Ethnic Violence Around the World

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 171st installment in the series. 

March 1, 1915: Ethnic Violence Around the World 

The outbreak of the Great War took the lid off the cauldron of ethnic and religious tensions that had long been simmering across Europe, the Balkans, and the Middle East. But even the United States – still at peace and idealized by many in the Old World as the upholder of mankind’s equality – suffered from racial violence, albeit on a smaller scale. Around the world, in March 1915 a number of unrelated events crystallized the growing animosity of this troubled time. 

Young Turks Suspend Ottoman Parliament 

By the beginning of March 1915 the leaders of the Committee of Union and Progress, better known as the “Young Turks,” had already set in motion their plan to commit genocide against the Ottoman Empire’s Armenian subjects, pointing to the threat of an Armenian uprising as justification. The Allied attack on the forts guarding the Dardanelles on February 19 only served to accelerate these plans, as the CUP rushed to secure the empire’s strategic heartland in Anatolia. 

On February 25 War Minister Enver Pasha ordered all Armenian soldiers in the Ottoman Army disarmed for duty in “labor battalions,” removing a potential source of resistance. Meanwhile the “Teşkilât-ı Mahsusa” or Special Organization was removed from military control and placed under the command of Bahaettin Şakir Bey, whose reports on Armenian disloyalty had helped spur the CUP’s ruling triumvirate of Enver, Interior Minister Talaat Pasha, and Navy Minister Djemal Pasha to action. 

However Enver and Talaat knew some of their colleagues would likely object to mass murder, and might even try to stop it by warning Armenians and foreigners or condemning the plot in public statements. To maintain secrecy and hide their guilt the CUP leaders decided to get the Ottoman Parliament out of the way while they carried out the plan, recalling it only when they could present the legislators with a fait accompli. 

On March 1, 1915 the CUP had the empire’s figurehead monarch, Sultan Mehmed V Reshad, dismiss the Parliament for six months in accord with a special law passed on February 11. Talaat Pasha, who later denied the genocide occurred but admitted some internal deportations took place, confirmed that these plans were linked to the decision to dismiss Parliament:  

The Special Organization was aware that some non-Turkish members of both the Chamber of Deputies and Chamber of Notables would leak vital information and decisions to the [Armenian] patriarchy and the embassies. As long as the assemblies were in session, it would be impossible to prevent such individuals, who supposedly represented the nation, from such action. 

The following day Talaat wrote to provincial officials ordering them to continue preparing for the mass deportation of their Armenian populations to central Anatolia, to begin in April: 

It is confirmed that the Armenians should be transferred to the indicated region as communicated in the Feb. 13th telegram. As the situation has been evaluated by the state, the probability of rebellion and protest indicates the need to take action. The increasing possibility of Armenian uprisings requires that every effective means of suppression needs to be applied. 

In fact, internal deportations were already under way in the Çukurova district of the Adana province in southeast Anatolia, where Ottoman officials accused local Armenian communities living along the coast of collaborating with the British Royal Navy.

Meanwhile the Allied campaign to force the Turkish straits and capture Constantinople gathered speed on March 2, 1915, when the British ambassador to St. Petersburg, George Buchanan, told Russian Foreign Minister Sergei Sazonov that Britain recognized Russia’s claim to the Ottoman capital. Then on March 12 Buchanan and his French colleague Maurice Paléologue presented Sazonov with Britain and France’s own territorial claims in the Middle East, with France to receive Syria and Palestine and Britain the neutral portion of Persia (between the Russian and British spheres of interest in northern and southern Persia, respectively). 

Russians Begin Mass Deportations of Jews 

Of course popular hatred and official distrust of ethnic and religious minorities were hardly confined to the Ottoman Empire, as illustrated by the Tsarist government’s mass deportation of Jews from areas near the front beginning in March 1915. 

