TimeGhost History
Published 13 Jan 2021There is a surprising connection between sci-fi films and the technological policies of Soviet Russia. Watch to find out …
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Hosted by: Indy Neidell
Written by: Indy Neidell and Francis van Berkel
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 and Francis van Berkel
Image Research by: Daniel Weiss
Edited by: Daniel Weiss
Sound design: Marek KamińskiColorizations:
Daniel Weiss – https://www.facebook.com/TheYankeeCol…Sources:
Some images from the Library of CongressFrom the Noun Project:
– Mansion By Shane Stieben
– signal by Adrien Coquet
– cowboy man by Adrien Coquet
– signal by Adrien Coquet
– room By Batibull, ESSoundtracks from Epidemic Sound
– “One More for the Road” – Golden Age Radio
– “Dark Shadow” – Etienne Roussel
– “The Inspector 4” – Johannes Bornlöf
– “The Inspector” – David Celeste
– “Wind Chimes” – Farrell Wooten
– “Last Point of Safe Return” – Fabien Tell
– “Puzzle Of Complexity” – Jo Wandrini
– “What Now” – Golden Age Radio
– “Out the Window” – Wendel Scherer
– “Symphony of the Cold-Blooded” – Christian AndersenArchive by Screenocean/Reuters https://www.screenocean.com.
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
January 14, 2021
Frankenstein and the Socialist Origins of Electronic Music | B2W: ZEITGEIST! | E.09 – Harvest 1920
January 13, 2021
January 12, 2021
January 11, 2021
QotD: Conspiracy theories
It is hard to know, but most likely the conspiracy theory is one of the oldest parts of human society. In fact, the popularity of conspiracy theories is probably a good measure of social trust. Low-trust societies, like you find in the Middle East, tend to be shot through with conspiracy theories. High trust societies in Northwest Europe tend to have less of it, but even they are prone to bouts of conspiracy mongering. The Great Fear that swept through rural France is a good example.
In modern times, the conspiracy theory has been formalized. The assassination of John Kennedy is probably when this formalization process began. For example, a conspiracy theory needs a series of hard to accept coincidences. In the case of Kennedy, we have the amazing marksmanship of the shooter and then his unlikely assassination at the hands of a Jewish gangster, while he was in police custody. The Jack Ruby part is what made the whole thing perfect for the conspiracy theorists.
The first step in a conspiracy theory is that the obvious answer or the official answer must be eliminated as a lie or implausible. In the case of the Kennedy assassination, the start of the conspiracy dynamic was the dismissal of Oswald as the lone actor. It is a variation on the old Sherlock Holmes line. Once you eliminate the parsimonious explanation, then the more complex and convoluted explanations become more plausible. That opens the door to endless speculation.
We see this with the QAnon cult on-line. All of it starts with the assumption that the obvious answer is wrong. For example, it is plainly obvious that Bill Barr is covering up the FBI spying scandal. He’s had years to do what should have taken a few months. Instead of accepting that rather obvious and plausible explanation, the QAnon people reject it and instead weave wildly complex theories about how half of Washington is about to be charged with crimes.
Another aspect of the formal conspiracy theory is the liberal use of the associative property to connect unrelated events. Person A knows Person B and Person B once had lunch at the same place as Person C. If any of these three people can be tied to the event in question, then it is assumed the other two are connected. The weakest associations are enough to assume a conspiracy. The associative property is an essential element of the modern conspiracy theory.
In the case of Kennedy, for example, organized crime is a popular player, because Jack Ruby was a minor criminal. His tenuous association with organized crime opens the door for linking any number of underworld characters with the assassination. It also opens the door for all sorts of theories about the Kennedy administration’s connections to organized crime. The associative property then ties communism, organized crime and the Cuba situation to the assassination.
The Z Man, “Conspiratorial Rule”, The Z Blog, 2020-10-01.
