The future looks bright for soviet women in the 1910s, they have the right to vote and they’re on track for social emancipation. Yet this doesn’t last long. Soon, the demands of the nation will rob them of these promises.
Hosted by: Anna Deinhard
Written by: Isabel Wilson
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: Isabel Wilson
Edited by: Karolina Dołęga
Sound design: Marek Kamiński
Icons from The Noun Project: Sandhi Priyasmoro, Sarah Rudkin, Andrew Doane, Vectors Market, Adrien Coquet, ProSymbols, Luke Anthony Firth, Russia Woman & Gan Khoon Lay
Music:
“March Of The Brave 10” – Rannar Sillard
“Disciples of Sun Tzu” – Christian Andersen
“Deviation In Time” – Johannes Bornlof
“Other Sides of Glory” – Fabien Tell
“The Inspector 4” – Johannes Bornlöf
“Sailing for Gold” – Howard Harper-Barnes
“London” – Howard Harper-Barnes
“Split Decision” – Rannar Sillar
Research sources:
– Lenin On the Emancipation of Women (1965), pp. 63–4. First Published July 1919, as a pamphlet
– Selected Writings of Alexandra Kollontai, Allison & Busby, 1977, First Published 1921, as a pamphlet, trans Alix Holt.
– Wendy Goldman, “Recasting the vision: The resurrection of the family”. In Women, the State and Revolution: Soviet Family Policy and Social Life, 1917–1936, (Cambridge Russian, Soviet, and Post-Soviet Studies, (1993) pp. 296-336), p.310
Encircled by the Germans in North-West France, the Battle of Arras, 21st May 1940, was a successful Allied counter-attack which allowed French and British troops to be evacuated at Dunkirk. Curator David Willey, presents his talk on the WW2 Battle of Arras from home.
In a series of events, Hitler’s second in command Rudolf Hess decides to fly to Britain to enter peace negotiations with the Allies. But the true reasons behind and effects of his action remain ambiguous at best.
Bibliography:
– Balfour, Michael, Propaganda in War, 1939–45: Organizations, Policies, and Publics in Britain and Germany (London, 1979).
– Fox, Jo. “Propaganda and the Flight of Rudolf Hess, 1941-45”. In: The Journal of Modern History 83:1 (March 2011) 78-110.
– Gorodetsky, Gabriel, “The Hess Affair and Anglo-Soviet Relations on the Eve of ‘Barbarossa'”. In: The English Historical Review 101:399 (Apr 1986) 405-420.
– Görtemaker, Manfred, “The Bizarre Mission: Rudolf Hess in Britain,” in Britain and Germany in the 20th Century, ed. M. Görtemaker (Oxford, 2006), 75–101.
– Heiden, Konrad, “Hitler’s Better Half”. In: Foreign Affairs 20:1 (Oct 1941) 73-86.
– Kettenacker, Lothar, “Mishandling a Spectacular Event: The Rudolf Hess Affair,” in Flight from Reality: Rudolf Hess and His Mission to Scotland, ed. David Stafford (London, 2002) 19–38.
– Schmidt, Rainer, “The Marketing of Rudolf Hess: A Key to the ‘Preventative War Debate’?” War in History 5 (1998) 62-83.
Sources:
Bundesarchiv
Portraits of Douglas Douglas-Hamilton, duke of Hamilton and Duff Cooper, MP, courtesy National Portrait Gallery
Narodowe Archiwum Cyfrowe
Zentralbibliothek Zürich
Portrait of Max Aitken, Lord Beaverbrook, courtesy Nationaal Archief
IWM D 8987
Soundtracks from the Epidemic Sound:
Rannar Sillard – “March Of The Brave 4”
Reynard Seidel – “Deflection”
Andreas Jamsheree – “Guilty Shadows 4”
Johannes Bornlof – “The Inspector 4”
Johannes Bornlof – “Deviation In Time”
Jack Cashill found this “gem” while watching Turner Classic Movies during the Wuhan Coronavirus lockdown and was amazed:
By now, I have seen most of TCM’s movies, but one aired this past week I had not even heard of. On a whim, I DVR’ed it. Good move. Called Gabriel Over the White House, this 1933 liberal wet dream proved to be the most unapologetic celebration of fascism ever put on film.
