Russians Capture Trabzon

Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 232nd installment in the series. 

APRIL 15, 1916: RUSSIANS CAPTURE TRABZON

While Russia’s main spring offensive on the Eastern Front failed at the Battle of Lake Naroch from March 18-30, 1916, Russian arms won great victories further afield in the opening months of 1916, most notably on the Caucasian Front. After a breakthrough at Köprüköy in January, Russian troops captured the ancient and strategically sited city of Erzurum in February, and then continued to advance west into the Turkish heartland of central Anatolia.

On April 15, 1916 the Russians delivered another discouraging setback to the Ottoman Empire with the occupation of Trabzon, another ancient city with both symbolic and strategic importance, abandoned without a fight by the outnumbered Turks. Originally founded in 756 BCE by Greek colonists from the nearby port of Sinope, Trapezous was known to the Romans as Trebizond and during the decline of the Byzantine Empire became the seat of its own empire from the 13th-15th centuries.

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In the context of the First World War, its location on the north coast of Anatolia would allow the Russians to begin delivering supplies to the Caucasian Army partly by sea, avoiding the circuitous and time-consuming journey over the incredibly primitive terrain of the Caucasus and eastern Anatolia, with few roads and these mostly unfinished. It also boosted Allied morale and cemented Russian claims to territory in Asia Minor ahead of the long-expected breakup of the Ottoman Empire (now being negotiated by Allied diplomats in what would become the Sykes-Picot Agreement). 

As in other recently conquered territories in Anatolia, the advancing Russians were shocked to find the region’s once-thriving Armenian Christian population had been more or less wiped out. Trabzon had been home to roughly 30,000 Armenians before the war, all of whom were massacred or deported during the ongoing Armenian genocide, including thousands herded out into the water or dumped from boats and drowned in the Black Sea at Trabzon.

The anonymous author of “The Russian Diary of an Englishman in Petrograd,” believed to be the diplomatic courier Albert Stopford, noted reports that the Turks were targeting many other minorities besides Armenians, including Christian Greeks and Assyrians: “When the Russians got to Erzrum there was not one Christian alive save six girls in the American Consulate. The guide of the Tiflis Hotel was a Christian Turk, not Armenian and his town was a little to the south of Erzrum. There all the Christians were also massacred – 840, including his old grandmother.” 

Meanwhile diplomatic documents from the Ottoman Empire’s own ally, Imperial Germany, confirmed that the genocide was still in full swing in the spring of 1916 and left little doubt that it was officially sanctioned. The German ambassador to Constantinople, Wolff-Metternich, wrote to the Imperial chancellor Bethmann Hollweg on March 27, 1916: “Despite all the assurances to the contrary, the Porte is apparently beginning to decimate the remainder of the deported and, if possible, to exterminate those who have escaped the misery and the disaster before peace is made.” 


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On April 1, 1916, Ernst Jacob Christoffel, the head of a German charity for the blind in Malatya, left an even more detailed report of his personal observations in a letter to the German embassy in Constantinople: 

Not a single Armenian sound is to be heard anywhere. Thousands were killed in Gemerek. In the area surrounding Yozgad, the population from 6 Armenian villages was massacred, all of them, even the infants… There were 500 men in a village near Sivas with which I have good relations; 30 of them are still alive. A family of 18 lost 14 of its members through sickness and murder. Out of other large families, one or 2 members are still alive. There are not isolated cases, but rather the rule. The number of those killed may be inferred from this. 

Armenians who managed to survive the death marches then had to endure conditions in “concentration camps” that were in fact death camps, left to die in the desert with no food, no medicine, and no shelter. Often the process was hurried along by raids by itinerant neighbors looking to steal any remaining possessions or kidnap and rape Armenian women. April 6, 1916, Ernst Rössler, the German consul in Aleppo, wrote in a letter to the embassy in Constantinople: “During the past few days, the Armenian concentration camp in Ras-ul-Ain was attacked by the Circassians and other similar people living nearby. The largest part of the unarmed 14,000 inmates was massacred. There are no further details at this point; I will be informed of them later.”

On April 27 Rössler noted independent reports from Muslim Arabs serving in a labor corps, shocked at their first encounters with the genocide:

As the building of two bridges proved to be necessary… the 4th Army delivered a Syrian Muslim pioneer battalion for this purpose about 15 April. These people, who were transported in two days from Damascus to Ras-ul-Ain and who did not know anything about the plight of the deported Armenians and, as it can be presumed, were not influenced along the way, were quite horrified upon their arrival. They were of the opinion that the Armenians had been massacred by soldiers. This again demonstrates the common belief that the act had been done under orders. In any case, this was the opinion generally widespread in the area. 

