For centuries, many civilizations have tried (for one reason or another) to subdue or kill the Russian Bear.
Most of them failed.
To successfully plant their flag atop the Kremlin, an invader must consider a few things that’ll certainly affect the outcome before mobilizing forces and gassing up the fleet.
1. The Russian Winter.
Pro Tip: Pack your woobie.
In 2014, Vice’s Oscar Rickett askedIHS Jane’s military expert Konrad Muzkya just what it would take to conquer Russia and just how a nation might go about it. His first question is one that sticks in the minds of any student of military history: How does anyone beat the Russian winter?
With Napoleon and Hitler waiting with bated breath in the next world, Muzkya replies with his belief that guided munitions, nuclear weapons, and modern power projection capabilities nullify this historical advantage.
“Any potential conflict with the West would most likely be fought in the air, space, and sea,” he told Vice. “Any use of land forces would be limited to capturing strategically important facilities — bridges, airfields, and the like.”
2. The size of Russia.
To give the failed invaders a little credit, the Russia conquered by the Mongols was a fraction of the size it was during the 19th and 20th centuries. But a little secret to the Mongols success might be preparation. The Khans took 17 years to finish off the Russians.
It wasn’t a lack of manpower, either. At the time of the French Invasion, Napoleon’s Grande Armée numbered 680,000 troops.
To give some perspective, that’s like deploying half of all the active U.S. military troops as riflemen. Which is a terrible idea.
Trying to conquer Russia is the equivalent of invading the U.S. twice, in terms of land mass. Just moving from St. Petersburg to Moscow is 400 miles. It took the Allies more than two months to reach Paris from the Normandy — which is just 167 miles away.
Russia is 6.6 million square miles of cold, cold, cold, nothing. Which presents another problem entirely.
3. There’s nothing there.
Everything after Moscow is flyover country. An invading country can’t just not go into the steppe. Once the Russian people figured out the occupiers won’t go into the wilderness, that’s exactly where the insurgency will take root.
Even getting to all the nothing will take a Herculean effort. The Russian Army mans an estimated 280,000 effective fighting soldiers. When the going gets tough, it has to be assumed they will use the same human wave-style tactics used against the Nazis in WWII.
What was a problem in the past for armies who had to forage for food or move supplies by train is not a problem for a global power like the U.S. military. All the same, after Moscow, there isn’t much in the way of infrastructure for things like tanks or places suitable for airfields — all things insurgent partisans in the area will have a field day targeting.
4. One thing at a time.
Anyone who wants to invade Russia should probably clear their schedule. The Mongols drove through the country because it was on the way to where they were going anyway. The Nazis were still fighting in North Africa and preparing for the invasion of Britain when Hitler launched Barbarossa. Napoleon was fighting an insurgency of his own in Spain.
The United States and NATO, if they were to invade Russia, should probably withdraw from all the other conflicts they have around the world and concentrate on the problem at hand. Once there, keeping a unified front would be of the utmost importance.
An invader shouldn’t expect to actually conquer anything. In almost every invasion of their motherland, the Russian people have resorted to scorched-earth tactics — burning or otherwise destroying everything that might be of use to an enemy. As Muzkya notes in the Vice article, the Russians still move troops using trains. That hasn’t changed since WWII. It’s likely not much else has either.
5. Bring some friends … and an Air Force.
Muzkya cites an estimate of a half-million troops being necessary to properly subdue Afghanistan. He also notes that Russia is 26 times the size of Afghanistan and has a population of 143 million. Afghanistan has just 30 million. Even the Chinese military with its massive available manpower would have a difficult time creating a sustainable drive across Russia.
But a military campaign is more than just people these days. The Russian Navy can’t project power in the same way the U.S. can – or anyone else, really. The country has only one aircraft carrier, and that deploys with a tugboat in case it breaks down.
The Russian air force, however, is still on the relative cutting edge, even if that edge isn’t as sharp as it once was. It has a fighter that can compete with the Air Force’s F-22 Raptor. Russia’s bomber force isn’t relevant in a defensive war because it’s more likely they’d use a nuclear attack before a conventional bombing campaign on their own soil.
