In photos: Denmark in the 1990s, and the same places today

Take a look at Denmark in the '90s – and check the same locations in up-to-date images.

In photos: Denmark in the 1990s, and the same places today
Composite: Svend Åge Mortensen, Mads Claus Rasmussen / Ritzau Scanpix

We've picked out a selection of archive shots of Denmark in the '90s, and looked up the locations where they were taken in modern images or on Google Maps.


Great Belt Bridge, 1995

The Great Belt Bridge linking Funen and Zealand opened in 1998. Prior to this, a ferry had to be taken to travel between the two Danish regions. The second photo of the bridge is from 2017.

Photo: Svend Åge Mortensen / Ritzau Scanpix

Photo: Mads Claus Rasmussen / Ritzau Scanpix

Roskilde Festival, 1991

The 1991 edition of Roskilde Festival was a wet and muddy affair. 2019's weather was more about the wind.

Photo: Thomas Sjørup / Ritzau Scanpix

Photo: Mads Claus Rasmussen / Ritzau Scanpix

READ ALSO: 200 forgotten phones found after Roskilde Festival

Christiania, 1996

Alternative enclave Christiania was founded by squatters in the early 1970s and has undergone many changes throughout the years.

Photo: Bjarke Ørsted / Ritzau Scanpix

Copenhagen Harbour, 1993

In this image, Copenhagen Harbour can be seen with its former ferry terminals in the days before the 1999 'Black Diamond' addition to the Royal Library was built. The modern photo is from a different angle.

Photo: Mogens Ladegaard / Ritzau Scanpix

Photo: Mads Claus Rasmussen / Ritzau Scanpix

Stelling House, Copenhagen, 1999

Stelling House (Stellings Hus) on the Gammel Torv square in central Copenhagen was designed by famous Danish architect Arne Jacobsen.

Photo: Kaspar Wenstrup / Nf-Nf / Ritzau Scanpix

Nørregade, Copenhagen, 1999

The building which was once the Daells Varehus department store now houses a hotel. Here it can be seen before conversion in 1999.

Photo: Brian Rasmussen / Nf-Nf / Ritzau Scanpix

Aalborg, 1997

Gøglerbåden, a famous maritime-themed bar in Aalborg. closed in 2017.

Photo: Henning Bagger / Ritzau Scanpix

Ørestad, Amager, 1998

The modern Ørestad suburb near Copenhagen was at the very beginnings of its development in the late '90s.

Photo: Peter Elmholt / Nf-Nf / Ritzau Scanpix

Photo: Ulf Liljankoski/Creative Commons

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.