I watched it wide-eyed. The movie opens with the inauguration of Jud Hammond. A laissez-faire back-slapper, Hammond sees the White House as a way to enrich himself and reward his cronies, Depression be damned. The audience assumes Hammond is a Republican.
Out joyriding one day, Hammond crashes his car and lapses into coma. While still comatose, the Angel Gabriel visits Hammond and turns him into a committed and caring progressive. Is there another kind?
Upon waking, Hammond convenes his cabinet of corrupt self-servers and rejects their plea that the party must come first. Instead, Hammond insists their first priority be the American people. He refuses to use the U.S. Army against a marching mass of the unemployed and fires the secretary of state when he objects.
“I suggest you read the Constitution of the United States. You’ll find the President has some power,” Hammond warns his cabinet members. Some power? Fully indifferent to the Constitution, Hammond grabs all the power that can possibly be grabbed.
When the cabinet objects to his usurpation of power, Hammond fires the cabinet. When Congress threatens to impeach Hammond, he declares martial law and dispenses with Congress. When accused of being a dictator, Hammond argues that his is a dictatorship based on some imagined Jeffersonian principle of Democracy, namely the greatest good for the greatest number of people.
Now with total power, Hammond enacts a national banking law, stops foreclosures, provides direct aid to some 55 million farmers, circumvents private industry and launches his own “Army of Construction.”
A young aide, Hartley Beekman, and his female counterpart, Pendie Molloy, serve as something of a progressive chorus. “The way he thinks is so simple and honest that it sounds a little crazy,” says Beekman of Hammond.
“He’s doing the things you wanted,” Molloy answers. “And If he’s mad, it’s a divine madness. Look at the chaos and catastrophe sane men have brought about.”
The divine madness includes the creation of a Federal Police force, a subset of the Army, with young Beekman at its head. When the nation’s chief racketeer refuses to go back to his unnamed home country, Hammond warns him that the government is about to “muscle in on his racket” and federalize the sale of alcohol.
The racketeer fights back, and Beekman employs a legion of tanks Waco-style against the racketeers. When captured, the racketeers are all hauled before a three-man court martial headed by Beekman, promptly declared guilty, and executed en masse by a firing squad.
Several years ago, the movie was brought to my attention and I found this clip on YouTube that I suspect captures the essence of the film:
James Lileks describes it as “a remarkable movie. And I don’t mean ‘astonishingly good, technically superb, visually ingenious.’ I mean utterly insane.”
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Join Curator David Willey as he takes you on a tour of The Tank Museum’s Tank Story Hall, which houses over 30 key vehicles from Little Willie to Challenger 2. In this section he looks at early Second World War vehicles and gives you a potted history of the Blitzkrieg.
Scotland has had legal minimum prices for alcoholic beverages since mid-2018. If you read a random selection of mainstream media coverage, you’d know that it’s been a huge success, with vastly improved public health results at a price to consumers measured in mere pennies. As with all propaganda efforts, if you tell the lies often enough, people may believe you:
There has been all sorts of rubbish written about minimum pricing since it was introduced in Scotland in May 2018. Nicola Sturgeon has lied about in the Scottish Parliament. The BBC has gone to extraordinary lengths to spin the policy as a success. The public have been told that alcohol-related hospital admissions have gone down when they have gone up. We have seen the media fall for blatant cherry-picking. We have been told that rates of problem drinking have gone down when we don’t have any evidence either way.
One of the few solid facts — that there were more alcohol-related deaths recorded in Scotland in 2018 than in 2017 — has been sidelined. Instead, the media have focused on a disputed, and relatively small, decline in alcohol sales as if that were an end in itself. Any port in a storm (fortified wine sales have definitely benefited from minimum pricing).
Figures from the calendar year of 2018 are of limited use because minimum pricing didn’t begin until May 1st. Today, for the first time, I can reveal the monthly mortality figures for Scotland, England and Wales. They show that there was no difference between the change in annual death rates from alcohol-related causes, regardless of whether the country had minimum pricing in place. Both England/Wales and Scotland saw a decline between May and December of seven per cent (compared to the previous year).
This graph is published in a new briefing paper I have written for the IEA. It summarises all the evidence gathered to date on deaths, hospitalisations and sales, plus exclusive new data.
