Don’t you think the whole effort of modernism — in architecture, in literature, in music, in painting — might have been a huge dead end, from which Western culture will painfully have to extricate itself?
Myron Magnet, “Free Speech in Peril: Trigger warning: may offend the illiberal or intolerant”, City Journal, 2015-04.
December 12, 2020
QotD: Modernism
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December 2, 2020
The Nazis: Most Notorious Art Thieves in History – WW2 Special
World War Two
Published 1 Dec 2020During their occupation of large parts of Europe, the Nazis systematically looted foreign countries for art, gold and other items holding financial or cultural value. Often not for any larger purpose, but for their own, egocentric, criminal gain.
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Between 2 Wars: https://www.youtube.com/playlist?list…
Source list: http://bit.ly/WW2sourcesHosted 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:
– Klimbim
– Daniel Weiss
– Norman Stewart – https://oldtimesincolor.blogspot.com/
– Dememorabilia – https://www.instagram.com/dememorabilia/
– Spartacus OlssonSources:
– Bundesarchiv
– Yad Vashem: 73_1_34, 72GO8, 03_198, 73_1_23, 99co5, 186_271, 99co6, 16_28,
– United States Holocaust Memorial Museum ID EA 65940
– RijksmuseumSoundtracks from Epidemic Sound:
– “The Inspector 4” – Johannes Bornlöf
– “London” – Howard Harper-Barnes
– “Moving to Disturbia” – Experia
– “Break Free” – Fabien Tell
– “Remembrance” – Fabien Tell
– “Disciples of Sun Tzu” – Christian AndersenArchive by Screenocean/Reuters https://www.screenocean.com.
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
World War Two
1 hour ago
Throughout history, people have obsessed with hidden treasure of past thieves. There were plenty of hidden art and gold collections left behind by the Nazis, often in caves or vaults. Many were found after the war by the several Allied units tasked with locating valuables. While finding some Nazi gold stash still sounds exciting, we should not forget the story behind this loot. Writing this episode, the exciting nature of it quickly faded once I fully realised how thousands of normal people were robbed of everything they owned – including their lives. The thievery of valuables can not be seen outside of the context of Nazi racial policies and ultimately the murder of millions in the Holocaust. The top Nazis truly reconfirm their true criminal nature in this episode, not caring a bit about anything other than themselves.Cheers,
Joram
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November 27, 2020
Horse Lords: A Brief History of the Scythians
History Time
Published 30 Jan 2018This video is about the Scythians. One of the first horse cultures on Earth.
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August 28, 2020
Britain’s National Trust decides to go in a radically different direction
If you’ve ever visited the UK, you’ll almost certainly have seen some National Trust historic properties in your travels. Despite the name, it’s not a government-affiliated organization, so the Trust has its mission set by its own leadership … and the current leadership are apparently turning their back on the tradional role of the Trust “due to the pandemic”:
From its establishment in 1895 by Octavia Hill, Sir Robert Hunter and Hardwick Rawnsley “to promote the permanent preservation for the benefit of the Nation of lands and tenements (including buildings) of beauty or historic interest”, it has become the pre-eminent haunt of the tasteful middle classes, and is as much part of national life as that other much-lauded institution, the NHS. I have fond memories from my own childhood, and beyond, of walking round grand houses and of playing in their lavish and beautifully appointed grounds. Even their names produce a kind of Proustian rush in me – Felbrigg, Blickling, Stourhead, Dyrham Park, Kingston Lacy. In an uncertain and constantly changing world, the National Trust seemed to be almost a secular church, a rather well-appointed and comfortable Rock of Ages in its own right.
Yet we live in a time when a grubby little pandemic has turned all certainties upside down, and so even the National Trust has had to rethink its plans for the future. Unfortunately, its method of so doing seems to be both destructive and ill-considered. Some might call it woke, if it weren’t for the fact that its actions do not seem to be dictated by panicked social change, but instead by the reported £200 million loss that the coronavirus outbreak has occasioned. Despite having an endowment of over a billion pounds, and still retaining the annual memberships of over five million people, elements within the organisation that long for disruption seem now to have grasped the initiative, with potentially disastrous consequences for both the Trust and the country at large.
