CLOSE

The Fall of Antwerp

The First World War was an unprecedented catastrophe that shaped our modern world. Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 148th installment in the series. 

October 10, 1914: The Fall of Antwerp

With Allied and German armies fast approaching western Belgium in the “Race to the Sea,” the Germans urgently needed to capture the Belgian port of Antwerp, which would give the Allies a base to attack German armies operating in Flanders from the rear. After a week of shelling, the Germans penetrated the outer ring of forts protecting Antwerp on October 6, prompting the Belgian government to flee to Ostend, while King Albert ordered civilians to evacuate the city and prepared to lead the Belgian Army to safety further west. As belated British reinforcements staged a last-ditch defense, the Germans moved up their artillery to target the inner forts; now it was only a matter of time.

The siege of Antwerp—its prewar population of 320,000 swollen by refugees from other parts of Belgium—was the first time since the Franco-Prussian War that a major Western European city came under deliberate, prolonged bombardment by heavy artillery, although the shelling of Rheims (population 115,000) and Arras (25,000) certainly provided a preview. As the Germans brought their super-heavy 42-centimeter “Big Bertha” guns to bear in the final days of the siege from October 7 to 10, 1914, the effects were both horrifying and spectacular. An American journalist, Reginald Kaufmann, described the impact of one of these huge shells:

Suddenly something bolted past above my head… something hot, scorching, and of tremendous size, something that roared like a frightened train and sped like a meteoric sun. The very draft of it seemed first to suck me upwards and then hurl me far forward and sidewise on my face. I fell, as a man might fall before a cyclonic blast from the furnace where worlds are made… If I thought of anything, it was of an earthquake…  a shell from a forty-two centimeter gun would strike a building and the entire structure would vanish in a puff of smoke – absolutely vanish, so that when the smoke cleared, there was nothing where it had stood save a great hole in the ground. 

Now thousands of terrified inhabitants (who’d ignored earlier warnings to evacuate) began fleeing the city in panic, mobbing the Antwerp docks as they struggled to get aboard overcrowded ferries, barges, and fishing trawlers (above, refugees on the docks) or over an improvised pontoon bridge across the River Scheldt (below). Once on the left bank of the river they headed west towards the cities of Ghent and Bruges via the one land route still in Allied hands. Others fled to the neutral Netherlands, until Dutch officials finally closed the border because they feared the country’s resources would be overwhelmed. Although estimates vary widely, a total of up to half a million people may have fled Antwerp as the city burned.

Edward Eyre Hunt, a delegate with the American Commission for Relief in Belgium, recalled the flight of inhabitants towards the docks: “Old and young, in little coveys of fours, fives, half-dozens, dozens, ran along the sidewalks, slipping and crashing over the broken glass… whenever a shell snarled unusually near, the groups fell cowering on hands and knees against the nearest houses.” And Horace Greene, a correspondent for The New York Evening Post, described the pathetic scene as refugees streamed out of the city: 

You saw great open wagons carrying baby carriages, perambulators, pots and kettles, an old chair, huge bundles of household goods, and the ubiquitous Belgian bicycle strapped to the side.  There were small wagons, and more great wagons crowded with twenty, thirty, forty people: aged brown women, buried like shrunken walnuts in a mass of shawls, girls sitting listlessly on piles of straw, and children fitfully asleep or very much awake and crying lustily… 

The bombardment continued mercilessly into the evening of October 8-9, when huge oil tanks along the lower Scheldt exploded, sending flames hundreds of feet into the air and creating an apocalyptic backdrop for the drama unfolding below; both sides accused the other of setting fire to the tanks. As night fell on October 8, the entire skyline was lit by fire, with collapsing buildings sending huge clouds of glowing cinders into the air. Hunt went up on the roof of his hotel in the city center and encountered a thrilling scene: 

I looked out upon the most horrible and at the same time the most gorgeous panorama that I ever hope to see. The entire southern portion of the city appeared a desolate ruin; whole streets were ablaze, and great sheets of fire rose to the height of thirty or forty feet. The night, like the preceding, was calm and quiet, without a breath of wind.  On all sides rose greedy tongues of flame which seemed to thirst for things beyond their reach. Slowly and majestically the sparks floated skyward; and every now and then, following the explosion of a shell, a new burst of flame lighted up a section hitherto hidden in darkness… It was all a glorious and fascinating nightmare.