Importantly, it contains estimates of the costs to consumers. Among the more outlandish claims made by the Sheffield modellers was the idea that moderate and low income consumers would be barely affected by minimum pricing. They predicted that a low income moderate drinker would only pay an extra 4p a year! This was never realistic, not least because it was based on the minimum price being set at 45p and they defined a moderate drinker as someone consuming the equivalent of just two pints of lager a week, but it worked from a PR perspective because it quelled politicians’ fears about the policy being regressive.
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After years of gradually increasing persecution, the Nazis institute a nationwide pogrom on the night of November 9, 1938. It will signal the end of Jewish life in Germany.
Hosted by: Indy Neidell
Written by: Francis van Berkel
Directed by: Spartacus Olsson and Astrid Deinhard
Executive Producers: Bodo Rittenauer, Astrid Deinhard, Indy Neidell, Spartacus Olsson
Creative Producer: Joram Appel
Post-Production Director: Wieke Kapteijns
Research by: Francis van Berkel
Edited by: Daniel Weiss
Sound design: Marek Kamiński
When my daughters were around six and seven, they started French classes at a children’s library in our borough; I had been to our local library countless times but had mainly confined myself to the infant section, and older children’s books were something of a revelation. The entire front desk area was made up of hagiographies of Barack Obama and Nelson Mandela.
And hagiography is the most accurate term: these books were just like the ones I used to read in church. Here Blessed Nelson forgave his jailors, here St Barack healed America of its racial sins – and these are just a couple of examples.
It was a bit of a surprise — learning just how much the tone of kids’ books had changed since I was young and we wore onions on our belts. Nowadays, progressive politics is ever-present in children’s books. Which is fine, if you’re a believer; but if you’re a conservative, you’re faced with raising your children in a culture which is filled with messages you disagree with — sometimes misleading, sometimes anecdotally true but not representative, often just anti-wisdom, giving children the worst possible advice in life. And it’s becoming worse: since about 2016, children’s books have grown way more explicitly political.
Last month, a friend went to Tate Modern and took a picture of the young children’s section. Among the books on display are biographies of Greta Thunberg, something called Queer Heroes, another work called The Rainbow Flag, books about refugees, the bestselling Good Night Book for Rebel Girls — and its countless imitators. Whether you support it or not, this is propaganda; the aim is to raise a generation of progressives just as those Lives of the Saints were designed to bring forth young Christians.
And it works. Conservative ideas are very much in retreat, the subject of a brilliant new book I recently read (which, admittedly, I also wrote).
From a very young age, children are read books and shown films that teach them the core progressive messages: that we are all basically good and only behave badly because of circumstances; that borders and barriers are bad, stereotypes are wrong and girls ought to adopt traditional male gender roles if they want to be respected.
Stereotype inaccuracy is a popular idea — and a false one; in so many kids’ stories the unusual stranger or alien or wild animal who turns up in the neighbourhood will defy the small-minded pessimist who expects the worst. When it comes to gender politics, no self-respecting children’s book in the 21st century has girls aspiring towards being a princess and living happily ever after; to the post-ironic upper-middle-class parents who are the publishers’ main audience, that would just be lame.
The war in China already started in 1931 when Japan invaded Manchuria. Early resistance was small and was met by heavy Japanese retaliations. But throughout the 30’s, the movement started to grow.
