From the Hundred Year War to the Crimea
With a lance and a musket and a Roman spear
To all of the men who have stood with no fear
In the service of the King“The Card Cheat” by The Clash (written by Topper Headon, Mick Jones, Joe Strummer, and Paul Simonon)
September 12, 2020
QotD: A toast, of sorts
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September 11, 2020
“Carolus Rex” – Charles XII of Sweden – Sabaton History 084 [Official]
Sabaton History
Published 10 Sep 2020In 1697, just 15 years old, Charles XII ascended to the Swedish throne. By the grace of God, he was anointed King — Carolus Rex. Charles would not ask for obedience, nor would he make any concessions to his rule. His authority was divine and his judgment law. Determined to rule the Swedish Empire with absolute power, Charles set out to restore the might and glory of the kingdom.
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to “Carolus Rex” on the album Carolus Rex:
Carolus Rex (English Version) – https://music.sabaton.net/CarolusRexEN
Carolus Rex (Swedish Version) – https://music.sabaton.net/CarolusRexSEWatch the Official Live Video of Carolus Rex here:
https://www.youtube.com/watch?v=WhA9B…Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard and Spartacus Olsson
Creative Producer: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Brodén, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Community Manager: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Editor: Karolina Dołęga
Sound Editor: Marek Kaminski
Maps by: Eastory – https://www.youtube.com/c/eastory
Archive: Reuters/Screenocean – https://www.screenocean.com
Sources:
Osipov Georgiy and Nokka Tarajan from Wikimedia
Nationalmuseum
All music by: SabatonAn OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2019 – all rights reserved.
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September 4, 2020
“The Final Solution” – The Holocaust – Sabaton History 083 [Official]
Sabaton History
Published 3 Sep 2020Since Adolf Hitler’s rise to power, the Jews of Germany had suffered years of harsh anti-Jewish policies, harassment and public humiliation. The Nazis wanted the Jews to never feel safe or welcome again. With the Third Reich’s expansion and the start of the Second World War, more and more European Jews fell victim to persecution, ghettoisation and violence. It was hard to imagine that the crimes against them could get any worse. But by December 1941, the Nazis began preparing for a “Final Solution of the Jewish question”.
It aimed at nothing less than the extermination of all Jewish life in Europe.
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to “The Final Solution” on the album Coat Of Arms:
https://music.sabaton.net/CoatOfArmsListen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard and Spartacus Olsson
Creative Producer: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Brodén, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Community Manager: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Editor: Iryna Dulka
Sound Editor: Marek Kaminski
Maps by: Eastory – https://www.youtube.com/c/eastory
Archive: Reuters/Screenocean – https://www.screenocean.comSources:
– Narodowe Archiwum Cyfrowe
– Bundesarchiv, CC-BY-SA 3.0: Bild_183-B04489, Bild_183-B04491, Bild_152-23-07A, Bild_101I-134-0782-24, Bild_183-E13871, Bild_101I-134-0769-33
– Yad Vashem: 139BO1, 1554_1, 1427_85, 1605_1722, 12CO9, 1552/34
– Imperial War Museum: HU 51692, HU 51689All music by: Sabaton
An OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2019 – all rights reserved.
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August 28, 2020
“Killing Ground” – The Battle of Fraustadt – Sabaton History 082 [Official]
Sabaton History
Published 27 Aug 2020Poland, February 1706. Near the small town of Fraustadt the taste of battle fills the air. General Rehnskiöld of the Swedish Empire readies his 10,000 soldiers. Their enemy? The numerically superior Saxon army of General Schulenburg, numbering 20,000.
At stake? The fate of thrones and empires.Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to “Killing Ground” on the album Carolus Rex:
Carolus Rex (English Version) – https://music.sabaton.net/CarolusRexEN
Carolus Rex (Swedish Version) – https://music.sabaton.net/CarolusRexSEListen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard and Spartacus Olsson
Creative Producer: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Brodén, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Community Manager: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Editor: Iryna Dulka
Sound Editor: Marek Kaminski
Maps by: Eastory – https://www.youtube.com/c/eastory
Archive: Reuters/Screenocean – https://www.screenocean.comAll music by: Sabaton
An OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2019 – all rights reserved.