6. Be prepared to die.
As for the use of nuclear weapons, Muzkya says that Russia has the right to use them to defend itself and any invader needs to be prepared for that.
“Russia possesses second-strike capability,” he says. “And unless you’re ready to take a nuclear hit from Russia — which no one can — you need to embrace the notion of a total annihilation of your country.”
He predicts that Russia – all 6.6 million square miles of it – would be turned into a nuclear wasteland in the event of an invasion from China or the West, so talking about who wins is irrelevant.
Some of the most treasured rituals involved in end-of-life care have become out of reach as we put in place the necessary precautions to prevent the spread of COVID-19 illness.
To protect our most vulnerable Veterans, the Community Living Center at VA Black Hills was the first ward to close to visitors. Even with compassionate exceptions, hospice visitation had a time limit and families could only visit one at a time. The policy required families to nearly give up the experience of physical touch, sharing memories and long goodbyes.
Dr. Mary Clark knew these protective measures were difficult for grieving families to accept. Hospice services aim to relieve suffering and provide bereavement support to families. Under normal circumstances, hospice care provides a comforting environment for families to share uninterrupted, quality time with their loved one. Clark is the Rehabilitation and Extended Care associate chief of staff.
Social worker Renee Radermacher works closely with Veterans and their families on the CLC. She thought of a way to give back some of what some families lost. She recommended converting one of the family rooms adjacent to the patient hospice room to a negative pressure room. This would provide an additional safety measure allowing up to three family members to visit for one hour each day.
VA Black Hills Hospice Family Room
A multi-disciplinary team addressed engineering, infection prevention, clinical considerations and social work. The team quickly added a reverse air flow machine and ready the room to receive families. Negative air flow is effective to reduce the transmission of dangerous infectious diseases. Along with good hygiene and masking, it allows families to spend more time with their loved ones, providing relief to the family
“The families are relieved” Dr. Clark said.
“Dr. Clark deserves all the credit for the hospice patients’ family visits. If not for her sensitivity and concern there would be no family visits and the patients would pass away alone,” added Brett Krout, safety manager and workgroup team member.
Providing compassionate patient care during this pandemic requires us to focus on safety while never forgetting the experience of the patient and their loved ones.
The A-10 Warthog is the only aircraft built for a close air support (CAS) mission. It was literally designed around its distinctive 30mm gatling gun. The gun is more than 19 feet long and weighs more than 4,000 pounds. The distinctive sound made by the weapon (aka the BRRRRRRRRRT – created as rounds fire faster than the speed of sound), is music to the ears of the troops on the ground, so much so, the plane sometimes called “the grunt in the air.” A-10 pilots often find themselves providing support at Danger Close distances.
“They love this airplane,” says one Air Force A-10 pilot, referring to units on the ground. “They trust us. For them to trust to do that is very gratifying.”
Recently, the John Q. Public blog, run by retired Air Force officer Tony Carr, came across a video he suspects was produced by the Air Force’s Combat Camera units, lauding the A-10, its crews, its pilots, and the capabilities of its support for ground troops.
“ComCam is perhaps alone in its possession of the unique combination of access and capability to create something this close to the mission with such superior production values,” Carr writes. “A ComCam airman risked mortal danger to make this film and tell this story, getting immersed in a firefight along the way (you’ll see him drop his camera and hear him discharge his weapon in the video).”
Combining ground combat footage with access to the aircrews who run and fly the Warthogs, Carr believes the video has “unmistakeable importance,” but wonders if the video is being suppressed by senior Air Force leaders for political reasons.
The controversy stems from the Air Force’s repeated attempts to retire this relatively young fleet of aircraft. The A-10 first appeared in the Air Force arsenal in 1972 and was used with great effect in Operation Desert Storm. Comparatively, the Air Force’s B-52 fleet was first introduced in 1955 and is still in service.
“It’s not a political statement,” says a pilot in the theater. “I’m not saying air interdiction isn’t important … but the benefits [of close air support] are right there.”