ESCADRILLE LAFAYETTE FORMED 

Over two thousand miles to the west, on April 16, 1916 France celebrated one of the biggest symbolic demonstrations of unofficial American support yet, with the formation of the Escadrille Lafayette or “Lafayette Squadron,” an all-volunteer force of American pilots who joined this independent unit to help roll back German air superiority on the Western Front. 

Originally known as the Escadrille Américaine (the name was changed in December 1916 under diplomatic pressure from Germany), the Escadrille Lafayette was actually one of two American volunteer squadrons that served in France, later augmented by the Lafayette Flying Corps (below, American pilots in the Escadrille). Both were composed mostly of young, upper-class American college men with the means to travel to France and support themselves during a long leave of absence from schools like Harvard and Princeton.

Wikimedia Commons// Public Domain 

The Escadrille Lafayette was founded by a handful of colorful characters, as reflected in their decision to adopt a lion cub called “Whiskey” as the Escadrille’s mascot, who traveled with them wherever they served (or went on leave). One of the early volunteer flyers, James McConnell, remembered some of the difficulties associated with transporting Whiskey during leave in Paris: 

The little chap had been born on a boat crossing from Africa and was advertised for sale in France. Some of the American pilots chipped in and bought him. He was a cute, bright-eyed baby lion who tried to roar in a most threatening manner but who was blissfully content the moment one gave him one's finger to suck… Lions, it developed, were not allowed in passenger coaches. The conductor was assured that “Whiskey” was quite harmless and was going to overlook the rules when the cub began to roar and tried to get at the railwayman's finger. That settled it, so two of the men had to stay behind in order to crate up "Whiskey" and take him along the next day. 

The Escadrille Lafayette went into action almost immediately at Verdun, taking to the air for the first time as a combat unit on April 20, followed by its first kill on April 24. With their birds’ eye view of the action, its pilots also played an important role observing and reporting enemy troop movements and artillery positions. They also gained a rare aerial perspective on the incredible destruction wrought by modern warfare. On May 23, 1916, volunteer pilot Victor David Chapman described the scene at Verdun from the air: 

The landscape – one wasted surface of brown powdered earth, where hills, valleys, forest and villages all merged in phantoms – was boiling with puffs of dark smoke. Even above my engine’s roar I could catch reports now and then. To the rear, on either side, tine sparks like flashed of a mirror, hither and yon, in the woods and dales, denoted the heavy guns which were raising such a dust… Even from above, one had the sense of great activity and force in the country to the rear. From every wood and hedge peeped out “parcs” of autos, wagons, tents and shelters, – while all the roadsides showed white and dusty with the ceaseless travel.

McConnell left a similar description of Verdun seen from the air: 

Now there is only that sinister brown belt, a strip of murdered Nature. It seems to belong to another world. Every sign of humanity has been swept away. The woods and roads have vanished like chalk wiped from a blackboard; of the villages nothing remains but gray smears where stone walls have tumbled together. The great forts of Douaumont and Vaux are outlined faintly, like the tracings of a finger in wet sand. One cannot distinguish any one shell crater, as one can on the pockmarked fields on either side. On the brown band the indentations are so closely interlocked that they blend into a confused mass of troubled earth. Of the trenches only broken, half-obliterated links are visible. 

Pilots also had a front-row seat for artillery bombardments, as many claimed they could actually see the shells hurtling through the air. McConnell described the strange, alarming feeling of flying through a fusillade: 

Columns of muddy smoke spurt up continually as high explosives tear deeper into this ulcered area. During heavy bombardment and attacks I have seen shells falling like rain… A smoky pall covers the sector under fire, rising so high that at a height of 1,000 feet one is enveloped in its mist-like fumes. Now and then monster projectiles hurtling through the air close by leave one’s plane rocking violently in their wake. Airplanes have been cut in two by them. 

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Disney's Most Magical Destinations Have Been Reimagined as Vintage Travel Posters

UpgradedPoints.com
UpgradedPoints.com

Many of the iconic settings of animated Disney movies were modeled after real places around the world. Ussé Castle in France’s Loire Valley, for example, is widely rumored to have been the inspiration behind the original Sleeping Beauty story. (Although the castle in the movie more closely resembles Germany's Neuschwanstein Castle.) Likewise, the fictional island in Moana was made to look like Samoa, and the Sultan’s palace in Aladdin shares some similarities with India's Taj Mahal.

