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)
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.
The Japanese advance in Burma continues, threatening Rangoon, and also make landings on Java and New Guinea. They even go so far as an air raid on Broome, Australia. The British are making raids of their own this week, Operation Biting against Bruneval in German-occupied France. As for the Germans themselves, 100,000 of them are still surrounded by the Red Army at Demyansk, and Hitler is told that the Soviets might have enough reserves to defend against a renewed summer offensive.
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)
Sources:
– IWM: O1962, CH 16518, IWM A 9580, IWM A 9584
– Arrow by 4B Icons from the Noun Project
Soundtracks from the Epidemic Sound:
– Rannar Sillard – “Easy Target”
– Jo Wandrini – “Dragon King”
– Howard Harper-Barnes – “Underlying Truth”
– Fabien Tell – “Last Point of Safe Return”
– Phoenix Tail – “At the Front”
– Howard Harper-Barnes – “London”
– Flouw – “A Far Cry”
– Johan Hynynen – “Dark Beginning”
– Wendel Scherer – “Out the Window”
Archive by Screenocean/Reuters https://www.screenocean.com.
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
World War Two
3 days ago (edited)
CORRECTION: In this episode, Indy says that Franz Halder estimates German losses in the USSR to be up 1.5 million by March 1st. In actuality, Halder estimated them to be 1 million. A simple brain freeze when Indy was writing the script meant that he read out the incorrect statistics on the teleprompter. The vast majority of the time, our fact-checkers ensure this doesn’t happen — unfortunately, this one slipped through the cracks.
MAIN COMMENT: The Japanese are still advancing seemingly everywhere, even raiding Australia. In Europe, the German death camp system sees new facilities open this month and kicks into a higher gear.
Comments Off on The Japanese Raid Australia and the British Raid France – WW2 – 132 – March 6, 1942
Hundreds of thousands of Soviet Women were deployed in the Red Army and Red Navy during World War Two. They served in a multitude of functions, from traditional roles like nurses to roles previously associated with men. They were pilots, snipers, tank-crews, and fought on the very front of the lines.
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
Colorizations by:
– Klimbim
– Daniel Weiss
Sources:
– National Archives NARA
– Woman and Man in 1930s Soviet Propaganda Poster courtesy of Adam Jones from Flickr
– Yad Vashem: 953
– Library of Congress
– RIA Novosti archive
– Bundesarchiv
Soundtracks from Epidemic Sound:
– “The Inspector 4” – Johannes Bornlöf
– “London” – Howard Harper-Barnes
– “Dark Beginning” – Johan Hynynen
– “Other Sides of Glory” – Fabien Tell
– “Break Free” – Fabien Tell
– “Deviation In Time” – Johannes Bornlof
– “Ominous” – Philip Ayers
– “Moving to Disturbia” – Experia
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
World War Two
5 hours ago (edited)
Because of the pandemic, we have not been able to publish episodes of On the Homefront for a while. But don’t worry, we’re working on a new episode, which should arrive in your subscription box this spring. Now, we have made an On the Homefront episode which offers some great context to this episode on Women in the Soviet Armies. It is about (the myth of) Soviet Gender Equality, and you can watch it right here: https://youtu.be/zLcHbUrnl6Q
Comments Off on Communist Amazons – Women of the Red Army – WW2 Special
As the winter of 1942 continues, many Soviet civilians suffer under the German Siege of Leningrad. Meanwhile, the British are shifting their bombing strategy from targeting factories to targeting homes.
Sources:
USHMM
Bundesarchiv
Yad Vashem 2695/7, 5761/12
IWM MH 24747
RIA Novosti archive, image #762, #244
from the Noun Project:
Skull by Muhamad Ulum
Soundtracks from the Epidemic Sound:
Reynard Seidel – “Deflection”
Fabien Tell – “Last Point of Safe Return”
Farrell Wooten – “Blunt Object”
Jo Wandrini – “Dawn Of Civilization”
Wendel Scherer – “Defeated”
Jon Bjork – “Icicles”
Gunnar Johnsen – “Not Safe Yet”
Peter Sandberg – “Document This 1”
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
World War Two
4 hours ago
We are covering the RAF’s bombing campaigns in the War Against Humanity series because it concerns warfare against the civilian population. On previous occasions, we have been accused of relativizing Nazi’s war-crimes by covering Allied atrocities in the same space, but we argue that for a fact-based reporting on how WW2 impacted the civilian population we need to be complete and unbiased.
