Under the violent occupation by Axis forces, dozens all over the globe resisted or took up arms to fight for the survival of their nation, ethnicity, ideology or ideals.
Sources:
Marxist Internet Archive
Picture of Tito during a Partisan gathering, courtesy of Музеј Старе Херцеговине
Yad Vashem 75FO4, 4613/899, 4248/20, 1605/91
Bundesarchiv
USHMM
IWM NA 15129
Soundtracks from the Epidemic Sound:
Phoenix Tail – “At the Front”
Reynard Seidel – “Deflection”
Hakan Eriksson – “Epic Adventure Theme 4”
Johannes Bornlof – “The Inspector 4”
Fabien Tell – “Last Point of Safe Return”
Howard Harper-Barnes – “London”
Rannar Sillard – “March Of The Brave 10”
Patriotism and war enthusiasm sweeps through the totalitarian countries in the run-up to the Second World War. This doesn’t leave out children either, who are supposed to become the prime soldiers of the future.
Hosted by: Anna Deinhard
Written by: Fiona Rachel & Spartacus Olsson
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Research by: Fiona Rachel
Edited by: Karolina Dołega
Sound design: Marek Kamiński
Colorizations by:
– Mikołaj Uchman
– Daniel Weiss
Sources:
– Bundesarchiv
– Library of Congress
– RIAN NOVOSTI: 25358
– Narodowe Archiwum Cyfrowe NAC
– Yad Vashem: 6884/13, 6884/14, 6884/5
– National Archives NARA
– Picture of Boy Scouts at a Campsite courtesy of Springfield College, Archives and Special Collections
– English children at school in 1920s courtesy of pellethepoet from Flickr – https://tinyurl.com/yerg47hn
– Fortepan: 5660, 1371, 32045, 55755,
– Picture of the League of German Girls with children courtesy of Facing History and Ourselves & Hoover Institution Archives – https://tinyurl.com/yzrfozas
Soundtracks from Epidemic Sounds:
– “The Inspector 4” – Johannes Bornlöf|
– “Weapon of Choice” – Fabien Tell
– “Remembrance” – Fabien Tell
– “Moving to Disturbia” – Experia
– “Break Free” – Fabien Tell
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
World War Two
3 hours ago (edited)
When thinking of people who have been affected by the horrors of war, children are not usually the first group to pop into one’s mind. Of course, fathers away at the front and wartime propaganda bring the war closer to children’s homes, but with state-controlled youth organizations in totalitarian countries, we have yet another topic at our hands, how the war crept into children’s lives. Even though with the end of the war this dark chapter of youth movements in Europe mostly got to an end, clubs and associations are still an important part of youth culture to network and emancipate oneself. Have you been part of a club or other youth organizations in your childhood? Please let us know in the comments.
Cheers, Fiona
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Britain’s campaign to firebomb the old towns of Germany where civilians reside begins in earnest this week. The British also destroy the port at St. Nazaire in commando action. In the Indian Ocean, however, they are avoiding contact with the Japanese, even while on land the Japanese advance in both Burma and New Guinea.
Written and Hosted by: Indy Neidell
Director: Astrid Deinhard
Producers: Astrid Deinhard and Spartacus Olsson
Executive Producers: Astrid Deinhard, Indy Neidell, Spartacus Olsson, Bodo Rittenauer
Creative Producer: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Research by: Indy Neidell
Edited by: Iryna Dulka
Sound design: Marek Kamiński
Map animations: Eastory (https://www.youtube.com/c/eastory)
I was involved in a discussion on the TimeGhost Army forum on the reasons the Wehrmacht didn’t get as much use out of the existing Soviet railway system to support their forces. I ended up writing enough that I thought it’d be worth pulling together into a blog post. The original question was why didn’t the Germans build new rail lines in Poland to the Russian gauge — which was different enough from the standard 4′ 8 1/2″ gauge used in most of the rest of Europe to help supply their armies.
Example of the damage to Soviet railway lines conducted during the Soviet retreat in 1941. This photo originally from Wydawnictwo Prasowe Kraków-Warszawa via Wikimedia Commons.
In Christian Wolmar’s Engines of War: How Wars Were Won and Lost on the Railways, he outlines the troubles the Germans faced after launching Operation Barbarossa with regard to logistics on the railway network. Each of the main Germany axes of advance had only one Soviet rail line to provide the bulk of the transport, but the Soviets had successfully withdrawn or destroyed the majority of the locomotives and rolling stock. German industry could have been assigned the task of producing new locomotives to fit the Russian gauge, but re-gauging the existing track was significantly faster.
This meant a significant labour requirement to unload incoming German trains at the furthest point of conversion and re-loading onto the few Russian trains that were able to be put back into service. This was a major task for the German army even before Partisan activity began in earnest. The available coal to fuel the engines in Russia was of inferior thermal quality to the coal the German locomotives were designed to use, so in addition to all the military supplies that had to be carried, the Germans also had to supplement the Russian coal with significant amounts of better coal from elsewhere in Europe.