Russia had long been one of the most anti-Semitic countries on earth, the product of a combination of factors including traditional Christian prejudices; poor peasants’ economic resentment of Jews, who often worked as craftsmen, tinkers, tailors or shoemakers (a classic dynamic also pitting country folk against townsmen); xenophobia against Jews descended from refugees who immigrated from Germany and other parts of Europe in the medieval period; and scapegoating, with the reactionary regime offering Jews as a target for ordinary people frustrated with its failures to deliver prosperity and responsive government. 

In the 19th century and early 20th centuries a series of pogroms, some instigated by the okhrana (Tsarist secret police), left thousands of Jews dead and prompted many more to emigrate. Ironically this made their neighbors even more intolerant of the Jews who remained, as the latter – understandably terrified by the constant threat of random violence – withdrew from society and appealed for foreign diplomatic and humanitarian intervention. Their apparent “disloyalty” in turn fueled conspiracy theories drawing on longstanding suspicion of “cosmopolitan,” “nationless” Jews, most notably the “Protocol of the Elders of Zion,” fabricated by the okhrana in 1903. 

Like many other minority groups, during the Great War Eastern European Jews became a pawn in the larger struggle, extending to propaganda and psychological warfare. Germany and Austria-Hungary played on Jewish fears of Russian persecution to ensure the loyalty of their own Jewish populations, while wooing oppressed Jews on the Russian side with promises of liberation. Thus on August 17, 1914, the German high command published a proclamation in Yiddish calling for Russian Jewry to rise up against the Tsarist regime – and, implicitly, their gentile neighbors. 

Jews did in fact respond positively to German and Austrian occupation, as described by Laura Blackwell de Gozdawa Turczynowicz, an Englishwoman married to a Polish aristocrat, who wrote as the Germans advanced on Warsaw in February 1915: “The Jews who were always so meek, had now more self-assertion, strutting about, stretching up until they looked inches taller.” Needless to say this did nothing to allay Russian suspicions of Jewish disloyalty. At the same time Russian treatment of Jews in occupied Galicia showed that Jewish fears were all too realistic. On April 8, 1915, Helena Jablonska, a resident of the recently captured fortress city of Przemyśl, wrote in her diary: “The Jews are frightened. The Russians are taking them in hand now and giving them a taste of the whip. They are being forced to clean the streets and remove the manure.” 

In March 1915 the Russian military began the mass deportation of the Jewish populations located near the Eastern Front, stretching from Courland (today Latvia) in the Baltic, through Lithuania and Poland, south into occupied Galicia. Altogether from March to September 1915 around 600,000 Jews were forced to relocate to the east, usually with little warning or time to prepare, with the result that around 60,000 died of starvation, exposure, or disease. On April 17, 1915, Jablonska recorded the deportation of Jews from Przemyśl: 

The Jewish pogrom has been underway since yesterday evening. The Cossacks waited until the Jews set off to the synagogue for their prayers before setting upon them with whips. They were deaf to any pleas for mercy, regardless of age… Some of the older, weaker ones who couldn’t keep up were whipped. Many, many hundreds were driven along this way. They say this round-up is to continue until they’ve caught all of them. There is such lamenting and despair! 

Although they weren’t subject to mass deportations, other ethnic groups including the Poles and Ukrainians were also employed as pawns by both sides. Germany and Austria-Hungary tried to exploit Polish nationalism to undermine Russian rule in Poland by promising Polish autonomy (under the protection of the Central Powers, of course); in August 1914 the Austrian government allowed the creation of “Polish Legions” led by Józef Piłsudski, the future Polish dictator, with the mission of liberating Poland. The Russians responded with similar promises of autonomy, and formed their own Polish military unit, the Puławy Legion, although this was disbanded not long after. For their part Polish nationalists were rightly skeptical of claims from both sides, which had after all cooperated in partitioning Poland (and would do so once again a few decades later). 