By October 9, almost all the Belgian and British defenders had withdrawn from the city (in one of the more inglorious episodes of the war, 1500 British sailors got lost and wandered into the Netherlands, where they were interned for the duration of the conflict). German scouts were pleasantly surprised to find the inner forts abandoned, although the Allies still held a few positions west of the city. The bombardment ended, and on October 9-10, German troops occupied the burning, largely abandoned city. 

After the horrors of the last few days, the fall of Antwerp was something of an anticlimax, as the Germans simply marched in unopposed, witnessed only by small groups of inhabitants and a few foreign observers who had braved the siege to the bitter end, and now emerged from their hiding places in cellars and the city’s elaborate underground canal system to see the last act in the drama. Hunt noted that the soldiers, primed by rumors of Belgian guerrilla warfare, were on the lookout for franc-tireurs:

Line after line they tramped by, anonymous as swarming bees, indistinguishable from the mass at fifty years, stamping the cobble-stones in perfect time, with the remarkable, tireless, spring march-step of the German recruit… The men glanced suspiciously at the shuttered windows, as if they suspected that snipers lurked behind in the darkened rooms.

Thankfully there was no evidence of civilian resistance (real or imagined) and Antwerp, while heavily damaged by bombardment, was spared the deliberate, systematic destruction previously meted out to Louvain. Anyway the Germans were in too much of a hurry to bother leveling the city, pushing on in a bid to cut off the fleeing Belgian Army—to no avail. King Albert’s scrappy force was already entrenching itself near the coast in the remaining sliver of free Belgian territory; Belgium would live to fight another day.

Meanwhile to the south the Germans and Allies were grappling for advantage as the Race to the Sea drew to a close. Still trying to outflank each other to no end, the Allies and Germans both rushed reinforcements north, with French chief of the general staff Joffre forming the new Tenth Army near Amiens and redeploying the British Expeditionary Force to Flanders, while German chief of the general staff Falkenhayn moved the Sixth Army north and created the new Fourth Army west of Brussels, in preparation for a final push towards the English Channel.

As the adversaries took their positions, the next week would bring a series of battles – all epic in their own right – at La Bassée, Messines, and Armentières. But these were just the prelude to the nightmare of Ypres.

Austro-German Advance

A thousand miles to the east the Germans—now led by Paul von Hindenburg and his brilliant chief of staff Erich Ludendorff—came to the aid of their beleaguered ally Austria-Hungary. The new German Ninth Army under August von Mackensen helped Hapsburg forces push back the Russians, but this success proved fleeting, as the Russians drew on their seemingly endless reserves of manpower to rush new divisions to the front. In fact during this period the fighting on the Eastern Front resembled seesaw warfare, with the two sides chasing each other back and forth over a few hundred miles of territory in Russian Poland and Austrian Galicia (driving millions of peasants from their homes in the process). 


Click to enlarge

By early October, the Russians had penetrated as far as Krakow in western Galicia, just 200 miles from Vienna, while further east they invaded Hungary, capturing Máramarossziget (today Sighetu Marmației in Romania). On October 4, the Austro-German counteroffensive began, forcing the Russians to halt these advances and pull back to defensive positions. By October 8 the Germans had captured Łódź, 50 miles from Warsaw, and in Galicia the Austrians were able to relieve the key fortress town of Przemyśl (pronounced Puh-SHEM-ish-le), lifting the Russian siege, at least temporarily.

However, the Russian retreat was mostly orderly, allowing Grand Duke Nicholas to reconstitute his forces behind the defensive line of the Vistula. Meanwhile the Austro-German offensive was beginning to run out of steam, due to Falkenhayn’s refusal to commit more troops to the Eastern Front, as he prepared to deliver what he hoped would be a knockout blow at Ypres on the Western Front. On October 10 Mackensen’s Ninth Army defeated the Russians at Grójec, just 10 miles south of Warsaw, but this would prove to be the high water mark for this offensive; two days later Ludendorff ordered Mackensen to entrench, with Warsaw still in Russian hands.