The Air Force aims to replace the A-10 with the F-35 Joint Strike Fighter, a trillion-dollar weapons system that is the most expensive in history, which is extremely over-budget and experiencing an uncanny number of development setbacks. While retiring the A-10 would save many billions of dollars annually, that money would likely go to further developing the F-35. Air Force Chief of Staff Gen. Mark Welsh III says the F-35 is designed “for the whole battle space” and would replace the A-10’s CAS capabilities.
“When you’re talking to a 19-year-old man with a rifle, who’s scared on the other end of a radio,” another Air Force A-10 pilot says in the video. “You know he doesn’t care about fiscal constraints, ‘big picture’ Air Force policy, the next fancy weapons system coming down the pipeline. He cares about being saved right then and there.”
The heartfelt, informative A-10 video is below, and is worth a watch for anyone with an interest in the importance of close air support.
James Mitchell had a successful 22-year career in the U.S. Air Force — most notably as a top trainer at the Air Force’s survival school — before retiring as a lieutenant colonel.
And while he earned some awards and accolades for his service as a SERE leader, it was what he did as a contractor for the CIA after his retirement that truly marks his career.
See, Mitchell is the man who broke al Qaeda mastermind Khalid Sheikh Mohammed (often called “KSM”) and other high-ranking members of the terrorist group in the months and years after 9/11.
After the release of his new book about the interrogation program titled “Enhanced Interrogation: Inside the Minds and Motives of the Islamic Terrorists Trying To Destroy America,” Mitchell sat down for an interview with Marc Theissen, a Washington Post columnist and a fellow at the American Enterprise Institute.
During the 90-minute discussion, Mitchell both clarified details about the controversial “enhanced interrogation techniques” he used and provided insights into the minds of the terrorists.
First, Mitchell explained the difference between interrogation and what he describes as “how do you do” visits.
“These enhanced interrogations that I was part of really only dealt with about 14 of the top folks. I didn’t have anything to do with the mid-level or low-level folks at all,” Mitchell, who’s a licensed psychologist, said. “And most of these interrogations took place over a period of time of about two weeks. KSM’s took about three weeks. And then after that, there was no enhanced interrogations for KSM — you know, none at all.”
He later added, “[O]ur goal in doing enhanced interrogations was to get them to make some movement, to be willing to engage in the questions instead of rocking and chanting and doing the other sorts of things that they had previously been doing.”
Once they broke, it was all about “cigarettes and beer,” to borrow a quote from Defense Secretary nominee James Mattis.
“We switched to social influence stuff because we know that the real way that you get the cooperation that you want is not by trying to coerce it out of them,” Mitchell said. “It’s by getting them to provide the information in a way that they don’t feel particularly pressured to do it.”
Mitchell made it clear that after the terrorists broke, the nature of his visits were more along the lines of maintenance. During one of those visits, he described how the mastermind of 9/11 revealed that he had personally beheaded Wall Street Journal reporter Daniel Pearl.
“He describes cutting his head off and dismembering him and burying him in a hole. And [we] asked him, was that difficult for you to do, thinking emotionally this had to be hard to do,” Mitchell said. “And he said, ‘Oh, no. I had sharp knives. The toughest part was getting through the neck bone’ — just like that.”
Mitchell also described KSM’s shock at George W. Bush’s response to the 9/11 attacks, revealing that the terror leader thought the U.S. would treat the attack as a law enforcement problem and not go to war over it.
“And then he looks down and he goes, ‘How was I to know that cowboy George Bush would say he wanted us dead or alive and invade Afghanistan to get us?’ And he said it just about like that, like he was befuddled, like he couldn’t imagine it,” Mitchell said.
And Mitchell firmly denies that his EITs were torture.
“If it was torture, they wouldn’t have to pass a law in 2015 outlawing it because torture is already illegal, right?” Mitchell said. “The highest Justice Department in the land wouldn’t have opined five times that it wasn’t torture — one time after I personally waterboarded an assistant attorney general before he made that decision three or four days later, right?”
Mitchell’s book, “Enhanced Interrogation: Inside the Minds and Motives of the Islamic Terrorists Trying To Destroy America,” is published by Crown Forum and is available at Amazon.com.
