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
The Allies make plans to bring the war to Germany by possibly attacking in North Africa. Holding Malta might be the key to such adventures, but it is increasingly harder to do. The Soviets and German make plans for adding millions of soldiers to their ranks, while springtime mud has kept the front mostly quiet. The Japanese plans for the conquest of Burma are still advancing, though the fighting this week is especially brutal.
Written and Hosted by: Indy Neidell
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Research by: Indy Neidell
Edited by: Iryna Dulka
Sound design: Marek Kamiński
Map animations: Eastory (https://www.youtube.com/c/eastory)
A report on the effect of strategic bombing called the “Dehousing Paper” is spread to justify the targeting of the civilian population of Germany. In Poland, one by one, extermination camps are starting construction. This month, a new one is finished, named Belzec. Here, Jews and other minority undesirables from Poland are gassed.
Hosted by: Spartacus Olsson
Written by: Spartacus Olsson and Joram Appel
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Research by: Joram Appel
Edited by: Miki Cackowski
Sound design: Marek Kamiński
Map animations: Miki Cackowski, Eastory (https://www.youtube.com/c/eastory)
Colorizations by:
Mikołaj Uchman
Daniel Weiss
Dememorabilia – https://www.instagram.com/dememorabilia/
Julius Jääskeläinen – https://www.facebook.com/JJcolorization/
Sources:
Yad Vashem 1935/15, 3016/2, 1137/217, 10094/1, A4613/1116, 3518/7,1554/1
IWM ART 15747 12, HU 56848, MH 24747, CL 2377, ME(RAF) 3703, HU 107752, C 2364, C 4748, C 4743, HU 74904
Bundesarchiv
Graphic of Vickers Wellington bomber, courtesy of Emoscopes https://commons.wikimedia.org/wiki/Fi…
Graphic of Short Stirling bomber, courtesy of Emoscopes https://commons.wikimedia.org/wiki/Fi…
www.auschwitz.org
www.deathcamps.org
USHMM
Picture of scratches on a wall of a gas chamber at Auschwitz, courtesy of Lasy https://commons.wikimedia.org/wiki/Fi…
from the Noun Project: Watchtower by Eliricon
Soundtracks from the Epidemic Sound:
Johan Hynynen – “Dark Beginning”
Wendel Scherer – “Growing Doubt”
Peter Sandberg – “Document This 1”
Jon Bjork – “Disposal”
Philip Ayers – “Trapped in a Maze”
Fabien Tell – “Never Forget”
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
World War Two
2 days ago
On the horrors of crafting this, on age restriction, and on covering Allied war crimes – by Spartacus
All episodes of War Against Humanity are difficult to make, but this was an especially harrowing episode to host. When I wrote the conclusion based on Joram’s initial draft, I was composed — it was an intellectual exercise still. That changed once I started giving the words a voice, and as you can see at the end of the episode I had difficulties keeping my composure — when I was done I cried bitterly. But that is how it is supposed to be — the totality of our creation is what brings it home, together with Joram I compile the knowledge, Miki or Karo put it into images under Wieke’s direction, and within all of that it is my job to express it in spoken language as best as I can.
Yes, it is difficult to make and it is difficult to watch — but we sincerely believe that none of us should look away lest we forget. We take upon ourselves to spend hours every week to sift through the minutiae of these events so that we can compress it into 15 minutes every two weeks. We do it not for money, not for fame, and not out of pleasure, but because it needs to be done so that others can spend less time on it than us and still see this time for what it was. It needs to be done by neither glossing over any events, nor the images as horrible as they are. This has two important purposes:
1. driving home that this really happened and
2. defeating any claims towards that we’re just making this up, or exaggerating.
Within that responsibility it is also our duty to report, without prejudice, on what the Allies did that was against human values and rights in this war. We don’t do that because there is an equivalence between events, or to create such an equivalence — we do it for the exact opposite purpose — to show the complete picture and preempt any calls for “what about the bombing of Germany and Hiroshima!?” We do it because we are dedicated to the facts, and the events must be permitted to speak for themselves.