On the other side the Russians were bringing up the First and Second Armies, finally reformed with fresh troops after their defeats at Tannenberg and Masurian Lakes, and now freed up by the new Tenth Army, holding off the Germans in East Prussia. In the second half of October it would be the Central Powers’ turn to retreat.

Boer Rebellion Spreads, British Invade Southwest Africa

When news of war arrived in South Africa it reopened old wounds, as the proud Boers—the descendants of Dutch settlers who rejected British rule, and identified culturally with Germany—sought to reverse their defeat in the Boer War of 1899-1902. On September 15, 1914, some Boers rose in rebellion, and the uprising soon spread across the Transvaal, Orange Free State, and elsewhere thanks to appeals by Boer generals who were heroes of the previous war, including Christian Frederick Beyers, Manie Maritz, Christiaan de Wet, and Jan Kemp. 

On October 9, 1914, Maritz led a force of 500 Boers into neighboring German Southwest Africa, where he signed a treaty of alliance with the German colonial government and received a commission as a German general, as well as arms and ammunition for his troops. On October 12 South African Prime Minister Louis Botha (a Boer who remained loyal to Britain) declared martial law and called for volunteers to suppress the rebellion.


Click to enlarge

Meanwhile loyalist South African forces were proceeding with their invasion of German Southwest Africa (today Namibia)—one of a number of campaigns to occupy German colonial possessions in Africa, which also saw Allied forces invade Cameroon, Togo, and German East Africa (today Tanzania). These colonial mini-wars were small in terms of manpower but epic in terms of distances covered, and the results were decidedly mixed. 

On September 18, 1914 South African troops landed at Lüderitzbucht (Lüderitz Bay) in German Southwest Africa. But a week later on September 26 a German schutztruppe (a militia composed of German settlers and native troops) inflicted a defeat on another South African force at Zandfontein to the south, ending a separate attempt to invade the German colony overland. Facing scrappy German colonial units in front and a Boer rebellion to the rear, the South Africans soon realized that conquering the rugged desert territory would be a far more challenging proposition than they’d hoped.

See the previous installment or all entries.

nextArticle.image_alt|e
DreamWorks
arrow
entertainment
15 Educational Facts About Old School
DreamWorks
DreamWorks

Old School starred Luke Wilson as Mitch Martin, an attorney who—after catching his girlfriend cheating, and through some real estate and bitter dean-related circumstances—becomes the leader of a not-quite-official college fraternity. Along with his fellow thirtysomething friends Bernard (Vince Vaughn) and newlywed Frank (Will Ferrell), they end up having to fight for their right to maintain their status as a party-loving frat on campus.

The film, which was released 15 years ago today, marked Vaughn’s return to major comedies and Ferrell’s first major starring role after seven years on Saturday Night Live. Here are some facts about the movie for everyone, but particularly for my boy, Blue.

1. THE IDEA ORIGINATED WITH AN AD GUY.

Writer-director Todd Phillips was talking to a friend of his from the advertising industry named Court Crandall one day. Crandall had seen and enjoyed Phillips's movie Frat House (1998) and told his director buddy, “You know what would be funny is a movie about older guys who start a fraternity of their own.” After being told by Phillips to write it, he presented Phillips with a “loose version” of the finished product.

2. SOME OF THE FRAT SHENANIGANS WERE REAL.

While Crandall received the story credit for Old School, Phillips and Scot Armstrong received the credit for writing the script. Armstrong put his own college fraternity experiences into the script. “We were in Peoria, Illinois, so it was up to us to entertain ourselves," Armstrong shared in the movie's official production notes. "A lot of ideas for Old School came from things that really happened. When it was cold, everyone would go stir crazy and it inspired some moments of brilliance. Of course, my definition of ‘brilliance' might be different from other people's.”

3. IVAN REITMAN HELPED OUT.

Ivan Reitman, director of Stripes and Ghostbusters, was an executive producer on the film. Phillips and Armstrong wrote and rewrote every day for two months at Reitman’s house, an experience Phillips described as comedy writing “boot camp.”

