After the German take over continental Europe, the British invent the commando, a new soldier type to raid and harass German installations in occupied Europe.
Hosted by: Indy Neidell
Written by: 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
Map animations: Eastory (https://www.youtube.com/c/eastory)
Colorizations by:
– Daniel Weiss
Sources:
– Imperial War Museums: N 3, HU41240, A 26238, H17472, B 5203, H 19272, CH 10705, H 17489, D 8893, H 39031, A 17763, H 17502, TR1425, E 6390,E 6404, H 31439, TR1230, ADM 5072, H39029, H 17485, H 17347, H 022592, H 17511,H 22588, H 019284, H19269, NA 12466, N 530, NA12469, H18957, H 22604, A 27469, NA 379 A,N397 1941, C2352,H 17364, 023574,H 039033
– Bundesarchiv
– National Archives NARA
– National Military Museum
– Icons from the Noun Project: barge by Seb Chmiel, soldier by Wonmo Kang,
– Crickets sound courtesy of damonmensch
– Slide projector courtesy of hpebley3
Soundtracks from the EpidemicSound:
– “London” – Howard Harper-Barnes
– “March Of The Brave 10” – Rannar Sillard
– “Rememberance” – Fabien Tell
– “The Inspector 4” – Johannes Bornlöf
Henri Lecorre was a French immigrant to Canada who enlisted in the 22nd Regiment of the Canadian Army in April, 1915. He had a knack for carving things in his rifles, which he started right in basic training, with a Ross rifle he named “Josephine”. That got him sternly rebuked by his Colonel, but he would take up the habit again in 1916 when he arrived in France and began to see combat. At this point the Canadians were issuing SMLE rifles, and Lecorre named his “Rosalie”, after the French bayonet’s nickname.
Lecorre served through 14 major campaigns, and carved each name into his rifle as the years of the war dragged on. He was twice caught and punished for destruction of government property and fined for the cost of the rifle, although he managed to avoid more serious punishment both times. He only embellished the left side of Rosalie, so that his work would be hidden against his leg when standing at attention. By the summer of 1918, Rosalie’s service record included Vimy, Kemmel, St. Eloi, Hoodge, Zellebeck, Courcelette, Bully Grenay, Neuvilles Vaade, Mericour, Lievin, Lens, Cote 70, Passchendaele and Arras.
Fate eventually caught up to Private Lecorre, and in mid-1918 he was seriously wounded in an attack, and woke up in a military hospital in Dieppe. Rosalie was long gone, and Lecorre did not return to combat again.
The story is far from over, however. Rosalie was recovered from the battlefield, and sent back to Enfield with a batch of damaged rifles for refurbishment and reissue. Someone in the factory noticed the carving on it, and it was set aside. The arsenal commander took a liking to it, and it was hung in his office — where it remained for some 30 years. A Canadian officer from the 22nd Regiment noticed it at Enfield — thanks to Lecorre carving his unit’s name into it — during the Second World War, and thought it would be appropriate to return it to the unit’s home town, where the Citadelle Museum was established in 1950, with Rosalie as one of its original exhibits.
In 1956, Lecorre himself happened to visit an exhibition near Quebec City where the museum had set up, and was shocked to see his own Rosalie on display. After some understandable difficulty convincing the officer on duty that it was actually *his* rifle (which Lecorre did by reciting back its serial number unseen), a remarkable reunion took place. The rifle remained with the museum, but now with its full story known. It remains there to this day, on permanent display.
The Citadelle Museum commissioned a reproduction of Rosalie to be used for demonstrations, and it is this rifle which was graciously made available to me for filming, as the original is inaccessible on short notice because of its display case. Many thanks to the Citadelle for the opportunity to present it to you! If you are in Quebec City, make sure to take time to visit them:
Oversimplifying a bit for clarity, “republican” political philosophy after Hobbes is an attempt to use Hobbes’s tools and methods without arriving at his conclusions. That baloney about “inalienable rights” in the US Declaration of Independence is the most famous of these attempts. If you want to know how we got from there to here – from the Founders to the Tyranny of the Intersectional Genderfluids – just recall what those supposedly “inalienable” rights are: Life, Liberty, the Pursuit of Happiness.
