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See where 30,000 bombs fell during the London Blitz, 1940-41
08:20 am



In September 1940, the German Luftwaffe unleashed a strategic bombing campaign that targeted all of the major cities across the UK. Over 30,000 tons of high explosives were dropped on sixteen cities during a relentless over 267-day campaign, or “Blitzkrieg” (German for “lightening war”), that claimed over 40,000 civilian lives—half them in London alone—wounded over 100,000 and destroyed more than a million homes. It was an event that changed the nature of the war, and brought repercussions for Germany.

My mother was a child during the Second World War, living with her parents and sister in a tenement in the north-west of Glasgow. She can still clearly recall the regular sound of the siren warning of another German bombing raid. People decamped to the bomb shelters situated in the back gardens, where my mother listened to the whistle and blast of the bombs, land mines and other incendiaries raining down from the planes above.

In March 1941, she was briefly evacuated to a cottage in Milport on the isle of Great Cumbrae, off the west coast of Scotland. During this time, the Luftwaffe carried out two bombing raids on Clydebank—that have been described as “the most cataclysmic event” in war-time Scotland. My mother recalled how the German planes seemed to fly so low she felt she could touch them, while the flames from the raid lit up the sky like it was day.
Clydebank, near Glasgow, after the ‘blitz’ of March 1941.
Devastation in the south of London—a bus lies in the rubble of a bomb crater.
Central Coventry after a bombing raid November 1940.
Sleeping in the shelter of London’s Underground station at Elephant and Castle, November 1940.
More photos plus link to the interactive Blitz site, after the jump…

Posted by Paul Gallagher | Leave a comment
Jesse Malin on ‘New York Before the War’ and his early days with Heart Attack: a DM interview
06:12 am



Jesse Malin exemplifies an increasingly rare breed—a songwriter with an almost umbilical connection to a New York City that barely exists anymore outside of fading photos and fading memories. It’s fair, I think, to consider him part of a lineage stretching from Lou Reed through Jim Carroll, Richard Hell, Alan Vega, et al. From his time as a really young kid in the pioneering NYHC band Heart Attack, through his ‘90s alterna-fame with glam punks D Generation (a band that also included my DM colleague Howie Pyro), to his 21st Century solo work, Malin has grown into a worthy Bard of the Boroughs. His new album, New York Before the War, may actually be the apotheosis of his career so far. (I have no doubt that some DGen fans would disagree.)

Since DGen, Malin has shed some Lower East Side punk classicism for a broader approach; there are traces of Tom Petty and Bruce Springsteen all over the new album. But it’s an eclectic batch of songs, and still for the greater part identifiably punk-inspired, and still absolutely classicist. Malin told DM that the title New York Before the War itself refers to things that New York, and society at large, have lost.

It’s no particular war, it’s surviving and fighting against all the fucking corporate bastards, all the changes on the planet, with New York being one of the central pieces of the world. It’s that the world is such a disposable, apathetic, digitized place and we’re burning through it so fast. I’m into holding on to things that are important, and finding them, and making them, and celebrating them.


In that spirit of touching back to the worthy past for inspiration, we thought it would be fun to look at Malin’s very early roots, as a member of Heart Attack. That band formed in 1980, when its members ranged in age from 12 to 16. Even at that age, the band managed to tour, and they released a 7” and two E.P.s, which were collected on the inevitable discography CD The Last War 1980-84. Malin was kind enough to share his old stash of fliers with us, and when we prodded him for personal reminiscences of the shows, he was supremely obliging.


That’s the first time anybody took my picture. That’s me and two other members of Heart Attack.  Javier, on drums, from Mexico City. I met him through an ad in the Village Voice, he was a very original drummer. In the middle is John Frawley, he was from Flushing, Queens, and had been in the band The Mob, who were our friends and rivals at the time. He played bass. And that’s me on the right, I was 14 years old, and that was around the time the “God is Dead” 7” came out on the Damaged Goods fanzine label. And we were on East 12th Street, with a bunch of Puerto Rican guys in the back, and that was shot for Sounds, the UK weekly newspaper. Tim Sommer was doing a piece on the early, early New York hardcore scene, and I think we put out the first 7” from that scene, which became kind of a collectable, but it got bootlegged a few times. And that’s not our car, it just looked like that down there.



