Denmark in the 1980s in pictures – and the same locations today

We've been combing the archives again to find historical photos of Denmark from the 1980s.

Denmark in the 1980s in pictures – and the same locations today
Composite: Henning Thempler / Ritzau Scanpix; Lindasky76/Depositphotos

You can see the photos below and compare them with how the locations look today.


Industriens Hus, Copenhagen, 1980

The building on the busy corner opposite Copenhagen's City Hall Square has been replaced a number of times of over the years.

Photo: Henning Thempler / Ritzau Scanpix

Protest, 1986

Former prime minister Anker Jørgensen stands outside the United States Embassy in Copenhagen giving a speech in protest at nuclear testing at the Bikini Islands.

Photo: Mogens Ladegaard / Ritzau Scanpix

Pub, 1980

Frederiksberg's Vinstue 90 almost 40 years ago.

Photo: Erik Holmberg / Ritzau Scanpix

Nørreport Station, Copenhagen, 1980

The air vents can be recognized in this old picture of Nørreport Station, but much of the area has been rebuilt.

Photo: Steen Jacobsen / Ritzau Scanpix

Cyclists, 1980

Cyclists on their way to a protest at Christiansborg in central Copenhagen.

Photo: Mogens Ladegaard / Ritzau Scanpix

Christiania, 1989

A police raid at anarchist enclave Christiania.

Photo: Claus Bjørn Larsen / Ritzau Scanpix

Printers' action, 1981

Print workers demonstrate at the offices of Fyns Amts Avis, Svendborg, 1981.

Photo: Ritzau Scanpix

Aarhus, 1985

The rail terminal in Aarhus as it appeared in the mid '80s. The angle is somewhat different in the Google image.

Photo: Erik Jepsen / NF / Ritzau Scanpix

Porn shop, Vesterbro, Copenhagen, 1980

A shop which once sold pornographic movies is now a vintage clothing store.

Photo: Henning Thempler / Ritzau Scanpix

READ ALSO: Ten historic pictures that show life in Denmark decades ago

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‘Lost’ manuscript of pro-Nazi French author published 78 years later

A book by one of France's most celebrated and controversial literary figures arrives in bookstores this week, 78 years after the manuscript disappeared

'Lost' manuscript of pro-Nazi French author published 78 years later

It is a rare thing when the story of a book’s publication is even more mysterious than the plot of the novel itself.

But that might be said of Guerre (War) by one of France’s most celebrated and controversial literary figures, Louis-Ferdinand Celine, which arrives in bookstores on Thursday, some 78 years after its manuscript disappeared.

Celine’s reputation has somehow survived the fact that he was one of France’s most eager collaborators with the Nazis.

Already a superstar thanks to his debut novel Journey to the End of the Night (1932), Celine became one of the most ardent anti-Semitic propagandists even before France’s occupation.

In June 1944, with the Allies advancing on Paris, the writer abandoned a pile of his manuscripts in his Montmartre apartment.

Celine feared rough treatment from authorities in liberated France, having spent the war carousing with the Gestapo, and giving up Jews and foreigners to the Nazi regime and publishing racist pamphlets about Jewish world conspiracies.

For decades, no one knew what happened to his papers, and he accused resistance fighters of burning them. But at some point in the 2000s, they ended up with retired journalist Jean-Pierre Thibaudat, who passed them – completely out of the blue – to Celine’s heirs last summer.

‘A miracle’
Despite the author’s history, reviews of the 150-page novel, published by Gallimard, have been unanimous in their praise.

“The end of a mystery, the discovery of a great text,” writes Le Point; a “miracle,” says Le Monde; “breathtaking,” gushes Journal du Dimanche.

Gallimard has yet to say whether the novel will be translated.

Like much of Celine’s work, Guerre is deeply autobiographical, recounting his experiences during World War I.

It opens with 20-year-old Brigadier Ferdinand finding himself miraculously alive after waking up on a Belgian battlefield, follows his treatment and hasty departure for England – all based on Celine’s real experiences.

His time across the Channel is the subject of another newly discovered novel, Londres (London), to be published this autumn.

If French reviewers seem reluctant to focus on Celine’s rampant World War II anti-Semitism, it is partly because his early writings (Guerre is thought to date from 1934) show little sign of it.

Journey to the End of the Night was a hit among progressives for its anti-war message, as well as a raw, slang-filled style that stuck two fingers up at bourgeois sensibilities.

Celine’s attitude to the Jews only revealed itself in 1937 with the publication of a pamphlet, Trifles for a Massacre, which set him on a new path of racial hatred and conspiracy-mongering.

He never back-tracked. After the war, he launched a campaign of Holocaust-denial and sought to muddy the waters around his own war-time exploits – allowing him to worm his way back into France without repercussions.

‘Divine surprise’
Many in the French literary scene seem keen to separate early and late Celine.

“These manuscripts come at the right time – they are a divine surprise – for Celine to become a writer again: the one who matters, from 1932 to 1936,” literary historian Philippe Roussin told AFP.

Other critics say the early Celine was just hiding his true feelings.

They highlight a quote that may explain the gap between his progressive novels and reactionary feelings: “Knowing what the reader wants, following fashions like a shopgirl, is the job of any writer who is very financially constrained,” Celine wrote to a friend.

Despite his descent into Nazism, he was one of the great chroniclers of the trauma of World War I and the malaise of the inter-war years.

An exhibition about the discovery of the manuscripts opens on Thursday at the Gallimard Gallery and includes the original, hand-written sheets of Guerre.

They end with a line that is typical of Celine: “I caught the war in my head. It is locked in my head.”

In the final years before his death in 1961, Celine endlessly bemoaned the loss of his manuscripts.

The exhibition has a quote from him on the wall: “They burned them, almost three manuscripts, the pest-purging vigilantes!”

This was one occasion – not the only one – where he was proved wrong.