From the comments:
Sabaton History
2 days ago
Not for the first time, and certainly not for the last, an important battle is fought on Polish territory. This time, however, neither of the armies involved belong to Poland. Looking at the troop numbers counts, the outcome would seem settled before it even began. Yet, if we have learned anything from other battles on Polish soil, unpredictability is a word that can be applied time and time again.With the help of Indy and the TimeGhost team you can learn more about future battles on Polish territory in these two episodes from our own channel and the “World War Two In Real Time” series:
“40:1” – The Battle of Wizna – Sabaton History 001 [Official]
https://www.youtube.com/watch?v=Qpb8gTSMUboThe Polish-German War – WW2 – 001 – September 1, 1939 [IMPROVED]
https://www.youtube.com/watch?v=2b7GY4BSUmU
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August 21, 2020
“Uprising” Pt. 2 – The Liberation of Paris 1944 – Sabaton History 081 [Official]
Sabaton History
Posted 20 Aug 2020Mid-August 1944. The battle for France enters its decisive phase. With the Allied spearheads just 100 km away from Paris, the Résistance prepares for its long-awaited uprising. While collaborators and fascist officials flee the city in panic, many insurgents are eager to immediately rise up against the occupation and fight the Germans in the streets. But there is need for caution. The Germans are still there in force, and they have tanks and machine guns. The fear that this might turn into “another Warsaw” if the Allies don’t show up in time is very real.
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to “Uprising” on the album Coat Of Arms:
https://music.sabaton.net/CoatOfArmsWatch the Official Music Video of “Uprising”:
https://www.youtube.com/watch?v=01IaK…Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard, and Spartacus Olsson
Creative Producer: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Broden, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Post-Production Director: Wieke Kapteijns
Editor: Iryna Dulka
Sound Editor: Marek Kaminski
Archive by: Reuters/Screenocean https://www.screenocean.com
Community Manager: Maria Kyhle
All music by SabatonSources:
– Imperial War Museum: B 9298
– Bundesarchiv, CC-BY-SA 3.0: Bild_101I-027-1477-16, Bild_183-2008-0710-500, Bild_183-2003-1112-500
– lubini from freesound.orgAn OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2019 – all rights reserved.
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August 14, 2020
“The End of the War to End All Wars” – The Great War – Sabaton History 080 [Official]
Sabaton History
Published 13 Aug 2020November 11, 1918. The end of the Great War. A war that was also dubbed “the war to end all wars”. And many truly wished that the war’s countless horrors, which had caused the terrible deaths of millions of soldiers and civilians, and had left so many of its survivors crippled and scarred for the rest of their lives, would never repeat themselves. But could this truly be the war that ended the need for war? Was there a solution that promised everlasting peace? Could war even be outlawed? Or was mankind doomed to repeat itself?
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to The Great War (where “The End of the War to End All Wars” is featured): https://music.sabaton.net/TheGreatWar
Watch the Official Lyric Video of The End of the War to End All Wars here: https://www.youtube.com/watch?v=oXnnb…
Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard and Spartacus Olsson
Creative Producer: Joram Appel
Community Manager: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Broden, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Post-Production Director: Wieke Kapteijns
Edited by: Karolina Dołęga
Sound Editing by: Marek Kaminski
Maps by: Eastory – https://www.youtube.com/c/eastory
Archive by: Reuters/Screenocean https://www.screenocean.com
Music by SabatonSources:
Icons from The Noun Project by: Vectors Point, Locad, Gan Khoon Lay, RF_Design & banjirolove
National Archives NARA
Library of Congress
Bundesarchiv
Bibliothèque nationale de France
Library of Scotland
Imperial War Museums:Q 43463, Q5733, HU 105641, Q 12363, HU 105641, Q 3117,Q 5733, Q 56637, IWM Q 10378, Q 3117,Q 86635, Q 23760, HU 110852, Q 7815, PST5277,
Archives of New Zealand
TRAJAN 117 from Wikimedia
Srg36 from Wikimedia
F l a n k e r from Wikimedia
Guilherme Paula from Wikimedia
Narodowe Archiwum CyfroweAn OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
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August 7, 2020
“40:1” Pt. 2 – Another Polish Last Stand – Sabaton History 079 [Official]
Sabaton History
Published 6 Aug 2020At the end of September 1939, Poland was burning. Trapped in an ever shrinking corridor between the Wehrmacht and the Red Army, the last remaining Polish forces were still holding out. Isolated, short of ammunition and supplies, and without hope for relief. The last Polish Army, the SGO Polesie, was making its way towards the Vistula, as it was cut off by German motorcycle troops. Determined to sell their lives dearly, the SGO Polesie dug in and prepared for a last stand.