171A was the studio where Bad Brains recorded the ROIR cassette. They had a record store in the basement called “Rat Cage.” Jerry Williams, rest his soul, wonderful guy, recorded all our bands there, let us rehearse there, had illegal gigs, the Bad Brains LIVED there, Black Flag rehearsed there, it was one of the first places to support hardcore. The first Beastie Boys record Polly Wog Stew was recorded there as well, with the famous “Egg Raid on Mojo.” That was a benefit, three nights at a theater, and believe it or not, with that bill, it was kinda empty! But a great show.



The later years of Heart Attack, we got a bit noisy, and somehow attracted fans in those bands, so we played with Sonic Youth, we played with Swans. Swans were the loudest thing I’d ever seen at the time, louder than Motörhead, and they were very good to us. We did a few shows, mostly in New York, and that one was at the SIN Club, which means “Safety In Numbers.” That night there were gunshots going off across the street, and we were the very few white kids at 3rd St and Avenue C. The SIN Club took chances and put on great shows, and that was the cool diversity, being able to have Heart Attack and Swans, mix those two worlds. I guess the common thread would be anger, angst, intensity.

Continues after the jump…

Posted by Ron Kretsch | Leave a comment
New music by Rough Francis, from ‘A Band Called Death’
07:30 am



Surely you’ve seen A Band Called Death by now, right? If not, you seriously need to get on that. Though it seems to have expired from Netflix streaming (booooo), it’s still available to subscribers on Hulu Plus and Amazon Prime (and it’s only like $3 for non-Prime Amazon streaming). If you’ve missed this story somehow, the film relates the saga of the Hackneys, three young African-American brothers in Detroit, MI, in the early ‘70s, whose family band eerily predicted the back-to-basics hard rock ethos and sound of punk by a couple of years, and yet they remained entirely unknown to the world until the discovery of their excellent self-released 7” made them a 21st Century cause célèbre among record collectors.


The rediscovery of Death brought forth some marvelous fruits—Death’s lost LP For the Whole World to See was released to justifiable acclaim in 2009, and the band’s vaults were emptied with the releases of the collections Spiritual Mental Physical and III, and an album of new material by the reconstituted and re-energized band (minus guitarist/visionary David Hackney, who died of lung cancer in 2000), titled N.E.W., is due later this month. And the discovery had generation-spanning effects, in that the three sons of Death’s bassist/singer Bobby Hackney have, rather symmetrically, formed a family band called Rough Francis.

As the documentary reveals, younger Hackneys Julian, Urian, and Bobby Jr. had NO IDEA their dad and uncles had ever been in a hard rock band, only finding out after Chunklet blogged MP3s of the lost single. They retrieved the Death master tapes from their father’s attic and formed their own band to play those songs, copping their name from the pseudonym used by their late uncle David on his last recording. It’s tempting to indulge in cynicism and presume the band to be coattail-riders, but Rough Francis became an original band in its own right, purveying a tight, headstrong and effective post-hardcore sound that harnesses an energy all the band’s own. They released an E.P. in 2010, and the album Maximum Soul Power last year. Next week, their new single, “MSP2/Blind Pigs” will be released on Riot House, and it’s Dangerous Minds’ extreme pleasure to debut “Blind Pigs” for you today… right after the jump.

Posted by Ron Kretsch | Leave a comment
‘Outlaws of Amerika’ trading cards from 1969
05:08 am

Class War
Pop Culture


At Babylon Falling I stumbled across this remarkable full-page image of countercultural satire at its sharpest and most dangerous. Fifteen trading cards for the “Outlaws of Amerika,” featuring radical rock stars like Eldridge and Kathleen Cleaver and Huey Newton and less known figures like Cha Cha Jimenez and Roger Priest. This image has been variously attributed to The Chicago Seed and the Black Panther publication Lumpen. According to this article in the Atlantic Monthly, the BAMN Anthology from Penguin claims that it was created for the 1968 Democratic Convention in Chicago.

However, according to this listing on abebooks, it definitely appeared in the “Second Birthday Issue” of RAT Subterranean News, March 7-21, 1969. (This reddit thread gets this information substantially correct but blows the year.) Whether it appeared anywhere before that, I can’t say.