“The Birth of a Nation” Premieres in New York City 

Although racial violence in the United States never approached the scale of Eastern Europe in the first half of the 20th century, racism was endemic in American society, and discrimination was codified in the Southern states in the form of Jim Crow laws. Mob violence against blacks in the form of lynching continued unabated through this period (see graph below; recent scholarship suggests that these figures may be too low).

America’s fraught race relations were thrust into the foreground thanks to a new form of art and entertainment, the cinema, with silent movies exploding in popularity during these years. According to some estimates the number of movie theaters in operation in the U.S. rose from around 6,000 in 1906 to 10,000 in 1910, reaching 18,000 by 1914. By 1916 an estimated 25 million Americans, or one quarter of the population, were going to the movies every week, and 8.5 million went every day. 

The burgeoning medium’s first blockbuster was D.W. Griffith’s epic “The Birth of a Nation,” which debuted in Los Angeles on February 8, 1915 and was widely released beginning in New York City on March 3, 1915 (top, a detail from the movie poster). Starring Lillian Gish, “The First Lady of American Cinema,” at the head of a cast of hundreds, the retelling of the U.S. Civil War and Reconstruction through the eyes of two families on opposite sides of the conflict is still widely hailed as a cinematic masterpiece – whose artistic power made its racist depictions of African-Americans all the more toxic. 

Based on the novel The Clansman by T.F. Dixon, Jr., the movie centers on the founding of the Ku Klux Klan, depicted as a heroic group fighting to protect Southern honor and virtuous Southern women – in part by battling rapacious black men (played by white actors in black face). The “birth of a nation” which gives the movie its name comes as Northern and Southern whites, formerly enemies, “are united in defense of their Aryan birthright.” 

“The Birth of a Nation” spurred protests by African-American groups, but these failed to prevent screenings across the U.S., triggering outbursts of racial violence in cities like Boston and Philadelphia. In fact on March 21, 1915, it became the first movie screened in the White House at the request of President Woodrow Wilson, who relied on support from Southern Democrats and was also responsible for reintroducing official segregation in federal offices in Washington, D.C. Wilson raved about the movie: “It is like writing history with lightning, and my only regret is that it is all so terribly true.” The movie was said to have been a key inspiration for William J. Simmons, who founded the second Ku Klux Klan in Georgia on November 24, 1915. 

Meanwhile the country’s old racial dynamic was already shifting, as the industrial boom associated with the Great War helped spark the First Great Migration of 1915-1940, when millions of African-Americans moved from the rural South to Northern cities in search of unskilled jobs in factories churning out war-related products (and later consumer goods). Although this would give many African-Americans access to greater economic opportunity, it also touched off a backlash among Northern whites, especially working class populations who felt threatened by the new competition. Thus the new KKK found a surprising number of adherents among alienated Northern whites in the post-war years, reaching its peak in the mid-1920s, when it claimed around four million members.

See the previous installment or all entries.

11 Illuminating Facts About Netflix’s GLOW

Erica Parise, Netflix
Erica Parise, Netflix

GLOW is a brilliant show, and the way we know it’s brilliant is that it highlights a perfect tension between comedy and drama amid dozens of different personalities all trying to seriously find themselves in an activity no one takes seriously. Also, it had a drug-dispensing, '80s-style talking robot without devolving into pure silliness.

With Alison Brie and Betty Gilpin leading the ensemble, the show about an amateur women’s wrestling squad vying for a large enough paycheck to make all the training and ointment worth it is an absolute gem (as its six Emmy nominations prove). Here are 11 facts about Netflix’s comedic cage match.

1. PRODUCERS DIDN’T WANT ALISON BRIE IN THE CAST.

Alison Brie in 'GLOW'
Erica Parise, Netflix

Like her character, Ruth, Alison Brie got rejected a lot before getting the role, enduring a grueling casting process for producers and a casting director who wanted an unknown for the part. “I cried in my car after every audition,” she said. “I would sit in my care like Ruth and sob. And we were both listening to the same Ultimate ‘80s mix while [we] audition[ed], so Flock of Seagulls was playing.”