If you’ve ever dreamed of exploring Agrabah or Neverland, then you’ll probably enjoy getting lost in these Disney-inspired travel posters from the designers at UpgradedPoints.com, an online resource that helps individuals maximize their credit card travel rewards. Only one of the posters features a real destination ("Beautiful France"), but these illustrations let you get one step closer to scaling Pride Rock or plumbing the depths of Atlantica.

All of the images are rendered in a vintage style with enticing slogans attached—much like the exotic travel posters that were prevalent in the 1930s.

“A few of our designers wanted to capture that longing to experience the true locations of these fantastic films, and the inner child in all of us couldn’t resist seeing how they interpreted the locations of their favorite films,” UpgradedPoints.com writes. “The results are breathtaking and make us wish we could fall into our favorite Disney movies.”

Keep scrolling to see the posters, and for more travel inspiration, read up on eight real-life locations that inspired Disney places (plus one that didn't).

A Disney-inspired poster of France
UpgradedPoints.com

An Atlantica travel poster
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A Disney-inspired poster
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A Disney-inspired poster
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A Lion King travel poster
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A Neverland travel poster
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11 Memorable Facts About Cats the Musical

Mike Clarke/Getty Images
Mike Clarke/Getty Images

“It was better than Cats!” Decades after Andrew Lloyd Webber's famed musical opened on Broadway on October 7, 1982, this tongue-in-cheek idiom remains a part of our lexicon (thanks to Saturday Night Live). Although the feline extravaganza divided the critics, it won over audiences of all ages and became an industry juggernaut—one that single-handedly generated more than $3 billion for New York City's economy—and that was before it made a return to the Great White Way in 2016. In honor of Andrew Lloyd Webber's birthday on March 22, let’s take a trip down memory lane.

1. The work that Cats the musical is based on was originally going to include dogs.

Old Possum’s Book of Practical Cats, published in 1939, is a collection of feline-themed poems written by the great T. S. Eliot. A whimsical, lighthearted effort, the volume has been delighting cat fanciers for generations—and it could have become just as big of a hit with dog lovers, too. At first, Eliot envisioned the book as an assemblage of canine- and tabby-related poems. However, he came to believe that “dogs don’t seem to lend themselves to verse quite so well, collectively, as cats.” (Spoken like a true ailurophile.) According to his publisher, Eliot decided that “it would be improper to wrap [felines] up with dogs” and barely even mentioned them in the finished product.

For his part, Andrew Lloyd Webber has described his attitude towards cats as “quite neutral.” Still, the composer felt that Eliot’s rhymes could form the basis of a daring, West End-worthy soundtrack. It seemed like an irresistible challenge. “I wanted to set that exciting verse to music,” he explained. “When I [had] written with lyricists in the past … the lyrics have been written to the music. So I was intrigued to see whether I could write a complete piece the other way ‘round.”

2. "Memory" was inspired by a poem that T.S. Eliot never finished.

In 1980, Webber approached T.S. Eliot’s widow, Valerie, to ask for her blessing on the project. She not only said “yes,” but provided the songwriter with some helpful notes and letters that her husband had written about Old Possum’s Book of Practical Cats—including a half-finished, eight-line poem called “Grizabella, the Glamour Cat.” Feeling that it was too melancholy for children, Eliot decided to omit the piece from Practical Cats. But the dramatic power of the poem made it irresistible for Webber and Trevor Nunn, the show’s original director. By combining lines from “Grizabella, the Glamour Cat” with those of another Eliot poem, “Rhapsody on a Windy Night,” they laid the foundation for what became the powerful ballad “Memory.” A smash hit within a smash hit, this showstopper has been covered by such icons as Barbra Streisand and Barry Manilow.

3. Dame Judi Dench left the cast of Cats when her Achilles tendon snapped.

One of Britain’s most esteemed actresses, Dench was brought in to play Grizabella for Cats’s original run on the West End. Then, about three weeks into rehearsals, she was going through a scene with co-star Wayne Sleep (Mr. Mistoffelees) when disaster struck. “She went, ‘You kicked me!’” Sleep recalls in the above video. “And I said, ‘I didn’t, actually, are you alright?’” She wasn’t. Somehow, Dench had managed to tear her Achilles tendon. As a last-minute replacement, Elaine Paige of Evita fame was brought aboard. In an eerie coincidence, Paige had heard a recorded version of “Memory” on a local radio station less than 24 hours before she was asked to play Grizabella. Also, an actual black cat had crossed her path that day. Spooky.