January 9, 2021
The (declining) power of the political cartoon
In Quillette, Jack Reilly outlines the rise of political cartooning from (of all people) Martin Luther to the present day, as it faces the final phase of its long career:
The first influential cartoon published in an American newspaper has traditionally been credited to Benjamin Franklin, who drew his famous serpent divided into eight parts with the legend Join, or Die — the message being that fellow colonists must band together to repel the enemy forces then threatening their territory. Long after Franklin’s death, the image would be dusted off for reuse by supporters of American unity.
Thomas Nast, whom many consider to be the greatest editorial cartoonist of all time, rose to prominence during the Civil War. Still in his early 20s, the young German immigrant began producing such arresting pro-Union material that Abraham Lincoln — flipping Napoleon’s rueful commentary about James Gillray on its head — referred to Nast as “our best recruiting agent.”
During the national election of 1864, conducted amidst the Civil War, the Democrats pushed a platform of reconciliation with the slaving south. In response, Nast created his famous Compromise with the South cartoon, depicting an injured union soldier, bowing his head and lifelessly shaking hands with a victorious confederate who stands atop the grave of a fallen Yankee, with Lady Liberty weeping in the foreground. The epitaph on a tombstone reads “In memory of the Union heroes who died in a useless war.” Nast’s lurid but masterful image created a sensation, and showed how politically powerful the cartooning medium could be in an age of mass newspaper readership. Two months later, Abraham Lincoln defeated the Democrat candidate, George McClellan, to secure a second term.
In the decades following the war, Nast would continue to elevate the medium to high art. In 1871, he began an ongoing series for Harper’s Weekly attacking the corruption of Tammany Hall, the Democratic political machine that controlled New York politics. Nast so mercilessly lampooned William M. “Boss” Tweed as the machine’s ringleader, that Tweed was heard to rage, “Stop them damn pictures! I don’t care a straw for your newspaper articles. My constituents can’t read. But they can’t help seeing them damn pictures!”
Eventually, Tweed was convicted of money laundering. (He attempted to escape justice by absconding to Spain, but was soon apprehended by Spanish officials, who reportedly recognized him with assistance from Nast’s cartoons.) As for Nast himself, he’d go on to conceive of the elephant as a symbol for the Republican party, popularize the use of the donkey for the Democrats, and help create the modern image of Santa Claus that Americans have come to love.

“The Third-Term Panic”, by Thomas Nast, originally published in Harper’s Magazine on 7 November 1874.
A braying ass, in a lion’s coat, and “N.Y. Herald” collar, frightening animals in the forest: a giraffe (“N. Y. Tribune”), a unicorn (“N. Y. Times”), and an owl (“N. Y. World”); an ostrich, its head buried, represents “Temperance”. An elephant, “The Republican Vote”, stands near broken planks (Inflation, Repudiation, Home Rule, and Re-construction). Under the elephant, a pit labeled “Southern Claims. Chaos. Rum.” A fox (“Democratic Party”) has its forepaws on the plank “Reform. (Tammany. K.K.)” The title refers to U.S. Grant’s possible bid for a third presidential term. This possibility was criticized by New York Herald owner and editor James Gordon Bennett, Jr.
Image and caption via Wikimedia Commons.
January 7, 2021
QotD: Sneering at “the throwaway society”
For half a century, it’s been a term of disdain: the “throwaway society,” uttered with disgust by the environmentally enlightened. But now that their reusable tote bags are taboo at grocery stores and Starbucks is refusing to refill their ceramic mugs, they’ve had to face some unpleasant realities. Disposable products aren’t merely more convenient than the alternative; they’re also safer, particularly during a pandemic but also at any other time. And they have other virtues: the throwaway society is healthier, cleaner, more economical, less wasteful, less environmentally damaging — and yes, more “sustainable” than the green vision of utopia.