4. THE STUDIO DIDN’T WANT VINCE VAUGHN.

Vince Vaughn in 'Old School' (2003)
DreamWorks

It didn’t seem to make a difference to DreamWorks that Phillips and Armstrong had written the role of Bernard with Vince Vaughn in mind—the studio didn't want him. After his breakout success in Swingers, Vaughn had taken roles in dramas like the 1998 remake of Psycho. “So when Todd Phillips wanted me for Old School, the studio didn’t want me,” Vaughn told Variety in 2015. “They didn’t think I could do comedy! They said, ‘He’s a dramatic actor from smaller films.’ Todd really had to push for me.”

5. RECYCLED SHOTS OF HARVARD UNIVERSITY WERE USED.

The film was mainly shot on the Westwood campus of UCLA. The aerial shots of the fictitious Harrison University, however, were of Harvard; they had been shot for Road Trip (2000).

6. VINCE VAUGHN FANS MIGHT RECOGNIZE THE CHURCH.

In the film, Frank gets married at Westminster Presbyterian Church in Pasadena, California. Vaughn and Owen Wilson were in that same church two years later for Wedding Crashers (2005).

7. WILL FERRELL SCARED MEMBERS OF A 24-HOUR GYM.

Frank’s streaking scene was shot on a city street. As Ferrell remembered it, one of the storefronts was a 24-hour gym with Stairmasters and treadmills in the window. “I was rehearsing in a robe, and all these people are in the gym, watching me. I asked one of the production assistants, ‘Shouldn’t we tell them I’m going to be naked?’ Sure enough, I dropped my robe and there were shrieks of pure horror. After the first take, nobody was at the window anymore. I took that as a sign of approval.”

8. FERRELL REALLY WAS NAKED.

Ferrell justified it by saying it showed his character falling off the wagon. “The fact that it made sense was the reason I was really into doing it, and why I was able to commit on that level," Ferrell told the BBC. "If it was just for the sake of doing a crazy shot, then I don't think it makes sense.” Still, Ferrell needed some liquid courage, and was intimidated by the presence of Snoop Dogg.

9. ROB CORDDRY WAS NOT NAKED, BUT HE STILL HAD TO SIGN AWAY HIS NUDITY RIGHTS.

Old School marked the first major film role for Rob Corddry, who at the time was best known as a correspondent for The Daily Show. He had a jewel bag around his private parts for his nude scene, but his butt made it into the final cut. He had to sign a nudity clause, which gave the film the right to use his naked image “in any part of the universe, in any form, even that which is not devised.”

10. SNOOP DOGG AGREED TO CAMEO SO HE COULD PLAY HUGGY BEAR IN STARSKY & HUTCH.

Phillips admitted to essentially bribing the hip-hop artist/actor, using Snoop Dogg’s desire to play the street informant in the modern movie adaptation of the classic TV show (which Phillips was also directing) to his advantage. “So when I went to him I said, 'I want you to do Huggy Bear,' he was really excited. And I said, 'Oh yeah, also will you do this little thing for me in Old School a little cameo?' So he kind of had to do it I think."

11. SNOOP WANTED TO HANG OUT WITH VINCE VAUGHN ON SET, BUT NOT LUKE WILSON.

Snoop Dogg in 'Old School' (2003)
Richard Foreman, Dreamworks

Vaughn and his friends accepted an invitation to hang out in Snoop Dogg’s trailer to play video games on the last day of shooting. Vaughn recalled seeing Luke Wilson later watching the news alone in his trailer; he had not been informed of the get-together.

12. WILSON WAS TEASED BY HIS CO-STARS.

Vaughn, Wilson, and Ferrell dubbed themselves “The Wolfpack”—years before Phillips directed The Hangover—because they would always make fun of each other. A particularly stinging exchange had Ferrell refer to Legally Blonde (which Wilson had starred in) as Legally Bland. Wilson said it didn’t make him feel great. Wilson retorted by telling Ferrell that "the transition from TV to the movies isn't a very easy one, so you might just want to keep one foot back in TV just in case this whole movie thing falls through!"