An internal briefing document that was leaked to the Times by a no doubt furious insider represents a chilling account of a cull of both heritage and expertise. It describes the status quo as “an outdated mansion experience”, and one that exists only to serve “a loyal but dwindling audience.” It plans to deal with this old-fashioned situation by firing dozens of its curators, placing large amounts of art and antiquities in storage, and by closing most of the properties to the public, instead letting them be hired by corporate entities and the well-heeled for private events, or “new sources of experience-based income”. As the document put it, the Trust wishes to “flex our mansion offer to create more active, fun and useful experiences.” Flex. Mansion Offer. We are, it seems, at the end of days.
I briefly considered, before writing this article, attempting to hold a séance to try and obtain James Lees-Milne’s views from beyond the grave, but eventually decided against interrupting his eternal rest to inform him of the disappointing and frightening news. Yet this situation does not need the phantoms of long-dead architectural historians to fan the flames. There are plenty of living people who are equally, and vocally, appalled, ranging from those who cancelled their memberships to the Trust when the institutional ties were no longer available in their gift shops to the curators, historians and architectural consultants who stand to lose both income and professional standing if these ill-considered and short-sighted reforms are brought about.
The art historian and broadcaster Bendor Grosvenor has been especially exercised by the revelation of the Trust’s plans. He has described their restructuring ideas in The Art Newspaper as “one of the most damaging assaults on art historical expertise ever seen in the UK.” Grosvenor has since been assiduously passing scathing commentary on the various public statements, of varying degrees of disingenuity, made by various high-up executives at the National Trust, none of which have denied that historic properties will be “repurposed”, that the specialist curator posts will be “closed” and the expert curators fired, nor, perhaps most chillingly of all, that the Trust will be seeking to “dial down” its status as a “major national cultural institution”.
About thirty years ago, when we could afford to travel more often, we had a family membership in the National Trust even though we’d only get to visit National Trust properties for two-to-three weeks in a given year. I’m very disappointed to hear about this planned change to the organization, but the chances of me visiting the UK anytime in the next few years are quite low, so I may not have to worry about it personally.
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August 18, 2020
Modern art insults me
Lindybeige
Published 4 Apr 2015Support me on Patreon: https://www.patreon.com/Lindybeige
Modern art has been shown to be a fraud many times. Again and again people fool so-called “expert” with works done by novices, toddlers, or even chimpanzees. The Baltic in Newcastle is a fine gallery, Unfortunately, they very seldom find anything to put in it worth looking at, let alone journeying any distance to see.
People appreciate effort, skill, and an attempt to please or at least be understood. Works of art that clearly have taken no skill, time, effort, or care to create are an insult to the gallery viewer.
Clearly, I am not saying that ALL modern (or “contemporary” if you prefer) art is insulting. I am just explaining why much of it is. Great art in the past was not all understood by everybody, but it didn’t insult those who didn’t understand it.
Similarly, I am not saying that any art that took ages to make is good. Boris Vallejo is an amazing draughtsman, but his works are not good art.
Lindybeige: a channel of archaeology, ancient and medieval warfare, rants, swing dance, travelogues, evolution, and whatever else occurs to me to make.
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I must admit, I’m often amused at tales of modern art “installations” being mistaken for rubbish and cleaned up by the janitorial staff after hours. In most reported cases, the cleaners have demonstrably higher artistic judgement than the curators who bring in the “art”.
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August 9, 2020
Canadian Art magazine’s “woke suicide pact”
As a cultural barbarian and all-around Neanderthal, it will come as little surprise to both my readers that I’d never even heard of Canadian Art magazine. As a result, the recent decision to cease publication due to the unresolved (and almost certainly unresolvable) issues of needing to be funded by rich white people:
These evils were explained in a long article published by Canadian Art‘s former editor-in-chief, David Balzer (self-described “gay, fag, queer. Ambivalent Libra“), in which he complains that the progressive agenda of the magazine he edited was forever being undercut by the need to solicit funds from wealthy white donors. Or, as he describes it, the pursuit of: “white, liberal money — the champagne socialists.”
Shockingly, these donors are not especially fond an incessant slew of articles with titles such as Drop the Charges and Defund the Police, Says New Artists’ Letter for Black Lives, Give Us Permanence — Ending Anti-Black Racism in Canada’s Art Institutions, and A Crisis of Whiteness in Canada’s Art Museums.