The artist was Lester Dore, who went by the nickname “Wanderoo” (you can barely read his signature at the bottom). The All-Stars are classified into “Social Deviants,” “Third World Revolutionaries,” and, in a single instance, “Native Americans.” The cards wittily use icons such as a raised fist (protest), a bomb (use of bombs), an M-16 (violence), a tomahawk (Indians’ rights), a marijuana leaf (drugs), an electric chair (outlaw is on death row), and an ohm symbol (resistance). On the right hand side, in small print, it reads “Save a complete collection ... If sent with a Wanted Poster or reasonable facsimile thereof, good for: a wig, a complete set of phony I.D., and am M-16.” On the bottom it reads, “Wait for the second series of Amerikan Outlaw Trading Cards ... You may be next!!!” The logo on every card is “KOPPS,” a play on Topps, which had well-nigh monopolistic control of the baseball card market for many years until rival companies entered the market in the 1980s.

(In case you are wondering, yes, Afeni Shakur is Tupac‘s mother.)
(Click below for a larger version of this image.)


More of Amerika’s outlaws, class of 1969, after the jump…

Posted by Martin Schneider | Leave a comment
Frida Kahlo’s love letters from an extramarital affair up for auction (and they’re super hot)
10:35 am



Frida Kahlo’s marriage with husband Diego Rivera was non-traditional, to say the least. Scandalous stories of their sex lives usually center on Frida’s bisexuality or Diego’s infidelity (however libertine they may have considered themselves, she was most certainly not okay with him sleeping with her sister), but Frida also had a lesser-known, incredibly intense affair with Spanish painter José Bartoli. He inspired over 100 pages of adoring, sometimes quite erotic love letters, all of which he kept, and the entire collection is now up for auction.

Kahlo and Bartoli met in New York, when a 39-year-old Frida was enduring spinal surgery, one of the many painful medical treatments she received throughout her life to deal with the debilitating chronic injuries sustained in a bus accident at the age of 18. The letters are desperately passionate, with Frida’s physical pain and emerging morphine use fevering her words, her desire for health and vitality entwined with her desire for Bertoli. Her marriage was predictably unhappy at the time of correspondence, and she found herself doubting her talent and unable to work. The thought of Bertoli brought her both longing and relief.

Not all of the letters are published, but the auction house has published excerpts and a synopses of Kahlo’s life at the time. Here are some of the more stirring parts.

“Bartoli—last night I felt as if many wings caressed me all over, as if your finger tips had mouths that kissed my skin. The atoms of my body are yours and they vibrate together so that we love each other. I want to live and be strong in order to love you with all the tenderness that you deserve, to give you everything that is good in me, so that you will not feel alone.

“From the little bed where I lay I looked at the elegant line of your neck, the refinement of your face, your shoulders, and your broad and strong back. I tried to get as close to you as I could in order to sense you, to enjoy your incomparable caress, the pleasure that it is to touch you…. if I do not touch you my hands, my mouth and my whole body lose sensation. I know I will have to [imagine you] when you are gone.”

apart from love-making I know there is something indestructible and positive that unites us. It gives me equal pleasure to kiss you, to make love, to listen to you, to look at you, to watch you sleep, to know your inner life…. Let me tell you how I delight in retaining in my senses your caresses, your words, how I feel full of an interior light when I hear you say to me, ‘my Mara, my dove, my Tehuana.’

My Bartoli-Jose-Guiseppe-my red one, I don’t know how to write love letters. But I wanted to tell you that my whole being opened for you. Since I fell in love with you everything is transformed and is full of beauty. I would like to give you the prettiest colors, I want to kiss you…[I want] our dream worlds to be one. I would like to see from your eyes, hear from your ears, feel with your skin, kiss with your mouth. In order to see you from below [I would like] to be the shadow that is born from the soles of your feet and that lengthens along the ground upon which you walk…. I want to be the water the bathes you, the light that gives you form, [I wish] that my substance were your substance, that your voice should come out of my throat so as to caress me from inside.… in your desire and in your revolutionary struggle to make a better human life for everyone, I [want to] accompany you and help you, loving you, and in your laughter to find my joy

If sometimes you suffer, I want to fill you with tenderness so that you feel better. When you need me you will always find me near you. Waiting for you always. And I would like to be light and subtle when you want to be alone.”