13. TERRY O’QUINN SCARED HIS SONS INTO THINKING THEY WERE TRIPPING.

Terry O’Quinn (who went on to play John Locke on Lost the following year) agreed to play Goldberg, uncredited, in what was a two-day job for him. He neglected to inform his sons he was in the movie, and when they saw it, one of them called their father. “I got a call from my sons one night, and they said, ‘What were you doing in Old School? We didn’t even know you were in it!’ They said, ‘We’re sitting there, and the first time we see you, it’s, like, in a reflection in a window. And when we saw it, and we both thought we were, like, tripping or something!’”

14. THE EARMUFFS WERE IMPROVISED.

Before filming, Vaughn worked with Ferrell to figure out their characters' backstories and how they knew each other; he credited that with helping him figure out who Bernard was, which led to several ad-libbed moments. “The earmuff scene where he swears in front of the kids, and then I tell the kid to earmuff, that all is off the cuff. But that stuff is a lot easier to do when you know who you are and your circumstances, and who your characters are,” Vaughn explained.

15. FERRELL AND VAUGHN DIDN’T LOVE A SCRIPT FOR A SEQUEL.

Armstrong had written Old School Dos in 2006, which saw the frat going to Spring Break. Ferrell said that he and Vaughn read the script but felt like they would just be “kind of doing the same thing again.” Wilson, on the other hand, was excited over the new script.

nextArticle.image_alt|e
Hulton Archive/Getty Images
arrow
entertainment
13 Fascinating Facts About Nina Simone
Hulton Archive/Getty Images
Hulton Archive/Getty Images

Nina Simone, who would’ve celebrated her 85th birthday today, was known for using her musical platform to speak out. “I think women play a major part in opening the doors for better understanding around the world,” the “Strange Fruit” songstress once said. Though she chose to keep her personal life shrouded in secrecy, these facts grant VIP access into a life well-lived and the music that still lives on.

1. NINA SIMONE WAS HER STAGE NAME.

The singer was born as Eunice Waymon on February 21, 1933. But by age 21, the North Carolina native was going by a different name at her nightly Atlantic City gig: Nina Simone. She hoped that adopting a different name would keep her mother from finding out about her performances. “Nina” was her boyfriend’s nickname for her at the time. “Simone” was inspired by Simone Signoret, an actress that the singer admired.

2. SHE HAD HUMBLE BEGINNINGS.


Getty Images

There's a reason that much of the singer's music had gospel-like sounds. Simone—the daughter of a Methodist minister and a handyman—was raised in the church and started playing the piano by ear at age 3. She got her start in her hometown of Tryon, North Carolina, where she played gospel hymns and classical music at Old St. Luke’s CME, the church where her mother ministered. After Simone died on April 21, 2003, she was memorialized at the same sanctuary.

3. SHE WAS BOOK SMART...

Simone, who graduated valedictorian of her high school class, studied at the prestigious Julliard School of Music for a brief period of time before applying to Philadelphia’s Curtis Institute of Music. Unfortunately, Simone was denied admission. For years, she maintained that her race was the reason behind the rejection. But a Curtis faculty member, Vladimir Sokoloff, has gone on record to say that her skin color wasn’t a factor. “It had nothing to do with her…background,” he said in 1992. But Simone ended up getting the last laugh: Two days before her death, the school awarded her an honorary degree.

4. ... WITH DEGREES TO PROVE IT.

Simone—who preferred to be called “doctor Nina Simone”—was also awarded two other honorary degrees, from the University of Massachusetts Amherst and Malcolm X College.

5. HER CAREER WAS ROOTED IN ACTIVISM.

A photo of Nina Simone circa 1969

Gerrit de Bruin

At the age of 12, Simone refused to play at a church revival because her parents had to sit at the back of the hall. From then on, Simone used her art to take a stand. Many of her songs in the '60s, including “Mississippi Goddamn,” “Why (The King of Love Is Dead),” and “Young, Gifted and Black,” addressed the rampant racial injustices of that era.