Balzer’s analysis of the growing tension between establishment donor and do-good editor is spot on:
Most boards, which are also majority white, are [interested] in going to where they believe the money is. So the argument goes: It takes a certain talent, panache, to be president, director, or CEO, to open those pocketbooks, and without these skills, culture cannot run. This argument implies that culture cannot run if its backrooms are not white … Many corporate partners make possible the lavish, yearly fundraising galas that cultural organizations host: ostentatious displays of whiteness and wealth that are the public-facing versions of the aforementioned work done by white presidents, directors and CEOs.
It’s a problem that every charity, art outlet, and activist organization in Canada will face. Supporting the arts is rarely an act of pure altruism. It has always been a status flex by the well-connected barons and baronesses of privilege. At its most cynical, arts funding is a high-class game of reputation laundering.
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July 16, 2020
Curator forced to resign over “toxic white supremacist beliefs”
The San Francisco Museum of Modern Art parted company with a long-time curator for his racist views and white supremacist actions in continuing to pursue works to add to the collection from white male artists:
San Francisco Museum of Modern Art, 1 September, 2008.
Photo by WolfmanSF via Wikimedia Commons.
Until last week, Gary Garrels was senior curator of painting and sculpture at the San Francisco Museum of Modern Art (SFMOMA). He resigned his position after museum employees circulated a petition that accused him of racism and demanded his immediate ouster.
“Gary’s removal from SFMOMA is non-negotiable,” read the petition. “Considering his lengthy tenure at this institution, we ask just how long have his toxic white supremacist beliefs regarding race and equity directed his position curating the content of the museum?”
This accusation — that Garrels’ choices as an art curator are guided by white supremacist beliefs — is a very serious one. Unsurprisingly, it does not stand up to even minimal scrutiny.
The petitioners cite few examples of anything even approaching bad behavior from Garrels. Their sole complaint is that he allegedly concluded a presentation on how to diversify the museum’s holdings by saying, “don’t worry, we will definitely still continue to collect white artists.”
Garrels has apparently articulated this sentiment on more than one occasion. According to artnet.com, he said that it would be impossible to completely shun white artists, because this would constitute “reverse discrimination.” That’s the sum total of his alleged crimes. He made a perfectly benign, wholly inoffensive, obviously true statement that at least some of the museum’s featured artists would continue to be white. The petition lists no other specific grievances.
H/T to Halls of Macademia for the link.
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June 25, 2020
What is the purpose of public art?
In his latest Age of Invention newsletter, Anton Howes engages with a topic that is in the headlines today as we find ourselves in the midst of an unexpected outbreak of iconoclasm:
The John Cassidy (1860-1939) statue of Edward Colston, which stood in Bristol from 1895-2020 before being taken down and thrown into Bristol harbour during the protests after the death of George Floyd.
Photo by William Avery via Wikimedia Commons.
… public art in the eighteenth and nineteenth centuries used to be about inculcating virtue, which is something we seem to have forgotten. Public art was explicitly moralising, and not in the subversive way so often seen today, which leads us to question ourselves but rarely gives us answers. Back then, public art was instead meant to inspire. In painting, for example, the most prestigious and public-facing genre was history painting. History painting showed allegorical, mythological, and religious scenes, as well as those from actual history, in order to illustrate the exploits of the great and good, setting an example to us of integrity and public-spiritedness.
Importantly, the subjects of history paintings were taken from classical Greek or Roman history, or from mythology or religion, because such figures were generally uncontroversial — they could be upheld as paragons of virtue in a way that more recent and local historical figures could not. And the same went for statues, which became the main mediums of public art because the spaces available for history paintings were lacking. (The great room of the Society of Arts, by the way, has some of the few major history paintings in the country, all executed by the troubled self-proclaimed genius James Barry — the fastest riser in the Royal Academy’s history, and also, as far as I know, the only person to ever be expelled from it)
So, if some public statues have become controversial, that’s a clear sign of their failure. To the Victorians who put up the statue of slave trader Edward Colston in 1895, he must have seemed a distant and uncontroversial paragon of philanthropy. But today, he is mostly remembered for his murderous avarice. As such, he doesn’t deserve space on our streets or squares, for much the same reason that people in the eighteenth century avoided putting up statues of Oliver Cromwell — depending on your politics, he was either an ambitious and fanatical tyrant, or a selfless promoter of parliamentary liberties. Either way, it was the controversy itself that made him unsuitable: controversy got in the way of moral education. (Funnily enough, Cromwell seems to have got his public statues in the 1890s, too, just like Colston — maybe it was a low-point for the quality of history-teaching?)