We’re doing all of this in a time when the horrors of WW2 are ever further away in the rearview mirror, when survey after survey shows that the younger generation have little or no knowledge of how earth-shattering this war was. An indication of a growing educational gap, and in many of the countries where you are watching it has long been decided that reporting on these atrocities is of especial importance. That includes decisions to also expose younger people to the reality of it despite the graphic nature of the content. In most places these images are purposefully excepted from age restrictions that befall content made for entertainment, that is to say they do not fall under an 18+ restriction. They are regulated as PG 16 or the equivalent, in some places even PG13.
It then troubles us deeply that YouTube chooses to go against the decisions made by democratically elected bodies and restrict this content to over 18 only. It troubles us even more when this leads to the inevitable result that our viewership has dropped by 50% since they started doing that. That is a drop far above the share of our viewers that are under age, because with the restriction comes a reduction in recommendation to view — users that are not logged in and age verified don’t get notified — the content can no longer be embedded on external sites — in some countries it is blocked entirely, regardless of your age — and all of that further decreases the value of the video in YouTube’s algorithms. The result is that the War Against Humanity videos are now an echo chamber where we only reach those that already know the content.
We have spoken to YouTube to remedy this fault, but we have had no success thus far. As a result we have decided to start making a censored version of the videos that we will upload if or when they get age restricted. We already upload all of our content to https://odysee.com/@WorldWarTwo:6 but that is not a place where anyone will find our content by chance. On that note we should point out that the videos only get age-restricted because they are reported to YouTube by the community as inappropriate, offensive, or false. We take umbrage at that, because in effect this means that YouTube is helping those who would like these events to be forgotten, or even deny that they ever happened. It’s a pity; even morally wrong in my viewpoint. It leaves me despondent and the last weeks have been extraordinarily difficult for me — I have questioned my purposes and wondered why I put myself and our team through all of this, if all we’re doing is preaching to the choir. At first it left me sad, but after YouTube’s glib, bureaucratic responses I got depressed. I considered throwing in the towel, but then I would be nothing else than a coward refusing to stand for those who no longer have a voice. So, I will continue, I will resist, and we will fight against anyone that tries to silence us and the dead — because we must not look away, we must never forget.
Adolf Eichmann was one of the masterminds behind the “Final Solution of the Jewish Question”. Or was he? In his trial, he argued to be merely a bureaucrat who was following orders. This episode attempts to shine a light on the real role of this controversial figure.
Hosted by: Spartacus Olsson
Written by: Spartacus Olsson, Joram Appel
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Research by: Joram Appel
Edited by: Karolina Dołęga
Sound design: Marek Kamiński
Colorizations by:
Daniel Weiss
Spartacus Olsson
Mikołaj Uchman
Sources:
– Yad Vashem: 3887/1, Y69EO4_, 1605/1431, 102co3, 76/68, 4229/59, 29/56, 73GO3_, 74AO9_, 1922/6, 2749/3, 2986/71, 4229/61, 03/198, 4613/789, 73AO6, 1572/17,
– United States Holocaust Memorial Museum
– Bundesarchiv
– Icons from the Noun Project: freight car by Evgeni Moryakov, School by Adrien Coquet, Watchtower by Eliricon
– Picture of Frontkämpfervereinigung in 1925 courtesy of Wienbibliothek im Rathaus, Tagblattarchiv Fotosammlung, TF-999034
– Picture of Wannsee villa courtesy of JoJan from Wikimedia Commons
– Library of Congress
Soundtracks from Epidemic Sound:
– “Rememberance” – Fabien Tell
– “Deviation In Time” – Johannes Bornlof
– “Last Minute Reaction” – Phoenix Tail
– “It’s Not a Game” – Philip Ayers
– “Moving to Disturbia” – Experia
Pre-war shipwrecks are disappearing from the seabed. Why? A look at the sad reality of illegal salvaging that is destroying numerous war graves and historical wrecks around the world, told from the site of some of the most famous shipwrecks in the world; Scapa Flow.