It would’ve been far better to have kept the trio in Locke’s original words – life, liberty, and property – but even that wouldn’t have saved us, because the proposition is flawed from the beginning. The full quote is:
We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness …
… and pretty much all of that is wrong.
As we’ve seen, it was a major part of Hobbes’s project to prove that men do in fact have such rights, because it’s not at all “self-evident.” That was the whole point of the Wars of Religion – heretics have NO rights, because they have put themselves beyond the pale of the human community. For the Wars of Religion to end, political legitimacy had to be secularized.
That was Hobbes’s goal. That’s what the “State of Nature” thought experiment was about. Does man has any rights in himself, that flow only from his existence as a human being? In other words, does he have rights NOT endowed by his Creator?
Hobbes argued that we DO have such rights, of course … but, crucially, we only have the full exercise of them in the State of Nature. For Hobbes, all rights are, at bottom, the right to self-defense. Getting out of the State of Nature involves laying at least part of that right down – “alienating” it, in the Latinate English of the 17th century – creating in the process a “corporate person” who “represents” us all. Far from being “inalienable,” then, Life and Liberty, at least, have to be alienated, at least to some degree, if civilization is to exist at all …
… at least according to Hobbes, and do you see what I mean about people trying to adopt his terms while dumping his conclusions?
Hobbes had plenty of examples to hand, writing as he was in the last, nastiest phase of the Wars of Religion. According to Hobbes, the Leviathan – who, let’s recall, can be a Senate or something just as easily as a monarch – absolutely has the right to your life and liberty, since your voluntary surrender of them is what creates the Leviathan in the first place. How else could wars be fought in the gunpowder age? A medieval king leading his personal affinity into battle didn’t have to worry about political theory. An Early Modern king, fielding armies of tens of thousands, did. Without an animating ideology, they’re just mercenaries – ask Machiavelli how that works out.
We’ll skip over that “pursuit of happiness” crap, since that’s probably just Jefferson’s noodle-headed way of alluding to Classical political theory, and circle back to the start: “all men are created equal.” As we’ve seen, this was central to Hobbes’s “State of Nature” thought experiment … but, as is obvious to anyone with real-world experience, it only applies there.
In the latest NP Platformed newsletter, Colby Cosh outlines some of the historic “diseases escaping from the lab” events that certainly allow us to be … dubious about the WHO maintaining the line that the Wuhan Coronavirus was “unlikely” to have escaped from the biological lab in Wuhan:
The original SARS virus, which terrorized Canada in 2003, has escaped from laboratories and infected humans at least six times since its successful suppression in the wild — once in Singapore, once in Taiwan and four times from one laboratory in Beijing.
And then there’s the great enigma in the history of infectious disease (maybe the second greatest — I for one would still really like to know what the English sweat was). How in blazes did the H1N1 flu virus come back? A strain of H1N1 was responsible for the Spanish flu of 1918-19; it lingered in human populations and continued to evolve until it was seemingly supplanted by a cousin, H2N2, which swept the world during the 1957-58 “Asian flu.”
H1N1 just plain vanished for two decades, then reappeared rather puzzlingly in Russia in 1977, causing a “Russian flu” pandemic and 700,000 deaths. This strain wasn’t especially lethal, but it knocked those too young to have natural immunity to H1N1 flat on their rears. Since then, H1N1 has been endemic in humans — it is incorporated as a matter of course into seasonal flu vaccines — and modern genetic analysis shows that the 1977 strain of H1N1 was, DNA-wise, pretty much a carbon copy of H1N1 strains from before the Asian flu years.
The “Russian flu” therefore almost certainly cannot have reappeared naturally, since it had undergone almost no discernible evolution. It probably crossed into Siberia from (wait for it) mainland China, which was then not yet a WHO member state. Some analysts think this may have happened because of a lab leak. Others think it more likely that it was a botched effort to create an H1N1 vaccine from old samples; H1N1 had crossed over to a small number of humans in the United States in 1976, creating the famous “swine flu” scare.
Still others ask: uh, is the difference between a lab leak and a botched vaccination experiment particularly meaningful? The general public may not know it, but a pandemic originating in a research laboratory isn’t just a hypothetical. It has not only happened, but there’s a decent chance that you, personally, have suffered from the resulting disease.