In January, a report from Inside Defense broke the news that the US Navy’s F-35 variant, the most expensive in the Joint Strike Fighter family, had an issue with the nose gear that made takeoffs untenably rough and the aircraft unsuited for carrier launches.
The Navy’s F-35C has a history of problems with its development as it attempts to master the tricky art of catapult launches from aircraft carriers, but the nose-gear issue could set back the F-35C into the 2020s if an innovative solution is not found quickly.
“This is a very stiff airplane, even though the oscillations about the same magnitude as you would see in a Super Hornet. It beats the pilot up pretty good,” US Air Force Lt. Gen. Chris Bogdan told reporters at the McAleese/Credit Suisse defense conference earlier this month, US Naval Institute News reported.
F-35C pilots are “hurting after doing three or four of these [launches] and in some instances even banging his half-a-million-dollar helmet on the canopy,” Bogdan said. “That’s not good for the canopy or the helmet. So we knew we had an issue there.”
Testing at a land-based US Navy catapult system showed that instead of a costly and lengthy redesign of the F-35C’s nose section, some smaller adjustments may suffice.
Jeff Babione, the general manager of Lockheed Martin’s F-35 program, echoed that sentiment at the company’s office in the Washington, DC, area, telling reporters the company had worked on a few simple changes that seemed to yield results. Babione said Lockheed Martin changed the way the pilot straps in and their head and arm positions, as well as reduced the “holdback,” or stress on the plane, in the moments before launch.
“The initial indication is some of those techniques improved” the F-35C’s launches, Babione said. He conceded that the real testing would be done by the Navy aboard carriers “to see whether or not those changes were successful.”
The make-or-break tests of the launch will take place at sea later this year.
Receiving the nation’s highest decoration for valor, the Medal of Honor, is an often bittersweet experience for those who receive the award. The medal represents extreme bravery in the face of insurmountable danger and almost always comes with the ultimate sacrifice from the recipient themself or their fellow servicemembers. However, the medal also represents the potential to do good.
Medal of Honor Recipient Leroy Petry leads the Seattle Seahawks onto the field.
Admit it, if you heard “Medal of Honor” mentioned in a meeting at work or during a football game, your ears would perk up, and that’s exactly the power that two Medal of Honor recipients have used with the NFL in preparation for the 2018 season.
Captain Florent “Flo” Groberg and Master Sergeant Leroy Petry are part of Mission 6 Zero, a management consulting company where veterans teach businesses and teams how to achieve peak performance. Now these two decorated veterans are using their experience to help train NFL teams.
Both Groberg and Petry received their Medals of Honor for valorous actions in Afghanistan. The conflict there is entering its 17th year as the 2018 NFL season begins with a new rule requiring players to stand during the National Anthem or remain in the locker room. The choice of some NFL players to kneel in protest last year resulted in consternation from members of the military and veteran community who believe the action disrespects the sacrifice and honor of countless service members who have paid the ultimate price for their country. Now some NFL teams are asking Groberg and Petry, who are living ambassadors of this sacrifice, to share their stories of combat and recovery with players across the league.
Medal of Honor Recipient Army Capt. Flo Groberg on patrol in Afghanistan.
In 2012, Captain Flo Groberg was on his second tour in Afghanistan, serving on the personal security detail for his commander, when he made a tackle that would humble even the best NFL linebackers. During a routine patrol, Groberg noticed a suicide bomber in the crowd and immediately rushed the threat. Flo pushed the bomber away from his fellow soldiers, but the bomber detonated the vest, throwing Groberg almost twenty feet in the air.
Groberg, who lost a majority of his calf and suffered from traumatic brain injury, spent the next three years recovering from his injuries. Today, Groberg has shared his story with thousands of businesses and even became a major part of the executive team at Boeing, but now the Medal of Honor recipient has a very clear message to the NFL players he has spoken to: The act of one individual can literally change the game and you must always be ready to act.
Groberg told We Are The Mighty, “Over the course of the past three years I’ve had the privilege of supporting Kaleb Thornhill and the Miami Dolphins on the player development side. From culture to communication to goal setting, there are many parallels between the military and the NFL.”