The Guardian has done some amazing work in documenting this problem, worth a read if you have the time:
00:00 – Introduction & History of Scapa Flow
01:00 – Scuttling & Salvaging of the German High Fleet
02:45 – The Value of Pre-War Steel
03:54 – The Disappearing Shipwrecks
06:03 – HMS Royal Oak
10:16 – Disappearing Wargraves
10:58 – Outro
MacArthur makes one of the most iconic remarks of the whole war, but considering the fact that the Philippines seem unsalvageable, it’s pretty unclear just how he’ll do it, especially since even though ever more American soldiers are arriving in Australia, the Japanese threat to Australia grows daily. Bill Slim arrives in Burma to take command of I Burma Corps, and Joe Stilwell has taken over two Chinese Nationalist armies, so the defense of Burma looks like it might go on a while longer, though the Allies are at a serious disadvantage after losing Rangoon. The Japanese, for their part, are trying to figure out how the heck they’re going to administer all the territory they’ve taken this year and bring natural resources to Japan itself. There is still scattered fighting in the USSR, but the spring muds have put pad to any major offensives for the time being. As for the British, they launch Operation Outward, a hydrogen balloon campaign over Germany. Yep, you read that right. What a week.
Written and Hosted by: Indy Neidell
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Research by: Indy Neidell
Edited by: Iryna Dulka
Sound design: Marek Kamiński
Map animations: Eastory (https://www.youtube.com/c/eastory)
Soundtracks from the Epidemic Sound:
– Rannar Sillard – “Easy Target”
– Jo Wandrini – “Dragon King”
– Wendel Scherer – “Time to Face Them”
– Howard Harper-Barnes – “London”
– Philip Ayers – “The Unexplored”
– Farrell Wooten – “Duels”
– Johan Hynynen – “Dark Beginning”
– Craft Case – “Secret Cargo”
– Johannes Bornlöf – “The Inspector 4”
Ever wonder if the Kriegsmarine saw any action in the Pacific Ocean? Or if the average Soviet soldier ever got a vacation from the most destructive conflict in the history of humanity? You can find out the answers in this episode of Out of the Foxholes!
Hosted by: Indy Neidell
Written by: Lewis Braithwaite and Dennis Stepanov
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: Dennis Stepanov and Lewis Braithwaite
Edited by: Miki Cackowski
Sound design: Marek Kamiński
Map animations: Eastory (https://www.youtube.com/c/eastory)
Colorizations by:
Daniel Weiss
Sources:
David Rumsey Map Collection, David Rumsey Map Center, Stanford Libraries
Bundesarchiv
Portrait of Robert Eyssen, courtesy of Gareth Collins
Komet schematics, courtesy of Rama https://commons.wikimedia.org/wiki/Fi…
Narodowe Archiwum Cyfrowe
State Library of Queensland
Soundtracks from the Epidemic Sound:
Phoenix Tail – “At the Front”
Johannes Bornlof – “The Inspector 4”
Howard Harper-Barnes – “Prescient”
Jo Wandrini – “Puzzle Of Complexity”
Archive by Screenocean/Reuters https://www.screenocean.com.
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
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South America is home to one of Germany’s most effective spy-networks. In Operation Bolivar, dozens of German operatives transmit information from and to the USA, Brazil, Argentina, and other South and Central American countries, giving the Abwehr and SD access to crucial information on politics, economics, and military business. (more…)
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The main British sniper rifle of World War Two, and arguably one of the best looking military sniper rifles of all time, the No4 MkI (T) was something the British military knew they would want even before the No4 MkI rifle had gone into real production. The first No4 snipers were built on leftover trials rifles from Enfield, and the pattern was formally introduced in February of 1942. First use was in North Africa, but the fighting there was not really suited to sniper rifles, and the weapon’s practical combat debut was in Italy in 1943.
The No4 MkI (T) was a conversion of a standard No4 MkI rifle, using examples chosen for particular good accuracy. They were sent to Holland & Holland to have scope mount bases added and No32 telescopic sights fitted (along with cheek risers on the stocks and having the battle sight aperture ground off to allow room for the scope bell). Between 23,000 and 26,000 were made during the war, and they would continue to be used in the British military for decades, including later conversion into 7.62mm NATO L42A1 rifles [which Ian discusses here].
Contact:
Forgotten Weapons
6281 N Oracle #36270
Tucson, AZ 85704
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The Allies may have had a lot of resources, manpower and industry, but that didn’t mean that their logistics weren’t inefficient or a disorganized mess. Today, we’re going to look at how the British railways were disaster during WW2, how the Americans ran out of fuel on the way to Germany, and why Montgomery called the planning for the invasion of Sicily a “dog’s breakfast”.