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Here David Fletcher discusses the Leyland Armoured Car which was produced in the 1930s for the Irish Army, but with some alterations, saw service right through to the 1980s.
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In 1981, the social scientist Mancur Olson published his magisterial The Rise and Decline of Nations: Economic Growth, Stagflation, and Social Rigidities. Olson had already won acclaim for The Logic of Collective Action, which explained why some groups received an outsize slice of the political pie. In his new book, Olson turned to the question of why nations fail. His thesis: nations lost dynamism when insiders managed to stack the rules against disruptive outsiders.
Stable societies with unchanged boundaries, Olson observed, “tend to accumulate more collusions and organizations for collective action over time.” Instead of accepting rules that encourage overall growth, these collusive organizations — trade groups and labor unions were paradigmatic examples — fight to keep what they have, slowing down “a society’s capacity to adopt new technologies and to reallocate resources in response to changing conditions,” thus reducing economic efficiency. Decline follows.
Olson pointed to Japanese stagnation under the Tokugawa shogunate, when, “before Admiral Perry’s gunboats appeared in 1854, the Japanese were virtually closed off from the international economy.” Ruling Japanese society, he writes, “were any number of powerful za, or guilds, and the shogunate or the daimyo often strengthened them by selling them monopoly rights.” The guilds “fixed prices, restricted production and controlled entry in essentially the same way as cartelistic organization elsewhere.”
A second example: Great Britain, “the major nation with the longest immunity from dictatorship, invasion and revolution” and, consequently, Olson explained, suffering “this century a lower rate of growth than other large, developed democracies.” In Olson’s view, the weak performance resulted from limits on change established by a “powerful network of special-interest organizations,” which included labor unions, industrial groups, and aristocratic cliques. By the 1970s, after the conservative government of Edward Heath fell in a losing battle with striking miners, many deemed Britain ungovernable. Olson contrasted the British situation with that of postwar Germany and Japan, where the chaos and destruction of wartime defeat wiped away established industrial and retail groups, leaving the field open to newcomers like Soichiro Honda or the Albrecht family (creators of international supermarket giant Aldi), who could work economic magic.
The word “ungovernable” was also used to describe New York in the 1960s and 1970s, when Mike Quill’s transit union ran roughshod over Mayor John Lindsay’s attempts to control public-sector wage growth. New York was a long-established city with lots of political collusion. The old Tammany Hall could broker deals to keep Gotham going, but Lindsay’s successor, Abe Beame, proved too weak to resist any special interest that wanted more spending or government favors. New York’s spending kept rising even as public services worsened, until bankruptcy loomed and public power wound up in the hands of the unelected Municipal Assistance Corporation. Thankfully, New York reformed itself economically, at least to some extent, under Mayors Rudolph Giuliani and Michael Bloomberg, as Britain did under Prime Minister Margaret Thatcher. Sufficiently strong leaders can buck entrenched insiders.
Music is:
“Light Thought var 2,” by Kevin MacLeod
“Bird Day,” by Broke For Free
“Drums of the Deep,” by Kevin MacLeod
“Thinking Music,” by Kevin MacLeod
“Flood,” by Jahzzar
“Hallon,” by Christian Bjoerklund
Other than The Adventures of Stoke Mandeville, this is the longest editing job I have ever done. It took eleven very long days of work to put this together from the opportunist footage I snatched when changing trains near the museum where it is on display. The shoot was not without its problems, one of which was the fact that because the tapestry is behind glass, and the museum has many illuminated displays, the reflections in the glass were a bane, and I didn’t manage to get rid of them all. Another was that my stills camera refused to work after taking a small number of pictures. It had always worked fine before, and has always worked fine since. It wasn’t the battery and it wasn’t the SD card. It was a mystery.
For the curious, the edit involved seventeen tracks on the timeline, and has twenty-two animated scenes. Unfortunately, the main animation software I was using could not handle full HD images, and so there is a slight loss of picture quality during most of the animated scenes. You will notice that the close-ups have a better picture quality than the wide shots. This is because they were taken with the camera pushed up against the glass, which improved focussing, and got rid of almost all of the haze and reflections caused by the glass.
It is important to understand that this ‘tapestry’ is a piece of propaganda, and does not tell an accurate version of events. The story I tell here is the one depicted, not what actually happened.