2. THE CAST’S TRAINER IS THE NEPHEW OF THE GUY WHO TRAINED THE REAL-LIFE GORGEOUS LADIES OF WRESTLING.

Professional wrestler Armando “Mando” Guerrero took on the task of teaching the motley crew of women who made up the real-life Gorgeous Ladies of Wrestling back in 1985. He was reportedly an intense coach, putting at least one woman in a headlock until she cried on the first day of training. All these years later, it’s his nephew, Chavo Guerrero Jr., who has the privilege of training the fictional wrestlers of GLOW, as well as choreographing their fights and acting in two episodes.

3. KIA STEVENS IS A WRESTLER IN REAL LIFE.

Kia Stevens and Betty Gilpin in 'GLOW'
Beth Dubber, Netflix

The cast is full of actresses who all work with trainers to catch up on all the chiropractor-defying moves they have to do, but Kia Stevens (who plays Tammé “The Welfare Queen” Dawson) has been making those moves for decades. Wrestling under the name Awesome Kong and Amazing Kong, she’s a five-time Women’s Champion. Stevens has also wrestled in the WWE as Kharma.

4. BRIE SEES RUTH AS “SEXLESS."

One of the catalysts of the show’s plot is Ruth having an affair with her best friend Debbie’s (Betty Gilpin) husband (Rich Sommer), but the rest of the show is hardly romantic for Ruth, which is probably why Brie views the character as “sexless.”

“I don’t think she thinks of herself as being very sexual,” Brie told The A.V. Club. “It’s a major difference between my character and Betty Gilpin’s character, who has been a successful actress and has a bombshell body, and every time you see her she’s in full hair and makeup ... I don’t think that Ruth is not having sex with guys every once in a while. I’m sure she does. I just don’t think it’s a main part of her life goals.” Even the adultery that kicks off the show is less about sex than it is about someone who feels invisible and rejected being seen and accepted by someone else.

5. WORKING WITH WOMEN BOSSES MADE BETTY GILPIN REFLECT ON HER ENTIRE CAREER.

Rich Sommer and Betty Gilpin in 'GLOW'
Erica Parise, Netflix

GLOW is rare for having so many women in the cast and behind the camera, something that the actors have noted affected the shooting environment as a “protected, feminist bubble.” For Gilpin, it also raised some questions about herself.

“Being on a set with female bosses [co-showrunners Liz Flahive and Carly Mensch], the level of comfort and bravery I felt really made me reflect back on my whole career," Gilpin told The Hollywood Reporter. "I’d always known about things that men did that made me shut down creatively, but I was surprised to reflect on things that I did to myself as a result of being in a male-dominated environment ... I felt a level of fear and anxiety that if I didn’t behave like the quiet Barbie I was playing, they wouldn’t let me play a quiet Barbie again."

6. IT ALSO MADE GILPIN FIGHT HARDER AGAINST THE MALE GAZE.

Since Gilpin doesn’t have a stunt double, and she’s doing the wrestling moves herself, GLOW has forced her to reexamine how she views her body while acting. Specifically, she’s gotten a lot less self-conscious and unshackled her movements from fear of the male gaze.

“The way we think about our bodies is completely changing,” Gilpin told The Huffington Post. Where she used to take workout classes designed to avoid bulking up, now she can lift some heavy weights. “I think that it’s our job to band together and say, ‘Okay, what are ways the male gaze has seeped into your brain and is affecting the way you treat yourself? Let’s work together to eliminate that.’”