⏲️ Videos EVERY Monday at 5pm GMT (depending on season, check for British Summer Time).
Dunn, W. The Soviet Economy and the Red Army, 1930-1945. Praeger Publishers, 1995.
Garvey, J. Operation Husky: The Untold Story of the logistics of the Sicily Invasion. Farm Publications, Kindle 2019.
Hazlitt, H. Economics in One Lesson: The Shortest & Surest Way to Understand Basic Economics. Three Rivers Press, 1979.
MacDonald, J. Supplying the British Army in the Second World War. Pen & Sword Military, Kindle 2020.
Molony, C. The Mediterranean and Middle East, Volume V, The Campaign in Sicily 1943 and The Campaign in Italy 3rd September 1943 to 31st March 1944. The Naval & Military Press LTD 2004, first published in 1973.
Wolmar, C. Fire & Steam: How the Railways Transformed Britain. Atlantic Books, Kindle 2007.
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ABOUT TIK 📝
History isn’t as boring as some people think, and my goal is to get people talking about it. I also want to dispel the myths and distortions that ruin our perception of the past by asking a simple question – “But is this really the case?”. I have a 2:1 Degree in History and a passion for early 20th Century conflicts (mainly WW2). I’m therefore approaching this like I would an academic essay. Lots of sources, quotes, references and so on. Only the truth will do.
This video is discussing events or concepts that are academic, educational and historical in nature. This video is for informational purposes and was created so we may better understand the past and learn from the mistakes others have made.
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Here David Willey discusses the Sturmgeschütz III Self-Propelled Assault Gun, better known as the StuG III, Germany’s most numerously produced fully tracked Armoured Fighting Vehicle of the Second World War.
Santa Fe presents, Loaded for War. This WWII era color film presents the power of the Santa Fe railroad. While speaking of the mighty effort the trains and its myriad workers achieved during wartime, the footage is all modern and in color. The film does a great job of showing how integral our railroad system has been to the growth of these United States. “With grateful appreciation to the Office of Defense Transportation, the Army, Navy, Maritime Commission, and the shipping and traveling public, for the cooperation and genuine understanding which has made the service record here presented possible …” The film opens with a steam locomotive bearing down on the camera 1:03. The narrator speaks as the train crosses a trestle 1:10. News headlines of December 7, 1941 11:25. Steam and diesel locomotives are transformed into machines of war 1:40. Smoke fills a train yard as trains enter and are washed 2:08. A train signal shows a green light 2:25. Workers are seen in the factory 2:36. Civilians exit trains volunteering for service 2:45. A telegram is shown stating that the trainmen should, “move all available equipment to military stations without delay” 2:54. Four locomotives are shown 3:03. Crews are assigned and men work double shifts 3:45. Rail equipment is loaded by military personnel, ready to move 4:13. Flatcars are loaded with tanks and military trucks 4:52. Divisions of fighting men aboard the trains 5:09. The tanks roll down the tracks on flatcars 5:35. The wheels of war are rolling 6:14. The day by day mass movement of freight is shown at the train yard 6:48. Trains crossing country on railroad tracks 7:40. Trains service the shipyards as men work building military ships 8:00. A ship is launched 8:15. Cattle and pigs are delivered throughout the 48 states 8:37. Potatoes are tilled in the field with heavy equipment 9:00. Oranges are picked and packed in southern states 9:13. Military bombers soar through the air 9:23. Heavy machinery workers in the factories 9:48. Factories and men building artillery shells 9:55. Tanks roll off the product line and onto the railroad tracks 10:10. Locomotive struggles up a hill 10:25. Miners and their lamp hats head down the tunnels by rail 10:38. Oil fields are shown 11:15. Oil is loaded onto railway tankers 11:38. Machines digging the copper mines 12:08. The big diggers pick up 8 cubic yards of copper at a time 12:18. The railroad moves the copper to the smelters 12:31. Sulfur mines using forced steam 12:50. Sulfur is moved by train to the gunpowder makers 13:25. Logging industry is served with the railroads 14:00. Cotton and scrap metal industries are also served by rail 14:18. Old cars are being called back into use for the war effort 15:30. Locomotive number 3723 comes out of retirement by the trainmen 15:48. Various train parts are marked and taken away for repair or replacement 16:07. Men work in factories with fine-tuned machines to retool and refine old parts for new use 16:26. Old firebrick is removed and replaced 16:43. Acetylene torches are used inside the huge boilers 16:49. Huge wheels are cleaned and dipped and sprayed ready for use 17:08. Heat is used to expand the metals 17:18. Locomotive number 3723 is fully refurbished and ready for the tracks 18:05. All types of equipment need to be refurbished for the war effort 18:46. The men use heat and molten metal to reshape old parts for new use 19:00. Gears are ground with precision 19:13. The railroads motto, “let’s keep ‘em rolling” 19:24. The men work on building new track 19:35. Men using hammers to straighten out tracks 19:53. The towermen, bridge crews, conductors, station men, ticket men, dispatchers, signalmen and to the other thousands of men – give the railroad men their due 20:44. Women are also an integral part of the success of the railroad 21:07. The women work in offices but also in factories with heavy machinery and molten metal 21:21. Two women wash down a train 21:30. The wheels of war are rolling 21:40. Military men march in unison 21:47. Train caboose pulls away from the camera 22:52. A flag with 8057 turns into the American flag and waves in the breeze 23:06. The End. Santa Fe.