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to “40:1” from the album The Art Of War:
https://music.sabaton.net/TheArtOfWarWatch the Official Music Video of “40:1” here:
https://www.youtube.com/watch?v=epeQw…Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard and Spartacus Olsson
Creative Producer: Joram Appel
Community Manager: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Broden, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Post-Production Director: Wieke Kapteijns
Edited by: Karolina Dołęga
Sound Editing by: Marek Kaminski
Maps by: Eastory – https://www.youtube.com/c/eastory
Archive by: Reuters/Screenocean https://www.screenocean.com
Music by Sabaton.Sources:
Paul Otto courtesy Glenn Jewison
University of Wisconsin-Milwaukee Libraries
Bundesarchiv
Imperial War Museums: HU106375
Museum of Warsaw
Narodowe Archiwum Cyfrowe
Centralne Archiwum WojskoweAn OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2019 – all rights reserved.
From the comments:
Sabaton History
2 days ago (edited)
Once again the time has come for the Polish people to show what they’re made of.This time they’re facing a gargantuan two-headed monster of an enemy and are outnumbered many many times over.
They may not win, they may not even live to see another day — but The Polish will not give up without giving their all.
Spirit of Spartans
Death and glory
Soldiers of Poland
Second to noneSo come, bring on all that you’ve got
Come hell, come high water — never stop!With the help of Indy and the TimeGhost team you can learn more about the Soviet invasion of Poland and the last days of The Polish Defensive War in these two episodes of the “World War Two In Real Time” series:
“The Russians are Coming! – The Soviet Invasion of Poland” – WW2 – 004 – September 22, 1939
https://youtu.be/8vjBp-qyNVE“Poland is Crushed” – WW2 – 005 – 29 September, 1939
https://youtu.be/OOPiUaakSXM
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July 31, 2020
“Coat Of Arms” – The Greco-Italian War – Sabaton History 078 [Official]
Sabaton History
Published 30 Jul 2020Morning of October 28th, 1940.
The Italian ambassador to Greece had entered the house of Greek Prime Minister Ioannis Metaxas. An unacceptable ultimatum in hand, he demanded subjugation under Italian rule. Refusal would mean war. An ardent Ochi! was the answer. No, the Greek would not bow to fascist demands, but instead fight for the defense of their country and their honor. What followed were months of bitter fighting in the harsh environment of Epirus and the Macedonian mountains.
The Greco-Italian War.
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to “Coat Of Arms” on the album Coat Of Arms:
CD: http://bit.ly/CoatOfArmsStore
Spotify: http://bit.ly/CoatOfArmsSpotify
Apple Music: http://bit.ly/CoatOfArmsAppleMusic
iTunes: http://bit.ly/CoatOfArmsiTunes
Amazon: http://bit.ly/CoatOfArmsAmzn
Google Play: http://bit.ly/CoatOfArmsGooglePlayWatch the Official Music Video of “Coat Of Arms” here:
https://youtu.be/wtax3Fl-UZoThe episode of WW2 in Real-Time Indy was talking about: https://www.youtube.com/watch?v=GYznP…
Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard and Spartacus Olsson
Creative Producer: Joram Appel
Community Manager: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Broden, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Post-Production Director: Wieke Kapteijns
Edited by: Karolina Dołęga
Sound Editing by: Marek Kaminski
Maps by: Eastory – https://www.youtube.com/c/eastory
Archive by: Reuters/Screenocean https://www.screenocean.com
Music by SabatonSources:
Bundesarchiv
Narodowe Archiwum Cyfrowe
Imperia War Museums: 205197881
Diplomatic and Historical Archive Department
Italian map by F l a n k e r from Wikimedia
The icons from Noun Project: Oksana Latysheva, Wichai Wi, baken studio, ProSymbolsAn OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2019 – all rights reserved.
