Quotulatiousness

May 3, 2020

How To… Drink Tea in a Tank | The Tank Museum

Filed under: Britain, Food, History, Military, Weapons, WW1, WW2 — Tags: , , — Nicholas @ 06:00

The Tank Museum
Published 30 Apr 2020

In the 1st episode of The Tank Museum’s brand new “How To” series, Wargaming’s Richard Cutland and historian James Holland explore how British tank crews managed to drink tea, while in a tank!

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Using a WW1, WW2 and modern tank from The Tank Museum’s collection, the duo will discover how tea was made while soldiers were at war.

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Slaying Gladiator

Filed under: Europe, History, Humour, Media — Tags: , , , , — Nicholas @ 05:00

Over at Steyn Online, Kathy Shaidle tag-teamed someone else on staff (it probably rhymes with Dark Time) to put the caligulae to Ridley Scott’s Gladiator with Russell Crowe in the leading role:

Germania, 180 AD. Rome is at war with the, er, Germaniacs, who stand around in the Black Forest grunting like Brits on the piss who’ve nutted themselves in one pub fight too many. You need a cool head to take on the Roman Army, and the only one the barbarians have belongs to Caesar’s emissary, whom they thoughtfully decapitated before sending back. They wave the old noggin around like a treasured footie ball, grunting, “Ug Eugh Blug” or, translated from the original gibberish, “Over ‘ere, mate.” It’s a scene that rings oddly contemporary in the age of Isis, although when I first saw it, a year before 9/11, it gave me the giggles. But then barbarians always seem funny from a distance, don’t they? Here they scratch their pelts and grunt some more, seemingly unconcerned by the fact that the Roman legions are lighting up their blazing arrows and fireballs, the smart bombs of the day. The ensuing battle, whose outcome would seem never to be in doubt, is apparently the final bloody act in a twelve-year war.

Despite having had twelve years to get there, the Emperor’s son nevertheless shows up late. “Did I miss it?” he simpers. “Did I miss the battle?” The son’s name is Commodus. No, not Commodus, but Commodus, which sounds like he dates back to a Mel Brooks sketch circa 1962 but in fact goes all the way back to the real Roman Empire. Commodus is that old stand-by of the dynastic drama, the disappointing son. His father, Marcus Aurelius, is a noble philosopher-king, but Commodus is no chip off the old block. We can tell that from the moment we first glimpse Commodus, sprawled in his commodious caravan, but just in case we miss the point Joaquin Phoenix lays on the mincing like a trowel, and the make-up, too. He’s weak, vain, decadent, and has the hots for his sister Lucilla (Connie Nielsen). Even the Bushes would think twice before running this guy for emperor.

Having spent 25 years waging war for the glory of Rome, Marcus Aurelius (Richard Harris) senses there’s not much point leaving it in the hands of an emperor who’d be queen for a day. So he tells Commodus he will not succeed him. Instead, he is going to make his brave general Maximus a “trustee” until Rome is ready to become a republic again. Maximus (Russell Crowe) is a Colin Powell type of general: a nice fellow everyone respects who supposedly has no public ambitions. Commodus, though, has other ideas, and suffocates his father. As the old showbiz saying has it, dying is easy, Commodus is hard. The effete decadent mincer becomes emperor, and promptly orders the death of Maximus and the crucifixion of the general’s wife and child back in Spain.

But Maximus escapes, and what follows in Gladiator is the story of how he takes his revenge and becomes the eponymous Gladiator lui-même. It’s payback time, and, under Ridley Scott’s lean direction, that means there’s no room for sub-plots. Somewhere in pre-production, the archers lobbed their flaming shafts at the script and laid it as bare as those Germanic forests. Not only are there no sub-plots, there’s barely any plot for any sub-plot to be sub-. Once the wife and kid are dead, there’s nothing very emotional at stake. There’s no romantic interest, unless you count Commodus trying to get it on with sis. There’s a hint of backstory at the Senate, where the massed ranks of British Equity have gathered for a vast toga party (the Toga Party having a majority in the Senate at that time). But there’s no dialogue worth speaking of, except statements of the obvious. When the mob is being fickle, as mobs are wont to be, the Emperor is told: “The mob is fickle, sire.” All the lines have been pre-tested in earlier toga romps, and the only one that seems to have been specially written for this picture is Oliver Reed’s complaint that some crook dealer has sold him a pair of homosexual giraffes.

