ever further away in the rearview mirror, when survey after survey shows that the younger generation have little or no knowledge of how earth-shattering this war was. An indication of a growing educational gap, and in many of the countries where you are watching it has long been decided that reporting on these atrocities is of especial importance. That includes decisions to also expose younger people to the reality of it despite the graphic nature of the content. In most places these images are purposefully excepted from age restrictions that befall content made for entertainment, that is to say they do not fall under an 18+ restriction. They are regulated as PG 16 or the equivalent, in some places even PG13.
It then troubles us deeply that YouTube chooses to go against the decisions made by democratically elected bodies and restrict this content to over 18 only. It troubles us even more when this leads to the inevitable result that our viewership has dropped by 50% since they started doing that. That is a drop far above the share of our viewers that are under age, because with the restriction comes a reduction in recommendation to view — users that are not logged in and age verified don’t get notified — the content can no longer be embedded on external sites — in some countries it is blocked entirely, regardless of your age — and all of that further decreases the value of the video in YouTube’s algorithms. The result is that the War Against Humanity videos are now an echo chamber where we only reach those that already know the content.
We have spoken to YouTube to remedy this fault, but we have had no success thus far. As a result we have decided to start making a censored version of the videos that we will upload if or when they get age restricted. We already upload all of our content to https://odysee.com/@WorldWarTwo:6 but that is not a place where anyone will find our content by chance. On that note we should point out that the videos only get age-restricted because they are reported to YouTube by the community as inappropriate, offensive, or false. We take umbrage at that, because in effect this means that YouTube is helping those who would like these events to be forgotten, or even deny that they ever happened. It’s a pity; even morally wrong in my viewpoint. It leaves me despondent and the last weeks have been extraordinarily difficult for me — I have questioned my purposes and wondered why I put myself and our team through all of this, if all we’re doing is preaching to the choir. At first it left me sad, but after YouTube’s glib, bureaucratic responses I got depressed. I considered throwing in the towel, but then I would be nothing else than a coward refusing to stand for those who no longer have a voice. So, I will continue, I will resist, and we will fight against anyone that tries to silence us and the dead — because we must not look away, we must never forget.
Adolf Eichmann was one of the masterminds behind the “Final Solution of the Jewish Question”. Or was he? In his trial, he argued to be merely a bureaucrat who was following orders. This episode attempts to shine a light on the real role of this controversial figure.
Hosted by: Spartacus Olsson
Written by: Spartacus Olsson, Joram Appel
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: Karolina Dołęga
Sound design: Marek Kamiński
Colorizations by:
Daniel Weiss
Spartacus Olsson
Mikołaj Uchman
Sources:
– Yad Vashem: 3887/1, Y69EO4_, 1605/1431, 102co3, 76/68, 4229/59, 29/56, 73GO3_, 74AO9_, 1922/6, 2749/3, 2986/71, 4229/61, 03/198, 4613/789, 73AO6, 1572/17,
– United States Holocaust Memorial Museum
– Bundesarchiv
– Icons from the Noun Project: freight car by Evgeni Moryakov, School by Adrien Coquet, Watchtower by Eliricon
– Picture of Frontkämpfervereinigung in 1925 courtesy of Wienbibliothek im Rathaus, Tagblattarchiv Fotosammlung, TF-999034
– Picture of Wannsee villa courtesy of JoJan from Wikimedia Commons
– Library of Congress
Soundtracks from Epidemic Sound:
– “Rememberance” – Fabien Tell
– “Deviation In Time” – Johannes Bornlof
– “Last Minute Reaction” – Phoenix Tail
– “It’s Not a Game” – Philip Ayers
– “Moving to Disturbia” – Experia
Pre-war shipwrecks are disappearing from the seabed. Why? A look at the sad reality of illegal salvaging that is destroying numerous war graves and historical wrecks around the world, told from the site of some of the most famous shipwrecks in the world; Scapa Flow.
The Guardian has done some amazing work in documenting this problem, worth a read if you have the time:
00:00 – Introduction & History of Scapa Flow
01:00 – Scuttling & Salvaging of the German High Fleet
02:45 – The Value of Pre-War Steel
03:54 – The Disappearing Shipwrecks
06:03 – HMS Royal Oak
10:16 – Disappearing Wargraves
10:58 – Outro
MacArthur makes one of the most iconic remarks of the whole war, but considering the fact that the Philippines seem unsalvageable, it’s pretty unclear just how he’ll do it, especially since even though ever more American soldiers are arriving in Australia, the Japanese threat to Australia grows daily. Bill Slim arrives in Burma to take command of I Burma Corps, and Joe Stilwell has taken over two Chinese Nationalist armies, so the defense of Burma looks like it might go on a while longer, though the Allies are at a serious disadvantage after losing Rangoon. The Japanese, for their part, are trying to figure out how the heck they’re going to administer all the territory they’ve taken this year and bring natural resources to Japan itself. There is still scattered fighting in the USSR, but the spring muds have put pad to any major offensives for the time being. As for the British, they launch Operation Outward, a hydrogen balloon campaign over Germany. Yep, you read that right. What a week.
Written and Hosted by: Indy Neidell
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: Indy Neidell
Edited by: Iryna Dulka
Sound design: Marek Kamiński
Map animations: Eastory (https://www.youtube.com/c/eastory)
Soundtracks from the Epidemic Sound:
– Rannar Sillard – “Easy Target”
– Jo Wandrini – “Dragon King”
– Wendel Scherer – “Time to Face Them”
– Howard Harper-Barnes – “London”
– Philip Ayers – “The Unexplored”
– Farrell Wooten – “Duels”
– Johan Hynynen – “Dark Beginning”
– Craft Case – “Secret Cargo”
– Johannes Bornlöf – “The Inspector 4”