The facts speak for themselves, and we document those facts that by providing an exhaustive record with equal coverage of all events and parties. Covering one event doesn’t relativize or justify the other and vice versa. We will not tolerate any whataboutism in the comments.
We will also not tolerate a justification of these crimes based on pragmatism, or equal proportionality — on an absolute moral level the goal never justifies the means. In this case we look at our comment section from a 21st century perspective and hold ourselves and anyone using our forums to the modern standards laid down in the laws of war. Explaining, analyzing and discussing war crimes and crimes against humanity is fine, even desired — celebrating, hailing, or justifying them is not.
Comments Off on Britain Chooses War Crimes – RAF Strategic Bombing – WAH 028 – February 1942, Pt. 1
In a story from a few years back, Tim Harford outlines how a British Air Ministry prize for developing a “death ray” to use against enemy aircraft eventually helped kick off the discovery of radar:
The Chain Home radar tower in Great Baddow Chelmsford. Photo by Stuart166axe via Wikimedia Commons.
… sometimes inventions need other inventions to unlock their full potential.
For the aviation industry, that story starts with the invention of the death ray, or at least an attempt to design a death ray, back in 1935.
Officials in the British Air Ministry were worried about falling behind Nazi Germany in the technological arms race.
The death ray idea intrigued them: they had been offering a £1,000 prize for anyone who could zap a sheep at a hundred paces. So far, nobody had claimed it.
But should they fund more active research? Was a death ray even possible?
Unofficially, they sounded out Robert Watson Watt, of the Radio Research Station.
And he posed an abstract maths question to his colleague Skip Wilkins.
“Suppose, just suppose,” said Watson Watt to Wilkins, “that you had eight pints of water, 1km [3,000ft] above the ground.
“And suppose that water was at 98F [37C], and you wanted to heat it to 105F.
“How much radio frequency power would you require, from a distance of 5km?”
Skip Wilkins was no fool.
He knew that eight pints was the amount of blood in an adult human, 98F was normal body temperature and 105F was warm enough to kill you, or at least make you pass out, which — if you’re behind the controls of an aeroplane — amounts to much the same thing.
So Wilkins and Watson Watt understood each other, and they quickly agreed the death ray was hopeless: it would take too much power.
But they also saw an opportunity.
Clearly, the ministry had some cash to spend on research. Perhaps Watson Watt and Wilkins could propose some alternative way for them to spend it?
Wilkins pondered. It might be possible, he suggested, to transmit radio waves and detect — from the echoes — the location of oncoming aircraft long before they could be seen.
Watson Watt dashed off a memo to the Air Ministry’s newly formed Committee for the Scientific Survey of Air Defence. Would they be interested in pursuing such an idea? They would indeed.
What Skip Wilkins was describing became known as radar.
Comments Off on From an improbable 1930s “death ray” to the radar network that helped defeat the Blitz
At the end of July 1943, Hamburg burned. A fleet of British heavy bombers had dropped thousands of incendiaries over the city, turning it into a hearth of unprecedented dimensions. Numerous major fires merged together into a single storm of fire. Structures combusted under the immense heat, as strong winds drove the inferno through the streets at rapid speed. Craving for more oxygen, the firestorm sucked human bodies into the flames and immediately incinerated or mummified them. Thousands of others died slowly of carbon monoxide poisoning in their shelters. By the end of the raid, 60% of Hamburg had been burned out and more than 35,000 of its inhabitants were dead. But while the Germans were shocked to disbelief, for the British the firestorm has worked as intended. And this was just the beginning.
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: 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.com
Sources:
Imperial War Museums: C3677,HU 63075, HU 63089, MH 27517, CL3400, MH 24747,CL3395, MH 24764, CH 6386, CH 6386, CH 6275, CH 15879, C 3371, CH 18371, C 3918, C2367, HU44269, C 4748, PST 14359, C 4973,
Bundesarchiv
National Archives NARA
Icons from the Noun Project: Arrow by 4B Icons, Bomb by P Thanga Vignesh, fire building by dDara, Skull by Muhamad Ulum
All music by: Sabaton
An OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
They were the Aces in the sky — proud knights who flew their planes into deadly combat. Loved by the public, feared by their enemies, the victorious pilots of the Great War rose to prominence as gallant heroes. But the personal stories of those celebrated pilots were also memories full of excruciating pain, of terrible loss, and inner struggle. Body and mind of those aces were broken by the constant danger of fighting in the air. Those who survived bore more than a few scars.