I have enough material for more videos on the tapestry, but am in no great hurry to spend many more days editing this difficult footage. Trying to match the writing and speaking of narration to panning camerawork that had no notion when shot of what might need to be said about some passing scene, was a nightmare, and many editing compromises had to be made, with some scenes skipped past quickly, and others drawn out.
Clarification on the nudity: I said that the figure under the mysterious Cleric and woman was the the only figure displaying genitals on the tapestry. This was misleading. Several animals clearly are pictured with genitals, and on the tapestry in Bayeux today it looks as though a couple of other human figures have genitals. Some of these may have been added later, and these are not being ‘displayed’ as the displaying figure is clearly doing, but look more incidental.
I describe the tall figure emerging from the building with a lance and pennant, being brought his horse, as “William”. It occurred to me after making the video that all the sources I consulted describe this figure as William, but the text does not name him as William, so possibly he is just a Norman knight, representing any and all of the knights setting out for the battle, and that this figure is meant to be “William” could be a modern tradition that has become accepted fact just by repetition.
Lindybeige: a channel of archaeology, ancient and medieval warfare, rants, swing dance, travelogues, evolution, and whatever else occurs to me to make.
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Comments Off on The Bayeux Tapestry – all of it, from start to finish
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)
Checkmate, Lincolnites! Debunking the Lost Cause myth that the American Civil War was fought over taxes and protectionist tariffs. Was the South subjected to disproportionate taxation? Did the Morrill Tariff cause secession? Watch and find out, you no-account, yellow-bellied sesech!
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What of Catholicism in France? Soundly defeated by the Third Republic in 1905 with the introduction of Laïcité, are there Catholics (and other Christians) who secretly wish to see secularism get a bloody nose by way of the Islamists?
As I said, “secularism” isn’t a real thing. I am an optimist when it comes to French Catholicism. There is a rising generation of young Catholics, and they are excellent, and numerous. More and more people are understanding that the only thing modernity offers is consumer crap from China, divorce, and joyless sex at best. The churches on Sunday are full in the big cities. Houellebecq is right; for us, the future is either the foot of the Cross, or submission to Islam. And I think we’re showing we don’t want to submit to Islam …
What people don’t understand about French Catholicism is that while 1905 was certainly a defeat, French Catholics did not simply disappear. They abandoned politics, but they did continue to have children, to bring them up into Catholic schools, etc. so there has always been an important Catholic subculture, including at the elite levels. I am optimistic about the future of Catholicism in France.
We are continuing our historical animated documentary series on the Napoleonic Wars with another episode on the Peninsular War, covering the battles of Somosierra and Corunna. Napoleon attempted to take back Madrid and crush the British resistance led by General Moore.
This script was researched and written by Everett Rummage. Check out his brilliant Age of Napoleon podcast – http://bit.ly/2vC3cIE In our opinion, it is the best podcast on the Napoleonic era.
Armament Research Services (ARES) is a specialist technical intelligence consultancy, offering expertise and analysis to a range of government and non-government entities in the arms and munitions field. For detailed photos of the guns in this video, don’t miss the ARES companion blog post:
The British military had been working towards a reduced-power cartridge since the end of World War 2, and the ultimate adoption of the FAL/SLR in 7.62x51mm NATO did not end their interest in the concept. It would not be long before the roots of SA80 would take hold, and today we are looking at the very first mockups of the concept that would become the L85A1 and L86A1.
As part of a preliminary study to decide the basic layout and capabilities of a future new individual weapon and light support weapon, five wooden and metal mockups were produced in conventional and bullpup layouts, and also with/without “dropped” stocks to facilitate sighting. The favored mockup was the bullpup seen here, which gave rise to the whole Enfield Weapon System/SA80 family. It is relevant to note that the concept included a universal standard optical sight from the very outset, as this was a cutting edge concept at the time. In addition, note the small features like safety, sling swivels, and magazine catch, as these would vary back and forth through the development program.
After the wooden guns, two functional (or mostly functional) guns were produced. These were standard off-the-shelf rifles converted into bullpup configuration – one Stoner 63 and one Sterling AR18. Neither company was contacted for licensing or technical assistance.
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.