But none of that matters because Ridley Scott photographs the film so brilliantly and mesmerically that they could all be speaking Germaniac and it wouldn’t impair the storytelling. It helps that almost everyone in the movie is a pre-designated great actor, so you tend to assume there’s a lot of great acting going on, even though most of it’s just thoughtful reaction shots. The mob bays for blood. Cut to Derek Jacobi looking thoughtful. They bay some more. Cut to Connie Nielsen looking pensive from atop her fabulous neck. They stop baying. Cut to Russell Crowe looking thoughtful. What are they thinking so pensively? “Hmm. I wish I’d got the gay giraffe line”?

Balkans in Nazi Hands – A Greek Tragedy – WW2 – 088 – May 02, 1941

World War Two
Published 2 May 2020

Greece falls as Axis troops push through the last Allied defences. New plans are made for a German invasion of Crete, and a new war breaks out between Great Britain and Iraq.

Join us on Patreon: https://www.patreon.com/TimeGhostHistory
Or join The TimeGhost Army directly at: https://timeghost.tv

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

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: Joram Appel
Post-Production Director: Wieke Kapteijns
Edited by: Iryna Dulka
Sound design: Marek Kamiński
Map animations: Eastory (https://www.youtube.com/c/eastory)

Colorizations by:
– Olga Shirnina, a.k.a. Klimbim – https://klimbim2014.wordpress.com/
– Julius Jääskeläinen – https://www.facebook.com/JJcolorization/
– Dememorabilia – https://www.instagram.com/dememorabilia/
– Carlos Ortega Pereira, BlauColorizations, https://www.instagram.com/blaucoloriz…

Sources:
– Bundesarchiv, CC-BY-SA 3.0, Bild_146-1977-163-05A, Bild 146-1977-122-16, Bild_141-0816, Bild 101I-757-0023-32
– National Portrait Gallery
– Imperial War Museum: Q 69840, HU 52264

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

A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.

From the comments:

World War Two
2 days ago (edited)
Now, we have decided to leave out any Call to Action (the bit where Indy tells you to subscribe and support us on Patreon) to give room to the dramatic speech on Radio Athens. So allow me to write it right here: If you want to learn more about how Kurt Student’s Fallschirmjäger were developed and used earlier in the war, you can check out our Special Episode about that right here: https://youtu.be/RNr3E3Hr0bo. I don’t want to deny anyone the chance to get a random name shoutout in the video by writing it here, but it is thanks our supporters that we can continue to make content like this. You can join the TimeGhost Army on www.patreon.com/timeghosthistory or https://timeghost.tv. Don’t forget to subscribe, ring the notification bell and see you next time!
Cheers, Joram

The Great Exhibition of 1851

In the latest Age of Invention newsletter, Anton Howes looks at one of the biggest popular events of Queen Victoria’s reign, the Great Exhibition:

The Crystal Palace from the northeast during the Great Exhibition of 1851, image from the 1852 book Dickinsons’ comprehensive pictures of the Great Exhibition of 1851
Wikimedia Commons.

On this day, in 1851, Londoners were finally allowed to enter one of the most spectacular edifices to grace their city. Over the previous months they had watched it spring up in Hyde Park — the largest enclosed structure that had ever been built, and made with three hundred thousand of the largest panes of glass ever produced. Set against the blackened, soot-stained buildings of London, the massive glass edifice gleamed. It soon became known as the Crystal Palace.

Although it no longer exists — it was rebuilt in Sydenham, but the new version burnt down in the 1930s — the fame of the Crystal Palace endures. The same goes for the event that it was originally built for, the Great Exhibition of 1851. But, despite that name-recognition, I’ve found that most people don’t really know what the Great Exhibition was for. Yes, it attracted six million visitors in the space of just a few months — an estimated two million people, almost a tenth of the entire population of Great Britain, most of them returning again and again. But why? I must admit, despite having mentioned the event before in some of my work, I’d never really considered it properly before I started researching the history of the Society of Arts.

The idea of such an exhibition in Britain originated with the Society’s secretary in the 1840s, the civil engineer Francis Whishaw. He had seen the use of industrial exhibitions in France, as a means of catching up with Britain in terms of technology. Every few years since 1798, the French government had held an exhibition of its national industries in Paris. The state paid for everything — a grand temporary building, as well as the expenses of the exhibitors — and the head of state himself awarded medals and cash prizes for the bet works on display. Some of the very best exhibitors were even admitted to the Légion d’honneur, France’s highest order of merit. The benefits to exhibitors were so high that essentially every manufacturer wished to take part. In the days before GDP statistics, the exhibitions were thus an effective means of getting a detailed snapshot of the nation’s manufacturing capabilities. An exhibition served as the nation’s industrial audit.