These are not new truths, even if it took the Covid-19 pandemic to reveal them again. The throwaway age began because of public-health campaigns a century ago to control the spread of pathogens. Disposable products were celebrated for decades for promoting hygiene and saving everyone time and money. It wasn’t until the 1970s that they became symbols of decadent excess, and then only because of economic and ecological fallacies repeated so often that they became conventional wisdom.
In a strange turn of events, the most affluent society in history suddenly turned into a mass of neurotic hoarders. Sifting through garbage for valuables, an activity formerly associated with the most destitute inhabitants of Third World shantytowns, became a moral duty in American suburbs. Greens campaigned for “zero waste” and a “circular economy” in which disposable products would be outlawed. They confidently predicted that the throwaway society was doomed, but if they’d known anything about its history, they would have realized that it was created for very good reasons — and that it will endure long after their lamentations are forgotten.
John Tierney, “Let’s Hold On to the Throwaway Society”, City Journal, 2020-09-13.
January 5, 2021
January 4, 2021
Honest Trailers | Firefly
Screen Junkies
Published 29 Sep 2020►►This video is presented by Fistful of Bourbon. It ain’t just a bourbon. It’s a damn fistful.
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Honest Trailers | Firefly
Voice Narration: Jon Bailey aka Epic Voice Guy
Title Design: Robert Holtby
Written by: Spencer Gilbert, Joe Starr, Danielle Radford, & Lon Harris
Produced by: Spencer Gilbert & Joe Starr
Edited by: Kevin Williamsen
Post-Production Supervisor: Emin Bassavand
Supervising Producer: Max Dionne
Associate Producer: Ryan O’Toole
Executive Producer: Roth Cornet#HonestTrailers
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January 2, 2021
Victor Davis Hanson’s 2020 review
I’m not normally prone to weak puns, but I think it’s not unfair to call 2020 an Anus horribilis rather than an Annus horribilis, because the last twelve months have been utter ass:
The year 2020 is now commonly dubbed the annus horribilis — “the horrible year.” The last 10 months certainly have been awful.
But then so was 1968, when both Martin Luther King Jr. and Bobby Kennedy were assassinated. The Tet Offensive escalated the Vietnam War and tore America apart. Race and anti-war riots rocked our major cities. Protesters fought with police at the Democratic National Convention in Chicago. A new influenza virus, H3N2 (the “Hong Kong flu”), killed some 100,000 Americans.
But an even worse 2020 saw the COVID-19 outbreak reach global pandemic proportions by March. Chinese officials mislead the world about the origins of the disease — without apologies.
Authorities here in the U.S. were sometimes contradictory in declaring quarantines either effective or superfluous. Masks were discouraged and then mandated. Researchers initially did not know how exactly the virus spread, only that it could be lethal to those over 65 or with comorbidities.
Initial forecasts of 1 million to 2 million Americans dying from the virus unduly panicked the population. But earlier assurances that the death toll wouldn’t reach 100,000 falsely reassured them.
[…]
For the first time in American history, given the lockdowns and the cold-weather viral resurgence, there was neither a traditional Thanksgiving nor Christmas for many people.
Yet amid the death, destruction and dissension, history will show that America did not fall apart.
In remarkable fashion, researchers created a viable and safe COVID-19 vaccine in less than a year — a feat earlier described as impossible by experts.
The nation went into recession but avoided the forecasted depression. This was partly because America in early 2020 was booming by historical standards, and partly because the Trump administration and Congress quickly infused some $4 trillion of liquidity into the inert economy.
For all the charges and counter-charges of voter fraud and Trump being a sore loser, President-elect Joe Biden will eventually take office. And Donald Trump will leave it.
January 1, 2021
“Wolfpack” Pt. 2 – The Torpedoing – Sabaton History 100 [Official]
Sabaton History
Published 31 Dec 2020The Allies had cracked the secret codes, deprived the German Kriegsmarine of their best U-Boat aces, and sunk more submarines than the Germans could replace. Yet the Wolfpacks returned. From the depth of the sea they continued their hunt, even far away from the busy routes of the Atlantic. On their way south, along the coast of Africa, Wolfpack “Eisbär” would engage in a fateful encounter. An encounter that would demonstrate how the old rules of conduct, honor and mercy had become a thing of the past.