Hosted by: Spartacus Olsson
Written by: Francis van Berkel
Produced and Directed by: Spartacus Olsson and Astrid Deinhard
Executive Producers: Bodo Rittenauer, Astrid Deinhard, Indy Neidell, Spartacus Olsson
Creative Producer: Joram Appel
Post-Production Director: Wieke Kapteijns
Research by: Francis van Berkel
Edited by: Mikołaj Cackowski
Map animations: Eastory (https://www.youtube.com/c/eastory)
Sources:
Library of Congress
Narodowe Archiwum Cyfrowe
Chinese anti-Japanese posters, courtesy of pictoright
SHANGHAI, CHINA-1921
Soundtracks from the Epidemic Sound:
Johan Hynynen – “Dark Beginning”
Yi Nantiro – “Watchmen”
Yi Nantiro – “A Single Grain of Rice”
Reynard Seidel – “Deflection”
Fabien Tell – “Last Point of Safe Return”
Andreas Jamsheree – “Guilty Shadows 4”
Rannar Sillard – “Split Decision”
There is no more evocative phrase to emerge from World War II than Afrika Korps. The name conjures up a unique theater of war, a hauntingly beautiful empty quarter where armies could roam free, liberated from towns and hills, choke points and blocking positions, and especially those pesky civilians. It calls forth a war of near-absolute mobility, where tanks could operate very much like ships at sea, “sailing” where they wished, setting out on bold voyages hundreds of miles into the deep desert, then looping around the enemy flank and emerging like pirates of old to deal devastating blows to an unsuspecting foe. Finally, it implies a bold hero, in this case Field Marshal Erwin Rommel, a noble commander who fought the good fight, who hated Hitler and everything he stood for, and who couldn’t have been farther away from our stereotyped image of the Nazi fanatic. Everything about him attracts us — the manly poses, the out-of-central-casting good looks, even the goggles perched just so. Placing Rommel and his elite Afrika Korps to the fore allows us to view the desert war as a clean fight against a morally worthy opponent. It was war, yes, but almost uniquely in World War II, it was a “war without hate.”
It’s an attractive image all around, and it is unfortunate that practically all of it is false. The desert was hardly a haven of beauty or romance. It was a pain, and fighting in it was a nightmare for both sides. Far from letting the respective tank fleets roam free, the desert chained them irresistibly to their supply lines, and a single failed supply convoy or a lost column of trucks could stop an entire offensive dead in its tracks. Contrary to the alleged mobility of desert warfare, both sides would spend far more time in static defensive positions, often quite elaborate, then they would launching tank charges.
That leaves us with Rommel. Here, too, we should challenge the mythology. He was hardly apolitical. His entire career had been based on Hitler’s favor, and we might reasonably describe his attitude toward the Führer as worshipful. He was Hitler’s fair-haired boy, a young officer repeatedly promoted over more senior candidates. He was a media creation. Nazi propaganda painted him not only as a garden-variety hero, but as a model National Socialist and Aryan, a man who could overcome stronger enemies through the sheer force of his will. He was not merely a passive bystander to the hype; he was an active accomplice. He loved nothing better than having a camera crew along with him on campaign, and he would regularly order scenes to be reshot if his posture was insufficiently heroic or the lighting had not shown him to best advantage. As is often the case, his relationship to the media was both self-serving and self-destructive. During the years of victory, the German propaganda machine used him as an example to the nation. When things went sour, he became a diversion from the increasingly bad news on other fronts. Finally, when he was no longer useful for any purpose at all, the regime dropped him altogether and eventually killed him.
The Nazi economy appears to do well during the 1930s. But this is largely myth, as the German economy under Hitler is based on a self destructive, ideologically or selfishly fuelled irrationality driven by conquest and criminal practice.
Soundtracks from Epidemic Sound:
– “Document This 1” – Peter Sandberg
– “March Of The Brave 10” – Rannar Sillard – Test
– “Ominous” – Philip Ayers
– “The Inspector 4” – Johannes Bornlöf
– “Disciples of Sun Tzu” – Christian Andersen
– “Guilty Shadows 4” – Andreas Jamsheree
– “Last Point of Safe Return” – Fabien Tell
– “Death And Glory 1” – Johannes Bornlöf
– “Easy Target” – Rannar Sillard
– “Split Decision” – Rannar Sillard
– “First Responders” – Skrya
– “The Charleston 3” – Håkan Eriksson
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
Spartacus Olsson
1 day ago
From an intellectual viewpoint, this is perhaps the most challenging episode I have written in this series. First of all it’s hard to make economic policy interesting, even when it’s about the Nazis. It tends to get, well … grey. Second of all it’s not that easy to simplify things without completely losing the essence of what was going on. Third of all, I’m fighting an uphill battle against a post truth, political talking point based on … let’s just call it less than ingenious purposes.