I’m worried, however, that we’ve lost the self-confidence to replace them with statues that uncontroversially inculcate virtue (and in more than just a subversive or critical way). I suspect it take the delusions of grandeur of a James Barry to pull it off — someone who thought the history painter akin to a poet, like Shakespeare. But, as Tim Almond pointed out to me on twitter, perhaps we already do have such forms of virtue-promoting public art, and that all that has changed is the medium. Thus, rather than gazing upon statues or history paintings, we instead watch blockbuster superhero movies.
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June 17, 2020
Alcibiades, the first recorded iconoclast, but far from the last
James Heartfield on the modern day resurgence of iconoclasm:
“Drunken Alcibiades interrupting the Symposium”, an engraving from 1648 by Pietro Testa (1611-1650)
Via Wikimedia Commons.
… far more often, the attacks on public symbols are indicative of a breakdown in social solidarity — often with alarming consequences. For activists seeking to win popular support, knocking down statues is a high-risk strategy that can provoke the opposite sentiments to those hoped for. The futurist Marinetti’s proposal to fill in the canals of Venice with concrete to make modern roads is a witty way to make a point, but not a sound policy.
Alcibiades was perhaps the first recorded statue vandal. One night in 415 BC he knocked all the stone cocks off the statues of Hermes in Athens. In 1497, the friar Girolamo Savonarola launched a Bonfire of the Vanities in which artworks, books and statues were destroyed out of a fear they would tempt people away from God. As any lover of old English churches knows, the furies of the Puritan revolution led to the destruction and defacing of Catholic saints’ statues and paintings.
In the modern era, the temptation to destroy monuments has been strong. In the First World War, Britain’s local authorities changed German-sounding names of streets like Bismarck Road — now Waterlow Road — while bully boys attacked German-owned shops. In 1933, Nazi students in Germany organised bonfires of subversive books, while the Reich organised an exhibition of “degenerate” modernist art. The burning of books only served as a trial run for the extermination of people, as the symbolic slaughter failed to yield the results of a “cleansed” Germany.
People often make the point that there are no statues of Hitler in Germany — though those were not taken down by Germans, but by the Allied occupiers. You can still see Albert Speer’s Zeppelinfeld and grandstand in Nuremberg, where many of Hitler’s rallies took place, though not much else of his Nazi architecture survives. Mussolini’s architects, Giuseppe Terragni and Marcello Piacentini, did better — much of their absurdly grandiose work survives. The model of an Allied-led “denazification” was in the minds of the US-led forces that overthrew Saddam Hussein in 2003. The destruction of his statue in Baghdad was largely staged by the allies.
Under the Maoist regimes in China and the Khmer Rouge in Cambodia, some of the worst atrocities after the Nazis were carried out. Mao’s “Cultural Revolution” against the “four olds” led to the destruction of books and artworks. Later, there were showtrials and the politically incorrect were battered by the mob. In the wreckage of Cambodia, Pol Pot led a terrifying war on alleged capitalist-roaders and even intellectuals — who could be handily identified by the fact they wore glasses — that led to millions being killed. Pol Pot declared a “year zero” — that all civilisation before the Khmer Rouge took power would be cancelled. Tragically, the wholesale wiping out of Cambodian culture was only a prelude to the extermination of much of its population. The sentiment of wiping out the wrong history was repeated in the war that al-Qaeda-inspired regimes in Afghanistan and Mali conducted against books and statues that did not match their own Islamist views.
In Soviet Russia, when the communist-allied artists of the Proletkult organisation argued that all Tsarist culture should be expunged, the Bolshevik leader Lenin took them to task for “rejecting the most valuable achievements of the bourgeois epoch”. Instead, he said, they should assimilate and re-work “everything of value in the more than 2,000 years of the development of human thought and culture”. Sadly, Lenin’s wise advice was lost on the Stalinist regimes that followed, during which the policy oscillated between futurist iconoclasm and maudlin Russian sentimentality. History got its revenge in eastern Europe when most of the ubiquitous Lenin and Marx statues came down in the 1990s.