[…]

Although there had been a few local exhibitions of industry in Britain in the late 1830s and early 1840s, there had been nothing on a national scale to rival the French ones. So Francis Whishaw began the work of getting the Society to organise such an event — a national exhibition of industry for Britain. His initial plan came to nothing, partly as he left the Society to take another job, but in the late 1840s the project was resurrected by a new member of the Society, a civil servant named Henry Cole. In fact, Cole almost entirely took over the Society in the late 1840s, turning it into an exhibition-holding organisation. It held exhibitions devoted to particular living artists, on ancient and medieval art, on inventions, and especially on industrial design — what Cole liked to call “art-manufactures”. And, at the 1849 national exhibition in Paris, he adopted an idea that had already been floated for some years by French officials: an international exhibition, to show the industry of all nations.

This was the crucial step. The idea of an international exhibition of industry appealed to the free trade movement in Britain, which had achieved success in the 1840s with the abolition of the Corn Laws. By displaying the products of other nations, the argument went, British consumers would demand that they be able to buy them more cheaply. And free trade would hopefully bring an end to war, too. Free trade campaigners argued that the productive classes of rival nations competed peacefully, simply by trying to outdo one another in the quality and quantity of what they produced. It was the landed aristocracy, they argued, who let the competition become violent, feeding their pride by causing destruction. Thus, a grand exhibition of the products of all nations — the Great Exhibition — would be a physical manifestation of free trade and international harmony: a “competition of arts, and not of arms”.

The Great Exhibition thus had many roles. It was partly born of national paranoia, about French industrial catch-up, as well as about Britain being the first to hold such an event. It was also about exciting competitive emulation between manufacturers, showing consumers what they did not know they wanted, and achieving world peace and free trade. It certainly spurred on dozens of examples of international cooperation. In fact, just the other day I discovered that the first international chess tournament was held in London to coincide with the exhibition. And it served as an audit of the world’s industries, allowing people to judge who was ahead and who was behind. It thereby gave domestic reformers the ammunition to push for changes in areas where Britain seemed to be falling behind, in areas like education, intellectual property, and design. But more on those another time.

QotD: Tragic cultural misunderstandings

Filed under: Africa, History, Middle East, Quotations — Tags: , , , , — Nicholas @ 01:00

… the problem is how cultures “read” things and people can be completely different/opposite. Part of our issue with Islamic culture is just that: cultural. They’d never get in the pissing contest they are pushing, if they could read us accurately. And arguably our liberals would never be pushing for peace and appeasement if they could read THEM accurately.

It’s one of those cultural traps which I have read about and which are tragic.

I think I’ve spoken before of the tragic encounter between Zulu and Boers in South Africa. Zulus were doing what they did that had won them Africa (they came from central Africa shortly before the whites arrived): Commit incredibly scary atrocities so the enemy runs/avoids combat/submits. The whites were in their head just another tribe. They could not understand the idea of a “tribe” that was starting to span the globe and which would self-identify as “tribe” in the face of a savage. So their savagery made the Europeans MORE determined to wipe them out.

We’re seeing something like that, again. Islamic CULTURES are big on bragging, exaggeration of force and intimidation of the enemy. This is functional in a desert where there’s always a lot of low-level “war.” Some atrocities, scare “the enemy” and you keep your patch, and you go on. They have a fine tuned ear for this. When the other tribe isn’t committing atrocities against YOU and particularly when they’re being appeasing/accommodating, you have them over a barrel. If you strike with showy force you can take their stuff and enslave them. NOTE most of the attacks are designed to be showy.

TWO things they don’t get: Our elites are appeasing because the elites think they’re SO powerful they can’t be touched and are oikophobes who hate their own people. AND our PEOPLE is pissed, really pissed.

You know the old joke? There are no Muslims in Star Trek because it’s set in the future.

This is unfortunately the likely outcome of the cultures meeting. At some point (already happening) the elites will have to fight or be replaced. And when we go to war, our power is incalculable compared to them. They think we exaggerate our strength, while, culturally, we underplay it. They don’t understand we’re holding back.