It was the thirst of many years contained in our body…. Forgive me if all these things that I write are perhaps for you stupidities, but I believe that in love there is neither intelligence nor stupidity, love is like an aroma, like a current, like rain. You know, my sky, you rain on me and I, like the earth, receive you. Mara”

Via The Observer

Posted by Amber Frost | Leave a comment
Malcolm McLaren on the Beatles, the Stones, fashion and marketing stuff to young people, 1984
04:18 pm

Pop Culture


I bookmarked these videos of Malcolm McLaren being interviewed on the intersection of fashion, rock music and marketing to young people a while back but didn’t get around to watching them until this morning. Absolutely fascinating stuff. If you have any interest in the history of fashion or in the wiley Mr. McLaren himself, trust me this is most certainly worth an hour of your time.

What this is is three 20 minute Betacam camera reels (raw footage) of McLaren being interviewed for Rock Influence what is presumably a program firstly about fashion and secondly about music as it relates to and influences fashion trends, in late 1984. In the first of the tapes, he starts off talking about the birth of Parisian couture fashion, and how Christian Dior’s signature La Belle Époque-inspired silhouette ended up being adopted in the 1950s by American girls who “wanted to dance with James Dean.”

Throughout the hour-long interview, in which the interviewer gets to ask precious few questions—as anyone who ever met him can tell you, “conversations” with Malcolm McLaren were so decidedly one-sided that “monologue” would be a better term to use—the infamous trouble-maker who spun “cash from chaos” spends a lot of time talking about the Beatles and their influence on fashion and contrasting them, and what they stood for, with the Rolling Stones. He discusses clothes being marketed to post-war Britain’s youth for the first time beginning in the mid-1960s, gay fashion in London, Teddy Boys, the “Cinderella” women of Motown and Carnaby Street.

There’s one particularly interesting section, I think it’s in part two, where he explains the sort of shops that were open on the King’s Road in London in the early 70s when he and Vivienne Westwood first opened their boutique (which had various names like Let It Rock, Too Fast To Live Too Young To Die, Seditioaries, SEX and World’s End). Basically it was stores catering to glam rock and glitter all around them, but what they were doing was simply buying up overstock on the togs of 1959 and reselling it for Teddy Boy and rockabilly revivalists. Consider that even a few years before this, there would have been NO “cool” or “fashionable” section of town, any town, even in a city like London, to begin with. That entire notion was just beginning to be expressed for the first time historically, but already, in one of the small handful of such stores in the capital city at the time, the marketing of nostalgia was starting to rear its head. Today there’s any number of “looks” one can choose in the supermarket of style… punk, hippie, Victorian, Edwardian, that fucking Jeremy Scott look that DAZED magazine always pushes, etc, but at that point and time, selling the clothes of 1959 to young folks was a fairly bold—almost counterintuitive—thing to do. Also, consider that selling 1959’s fab gear in 1972 would be comparable to selling the fashions of 2002 today, for a lil’ perspective.

Always remember that the distance from the doo-wop era to Sha Na Na aping it ironically at Woodstock was a mere decade. McLaren makes a pretty good case here—without intending to—that he and Westwood were among the very, very earliest pioneers of marketing “vintage” clothing. Because of the short distance from the beginnings of the modern fashion industry to the 1984 date of this interview, McLaren makes one great point after another that have retrospectively become even more true in the three decades since this was taped.
Continues after the jump…

Posted by Richard Metzger | Leave a comment
Listen to early Soviet synthesizer music, hand drawn on film and made from cut paper
09:42 am



Sometime in the early 1920s the Bauhaus artist László Moholy-Nagy suggested that a new form of “music writing” could be created from the grooves in phonographic records. He believed experimenting with the groves would enable composers, musicians and artists to produce music without recording any instruments. Long before scratching, Moholy-Nagy also believed the phonograph could become “an overall instrument… which supersedes all instruments used so far.”

With the arrival of synchronized sound in movies, as seen and heard in the first talkie The Jazz Singer in 1927, Moholy-Nagy refined his idea believing a whole new world of abstract sound could be created from experimentation with the optical film sound track. He hoped such experimentation would “enrich the sphere of our aural experience,” by producing sounds that were “entirely unknown.”

In 1929, the Russians produced their first talkie, the snappily titled The Five Year Plan for Great Works. The possibility of synchronized sound inspired a trio of pioneers, composer Arseny Avraamov, animator Mikhail Tsihanovsky and engineer Evgeny Sholpo who were fascinated by the curved loops, arcs and waveforms on the optical soundtrack. The patterns made them wonder if synthetic music could be created by drawing directly onto the sound track. Of course, this they did, at first testing out vase-shapes and ellipses then Egyptian hieroglyphs—all with startling results.