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QotD: Princess may have to wait to be rescued
“I cry myself to sleep,
And I wear skinny jeans.
I have a lumberjack beard,
and I cry when I wake up.”What’s amazing was that my lyrics fit every single whiny soy-boy vanilla song.
Someday all the princesses are going to look around and wonder why the princes are all married to homosexual exotic animal dealers or are simply not interested. The girlzz will be friend-zoned and will answer their biological urge to be a mother with the sperm banked by a stranger.
Paul Piatt, responding to a post on Mewe, 2020-04-29. (Reposted by permission.)
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July 25, 2020
“The Ballad of Bull” Pt.2 – Combat Medics – Sabaton History 077 [Official]
Sabaton History
Published 24 Jul 2020Sometimes war is killing, sometimes war is saving lives.
In the first episode we have seen Leslie “Bull” Allen become a hero, not through the death of his enemies, but by saving his comrades’ lives. And there were others like him. Soldiers and medics, whose first duty it was to preserve lives during war, even when it meant endangering their own safety. Here are three short stories of men and women, who served as medics at the front line of the Second World War, and became heroes to their country.
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to “The Ballad of Bull” on the album Heroes:
CD: http://bit.ly/HeroesStore
Spotify: http://bit.ly/HeroesSpotify
Apple Music: http://bit.ly/HeroesAppleMusic
iTunes: http://bit.ly/HeroesiTunes
Amazon: http://bit.ly/HeroesAmz
Google Play: http://bit.ly/HeroesGooglePListen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard and Spartacus Olsson
Creative Producer: Joram Appel
Community Manager: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Broden, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Post-Production Director: Wieke Kapteijns
Edited by: Iryna Dulka
Sound Editing by: Marek Kaminski
Maps by: Eastory – https://www.youtube.com/c/eastoryArchive by: Reuters/Screenocean https://www.screenocean.com
Music by SabatonColorizations:
– Olga Shirnina, a.k.a. Klimbim – https://klimbim2014.wordpress.com/Sources:
– Photos of Desmond Doss Courtesy of the Desmond Doss Council
– Frame vector created by milano83 – www.freepik.com
– Arkiv i Nordland
– P.Fisxo from WikimediaAn OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2019 – all rights reserved.
From the comments:
Sabaton History
2 days ago
The medical staff in war — combat medics, field surgeons and nurses, ambulance drivers and medevac crews — are often the unsung heroes of war, literally and figuratively.That doesn’t mean that they don’t deserve to be remembered and their sacrifices honored. There are undoubtedly many instances of exceptional bravery among the medical staff of wars throughout history — for which they rightly should be praised. But they should also be remembered for their everyday work in trenches or field hospitals, in jungles and deserts, at sea or in mid-air. Treating a seemingly endless stream of incoming wounded, trying to give relief to those in pain, comfort to those in agony, and hope to to those who have lost theirs — day in and day out, for as long as the war will last.
If you missed part one of “The Ballad of Bull” you can see it right here.
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July 24, 2020
Orchestras encouraged to ditch blind auditions for reasons of diversity
Tal Bachman responds to a recent New York Times article by Tony Tommasini demanding that musical organizations ignore the relative quality of a potential musician’s play in order to ensure more visible minority players get hired:
The New York Philharmonic Orchestra, detail from a group portrait in 2018.
Photo from the New York Philharmonic Orchestra website.
Tommasini begins his piece, entitled “To Make Orchestras More Diverse, End Blind Auditions”, by decrying the racism and sexism which, he claims, kept the orchestras of yesteryear predominantly white and male. He then pays tribute to the simple practice that helped erase that racism and sexism from orchestra hiring procedures: the blind audition. Starting in the late 1960s, orchestras began ditching traditional face-to-face auditions in favour of auditions that took place behind screens. With orchestra administrators no longer able to see the race or sex of the orchestra applicant, conscious and unconscious bias in hiring choices became impossible. Musical skill became the sole criterion for winning one of those prized professional playing positions.
This meritocratic turn, Tommasini argues, proved especially beneficial to female players. Whereas in 1970, women made up only 6% of orchestras, they now make up somewhere between a third and half of an average orchestra.