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to “Wolfpack” on the album Primo Victoria: https://music.sabaton.net/PrimoVictoria
Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted 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: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Brodén, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Community Manager: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Editor: Iryna Dulka
Sound Editor: Marek Kaminski
Maps by: Eastory — https://www.youtube.com/c/eastory
Archive: Reuters/Screenocean — https://www.screenocean.comSources:
– Design vector of baseball elements created by macrovector official – www.freepik.comAll music by: Sabaton
An OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2019 – all rights reserved.
December 31, 2020
Louis Armstrong and the Beginning of the Jazz Age | BETWEEN 2 WARS: ZEITGEIST! I E.08 – Summer 1920
TimeGhost History
Published 30 Dec 2020Louis Armstrong will be one of the greats of the American Century. But before that, others have to blaze a trail for him. No mean feat in a land of racial tension…
Join us on Patreon: https://www.patreon.com/TimeGhostHistory
Hosted by: Indy Neidell
Written by: Indy Neidell and Francis van Berkel
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 and Francis van Berkel
Edited by: Michał Zbojna
Sound design: Marek Kamiński
Colorizations: Mikołaj Uchman and Spartacus OlssonSources:
Some images from the Library of CongressFrom the Noun Project:
world by Arafat Uddin
Stamp by Made
questions by Gregor Cresnar
Money by DARAYANI
Money Bag by HAMEL KHALED
people by Florent LenormandSoundtracks from Epidemic Sound:
“Epic Adventure Theme 3” – Håkan Eriksson
“You’re Trouble” – Rich in Rags
“1920s Chicago 2” – Magnus Ringblom
“It’s Not a Game” – Philip Ayers
“Weapon of Choice” – Fabien Tell
“On the Edge of Change” – Brightarm Orchestra
“For the Many STEMS INSTRUMENTS” – Jon Bjork
“Easy Target” – Rannar Sillard
“Step on It” – Golden Age RadioArchive by Screenocean/Reuters https://www.screenocean.com.
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
December 30, 2020
This is why the word “unexpectedly” gets such a workout in media these days
David Warren on “unexpectedly” negative results from policies born of virtue-signalling “good intentions” by self-styled progressives:
The expression, “unintended consequences,” is a charitable dodge. It is what old-fashioned, polite, civic-minded people say about the fallout from progressive social policies. It implies that their authors have overlooked something, or made some innocent mistake. For unfortunately, the policies do the exact opposite of what was promised. Surely the “reformers” didn’t mean to force decent, reasonable people to do things that any decent, reasonable person would consider to be satanic. Yet somehow, that was the result.
By contrast, these reformers despise the tactics of the bourgeois. Rather than argue, they prefer to drown out their opponents with slogans. Rather than coherently reply, they characterize any asking questions as “fascist,” “misogynist,” “racist,” “hate criminals,” &c. Those who have exposed scandals are personally smeared, slandered, doxxed. This isn’t new. It is the way the Left has always “debated,” going back long before Lenin. Once they have the police working for them, opponents get the knock in the middle of the night.
There are, incidentally, two kinds of “reform,” corresponding to the two political persuasions. One happens without planning, and is an organic response to things no longer working properly. Try, in good faith, to make the old system work, and it will subtly change. The “problems” fix themselves, when they are allowed to. The other kind is “reform” according to a theory. A huge, mostly imaginary “problem” is created, so a “solution” may be imposed. Every tool must be applied, to get everyone onside for the task: fake news, fake science, fake history, and miscellaneous fakery. For as every godless person knows, “the end justifies the means.”