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June 5, 2020
QotD: Recognizing the work of famous painters
#2 If Everyone Looks Like Hobos Illuminated Only By A Dim Streetlamp, It’s Rembrandt
#3 If It’s Something You Saw On Your Acid Trip Last Night, It’s Dali
#4 If The Paintings Have Lots Of Little People In Them But Also Have A Ton Of Crazy Bulls#%t, It’s Bosch
#5 If Everybody Has Some Sort Of Body Malfunction, Then It’s Picasso
#6 Lord Of The Rings Landscapes With Weird Blue Mist And The Same Wavy-Haired Aristocratic-Nose Madonna, It’s Da Vinci
#7 Dappled Light And Unhappy Party-Time People, Then It’s Manet
#8 If You See A Ballerina, It’s Degas
#9 Dappled Light But No Figures, It’s Monet
#10 If Everyone Is Beautiful, Naked, And Stacked, It’s Michelangelo
#11 Dappled Light And Happy Party-Time People, It’s Renoir
#12 If The Images Have A Dark Background And Everyone Has Tortured Expressions On Their Faces, It’s Titian
#13 Excel Sheet With Coloured Squares, It’s Mondrian
#14 If All The Men Look Like Cow-Eyed Curly-Haired Women, It’s Caravaggio
#15 If The Paintings Have Tons Of Little People In Them But Otherwise Seem Normal, It’s Bruegel
#16 If Everyone In The Paintings Has Enormous Asses, Then It’s Rubens
#17 If Every Painting Is The Face Of A Uni-Browed Woman, It’s Frida
#18 If Everything Is Highly-Contrasted And Sharp, Sort Of Bluish, And Everyone Has Gaunt Bearded Faces, It’s El Greco
#19 If The Painting Could Easily Have A Few Chubby Cupids Or Sheep Added (Or Already Has Them), It’s Boucher
Aušrys Uptas, “Someone Created A Funny Guide On How To Recognize Famous Painters And It’s Surprisingly Accurate (19 Pics)”, deMilked, 2019.
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June 2, 2020
“Calling a modern ‘artist’ a poseur is like calling water wet — what could possibly be the point?”
Severian on modern “art” and its practitioners:
Picasso’s “Guernica” in mural form in the town of Guernica.
Photo by Papamanila via Wikimedia Commons.
Leszek Kolakowski, in his essay collection Is God Happy?, wrote several fascinating essays on Communism vs. other forms of Socialism, such as Fascism and generic Leftism. He notes that while Communism proper attracted lots of serious intellectuals and artists, who produced some works of real merit, generic “Leftism” had few, and Fascism almost none.
He also notes the degeneration of art on the Left. I don’t want / am not qualified to get deep into the weeds of art history, but let me use an example (mine, not Kolakowski’s): Pablo Picasso vs … oh, pick an artist, they’re all Lefties … let’s say Andy Warhol. Noting that “important” can be diametrically opposed to things like “good,” “aesthetically pleasing,” etc., we can all agree that both were important artists. Whatever else their differences, the most obvious one was:
Sincerity.
Picasso was a lifelong member of the Communist Party. He was also a sincere artist (which, again, can be miles away from “good;” I personally can’t stand Picasso’s art). Guernica is wildly overrated, and its sentiment jejune — we all agree that bombing civilians is bad, mmkay? — but at least it’s sincere. Warhol, on the other hand, never took a sincere breath in his life. Making your work superficial on purpose doesn’t absolve you from the sin of superficiality. Warhol (and Roy Lichtenstein, and the rest of the “Pop Art” crowd) gave wannabes permission to substitute “being ironic” for “having something to say,” and there’s your modern art in a nutshell. Calling a modern “artist” a poseur is like calling water wet — what could possibly be the point?