I add that audiences also benefited from meritocratic hiring processes as orchestras played increasingly brilliant renditions of the classics. Those improved performances also showed greater reverence for the original composers themselves. In short, the blind audition was a big win for all lovers of musical excellence – players, living composers, and fans alike.
So why on earth would anyone now call for their abolition?
Tommasini answers this way:
Blind auditions changed the face of American orchestras. But not enough. American orchestras remain among the nation’s least racially diverse institutions, especially in regard to black and Latino artists … Ensembles must be able to take proactive steps to address the appalling racial imbalance that remains in their ranks. Blind auditions are no longer tenable.
In other words, the low number of black and Latino classical musicians means orchestras need to re-institute the old-time racial discrimination Tommasini began his article by decrying. Orchestras need to know which applicants are white and Asian precisely so they can refuse to hire them on that basis, no matter how skilled they are. Blind auditions make racial discrimination impossible, so they must be scrapped. American orchestras, writes Tommasini, should stop “passively waiting for representation to emerge from behind the audition screen”. Instead, they must realize that “removing the screen is a crucial step”.
To summarize: For Tommasini, it’s not just that justice requires injustice. It’s that justice is injustice (injustice in the form of racial discrimination). And if that reminds you of the official slogan of Orwell’s Ministry of Truth in 1984 – war is peace, freedom is slavery, ignorance is strength – you’re not alone.
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July 17, 2020
“Uprising” – The 1944 Warsaw Uprising – Sabaton History 076 [Official]
Sabaton History
Published 16 Jul 2020August 1944. After nearly 5 years of suffering and oppression at the hands of the Nazis, the Polish resistance in Warsaw was ready to rise up against the German occupation. With the Red Army approaching towards the Vistula from the east, the insurgents planned to take over much of the Polish capital and hold it until help from their Allies arrived. In the early morning hours of August 1, groups of armed young men broke the curfew and stormed official buildings and German warehouses. But as insurgents fought for their lives and future, the outside world however, remained eerily quiet to their pleas for help.
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to “Uprising” on the album Coat Of Arms:
“CD: http://bit.ly/CoatOfArmsStore
Spotify: http://bit.ly/CoatOfArmsSpotify
Apple Music: http://bit.ly/CoatOfArmsAppleMusic
iTunes: http://bit.ly/CoatOfArmsiTunes
Amazon: http://bit.ly/CoatOfArmsAmzn
Google Play: http://bit.ly/CoatOfArmsGooglePlayWatch the Official Music Video of “Uprising” here:
https://www.youtube.com/watch?v=01IaK…Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard and Spartacus Olsson
Creative Producer: Joram Appel
Community Manager: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Broden, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Post-Production Director: Wieke Kapteijns
Edited by: Iryna Dulka
Sound Editing by: Marek KaminskiEastory YouTube Channel: https://www.youtube.com/channel/UCEly…
Archive by: Reuters/Screenocean https://www.screenocean.com
Music by SabatonColorizations by Mikołaj Kaczmarek – Kolor Historii – https://www.facebook.com/KolorHistorii/
Sources:
– Imperial War Museum: H 4963.
– Mil.ru
– Bundesarchiv, CC-BY-SA 3.0: Bild_183-S73507, Bild_146-2005-0038, Bild_101I-695-0411-02A, Bild_183-97906, Bild 101I-695-0425-13, Bild_146-1973-113-23, Bild_146-1996-057, Bild_146-1994-054-30
– Liftarn from WikimediaAn OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2019 – all rights reserved.
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July 14, 2020
Then they came for the nursery rhymes
James Lileks illustrates just how easy it is to construct a case to cancel a children’s song:
Image from The Kindergarten English Blog, https://markblogsfromjapan.wordpress.com/page/4/
At some point the mob will run out of things to cancel. All the low-hanging fruit1 will have been plucked to make smoothies for the commune. Wrongthink professors, authors, movies, newspaper columnists — easy enough. After that? Well, if you’re really going to root out systematic systemism, everything has to go. This means someone will eventually be tasked with canceling children’s songs, or recasting them for the new era. Pity the person who has to find the problematic problems in “Twinkle, Twinkle, Little Star.”