The next problem didn’t show up until late in 1941, but it was the same problem the fighting troops had to contend with: the Russian winter. Russian railway locomotives were engineered to operate throughout the year, but German locomotives almost never faced the low temperatures that happen in Russia, so any German locomotive allowed to freeze was almost certainly lost to permanent mechanical failure (the locomotive’s entire boiler would need to be replaced, which was not a repair that could be made in the field).
Compounding the problems for the Germany railway troops was that the military planners failed to give the railway troops any priority for supplies and reinforcements, which meant that the higher priority troops (the front-line soldiers) often had to wait longer and/or receive less because the railways weren’t able to repair damaged track or rolling stock or increase the speed of re-gauging the Russian railways.
Somone agreed that these were significant problems for the Wehrmacht, but weren’t they at least somewhat taken into consideration in the planning process:
You’re quite correct that the military planners must have been aware of these issues and a rational army staff would have taken them fully into account in their war plans. It’s possible that they expected to capture a much larger proportion of the Russian locomotives and rolling stock in the initial attacks, but they should have made contingency plans that didn’t absolutely depend on all of them falling into German hands … which is what appears to have been their “plan”.
I agree that it would have been a sensible thing to take into consideration that even if everything went off perfectly – and it never does in wartime – large parts of the German military were going to be staying in Russia for a very long time. Russian winter is, thanks to the historical experiences of Charles XII and Napoleon, proverbial. Hitler’s interventions in the planning process can only account for so much of the irrational optimism: the rest is clearly staff failure at many different levels.
Historical changes of gauge in peacetime have been achieved in amazingly short periods of time … but that was with the advantage of advance planning and having vast numbers of workers available on a tight timetable to get it done. My personal sense (not derived from Christian Wolmar’s book) is that the German military as a whole put too much emphasis on the “teeth” and no where near enough on the “tail” for anything other than a “short, victorious war”.
Railways in North America had certainly tried to adopt as many mechanical aids to track maintenance as they could afford, but I’m not sure if that was equally true of European railways at that time. I recall watching a late 1940s promotional film by one of the “Big Four” British railways showing the innovative way they were now doing track work, and even with some quite modern mechanical aids, there were still dozens of workers clustered around the work (in that time period, not wearing any of what we’d now consider essential safety gear), because labour was still relatively cheap and plentiful.
[…]
There’s a hoary old saying about amateurs plan strategy, but professionals plan logistics. Despite having the benefit of basically inventing the modern military staff system, German plans in WW2 appear in hindsight to be very amateurish once you get to the strategic scale. […] Given the constraints, I think the Germans did far better than they should have done to get as close to Moscow as they did. […] Human psychology plays a large part in explaining both the Germans’ incredible over-confidence (what the Japanese termed “Victory disease”) and Stalin’s willing self-delusion that the Germans wouldn’t attack him while his forces weren’t ready.
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Censorship was not just a practice in totalitarian regimes. During World War Two, democratic liberties in Allied countries often clashed with propaganda and restrictions of the press.
Sources:
Dutch National Archives
IWM D 20472
Bundesarchiv
from the Noun Project: Map by BaristaIcon, strategy by Fran Couto, weather by Yoyon Pujiyono, building by Made, Government by lathiif studio, documents by Geovani Almeid, Pen by Caesar Rizky Kurniawan
The True Cost of Petrol, courtesy of www.mirrorpix.com
Soundtracks from the Epidemic Sound:
Johannes Bornlof – “The Inspector 4”
Fabien Tell – “Last Point of Safe Return”
Johan Hynynen – “Dark Beginning”
Reynard Seidel – “Deflection”
Phoenix Tail – “At the Front”
Johannes Bornlof – “Deviation In Time”
Max Anson – “Maze Heist”
Wendel Scherer – “Out the Window”
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
World War Two
2 days ago
Censorship is a phenomenon of all ages. Those in power sometimes don’t want certain voices to be heard for a variety of reasons. While this episode is about political and military censorship, we ourselves are still dealing with another kind of censorship today. Economic, political and PR reasons to demonetize or age-restrict our videos are being conflated with “safety” and “harm” of “certain audiences”. We adamantly object to the restriction of fact-based history for the sake of business and public image. This is why it’s so important that we’re able to remain independent. We have full editorial control of our content, and we won’t surrender our mission to publish factual, unbiased and unsanitized documentaries. Our TimeGhost Army is the main reason why we have been able to remain independent and unwavering. Join the TGA at www.patreon.com/timeghosthistory or https://timeghost.tv
Cheers,
Joram
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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.
Comments Off on Did Soviet Soldiers Ever Get Time Off? – WW2 – OOTF 021
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
Comments Off on Heavy But Effective: Britain’s No4 MkI (T) Sniper Rifle
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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