Which brings us back to Kolakowski. He notes that there are apostates aplenty from Communism, and they all seem compelled to write big long books full of critical self-examination. Cheering for the murder of millions would do that, one supposes… except that, as Kolakowski says, you can’t find one single ex-Leftist doing it. Hell, is there such a thing as an ex-Leftist, as opposed to an ex-Communist? Kolakowski couldn’t find one (as of 1995, I think), and I can’t think of one either. Every former radical I’m aware of was just that — a radical, a card-carrying Communist or at least a virulent fellow-traveler, e.g. David Horowitz. We probably all have heard of someone waking up one day (say, after 9/11) realizing that the Democratic Party they’d been knee-jerk voting for all their lives was out to lunch, but do you know of any True Believers seeing the light?
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May 1, 2020
QotD: Cynicism
The cynics aren’t exactly wrong; there is a lot of shoddy, grasping, rottenness in the world. But cynicism is radically incomplete. Early modernist critics used to complain about the sanitized unreality of “nice” books with no bathrooms. The great modernist mistake was to decide that if books without sewers were unrealistic, “reality” must be the sewers. This was a greater error than the one it aimed to correct. In fact, human beings are often splendid, the world is often glorious, and nature, red in tooth and claw, also invented kindness, charity and love. Believe in that.
Megan McArdle, “After 45 Birthdays, Here Are ’12 Rules for Life'”, Bloomberg View, 2018-01-30.
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March 30, 2020
Renaissance Antics – History Hijinks
Overly Sarcastic Productions
Published 27 Mar 2020The Italian Renaissance is known for its fancy art and ginormous domes, but what about the visionaries behind it? In this ~~fancy new series~~ we’ll discuss the antics of the period’s most famous artists.
Sources & Further Reading: Brunelleschi’s Dome by King, Leonardo Da Vinci by Isaacson, Benvenuto Cellini’s autobiography, and Artemisia Gentileschi by Garrard.
Our content is intended for teenage audiences and up.
This video was edited by Sophia Ricciardi, AKA “Indigo” https://www.sophiakricci.com/PATREON: https://www.Patreon.com/OSP
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December 8, 2019
History Summarized: Florence
Overly Sarcastic Productions
Published 6 Dec 2019Get 3 months of Audible for just $6.95 a month. That’s more than half off the regular price. Visit http://www.audible.com/overlysarcastic or text
overlysarcasticto 500 500.Can’t start a Renaissance without building a few *Domes* — You’ve seen the memes, now learn the history behind the magnificent city of Florence!
It may sound like sacrilege, but many years ago, Florence was the first Italian city that little Blue had a cartoonishly-overblown obsession for — move over, Venice. In fact, Florentine history is basically THE reason I ever started caring about History in the first place. So I hope that you find this exquisite chapter in world history as enjoyable as I do.
SOURCES & Further Reading:
Death in Florence — Paul Strathern https://www.audible.com/pd/Death-in-F…
Florence: The Biography of A City — Christopher Hibbert
Be Like The Fox: Machiavelli In His World — Erica BennerOur content is intended for teenage audiences and up.
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October 12, 2019
Göring, the Stoned Nazi Nut – Doped WW2 Leaders Part 1
World War Two
Published 10 Oct 2019Hermann Göring was one of the most powerful leaders of the Third Reich. He was also a drug addict with some serious problems and a remarkable lifestyle.
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Source list: http://bit.ly/WW2sourcesHosted by: Indy Neidell
Written by: Joram Appel
Produced and Directed by: Spartacus Olsson and Astrid Deinhard
Executive Producers: Bodo Rittenauer, Astrid Deinhard, Indy Neidell, Spartacus Olsson
Creative Producer: Joram Appel
Research by: Joram Appel
Edited by: Iryna Dulka
Map animations: EastoryColorisations by Norman Stewart and Julius Jääskeläinen https://www.facebook.com/JJcolorization/
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Archive by Screenocean/Reuters https://www.screenocean.com.Sources:
Klimbim Colorizations – https://klimbim2014.wordpress.com/A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
World War Two
31 minutes ago (edited)
Though this episode is mostly about the lifestyle of Hermann Göring, we will certainly get back to his more serious impact on the Nazi party, Germany and World War Two. For those of you who are new here, we are following World War Two Week by Week, in which we do pay a lot of attention to all those smaller but still significant events. If you would like to watch the series, make sure to subscribe and to click here to start watching from episode one: https://www.youtube.com/watch?v=3-A1gVm9T0A&list=PLsIk0qF0R1j4Y2QxGw33vYu3t70CAPV7XCheers,
The TimeGhost team.
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