The result will be a horrific destruction of guilty and innocent alike and even people like me who look Arab/Mediterranean in a bad light will be at risk.

And they will be the victims of genocide.

Sarah Hoyt, “Cross-Culture”, According to Hoyt, 2017-03-23.

May 2, 2020

Saigon memories

Filed under: Asia, History, Media, Military — Tags: , , — Nicholas @ 06:00

I had no idea that David Warren had some brief journalism experience in Vietnam before the US pulled out their military forces:

A member of the CIA helps evacuees up a ladder onto an Air America helicopter on the roof of 22 Gia Long Street on April 29, 1975, shortly before Saigon fell to advancing North Vietnamese troops.
Hubert van Es photo via Wikimedia Commons.

An article in the New York Post (here) brings one historical event back into view, with a bitterness I haven’t yet overcome. It is only an aside on an old photo-caption, which like so many others from the Vietnam War was, shall we say, inaccurate. Taken for a symbol, it has passed into our electronic folk memory, as one of innumerable lies it contains. I wasn’t there, of course, but I had visited that country, and once, too briefly, lived in Saigon. The (very consequential) deceit, dishonesty, and faithlessness of “the mainstream media” was among the lessons I took from my apprenticeship. My ludicrous ambition, to “correct it” some day, will never be fulfilled. But to the link: my praise to one writer who did his homework. Let me be grand and say, the truth has set him free.

It will soon be fifty years since I first attended the “Five O’Clock Follies” at “MAC-V,” where the best hamburgers in South-east Asia could be obtained for the price of a chocolate bar. This press conference format — bluster and counter-bluster — has not changed in all this time. Everything in that vast sprawling compound of military administration was sprayed, swept, and polished; I always entered with wide eyes. There, and in bars along Tu-Do Street (the old rue Catinat, once an exquisite ribbon from the Cathedral down lines of fragrant tamarinds), was where I first fell in with “real professional journalists,” practising their trade.

Those I met were, by and large, pathological liars, and extremely vain. They were also coarsely disrespectful, much like our journalists today: rudely cynical and sarcastic. The only serious exceptions I came to know were a couple of religious weirdos — one a Lutheran ex-pastor from West Germany, the other a reject from a Catholic seminary in southern France. They, like me, had strayed into the field, from a misplaced sense of adventure.

At all levels, and on all sides, I was witnessing a freak show — there and wherever I wandered outside the Unreal City. I owned a reliable Nikkormat camera, that would sometimes earn me much-needed cash, but was quite unsuccessful as a print journalist. My earnest despatches, sent to newspapers on spec, were routinely “spiked” — not, I think, because I was so young (they didn’t know that), but because I kept, often unknowingly, writing things that contradicted what the New York Times and CBS were reporting.

Not only was I learning that the “mainstream” was all lies, but too, that it invariably followed an agenda. The self-appointed purpose of the press was to sabotage the American war effort. (That of the life-or-death desperate Viets was, at best, ignored.)

But then, I was deceitful, too. I was pretending to be over 18 when I was still only 17, in order to get a press pass.

Gabriel Over the White House – “the most unapologetic celebration of fascism ever put on film”

Filed under: History, Media, USA — Tags: , , , , — Nicholas @ 05:00

Jack Cashill found this “gem” while watching Turner Classic Movies during the Wuhan Coronavirus lockdown and was amazed:

By now, I have seen most of TCM’s movies, but one aired this past week I had not even heard of. On a whim, I DVR’ed it. Good move. Called Gabriel Over the White House, this 1933 liberal wet dream proved to be the most unapologetic celebration of fascism ever put on film.

I watched it wide-eyed. The movie opens with the inauguration of Jud Hammond. A laissez-faire back-slapper, Hammond sees the White House as a way to enrich himself and reward his cronies, Depression be damned. The audience assumes Hammond is a Republican.

Out joyriding one day, Hammond crashes his car and lapses into coma. While still comatose, the Angel Gabriel visits Hammond and turns him into a committed and caring progressive. Is there another kind?

Upon waking, Hammond convenes his cabinet of corrupt self-servers and rejects their plea that the party must come first. Instead, Hammond insists their first priority be the American people. He refuses to use the U.S. Army against a marching mass of the unemployed and fires the secretary of state when he objects.