Unfortunately, her activism wasn't always welcome. Her popularity diminished; venues didn’t invite her to perform, and radio stations didn’t play her songs. But she pressed on—even after the Civil Rights Movement. In 1997, Simone told Interview Magazine that she addressed her songs to the third world. In her own words: “I’m a real rebel with a cause.”

6. ONE OF HER MOST FAMOUS SONGS WAS BANNED.

Mississippi Goddam,” her 1964 anthem, only took her 20 minutes to an hour to write, according to legend—but it made an impact that still stands the test of time. When she wrote it, Simone had been fed up with the country’s racial unrest. Medger Evers, a Mississippi-born civil rights activist, was assassinated in his home state in 1963. That same year, the Ku Klux Klan bombed a Birmingham Baptist church and as a result, four young black girls were killed. Simone took to her notebook and piano to express her sentiments.

“Alabama's gotten me so upset/Tennessee made me lose my rest/And everybody knows about Mississippi Goddam,” she sang.

Some say that the song was banned in Southern radio stations because “goddam” was in the title. But others argue that the subject matter is what caused the stations to return the records cracked in half.

7. SHE NEVER HAD A NUMBER ONE HIT.

Nina Simone released over 40 albums during her decades-spanning career including studio albums, live versions, and compilations, and scored 15 Grammy nominations. But her highest-charting (and her first) hit, “I Loves You, Porgy,” peaked at #2 on the U.S. R&B charts in 1959. Still, her music would go on to influence legendary singers like Roberta Flack and Aretha Franklin.

8. SHE USED HER STYLE TO MAKE A STATEMENT.

Head wraps, bold jewelry, and floor-skimming sheaths were all part of Simone’s stylish rotation. In 1967, she wore the same black crochet fishnet jumpsuit with flesh-colored lining for the entire year. Not only did it give off the illusion of her being naked, but “I wanted people to remember me looking a certain way,” she said. “It made it easier for me.”

9. SHE HAD MANY HOMES.

New York City, Liberia, Barbados, England, Belgium, France, Switzerland, and the Netherlands were all places that Simone called home. She died at her home in Southern France, and her ashes were scattered in several African countries.

10. SHE HAD A FAMOUS INNER CIRCLE.

During the late '60s, Simone and her second husband Andrew Stroud lived next to Malcolm X and his family in Mount Vernon, New York. He wasn't her only famous pal. Simone was very close with playwright Lorraine Hansberry. After Hansberry’s death, Simone penned “To Be Young, Gifted and Black” in her honor, a tribute to Hansberry's play of the same title. Simone even struck up a brief friendship with David Bowie in the mid-1970s, who called her every night for a month to offer his advice and support.

11. YOU CAN STILL VISIT SIMONE IN HER HOMETOWN.

Photo of Nina Simone
Amazing Nina Documentary Film, LLC, CC BY-SA 4.0, Wikimedia Commons

In 2010, an 8-foot sculpture of Eunice Waymon was erected in her hometown of Tryon, North Carolina. Her likeness stands tall in Nina Simone Plaza, where she’s seated and playing an eternal song on a keyboard that floats in midair. Her daughter, Lisa Simone Kelly, gave sculptor Zenos Frudakis some of Simone’s ashes to weld into the sculpture’s bronze heart. "It's not something very often done, but I thought it was part of the idea of bringing her home," Frudakis said.

12. YOU'VE PROBABLY HEARD HER MUSIC IN RECENT HITS.

Rihanna sang a few verses of Simone’s “Do What You Gotta Do” on Kanye West’s The Life of Pablo. He’s clearly a superfan: “Blood on the Leaves” and his duet with Jay Z, “New Day,” feature Simone samples as well, along with Lil’ Wayne’s “Dontgetit,” Common’s “Misunderstood” and a host of other tracks.

13. HER MUSIC IS STILL BEING PERFORMED.

Nina Revisited… A Tribute to Nina Simone was released along with the Netflix documentary in 2015. On the album, Lauryn Hill, Jazmine Sullivan, Usher, Alice Smith, and more paid tribute to the legend by performing covers of 16 of her most famous tracks.

SECTIONS

arrow
LIVE SMARTER
More from mental floss studios