It’s not that hard. Take the first line: The very idea that stars are supposed to twinkle locks them into a societally prescribed mode of behavior. Expecting a star to twinkle is like telling a strange woman on the subway to smile. Strong, troublemaking stars explode! The very idea that we want “little” stars to engage in performative “twinkling” negates the life experience of massive gas giants like Betelgeuse. In fact “twinkling” itself strips the star’s identity and expresses it through the eyes of the beholder, who mistakes the effect of the atmosphere on star observation for the star’s true nature.
Okay, now we’re getting somewhere. Whew! Turns out there’s a lot to unpack.
How I wonder what you are.
Well, you wouldn’t if there weren’t racism in STEM that kept people out, but no, that’s not right. STEM is bad because it uses the Western empirical model to determine “facts.” Better: The speaker’s questions about the star arise from the suppression of the rich history of Arab astrological knowledge. So it’s a lesson in the ways Islamophobia prevents a greater understanding of the world. Next!
Up above the world so high, like a diamond in the sky . . .
Hold on, hold on … okay, got it. The star’s remoteness is a metaphor for the entrenched power system and encourages a sense of powerlessness. The choice of a “diamond” is intentional, reminding the child of the commodification of natural resources and the brutal economies of the industries that extract them …
1. Just this morning, I saw a call to cancel the expression “low-hanging fruit” because it might remind people of lynching.
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July 11, 2020
QotD: Pop culture
That is the funny thing about pop culture in our Progressive paradise. It is a lot like the pop music of totalitarian paradises of the past. The Soviets manufactured their version of Western pop, but it was never popular. Just as we see at the Super Bowl, comrades can be forced marched to an arena and made to cheer, but no one really liked it. There’s a lot of that today, as every pop star has the exact same Progressive politics and uses their act to proselytize on behalf of the faith. That’s not a coincidence. It is by design.
The West does not have a competitor that embraces freedom and liberty, so the past has become the competition. Look at YouTube and you will see that old songs and bands have enormous amounts of traffic. Given that the people who listened to Sinatra in their prime are mostly dead, it must be younger people discovering and enjoying the old stuff from when the West was still in love with itself. I’ve often been surprised to see young people, particularly young men, into music that pre-dates me, but it is not uncommon.
“The Z Man”, “The Soundtrack Of This Age”, The Z Blog, 2018-03-15.
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July 10, 2020
“Primo Victoria” – The D-Day Landings – Sabaton History 075 [Official]
Sabaton History
Published 9 Jul 2020On D-Day, 6th June 1944, Operation Overlord began. The Western Allies unleashed their gigantic amphibious landing on the coast of Normandy. Preluded by a nightly airborne attack and supported by a massive armada of bombers and fleet artillery, their landing-craft reached the fortified beaches. Against a hail of machine-gun bullets, the Allied soldiers stormed the beaches and overran the German bunkers and trenches. A new front was opened and the battle for France began.
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to “Primo Victoria” on the album Primo Victoria:
CD: http://bit.ly/PrimoVictoriaStore
Spotify: http://bit.ly/PrimoVictoriaSpotify
Apple Music: http://bit.ly/PrimoVictoriaAppleMusic
iTunes: http://bit.ly/PrimoVictoriaiTunes
Amazon: http://bit.ly/PrimoVictoriaAmzn
Google Play: http://bit.ly/PrimoVictoriaGooglePlayWatch the Official Lyric Video of “Primo Victoria” here: https://www.youtube.com/watch?v=qVHyl…
Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard and Spartacus Olsson
Creative Producer: Joram Appel
Community Manager: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Broden, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Post-Production Director: Wieke Kapteijns
Edited by: Karolina Dołęga
Sound Editing by: Marek Kaminski
Maps by: Eastory – https://www.youtube.com/c/eastory
Archive by: Reuters/Screenocean – https://www.screenocean.com
Colorizations by: Julius Jääskeläinen – https://www.facebook.com/JJcolorization/
Music by: SabatonSources:
National Archives NARA
Bundesarchiv
US Holocaust Memorial Museum
Imperial War Museums: IWM H 39183, H38244 IWM, 1944_B5234, 944_TR1631, IWM A70 31-1, IWM A70 31-2,EA25734, B 5218, 1944_MH9509, IWM A70 29-1-2, B5225, B5089
Icons from The Noun Project by zidney and Norbert de GraaffAn OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2019 – all rights reserved.
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