“I suggest you read the Constitution of the United States. You’ll find the President has some power,” Hammond warns his cabinet members. Some power? Fully indifferent to the Constitution, Hammond grabs all the power that can possibly be grabbed.

When the cabinet objects to his usurpation of power, Hammond fires the cabinet. When Congress threatens to impeach Hammond, he declares martial law and dispenses with Congress. When accused of being a dictator, Hammond argues that his is a dictatorship based on some imagined Jeffersonian principle of Democracy, namely the greatest good for the greatest number of people.

Now with total power, Hammond enacts a national banking law, stops foreclosures, provides direct aid to some 55 million farmers, circumvents private industry and launches his own “Army of Construction.”

A young aide, Hartley Beekman, and his female counterpart, Pendie Molloy, serve as something of a progressive chorus. “The way he thinks is so simple and honest that it sounds a little crazy,” says Beekman of Hammond.

“He’s doing the things you wanted,” Molloy answers. “And If he’s mad, it’s a divine madness. Look at the chaos and catastrophe sane men have brought about.”

The divine madness includes the creation of a Federal Police force, a subset of the Army, with young Beekman at its head. When the nation’s chief racketeer refuses to go back to his unnamed home country, Hammond warns him that the government is about to “muscle in on his racket” and federalize the sale of alcohol.

The racketeer fights back, and Beekman employs a legion of tanks Waco-style against the racketeers. When captured, the racketeers are all hauled before a three-man court martial headed by Beekman, promptly declared guilty, and executed en masse by a firing squad.

Several years ago, the movie was brought to my attention and I found this clip on YouTube that I suspect captures the essence of the film:

James Lileks describes it as “a remarkable movie. And I don’t mean ‘astonishingly good, technically superb, visually ingenious.’ I mean utterly insane.”

After The Berlin Wall: Making Germany’s Armed Forces (Bundeswehr 1991 Documentary)

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

Forces TV
Published 5 Jan 2018

It’s more than 27 years since German reunification, when East and West Germany came together again after the fall of the Berlin Wall. This documentary looks at the challenges facing the West German Army as they took over the East German National People’s Army.

Read more: http://www.forces.net/news/comment-bu…
Subscribe to Forces TV: http://bit.ly/1OraazC
Check out our website: http://forces.net
Twitter: https://twitter.com/ForcesNews

How things change … back in 1991, the Bundeswehr had a vast over-supply of military vehicles between the mass of Soviet-era equipment inherited from the DDR and the excess due to planned down-sizing of Germany’s overall military expenditure (the “peace dividend”). Earlier this year, Bild reported that German soldiers are being advised to take personal vehicles during military training exercises, due to a lack of infantry fighting vehicles and other military transport.

May 1, 2020

Why Pearl Harbor? Peaceful Portugal, and the poor Kriegsmarine – WW2 – OOTF 011

Filed under: Britain, Europe, Germany, History, Japan, Military, WW2 — Tags: , , , — Nicholas @ 06:00

World War Two
Published 30 Apr 2020

How were relations between Japan and the United States at the beginning of the war? What were both sides doing to try and make Portugal enter the war? And to what extent did the Kriegsmarine match the Royal Navy? Find out as we answer these questions in this Out of the Foxholes episode!

Links to the Between 2 Wars videos mentioned in the episode:
Japan, the Bureaucratic War Machine | BETWEEN 2 WARS I 1931 Part 2 of 3: https://youtu.be/vVgCy6iwrHQ
The World Takes Advantage of American Isolationism | BETWEEN 2 WARS | 1933 part 3 of 3: https://youtu.be/-iuQcxXAdfw
Did WW2 Start in 1937? – The Rape of China | BETWEEN 2 WARS I 1937 Part 1 of 2: https://youtu.be/_3vPGpamtDI

Join us on Patreon: https://www.patreon.com/TimeGhostHistory
Or join The TimeGhost Army directly at https://timeghost.tv

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

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

Colorizations by:
Carlos Ortega Pereira, BlauColorizations, https://www.instagram.com/blaucoloriz…
Dememorabilia – https://www.instagram.com/dememorabilia/

Sources:
BIBLIOTECA DE ARTE DA FUNDAÇÃO CALOUSTE GULBENKIAN
Bundesarchiv

Soundtracks from the Epidemic Sound:
Reynard Seidel – “Deflection”
Fabien Tell – “Last Point of Safe Return”
Johannes Bornlof – “Deviation In Time”

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

A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.