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: 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.com
Sources:
– National Archives NARA
– Imperial War Museums: EB1911, Q33851, Q33725, Q33875, Q23897, Q 105765, ART 1611, Q 63852, Q 63850, Q 93660, Q 55479, Q 60799, Q 10331, Q 67114, Q 66540,
– Library of Congress
– The Board of Trustees of the Science Museum
– Wellcome Images
– Icons form The Nano Project: iron cross By Souvik Maity, IN ld Plane by LUTFI GANI AL ACHMAD,
– planes of World War 1 courtesy of 11Amanda on Wikimedia Commons
All music by: Sabaton
An OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
A simple recognition of some of our family members who served in the First and Second World Wars:
The Great War
Private William Penman, Scots Guards, died 16 May, 1915 at Le Touret, age 25
(Elizabeth’s great uncle)
Private Archibald Turner Mulholland, Argyll & Sutherland Highlanders, mortally wounded 25 September, 1915 at Loos, age 27
(Elizabeth’s great uncle)
Private David Buller, Highland Light Infantry, died 21 October, 1915 at Loos, age 35
(Elizabeth’s great grandfather)
Private Harold Edgar Brand, East Yorkshire Regiment. died 4 June, 1917 at Tournai.
(My first cousin, three times removed)
Private Walter Porteous, Durham Light Infantry, died 4 October, 1917 at Passchendaele, age 18
(my great uncle)
Corporal John Mulholland, Argyll & Sutherland Highlanders, wounded 2 September, 1914 (shortly before the First Battle of the Aisne), wounded again 29 June, 1918, lived through the war.
(Elizabeth’s great uncle)
The Second World War
Flying Officer Richard Porteous, RAF, survived the defeat in Malaya and lived through the war
(my great uncle)
Able Seaman John Penman, RN, served in the Defensively Equipped Merchant fleet on the Murmansk Run (and other convoy routes), lived through the war
(Elizabeth’s father)
Private Archie Black (commissioned after the war and retired as a Major), Gordon Highlanders, captured at Singapore (aged 15) and survived a Japanese POW camp
(Elizabeth’s uncle)
Elizabeth Buller, “Lumberjill” in the Women’s Land Army in Scotland through the war. (Elizabeth’s mother)
Trooper Leslie Taplan Russon, 3rd Royal Tank Regiment, died at Tobruk, 19 December, 1942 (aged 23). Leslie was my father’s first cousin, once removed (and therefore my first cousin, twice removed).
For the curious, the Commonwealth War Graves Commission the Royal British Legion, and the Library and Archives Canada WW1 and WW2 records site provide search engines you can use to look up your family name. The RBL’s Every One Remembered site shows you everyone who died in the Great War in British or Empire service (Canadians, Australians, New Zealanders, South Africans and other Imperial countries). The CWGC site also includes those who died in the Second World War. Library and Archives Canada allows searches of the Canadian Expeditionary Force and the Royal Newfoundland Regiment for all who served during WW1, and including those who volunteered for the CEF but were not accepted.
In Flanders fields the poppies blow
Between the crosses row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.
We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.
Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.
Lieutenant Colonel John McCrae, MD Canadian Army Medical Corps (1872-1918)
Regardless of T.O., all military bureaucracies consist of a Surprise Party Department, a Practical Joke Department, and a Fairy Godmother Department. The first two process most matters as the third is very small; the Fairy Godmother Department is one elderly female GS-5 clerk usually out on sick leave.
Zeller, “Estimates concerning the effectiveness of some contemporary American fighters in
defeating a defended and undefended IS-III tank”,
⚜ Music ⚜
Music and Sfx from Epidemic Sound
⚜ DISCLAIMER ⚜
Amazon Associates Program (US): “Bismarck is a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.com.”
Amazon Associates Program (UK): “Bismarck is a participant in the Amazon EU Associates Program, an affiliate advertising program designed to provide a means for sites to earn advertising fees by advertising and linking to amazon.co.uk.”
#CAS #GroundAttack #Typhoon
Comments Off on ⚜ | The Great Tank Destruction Myth ft. The Chieftain
Over at The Register, Gareth Corfield lists some of the advanced technological kit the Royal Air Force had access to during the Battle of Britain in 1940:
Restored Battle of Britain operations room in an underground bunker at former RAF station Uxbridge. Photo by Ian Mansfield via Wikimedia Commons.