Medal of Honor Recipient Master Sergeant Petry as a member of the 75th Ranger Regiment.
Master Sgt. Leroy Petry has a different story for the NFL, and it’s about one of the most badass incomplete passes in history. In 2008, Petry was on his seventh — yes — seventh deployment as a member of the elite 75th Ranger Regiment, a unit known for its discipline and focus on teamwork. During a raid on a Taliban compound, Petry and his small element of Rangers came under fire from almost forty enemy fighters. Despite being wounded in both legs, Petry, a gnarly combat veteran, directed his team of Rangers to return fire.
As both sides took cover, the fight turned into grenade throwing contest to take each other out. When a Taliban grenade landed near the group, Petry instinctively picked up the explosive and attempted to throw it back at the enemy. The grenade exploded, taking Petry’s hand with it. Petry, who now only had one arm, used it to apply a tourniquet above his wound and kept going. In response, Petry’s fellow Rangers rallied and provided covering fire to evacuate their wounded noncommissioned officer.
Petry was awarded the Medal of Honor for his actions, but he credits the response of the team with saving his life. After recovering from his wounds, Petry chose to stay in the Army until his retirement in 2014. Petry has worked with teams like the Minnesota Vikings in preparation for this season to help them understand that a play may fail during the game but a win requires teamwork always.
NFL teams from the Chicago Bears to the Miami Dolphins to the Minnesota Vikings have all taken the time to listen to Medal of Honor recipients before the 2018 season. Jason Van Camp, CEO of Mission 6 Zero, has seen the impact these veterans have made firsthand.
“Let me tell you something,” Van Camp said, “I am incredibly honored and humbled to work with Flo and Leroy. Above all else, they are unapologetically authentic, and I love them for that. When they share their experiences with our NFL clients, you can feel the atmosphere in the locker room change in an extremely positive way. Players and coaches are transfixed during their presentation and devour the life skills that Flo Leroy share with them. It’s a special thing to be a part of.”
Minnesota Vikings surrounding Leroy Petry (center) after a fundraiser for Warrior Rising executed by Mission 6 Zero.
Jason Van Camp, Leroy Petry, and Flo Groberg (not pictured) accept a donation from TickPick on behalf of Warrior Rising at the Super Bowl in Minnesota.
Leroy Petry works with the Minnesota Vikings to raise support for Warrior Rising and Mission 6 Zero.
Godzilla’s roar has long been considered one of cinema’s most iconic and recognizable sounds. Oft-copied or otherwise homaged, the original and rather unique roar terrified audience goers in the 1950s and has been built upon to dramatic effect in the numerous sequels and remakes since. So how did they actually make the original sound and where did the idea for Godzilla come from in the first place?
As for the idea behind the monster, producer Tomoyuki Tanaka was looking for a project to work on after another film he was involved with got scrapped. Given the popularity of such films as King Kong among Japanese audiences, he decided to create a similarly themed movie. Except in this case, the monster would function as a not so subtle metaphor for the devastation of nuclear destruction and its radioactive aftermath ‚ hence Godzilla being a prehistoric creature awakened and energized by atomic explosions, and who in turn shoots a radioactive heat beam out of its mouth, leaving a wake of death and destruction, with many survivors in turn suffering from radiation sickness.
As for the final version of the creature itself (and, yes, while in Western versions Godzilla is generally referred to as a “he”, in the Japanese versions the creature is an “it”), before the iconic design we know today was settled on there were differing ideas on how to best realise the monster. An idea that was proposed early on before being eventually rejected was to make Godzilla resemble a large gorilla/whale hybrid, more or less mimicking the whole King Kong thing, but making the animal somewhat amphibious too. (Note here, the name Godzilla ultimately derives from the Japanese name “Gojira”, which is in turn a portmanteau of “whale” and “gorilla”.)
Behind the scenes photograph from the set of Godzilla Raids Again.