Soldier of Three Armies Pt. 2 – Continuation War – Sabaton History 065 [Official]

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

Sabaton History
Published 30 Apr 2020

With a bounty on his head, the Red Army wants him dead, Soviet enemy number one. Second part of the Lauri Törni trilogy. The Winter War between Finland and the Soviet Union was over, but the world was further tumbling down into war. Finland saw itself trapped between two power blocks. A new arrangement with Nazi Germany gave men like Lauri Törni an opportunity to train with the newly established Waffen-SS. But it was an opportunity with lasting consequences.

Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory

Listen to Soldier of Three Armies on the album Heroes:
CD: http://bit.ly/HeroesStore
Spotify: http://bit.ly/HeroesSpotify
Apple Music: http://bit.ly/HeroesAppleMusic
iTunes: http://bit.ly/HeroesiTunes
Amazon: http://bit.ly/HeroesAmz
Google Play: http://bit.ly/HeroesGoogleP

Check out the trailer for Sabaton’s new album The Great War right here: https://www.youtube.com/watch?v=HCZP1…

Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShop

Hosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard and Spartacus Olsson
Creative Producer: Joram Appel
Executive Producers: Pär Sundström, Joakim Broden, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Post-Production Director: Wieke Kapteijns
Edited by: Iryna Dulka
Sound Editing by: Marek Kaminski
Maps by: Eastory – https://www.youtube.com/c/eastory

Archive by: Reuters/Screenocean https://www.screenocean.com
Music by Sabaton.

Additional video footage from Dennis Henson

Sources:
– Bundesarchiv, CC-BY-SA 3.0, Bild 101III-Hoffmann-04-23/Hoffmann
– Narodowe Archiwum Cyfrowe
– sa-kuva.fi

An OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.

© Raging Beaver Publishing AB, 2019 – all rights reserved.

Federal Express runaway train incident 67 years later

Filed under: History, Railways, USA — Tags: , , , — Nicholas @ 02:00

Thunderbolt 1000 Siren Productions
Published 17 Jan 2020

2 days late and I lost several hours of sleep but holy hell it’s worth it now that it’s done! Enjoy this pretty interesting story on a runaway GG1 just days before Eisenhower’s inaguration
Please don’t shoot me for the Trump pics 😐
Next to come up is Glendale and *passes out*

Please donate!
https://www.gofundme.com/thunderbolt-…

I’m just a struggling college student! Your generous donations will enable me to continue my education and ensure future posts and educational films. Thank you!!!

Discord server: https://discord.gg/Tqwr4RV

Patron:
https://www.patreon.com/Thunderbolt1000

Deviantart: https://www.deviantart.com/pennsy

April 30, 2020

1946: Kill and Only Kill – Death to Colonialism | The Indonesian War of Independence Part 2

Filed under: Asia, History, Military — Tags: , , , , , , , — Nicholas @ 06:00

TimeGhost History
Published 29 Apr 2020

The Indonesian War of Independence is heavily fuelled by the gangs of youngsters who go by the name of Pemuda. They engage in clandestine guerrilla fighting as their revolution takes a violent turn.

Join us on Patreon: https://www.patreon.com/TimeGhostHistory

Hosted by: Indy Neidell
Written by: Isabel Wilson and Joram Appel
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Joram Appel
Post-Production Director: Wieke Kapteijns
Research by: Isabel Wilson and Joram Appel
Edited by: Karolina Dołęga
Sound design: Marek Kamiński

Colorizations:
Dememorabilia – https://www.instagram.com/dememorabilia/
Jaris Almazani (Artistic Man) – https://instagram.com/artistic.man?ig…
Carlos Ortega Pereira (BlauColorizations) – https://www.instagram.com/blaucoloriz…

Research Sources: https://bit.ly/IndoSources

Sources:
Tropenmuseum part of the National Museum of World Cultures
Nationaal Archief
Imperial Wars Museum: SE7034; SE5663

Music:
“Deviation In Time” – Johannes Bornlof
“Disciples of Sun Tzu” – Christian Andersen
“Epic Adventure Theme 4” – Håkan Eriksson
“Guilty Shadows 4” – Andreas Jamsheree
“Last Point of Safe Return” – Fabien Tell
“Magnificent March 3” – Johannes Bornlöf
“March Of The Brave 10” – Rannar Sillard
“The End Of The World 2” – Håkan Eriksson
“The Inspector 4” – Johannes Bornlöf
“The Unexplored” – Philip Ayers.
“Try and Catch Us Now” – David Celeste

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

A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.