Luckier than most, raised in “liberal” environments, I was able to discern this from an early age. By chance I acquired many friends who were refugees from Communist (especially Soviet-occupied) countries. But it was not just that. Having been trained counter-culturally, by non-conformist “classically liberal” teachers, and also having learnt to read for myself, I was already fairly alert. The clincher for me was a native disposition, not only to think independently, but to resist being a putz. It was not in my nature to assume that the enemies of real liberalism (which requires honesty) had good intentions. Reason, and experiment, demonstrated that they had not.
For instance, I early realized that leftwing factions formed a Party of Privilege. Every policy they advanced favoured individuals with relatively more wealth and power, against individuals with less. Unions were a good example. They represented the better-paid. The labour laws they advocated were designed to exclude the young and the poor from labour-market competition. They secured the allegiance of thuggish union members through crassly self-interested schemes. They opposed legitimate rewards for labour; for skill and hard work. Instead they enforced universal mediocrity, and punished intelligent enterprise. Legitimate labour interests, once represented by cooperative and self-managing guilds, were replaced by the interests of (untalented) union organizers.
December 29, 2020
QotD: Alfred Hitchcock’s The Birds
Electric Ghost Magazine: Your thesis that Hitchcock’s The Birds depicts recrudescent “angry nature” forcing civilization into regression is very pertinent at this particular time of COVID-19, as we make bunkers of our homes like those in the Brenner house against the birds. What does Hitchcock’s film teach us about our current moment?
Camille Paglia: The analogy to today’s global virus crisis is very compelling. The Birds demonstrates the fragility and folly of all human artifice. When omnipotent nature turns on mankind, everything falls to pieces — from protective dwellings to personal dignity and social cohesiveness. Unleashing the birds like a black plague, Hitchcock attacks the sentimental illusions that allow us to survive and thrive in our daily routines. The film has a metaphysical sweep, exposing the terrifying great unknowns at the heart of human existence.
As for the present time, Western developed nations have become too smugly complacent about their advanced technology and prosperity. Our electronic systems and intricate international supply and distribution network function so smoothly that they have become invisible to the affluent upper-middle-class, comfortably working from home via computer. These arrogant masters of the machine attribute all human ills to unjust society — from hurricanes to global warming, as if puny mankind is capable of such staggering power. Like Greek tragedy, The Birds shows the grim reality — human helplessness in the face of nature and fate, as commerce, schooling, hospitality, and the pretty dance of courtship are reduced to horror and squalor.
December 28, 2020
December 25, 2020
“Swedish Pagans” – Vikings & The Russ – Sabaton History 099 [Official]
Sabaton History
Published 24 Dec 2020It was a sword-age, a spear-age — an age when fearsome Northmen, savage Vikings, and mysterious pagans from across the sea haunted the shores of northern Europe. The Swedish pagans, believing in the fate of the old Norse gods, traveled south across the Baltic Sea and deep into modern-day Russia. With their sleek longships, they sailed along the big rivers, ever southwards to reach Miklagard. Miklagard — the Great City — that was Constantinople, where the Swedish Pagans sold slaves and goods from the north for silver and coin. Those who made the long hazardous journey and survived the treacherous country were to be rich men.
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to “Swedish Pagans” on the album The Art of War: https://music.sabaton.net/TheArtOfWar
Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted 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: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Brodén, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Community Manager: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Editor: Karolina Dołęga
Sound Editor: Marek Kamiński
Maps by: Eastory – https://www.youtube.com/c/eastory
Archive: Reuters/Screenocean – https://www.screenocean.comSources:
Swedish National Heritage Board
Kulturhistorisk museum
Museum of Cultural History, part of the University of Oslo, Norway
Pictures of Runestone courtesy of: Berig, RJürgen Howald & Bjoertvedt from Wikimedia
AU Library, Campus Emdrup, http://galleri.au.dk/aul/#14891850309…
Longship sketch with a keel courtesy of Cornelis from Wikimedia
Map from 878 courtesy of Hel-hama – from WikimediaAll music by: Sabaton
An OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2019 – all rights reserved.