This whale/gorilla hybrid idea was initially proposed by Tanaka. However, when an artist was brought in to create a design for the creature based on this general idea, it was quickly rejected because the results ended up looking too human-like; they wanted something much more unique and ancient looking.
Switching it up, sculptor Teizo Toshimitsu and art director Akira Watanabe decided to base the design of Godzilla on that of dinosaur, specifically the T-Rex, with elements of other dinosaurs such as the Iguanodon and modern reptiles like the alligators thrown in. On top of that, to double down on the atomic radiation association, they put keloid scars all over its body, which would have been familiar to Japanese audiences, with these scars commonly showing up on survivors of the nuclear blasts.
As for Godzilla’s exaggerated dorsal fins, these originally were not meant to serve any purpose in the 1954 film, and were simply added to give the creature a more distinctive silhouette. However, it would ultimately be established that they can be used by Godzilla to absorb nearby radiation or even as a weapon.
After creating the monster, Godzilla needed a voice. As it was designed to be an unnatural combination of various creatures both alive and dead, the sound crew found it especially difficult to come up with something that worked for its roar. According to famed composer Akira Ifukube, who created both Godzilla’s roar, the sound of its footsteps, and composed the film’s soundtrack, sound engineers went to a local zoo and recorded the roars and cries of virtually every animal there to try to come up with something usable.
They then tried a number of combinations of these sounds to create something distinct, failing each time because the resulting roar always sounded too familiar. Ikufube notes that the engineers eventually got so desperate they even tried distorting the cries of random animals like herons to the point that they were unrecognisable, but nothing was satisfactory.
The problem, at least in Ikufube’s eyes, was that the roars of other animals, even when heavily distorted, still sounded too natural. What they really wanted was a unique sound like nothing ever heard from an animal before, but still animal-like, and a little terrifying. Thus, scrapping all the previous sounds, despite working under an incredibly tight deadline, Ikufube decided to look at other potential means to make the roar. For the solution, he states, “For the roar of Godzilla, I took out the lowest string of a contrabass and then ran a glove that had resin on it across the string…. The different kinds of roars were created by playing the recording of the sound that I’d made at different speeds.”
And just as a brief aside here when talking about the tight deadline in scoring movies in Japan at the time, when asked about whether his now iconic music for Godzilla was among his favorite compositions, Ikufube stated,
Unlike American film score composers, Japanese film score composers are given only three or four days in which to write the music for a movie. Because of this, I have almost always been very frustrated while writing a score. I therefore can’t select any of my scores as favorites.
Going back to the roar, the resin on the glove helped create the added friction needed while being dragged across the string to make a noticeably grating sound that would hopefully cause a feeling of unease in those who heard it— akin to nails on a chalkboard, but with a lot more depth.
Attempting to recreate some version of Ikufube’s sounds for the 2014 version, Erik Aadahl and Ethan Van der Ryn, who created the new roar, stated, “We dissected that original roar and figured out exactly which key musically it was in, which is a C to D on the piano, and the finishing bellow that has the same notes on a lower octave. We figured out the timing, cadence and musical pitch of that original roar, and then started to experiment with different ways to re-create it.”
After a whopping six months of experimenting, they settled on a combination of sounds, though as to how they came up with them, they’ve promised to take that secret with them to the grave. Said Aadahl, “I think more so than any other sound effect we’ve designed, we have a certain protectiveness over that sound. It’s when you’re giving voice to something, you’re giving it its soul. And if we tell everybody exactly how we did it, people will think of that when they hear the roar, and we want them to think of Godzilla.”
Scene from Godzilla: King of the Monsters.
That said, what little they have revealed is that the sound, much like Ikufube’s, was the product of friction using something man-made, rather than modifying an animal sound. They also note that over the course of their experiments they played with things like car doors with rusty hinges, as well as rubbing the heads of drums, among other things. They further state they found that using the plastic sole from a hiking boot on the strings of a double bass produced the closest they could get to the original roar in their experiments.
During the course of all of this, to get an even more unique sound, Van der Ryn states, “We bought a microphone that was able to record above the range of human hearing. We started experimenting will all different types of sounds — sounds that we couldn’t actually hear when we were recording. But when we slowed them down into the human range of perception, we had an incredible palette of normally invisible sounds that people normally don’t get to hear.”