From the comments:

TimeGhost History
1 day ago (edited)
For the research of this episode about Indonesian revolutionary culture in 1946, I mostly turned to the diaries and writings of those who were there. Reading the untouched experiences was so absorbing and allowed for writing a bottom-up narrative. Something that didn’t make it into the video was the work of Chairil Anwar, a poet who died young a few years after the War of Independence. Dwelling about the life and death of the individual during the revolution, his poetry defied Indonesia’s antagonists. In his poem “Notes for 1946”, he writes of how it felt to be among the young generation of Indonesia: “We – running dogs, hunting hounds – we get to see only a moment of this drama we play in.” I’d definitely recommend reading his work if you’re interested!
Cheers, Izzy.

Palestine, 1948 – the origins of the still-ongoing refugee issue

In Quillette, Benjamin Kerstein reviews a new book by Adi Schwartz and Einat Wilf, which covers the origins of the Palestinian refugee problem that still hinders any kind of lasting peace between Israel and neighbouring Arab countries:

Arab attacks in May and June 1948.
United States Military Academy Atlas, Link.

Wilf and Schwartz’s comprehensive history of the refugee issue begins with the UN’s adoption in November 1947 of a plan to partition British Mandatory Palestine into an Arab state and a slightly smaller Jewish state. Violence erupted shortly after, and once the British left the territory, hostilities escalated into a full-scale war, during which fighting between the Zionist movement’s Haganah defense force and various Palestinian Arab militias was followed by an invasion by the surrounding Arab countries. Israel prevailed with truncated borders, but the Arab world remained steadfastly committed to the new state’s elimination. Refugees are a byproduct of every military conflict, but the exodus of the Palestinian Arabs would have uniquely consequential ramifications that continue to haunt the conflict and thwart its resolution to this day.

It is now fashionable for historians sympathetic to the Palestinian narrative to downplay the threat that the Jewish community in Mandatory Palestine — the Yishuv — faced in the 1948 conflict. Wilf and Schwartz show conclusively that such attempts, be they sincere or dishonest, are simply untrue. The secretary-general of the Arab League, they note, openly stated that the war was intended to be genocidal, saying, “This will be a war of extermination and momentous massacre, which will be spoken of like the Mongolian massacre and the Crusades.” Meanwhile, the Palestinian Arabs’ most influential leader, the Nazi collaborator Mufti Hajj Amin al-Husseini, said the Arabs would “continue to fight until the Zionists are eliminated, and the whole of Palestine is a purely Arab state.”

Correctly believing that their individual and collective existence were threatened, the Zionist militias, which eventually coalesced into the nascent Israel Defense Forces, sometimes destroyed villages and expelled their inhabitants, and there was a mass flight of Arabs from cities like Haifa and Jaffa. By the end of the war, what emerged was a Jewish state with a comfortable Jewish majority along with a substantial though not overwhelming Arab minority. The refugees, for the most part, were settled in camps in the surrounding Arab nations of Syria, Lebanon, and Jordan, as well as in the West Bank and Gaza, which were occupied by Jordan and Egypt, respectively. Jordan alone granted the refugees citizenship and absorbed them into the general population. Elsewhere, however, refugees remained stateless, left to the tender mercies of the international community.

From the beginning, pressure was brought to bear on Israel to allow the refugees to return, and from the beginning Israel steadfastly refused to do so, believing that it would destroy Israel’s Jewish character and precipitate another, perhaps even more brutal war. Wilf and Schwartz reveal that this was in fact precisely the Arabs’ intention. The Arab media spoke openly of establishing a “fifth column” within Israel by repatriating the refugees, and the authors record Palestinian historian Rashid Khalidi’s view that the Arab mood at the time made it clear that the right of return “was clearly premised” on “the dissolution of Israel.” In addition, the Palestinian leadership was initially unenthusiastic about the return of refugees, which they believed would imply a recognition of Israel’s existence to which they remained implacably opposed. For a society deeply rooted in concepts of honor, dignity, and humiliation, such an acknowledgement of defeat was simply unthinkable.