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This film is part of the Periscope Film LLC archive, one of the largest historic military, transportation, and aviation stock footage collections in the USA. Entirely film backed, this material is available for licensing in 24p HD, 2k and 4k. For more information visit http://www.PeriscopeFilm.com
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Rangoon in Burma falls to the invaders without a shot, the Dutch East Indies surrender 100,000 men to them at Batavia, and the Japanese land on New Guinea and begin their advance on Port Moresby. The first phase of their offensives is now over. The Philippines still hold out, their armies under siege at Bataan, but Douglas MacArthur, Allied commander there, has made his getaway, one day to hopefully return. American troops do begin landings on New Caledonia, to build a base there to begin the fight back.
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)
The History Guy: History Deserves to Be Remembered
Published 12 Mar 2021
Sponsored by Blinkist. The first 100 people who go to https://www.blinkist.com/thehistoryguy are going to get unlimited access for one week to try it out. You’ll also get 25% off if you want the full membership.
Today, the most popular book format in the world is not a traditional hardcover book, nor an ebook, but a paperback — a format that changed the what, how, when and how much the world reads. It is history that deserves to be remembered.
This is original content based on research by The History Guy. Images in the Public Domain are carefully selected and provide illustration. As very few images of the actual event are available in the Public Domain, images of similar objects and events are used for illustration.
All events are portrayed in historical context and for educational purposes. No images or content are primarily intended to shock and disgust. Those who do not learn from history are doomed to repeat it. Non censuram.
The History Guy: History Deserves to Be Remembered is the place to find short snippets of forgotten history from five to fifteen minutes long. If you like history too, this is the channel for you.
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Italy was the first major adopter of the Maxim heavy machine gun and had several hundred by 1914 — but wanted to have a domestic design in production as well. The Italian government and military put a lot of resources into the Perino machine gun, but kept it so secret that it was never properly tested and development was very slow. By the time war broke out, the Perino was clearly not ready for field use — and Maxims (along with other foreign designs) were no longer available for commercial sale as production was being taken up by warring nations. This led Italy to adopt a private design of Bethel Revelli in partnership with the FIAT company.
Adopted as the Modello 1914, Revelli’s machine gun was a delayed blowback system with a wedge under mechanical disadvantage holding the bolt closed long enough to safely cycle. Its most unique element was the 50-round mousetrap-type box magazine that used 10 independent stacks of 5 rounds each (a 100-round version was also made). This was a very complex magazine to produce, and much more delicate than the other machine gun feed systems in use at the time. The Revelli is also notable for being the only major machine gun of the period to have a circulating water jacket, operated by a small hand-cranked pump on the condensing tank.
The FIAT-Revelli would see service as both and aircraft and ground gun through World War 1, and was updated in 1935 to an air cooled pattern that would serve through World War 2. These guns are very scarce in the United States today, and I am grateful to the collector who owns this one for providing access to it!
Contact:
Forgotten Weapons
6281 N. Oracle #36270
Tucson, AZ 85740
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