7. THE SHOW CHANGED ONE IMPORTANT ELEMENT TO HOME IN ON THE CAMARADERIE.

Jackie Tohn, Jessica Gardner, Kimmy Gatewood, Rebekka Johnson, Alison Brie, Kia Stevens, Kate Nash, Ellen Wong, Shakira Barrera, Brigid Ryan, Becki Dennis, Gayle Rankin in 'GLOW'
Erica Parise, Netflix

They fight in the ring, they fight outside of it, they lift each other up, they undercut each other. It’s all part of the show’s drama and grounded realness. It’s a family, and to develop that sensibility, GLOW borrowed from the conditions the real-life women trained under. That includes staying two-to-a-room at a shabby motel, but the show dropped the forced separation of the good wrestler from the heels (the villains) during travel that the real GLOW athletes experience. They also didn’t make the characters call each other by their wrestling names outside the ring.

8. BROOKE HOGAN MADE A CAMEO.

Hulk Hogan's daughter made a brief appearance as a theater owner who rents her space to the ragtag production. She’s not nearly the only person from the wrestling world to make a cameo appearance, either.

9. WORKING ON GLOW IS LIKE BOARDING SCHOOL.

Marianna Palka, Jackie Tohn, Kimmy Gatewood, Rebekka Johnson, Kia Stevens, Betty Gilpin, Kate Nash, Ellen Wong, Shakira Barrera, Britney Young, Sunita Mani, and Gayle Rankin in 'GLOW'
Erica Parise, Netflix

Too often, shows have one spot in the cast for a woman. GLOW initially had 15. According to Gilpin, “I went to boarding school, and being on GLOW reminds me of that. When your call is 5:45 a.m., and there’s a group of 14 women all talking at once, it can be a little much, but it’s also the greatest gift. It’s constant happiness and support all day, every day. I love it.”

10. THE MATCH BASH RECALLS SEEING IN SEASON 2 IS REAL.

There’s a moment in season 2 where Bash (Chris Lowell) described a personal memory of watching a match between Stan Hansen and Bruno Sammartino where the former busted the latter’s neck. The match is real. So is the injury.

At Madison Square Garden, on April 26, 1976, Sammartino was defending his world title against Hansen when Hansen failed to properly execute a body slam and cracked one of Sammartino’s vertebrae. They were back in the ring two months later in a rematch.

11. THE SERIES WILL BE COMING BACK FOR A THIRD SEASON.

On August 20, 2018—more than two months after GLOW's second season dropped on Netflix—entertainment outlets began reporting that the series had officially been renewed by Netflix for a third season. The decision may not have been an easy one to make, however; as Variety reported: "Industry sources claim that the series is not among Netflix’s most watched, but is valued by the streaming service for its creative execution and status as an awards contender."

GIPHY Is Launching the World's First All-GIF Film Festival

iStock
iStock

Think you’re a GIF master? GIPHY is looking to showcase the best in extremely short films with what it calls the world’s first GIF-only film festival, according to It’s Nice That. The GIF database and search engine company is teaming up with Squarespace to launch a contest dedicated to finding the best GIF-makers in America—the GIPHY Film Fest.

To enter your work for consideration in the festival, you’ll need an 18-second-or-less, looping film that tells a “compelling, creative, entertaining, professional-grade story,” according to the contest details. U.S.-based GIF artists can enter up to three mini-films in each of five categories: Narrative, Stop-Motion, Animated, Experimental, and Wild Card/Other. The films can have music (as long as you have the rights to use it) or be silent. All that matters is that they're between one and 18 seconds long.

The grand prize winner will receive $10,000, a five-year subscription to Squarespace (to host that amazing GIF on your website), and the chance to guest-curate an official Spotify playlist. All entries will be judged by a panel of professionals from across several creative industries, including film, animation, illustration, and design.

The GIPHY Film Fest is not the first uber-short film festival in existence. In 2013 and 2014, back when Vine still existed (RIP), the Tribeca Film Festival held a competition each year to find the best six-second films—a time limit that will make 18 seconds feel practically feature length.

Enter GIPHY’s contest here before the entry window closes on September 27, 2018. The winner will be announced on November 8, during a special New York City screening of each of the top films in each category.

[h/t It’s Nice That]

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