Contrary to the claims of Israel’s opponents, Wilf and Schwartz persuasively argue that the new state was under no moral or legal obligation to allow the refugees to return. During the late 1940s and early 1950s, the concept of population exchange between belligerent national groups in conflict over territory was considered lamentable but inevitable. Consequently, the laws pertaining to refugees often forbade the opposite: States could not force refugees to return to places when to do so might cause further conflict or instability. Emphasis was therefore on resettlement in host countries, usually with a corresponding ethnic or religious majority. This held true for the mass expulsions of ethnic Germans from Poland after World War II, and the almost contemporaneous exodus of both Muslims and Hindus to Pakistan and India, respectively. Importantly, it also applied to the hundreds of thousands of Jewish refugees expelled from Arab and Muslim countries following the 1948 war, who were resettled in the new State of Israel.

Once the Arab and Palestinian position on return shifted from a fear of recognizing Israel to the idea of building a fifth column within the state to wage an indefinite war against Zionism, Wilf and Schwartz write, “The state of Israel … was being asked by the Arabs to perform an extraordinary act: it was called on to admit to its sovereign territory hundreds of thousands of Arabs, against international norms of the time, without a peace treaty, and while the Palestinians and the Arab world continued to threaten it with another war — even calling the refugees a pioneer force toward this end.”

Although anti-Zionists today insist that Israel’s refusal to accept a return of the refugees was a uniquely heinous violation of human rights and international law, it was entirely consistent with the moral and legal norms of the time.

Browning M1917: America’s World War One Heavy Machine Gun

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

Forgotten Weapons
Published 14 Mar 2018

When the United States entered World War One, its military has a relatively tiny handful of machine guns, and they were divided between four different types, as the military budget was small and machine guns were not given much priority. However, since the failure of his gas-operated 1895 machine gun design to become a popular military item, John Browning had been working on a recoil-operated machine gun to replace it. This work became serious in 1910, and by 1915 Browning had met with Colt and agreed to give them exclusive license to his new design — and they began to work with him to refine and perfect it.

When the United States realized that it would be fighting in Europe and would need machine guns in 1917, it held an open trial for designs which Colt and Browning entered. The Browning gun was the undisputed star of the show, firing 40,000 rounds with only one parts breakage and no malfunctions that were not the fault of ammunition or belts. The gun was almost immediately adopted and pushed into production. Ultimately, Colt would allow the manufacture of its guns by Remington and New England Westinghouse, and Browning himself would accept a lump-sum royalty payment from the government for its use, which was about 3.5 million dollars less than he was contractually entitled to — out of patriotism and a desire not to profit too much from the war.

Browning 1917 machine guns would see only brief combat use in World War One, first tasting action in September of 1918. They would remain a staple of US military armament through World War Two, however, improved after the Armistice to the M1917A1 pattern. The gun we are looking at today is an original WW1 M1917, mounted on an equally rare M1917 original tripod.

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QotD: Nietzsche’s criticism of Christianity (and Judaism)

Filed under: History, Middle East, Quotations, Religion — Tags: , , , , — Nicholas @ 01:00

It is Nietzsche’s chief thesis that most of the so-called Christian morality of today is an inheritance from the Jews, and that it is quite as much out of harmony with the needs of our race and time as the Mosaic law which prohibits the eating of oysters, clams, swine, hares, swans, terrapin and snails, but allows the eating of locusts, beetles and grasshoppers (Leviticus, XI, 4-30). Christianity, true enough, did not take over the Mosaic code en bloc. It rejected all these dietary laws, and it also rejected all the laws regarding sacrifices and most of those dealing with family relations. But it absorbed unchanged the ethical theory that had grown up among the Jews during the period of their decline — the theory, to wit, of humility, of forbearance, of non-resistance. This theory, as Nietzsche shows, was the fruit of that decline. The Jews of David’s day were not gentle. On the contrary, they were pugnacious and strong, and the bold assertiveness that seemed their best protection against the relatively weak peoples surrounding them was visualized in a mighty and thunderous Jehovah, a god of wrath and destruction, a divine Kaiser. But as their strength decreased and their enemies grew in power they were gradually forced into a more conciliatory policy. What they couldn’t get by force they had to get by a show of complaisance and gentleness — and the result was the renunciatory morality of the century or two preceding the birth of Christ, the turn-the-other-cheek morality which Christ erected into a definite system, the “slave-morality” against which Nietzsche whooped and railed nearly two thousand years afterward.

H.L. Mencken, “Transvaluation of Morals”, The Smart Set, 1915-03.

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