In 1930, Avraamov produced (possibly) the first short film with a hand-drawn synthetic soundtrack.

An example of Avraamov’s early experimentation in ‘ornamental sound.’
Meanwhile back at the lab, Evgeny Sholpo was collaborating with composer Rimsky-Korsakov on building what was basically an “optical synthesiser” or Variophone that used an oscilloscope to cut waveforms on small paper discs to produce synthetic music (“ornamental sound”) that was synced to 35mm film, before being photographed onto the same film to create a continuous soundtrack. Kinda laborious, but neat, the end product sounding that sounded like the music to a 8-bit game cartridge.
Diagram of a Variophone
More Soviet ‘artificial music’ after the jump…

Posted by Paul Gallagher | Leave a comment
The air hostess with the mostest: Awesome images of vintage stewardess uniforms
03:59 pm



I’ve always dug old school airline flight attendant uniforms. Perhaps it’s the nostalgia of being a kid and totally excited about going to the airport and hopping on a plane. When you asked for a can of Coke, you got it. An entire can.

These days I dread the experience of going to the airport as much as I dread tax season. I hate it. It’s miserable for me, filled with lots anxiety and zero patience. Flying used to be glamourous! Now a flight is like getting on a bus… an air bus. Soon they’ll have you standing in the aisles, mark my words!

I like to look at these old photos and remember a time when traveling wasn’t an experience from hell. Oh, and when flight attendants looked as cool as shit.


Early 1970s Braniff International Airways photo

Southwest Airlines, 1970s
More after the jump…

Posted by Tara McGinley | Leave a comment
A handy guide to sex in the Middle Ages: The original ‘Just Say No’ campaign
10:59 am



Forget the romance about damsels in distress and knights in shining armor—having sex in Medieval times (that’s the 5th to the 15th century) was definitely a no-no. Well, according to ye olde religious edicts that is.

For example: if it was Sunday, Wednesday, Friday or Saturday then it was a sin to have sex. If it was daylight or you were naked—you weren’t allowed to have sex either. If the wife was menstruating, pregnant or nursing a child—yep, sex was definitely out. As it was during Lent, Advent, Whitsun week, Easter, feast days and fast days. In fact, having sex was only allowed according to the penitentials if you wanted a child and then you could only do it so long as there was no fondling, no lewd kisses, no oral, no strange positions, and even then you could only do it once and you had better not enjoy it.
‘I’m not enjoying this, darling.’ ‘Me neither.’
As you can imagine, back in these feudal times finding a place to make out was difficult—accommodation was cramped, often cold and damp and lacked privacy. Out in the fields, or in a hay loft was more suitable, as was inside a church, which as Ruth Mazo Karras notes was:, dry, and deserted for much of the day, might have been the equivalent of the back seat of a car.

Because of religious belief abstinence had to be observed during the 46 to 62 days of Lent, the four weeks of Advent, and the 40 to 60 days around the Feast of the Pentecost. To help people people find suitable times to have intercourse Penitentials—“books which gave the rules of sex and the penance for breaking them”—were devised by the church. One such book was the Anglo-Saxon Canons of Theodore written around 700AD that included regulations on drunkenness, fornication, theft, perjury, heresy and being twice baptized—o, the horror! Under fornication in chapter two, it contains the following punishments for deviation from the proscribed sex acts:

Whoever fornicates with an effeminate male or with another man or with an animal must fast for 10 years. Elsewhere it says that whoever fornicates with an animal must fast 15 years and sodomites must fast for 7 years….

There was similar rules for pleasuring oneself:

If he defiles himself, he is to abstain from meat for four days. He who desires to fornicate (with) himself and is not able to do so, he must fast for 40 days or 20 days. If he is a boy and does it often, either he is to fast 20 days or one is to whip him….

Women were also threatened with dreadful punishments should they give into the temptation of pleasuring themselves with a homemade, edible or mechanical instrument:

Have you done what certain women are accustomed to do, that is to make some sort of device or implement in the shape of the male member of a size to match your sinful desire? If you have done this, you shall do penance for five years on legitimate holy days.