Technology played its part, mostly behind the scenes – yes, we mean the backroom boffins – in equipping Britain to hold firm and defeat the Germans. As today’s commemorations focus on the pilots and ground crew who saw off the Luftwaffe, spare a thought for the technologists whose efforts also saved the western world.
The Chain Home Tower in Great Baddow Chelmsford. Photo by Stuart166axe via Wikimedia Commons.
Radar and radio
Chief among the technological innovations that gave the RAF the edge was radar. In the 1930s Britain was one of the world leaders in radar (thanks in part to a bizarre and unsuccessful experiment to kill sheep with a death ray) leading to the building of radar stations all around the British coast.
Sir Robert Watson-Watt, today regarded as the father of radar, was instrumental in devising a method of bouncing radio waves off a flying aeroplane to figure out its location. He turned that 1935 concept into the fully operational Chain Home and Chain Home Low air defence networks inside four years.
Without radar, the RAF was totally reliant on humans with binoculars spotting incoming formations of German bombers; radar gave the air force an early warning capability as hostile aircraft formed up over France before crossing the Channel.
Before radar came radio direction-finding. The RAF’s Home Defence Units were first established in the 1920s and mastered the art of pinpointing an aeroplane’s location from radio transmissions made by its pilots. Though less high profile than radar, the HDUs’ activities allowed the RAF to “see” beyond the range of radar as Luftwaffe bomber formations, transmitting to each other over France, formed up ready for a raid over British soil.
Signals intelligence and compsci
Not far behind radar was the crucial role of what was then the Government Communications and Cipher School (GC&CS), based at Bletchley Park. Today the site is home to the National Museum of Computing but in the dark days of the 1940s it was where codebreakers deciphered German military communications.
Breaking Nazi Germany’s encryption was a vast task, and in the days before computers extremely labour intensive; between 9,000 and 12,000 personnel worked at Bletchley during the Second World War. The demands of RAF and other military commanders for speedy decryption of enemy messages directly contributed to the development of early computer science; Alan Turing worked at Bletchley Park, helping devise improvements to electromechanical crypto-breaking machines that resulted in the Bombe, a very early computer.
Comments Off on Britain’s technological edge in the Battle of Britain
Signal flares were an important communications tool for aircraft during World War Two, and a multitude of flare pistol types exist with mounting brackets for aerial use. The introduction of pressurized fuselages made this a much more difficult proposition, however. These two flare pistols were designed by the British to maintain the pressurized seal of an aircraft body while still allowing firing and reloading through a pivoting mount and system of seals. I bet you haven’t seen something quite like these before!
Contact:
Forgotten Weapons
PO Box 87647
Tucson, AZ 85754
As Barbarossa unfolds and the Germans take ever more Soviet territory, they have ever fewer planes with which to fly over it. What does this mean for the forces on the ground? What does this mean for their other theaters of war?
Sources:
Bundesarchiv
Stuka by Kaboldy https://commons.wikimedia.org/wiki/Fi…
from the Noun Project: Bomb by A184, explosion by Nico Tzogalis, Deteriorated building by Tokka Elkholy, Skull by Muhamad Ulum, Air Crash by Lee Mette
Soundtracks from the Epidemic Sound:
Rannar Sillard – “March Of The Brave 4”
Max Anson – “Maze Heist”
Philip Ayers – “Trapped in a Maze”
Johan Hynynen – “Dark Beginning”
Fabien Tell – “Last Point of Safe Return”
Unlike the German Army, which for the most part had many idle months over the past year, the German Air Force — the Luftwaffe — has seen constant action in the Battle of Britain and the Mediterranean Theater. How did this affect its preparations and plans for the invasion of the Soviet Union?
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
Research by: Indy Neidell
Edited by: Mikołaj Cackowski
Sound design: Marek Kamiński
Map animations: Eastory (https://www.youtube.com/c/eastory)
Soundtracks from the Epidemic Sound:
Phoenix Tail – “At the Front”
Johannes Bornlof – “The Inspector 4”
Reynard Seidel – “Deflection”
Philip Ayers – “Trapped In A Maze”
Rannar Sillard – “March Of The Brave 4”
Fabien Tell – “Last Point Of Safe Return”
Johan Hynynen – “Dark Beginning”
Private William Penman, Scots Guards, died 16 May, 1915 at 