4. To finance the show, Andrew Lloyd Webber ended up mortgaging his house.

Although Andrew Lloyd Webber had previously won great acclaim as one of the creative minds behind Jesus Christ Superstar and other hit shows, Cats had a hard time finding investors. According to choreographer Gillian Lynne, “[it] was very, very difficult to finance because everyone said ‘A show about cats? You must be raving mad.’” In fact, the musical fell so far short of its fundraising goals that Webber ended up taking out a second mortgage on his home to help get Cats the musical off the ground.

5. When Cats the musical came to Broadway, its venue got a huge makeover.

Cats made its West End debut on May 11, 1981. Seventeen months later, a Broadway production of the musical launched what was to become an 18-year run at the Winter Garden Theatre. But before the show could open, some major adjustments had to be made to the venue. Cats came with an enormous, sprawling set which was far too large for the theatre’s available performing space. To make some more room, the stage had to be expanded. Consequently, several rows of orchestra seats were removed, along with the Winter Garden’s proscenium arch. And that was just the beginning. For Grizabella’s climactic ascent into the Heaviside Layer on a giant, levitating tire, the crew installed a hydraulic lift in the orchestra pit and carved a massive hole through the auditorium ceiling. Finally, the theater’s walls were painted black to set the proper mood. After Cats closed in 2000, the original look of the Winter Garden was painstakingly restored—at a cost of $8 million.

6. Cats the musical set longevity records on both sides of the Atlantic.

The original London production took its final bow on May 11, 2002, exactly 21 years after the show had opened—which, at the time, made Cats the longest-running musical in the West End’s history. (It would lose that title to Les Miserables in 2006.) Across the pond, the show was performed at the Winter Garden for the 6138th time on June 19, 1997, putting Cats ahead of A Chorus Line as the longest-running show on Broadway. To celebrate, a massive outdoor celebration was held between 50th and 51st streets, complete with a laser light show and an exclusive after-party for Cats alums.

7. One theatergoer sued the show for $6 million.

Like Hair, Cats involves a lot of performer-audience interaction. See it live, and you might just spot a leotard-clad actor licking himself near your seat before the curtain goes up. In some productions, the character Rum Tum Tugger even rushes out into the crowd and finds an unsuspecting patron to dance with. At a Broadway performance on January 30, 1996, Tugger was played by stage veteran David Hibbard. That night, he singled out one Evelyn Amato as his would-be dance partner. Mildly put, she did not appreciate his antics. Alleging that Hibbard had gyrated his pelvis in her face, Amato sued the musical and its creative team for $6 million.

8. Thanks to Cats the musical, T.S. Eliot received a posthumous Tony.

Because most of the songs in Cats are almost verbatim recitations of Eliot’s poems, he’s regarded as its primary lyricist—even though he died in 1965, long before the show was conceived. Still, Eliot’s contributions earned him a 1983 Tony for Best Book of a Musical. A visibly moved Valerie Eliot took the stage to accept this prize on her late spouse’s behalf. “Tonight’s honor would have given my husband particular pleasure because he loved the theatre,” she told the crowd. Eliot also shared the Best Original Score Tony with Andrew Lloyd Webber.

9. The original Broadway production used more than 3000 pounds of yak hair.

Major productions of Cats use meticulously crafted yak hair wigs, which currently cost around $2300 apiece and can take 40 hours or more to produce. Adding to the expense is the fact that costumers can’t just recycle an old wig after some performer gets recast. “Each wig is made specifically for the actor,” explains wigmaker Hannah McGregor in the above video. Since people tend to have differently shaped heads, precise measurements are taken of every cast member’s skull before he or she is fitted with a new head of hair. “[Their wigs] have to fit them perfectly,” McGregor adds, “because of the amount of jumping and skipping they do as cats.” Perhaps it should come as no surprise that, over its 18-year run, the first Broadway production used 3247 pounds of yak hair. (In comparison, the heaviest actual yaks only weigh around 2200 pounds.)

10. A recent revival included hip hop.

In December 2014, Cats returned to the West End with an all-new cast and music. “The Rum Tum Tugger,” a popular Act I song, was reimagined as a hip hop number. “I’ve come to the conclusion, having read [Old Possum’s Book of Practical Cats] again, that maybe Eliot was the inventor of rap,” Webber told the press.

11. Another revival featured an internet-famous feline for one night only.

On September 30, Grumpy Cat made her Broadway debut in Cats, briefly taking the stage with the cast. Despite being named Honorary Jellicle Cat, she hated every minute of it.

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