But there was worse….

Whoever ejaculates seed into the mouth, that is the worst evil. From someone it was judged that they repent this up to the end of their lives.

‘Arms above the bedsheets, please.’
It wasn’t just the church who were quick to denounce people doing what comes naturally. Royals, nobles and landowners used their power to influence young lovers. King Phillip IV of France (1268-1314) was known as “Phillip the Fair”—I think we’ll have to think of him fair of skin rather than fair or just. When he discovered some of his favorite knights were having “relations” with his three daughters, he had these men arrested and disemboweled. His daughters were sent off to a nunnery for their sins.

Interestingly, prostitution thrived during the Middle Ages and was generally ignored by the Church, or at worst considered a necessary evil, as scholar and saint, Thomas Aquinas (1225-1274) thought:

If prostitution were to be suppressed, careless lusts would overthrow society.

Most towns had a brothel. Prostitutes were recognizable by their dress—a veil and a garment with a bold yellow stripe. Regular customers probably came from the wealthier classes.

This handy little diagram explains the ins and outs (ahem) of what was or was not acceptable—and explains why if you were young, horny and fancied some slap and tickle then you were well and truly screwed.
Via The Medievalists and Oddee.

Posted by Paul Gallagher | Leave a comment
Inside the Warsaw Ghetto: Summer 1941
07:10 am



Since 1596 Warsaw has been the capital of Poland. In Polish Warsaw (“Warszawa”) literally means “belonging to Warsz”—a 12th-13th-century nobleman who owned land in the Mariensztat district. Warsaw was home to Europe’s largest Jewish population—around 337,000 in 1939, and 445,000 by 1941.

When Germany invaded Poland in August 1939, the Nazis quickly surrounded the capital city and launched a deadly blitzkreig that claimed many lives and destroyed buildings. The Germans were now in control of the country and in November 1939, an edict issued by Hans Frank, the Governor General, decreed all Jewish men, women and children over the age of ten had to wear a Star of David armband to identify themselves. All Jewish shops had to be similarly marked with a Star of David, and severe restrictions were placed on the Jewish population. Further laws limited the amount of money Jews were able to withdraw, with strict rules on buying produce, letting and owning property and travel.

In March 1940, groups of Polish gangs launched a series of violent attacks on the Jewish population—stealing money, gold, food, clothes and anything they could find of any value. These attacks lasted for eight days until the Germans intervened.

In February 1940, the Germans proposed plans to create a Jewish quarter or ghetto, where all Jews would be contained. On the Day of Atonement, October 1940, a decree was issued establishing a Jewish ghetto. All Jews had to relocate to this ghetto, which meant 30% of the population of Warsaw was packed into only 2.4% of the city’s area—some 400,00 people living in 1.3 square miles, an average of 7.2 people per room.

By mid-November, a wall surrounding the ghetto was built. The wall was over eleven feet high with broken glass and barbed wire on top and was constructed by the German company Schmidt & Munstermann, who were responsible for building the Treblinka concentration. The wall was paid for by the same Jewish community it was built to imprison. Access to and from the ghetto was limited to mainly food and supplies. The Jewish population inside the ghetto were allocated daily rations of 181 calories. The Germans intended to starve the imprisoned population. During 1941 Jewish deaths rose from 898 in January, to 5,560 in August. The average monthly mortality rates for the seventeen months from January 1941 to May 1942 was 3882. But death was not quick enough for the Germans, and in May 1942, 254,000 Jewish ghetto inhabitants were transported to Treblinka for extermination.

Willy Georg was an old German soldier who made money taking photographs of young German soldiers. During the summer of 1941, Georg was given permission to enter the Jewish ghetto and take photographs of the inhabitants. Georg shot four rolls of film, but as he was shooting a fifth roll, a German military policeman stopped him and confiscated his camera, he was then escorted out of the area. However, the policeman had not searched Georg and he was therefore able to sneak out the four rolls of shot film. He developed these films and carefully stored them along with the prints for the next fifty years until the late 1980s when he met Rafael Scharf, a researcher of Polish-Jewish studies, to whom he gave his pictures. These photographs were then published in the book Warsaw Ghetto: Summer 1941 in 1993.
More of Willy Georg’s powerful photographs of the Jewish ghetto, after the jump…

Posted by Paul Gallagher | Leave a comment
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