Obviously that’s the idea that the Nazis were Socialists. And perhaps that is not so far fetched when you think of the name of their party, the way they framed their anti-semitic rhetoric in a way that it would sound friendly to the working class, and their absolute disregard for telling the truth about anything, and everything. But although we have painstakingly showed you the facts, I am painfully aware that it won’t make a difference to stop the nonsense out there and in here — some pundits will religiously stick to their ideas, because if they don’t, they might have to face that some of the ideas they have are mutual with the people they so desperately want to distance themselves from. The same happened with the far left between the 1930s and 1970s, when they tried with cramped desperation to frame Stalinism as a right wing, Fascist movement — Red Fascism was the term — obviously as much nonsense as the alt-right idea that Naziism is Socialism.
And is it important? Well yes and no — the dumbos will probably get worn out at some point, it’s after all quite challenging to look for ways to distort the record over, and over again. I don’t really care if the extremists try to push their mutual garbage in each other’s lap — as a supporter of democracy and humanism, I have no regard for either end. I do however have an incredible amount of respect for conservatives, liberals, and progressives who are equally dedicated to democracy and human rights — and there is where it matters.
When the far left tries to frame Stalinism as right wing, and the far-right tries to frame Naziism is left-wing, they are trying to co-opt a position of less extremism. It’s an invasive attempt for Communists and (real) Socialists to just look like regular Progressives, and Fascists and Nazis to just look like regular Conservatives. And that my friends is dangerous, to all of us, regardless of our nationality, creed, political affiliation, or opinion — because it is specifically our individual rights and democracy that is at stake in this game. That’s what they want to take away, or in some places stop from developing.
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Did you know that “Three Billionaires Have More Wealth Than Half of America”!!!???!!! Are you angry now? You’re supposed to be, because this factoid was concocted specifically to make people irrationally angry. Daniel C. Jensen explains how this sound bite was created:
Amazon’s Jeff Bezos, Microsoft’s Bill Gates, and Berkshire Hathaway’s Warren Buffet. Fox Business.
People between 0 and 24 years of age account for about 32 percent of the United States population of 320 million. Almost all of them are going to be in the bottom half of the wealth distribution for reasons including diaper rash and puberty. That means they account for about 63 percent of the “bottom half of the wealth distribution.” Should it surprise us that some kid fresh out of college does not “hold any stocks or bonds”? Or a kid fresh out of the womb?
Then we must consider people with mental and physical disabilities. They will also tend to be in the bottom half of the wealth distribution because they face greater challenges to building wealth. “About 56.7 million people — 19 percent of the population — had a disability” at last count, according to the United States Census Bureau. But there is overlap between the disabled 19 percent and the young 32 percent of the population. If we assume disabilities are evenly distributed in the population, then young people and non-young disabled people account for 45 percent of the population. So we have now accounted for 90 percent of the “160 million Americans in the bottom half of the wealth distribution.”
Next, we must think about other groups who have had limited wealth-building opportunities. What about the 2.2 million people in jail and prison? What about people in their late twenties who pursued PhDs, law degrees, medical residencies, etc., and are just beginning their careers? Now we are close to accounting for 100 percent of the “bottom half of the wealth distribution.” But this wealth distribution is not what any sensible person would expect it to be.
Maybe the factoid is true. Maybe Jeff Bezos, Bill Gates, and Warren Buffet have more wealth than all of the infants, children, students, handicapped, prisoners, and postgrads combined. But you don’t need a PhD to figure out that’s not useful knowledge. Even if the factoid is true, it’s deceitful. Whoever created it was obviously trying to manipulate people. And we uncovered this deception with nothing but some simple knowledge of the US population.
Next time you encounter an economic factoid, remember that it might be pitting a bunch of newborns against Jeff Bezos, and that hardly seems fair. Thankfully, you can save those babies from certain defeat simply by knowing some basic statistics about your country.
Comments Off on Here’s a deceptive factoid … time for you to get angry to suit someone’s political agenda
I’ve only heard of the show because my grand-niece is a huge fan, so I can’t say anything one way or another about these heresy allegations:
Six adorable, daring puppies and their whiz kid leader, ten-year-old Ryder, rescue people in the community of Adventure Bay. You would have to be a fool to not love Paw Patrol. And that’s where the Canadian state broadcaster CBC comes in!
A new article by Rebecca Zandbergen explores the groundbreaking new theory by Canadian university professor Liam Kennedy that loveable Nickelodeon show Paw Patrol is an insidious tool of capitalism. Kennedy, from King’s University College, has penned a vital new piece of research called “Whenever there’s trouble. Just yelp for help”: Crime, Conservation and Corporatization in Paw Patrol” in the peer-reviewed journal Crime Media Culture. His child isn’t allowed to watch the show, but Kennedy spent countless hours watching it in his office.
In the show, Ryder is the ring-leader of the pups, each of whom has a job to do as part of their team. There’s Chase, the police dog, Marshall, the fire chief dog who can never quite get control of his hose, Rubble, the builder, Skye, who flies a plane for some reason and is the girl pup, Everest, the extreme outdoor adventuring pup, Rocky, the rescue dog, and Zuma, the pup who drives a boat.
Together, they are the Paw Patrol, and they even have a headquarters, because all kids love a home base. Inexplicably, the grown-ups in town depend on Ryder and the pups to help them when they’re in a jam. Probably because it’s a show for kids, so it’s kid-centric. Kids like that.
Kennedy posits that “Paw Patrol, as a private corporation, is used to help provide basic social services in the Adventure Bay community. That’s problematic in that the Paw Patrol creators are sending this message that we can’t depend on the state to provide these services.”
Kennedy was angry that elected officials are not portrayed as heroes: “Mayor Humdinger and Mayor Goodway — kind of the representatives of the state or the government — are portrayed negatively,” Kennedy argued.
Kennedy also pointed out that, at the age of ten, Ryder should be in school, not saving the world. CBC did not bother to ask Kennedy how he feels about real-life school-skipper and saviour Greta Thunberg. We guess some do-gooders are more equal than others.
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The Berlin Olympics in 1936 were a masterfully played piece of Nazi propaganda, where they framed their race as physically superior and their ideology as modern, organised and cultured while also ostensibly downplaying their anti-internationalism racism and anti-semitism. But the Germans didn’t embrace sports for friendly competition. They did so for something very different.
Hosted by: Indy Neidell
Written by: Joram Appel
Directed by: Spartacus Olsson and Astrid Deinhard
Executive Producers: Bodo Rittenauer, Astrid Deinhard, Indy Neidell, Spartacus Olsson
Creative Producer: Joram Appel
Post-Production Director: Wieke Kapteijns
Research by: Joram Appel
Edited by: Daniel Weiss
Sound design: Marek Kaminski
Sources:
Bundesarchiv_Bild:
183-G00372, 102-08105, 145_Bild-P017100, 183-R96374, 146-
1998-020-00A, 146-1976-033, 183-G00978, 183-1992-0421-500,
146-2005-0017, 183-G00352, 146-1976-116-08A, 146-1988-106-
29, 146II-728, 8076_Bild-0008
Modern Olympic Photos:
Photo from illang https://www.flickr.com/photos/ilan_sr…,
Photo by Agência Brasil http://agenciabrasil.ebc.com.br/rio-2…
Colorizations by:
Daniel Weiss
Norman Stewart
Joram Appel
Soundtracks from Epidemic Sound:
– “First Responders” – Skrya
– “The Inspector 4” – Johannes Bornlöf
– “Heroes On Horses” – Gunnar Johnsén
– “Split Decision” – Rannar Sillard
– “Not Safe Yet” – Gunnar Johnsen
– “Thunder Storm 01” – Fredrik Ekstrom
– “Dawn Of Civilization” – Jo Wandrini (1)
– “March Of The Brave 4” – Rannar Sillard
– “Magnificent March 3” – Johannes Bornlöf
– “Imperious” – Bonnie Grace
– “The Charleston 3” – Håkan Eriksson
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
TimeGhost History
2 days ago (edited)
The 1936 Berlin Summer Olympics and Garmisch-Partenkirchen Winter Olympics were the first true modern Olympic games. Many of the now staples of the Olympic games were introduced for the first time by the Nazis. But magnificent as they might have been, the intent of the Germans was not really to advance the vision of the internationalist and pacifist goals of the Olympic games. And while we do realise that many of the characteristics of the 1936 Olympics – how it was used to push a certain national image or to strengthen nationalism, could be said of more recent editions of the Olympics as well. And while sports and international institutions are still today being used to push alternate agendas, we’d rather not discuss them in the comment section here as this is a history channel – not a current affairs channel.
Cheers, Joram
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