Finally, to get proper echo sounds, as well as what it would sound like from within a building or a car, etc. (basically different ways it might be heard in the final film), they managed to convince the band Rolling Stones to let them use their tour speakers. They then set everything up outside at various locations at Warner Brothers studios, and simply blared the roars at high volume and recorded the result from various other locations nearby.
Naturally, they got some complaints about this, with Aadahl stating, “The neighbors started tweeting, like, ‘Godzilla’s at my apartment door! And we were getting phone calls from Universal Studios across town, because tour groups were asking, ‘What’s all that commotion going on down in the valley?’ The sound that we were playing actually traveled over 3 miles… 100,000 watts of pure power.”
Going back to the original Godzilla, if you’re wondering about the aforementioned footstep sounds, according to Ikufube, the story behind those was,
One of Toho’s electrical engineers made a simplistic amplifying device some time before production on GODZILLA – KING OF THE MONSTERS got underway. It was just a box that had several coils connected to an amplifier and a speaker in it. When you struck it, the coils would vibrate, and a loud, shocking sound would be created. I accidentally stepped on the device while I was conducting the score for a movie that was produced shortly before GODZILLA – KING OF THE MONSTERS was made. I said, “What the heck is that?” when I heard the noise that was produced. When I was asked to create Godzilla’s footfalls, I decided to use the device.
Ever wonder how they made the sound effect for the lightsaber? Well, wonder no more, sound engineer Ben Burtt states, “In the booth where we projected the films… Those projectors would make a hum. They weren’t running, they were idling, the motors would just sit there with this kind of magical, mysterious humming sound that I thought was musical in a way and I thought that’s probably what a lightsaber would sound like… And I was searching for some other element, and I had a tape recorder with a broken mic cable that the shielding had come off of and when I walked passed a television set in my apartment it picked up the hum from the picture tube directly into the broken wire, and that made a buzz, and I thought, that’s a great buzz, that sounds dangerous… normally a sound person doesn’t want a buzz or a hum, but in this case a buzz and a hum was the answer.”
Moving on to the famous “Star Wars scream”, more properly known as the “Wilhelm Scream”, heard in hundreds of movies, this was created via the vocal talents of Sheb Wooley, perhaps better known for his hit 1958 song “Purple People Eater”. The genesis of the scream was that Wooley had an uncredited part in the first film the scream was heard in, a 1951 film called Distant Drums. At one point during the film, Captain Quincy is leading his soldiers through a swamp when one of them gets attacked and dragged under by an alligator, screaming in the process. During post-production recordings, Wooley recorded various vocal sound effects for the film, including a batch of screams.
So why was it dubbed the “Wilhelm Scream” if the man who did the scream was named Sheb Wooley? After being plucked from the Warner Brothers stock sound library, the scream was used in the 1953 film The Charge at Feather River, starring Guy Madison as Private Wilhelm. The sound effect is used when Private Wilhelm is shot in the thigh with an arrow. The scream was nicknamed “Wilhelm” from then on.
The Hollywood tradition / inside joke of purposefully using the Wilhelm scream in a variety of films began with aforementioned sound effects designer Ben Burtt, who worked on numerous films, including Star Wars as noted. He noticed the scream being used in certain Warner Brother’s films, such as Them in 1954, Helen of Troy in 1956, and The Green Berets in 1968. Burtt then began slipping the Wilhelm Scream into every movie he worked on, beginning with George Lucas’s Star Wars: A New Hope. And it just sort of caught on from there.
In 2016, an Iraqi-American artist sat down with Bahjat Abdulwahed — the so-called “Walter Cronkite of Baghdad” — with the idea of launching a radio project that would be part documentary, part radio play, and part variety show.
Abdulwahed was the voice of Iraqi radio from the late 1950s to the early 1990s, but came to Philadelphia as a refugee in 2009 after receiving death threats from insurgents.
“He represented authority and respectability in relationship to the news through many different political changes,” said Elizabeth Thomas, curator of “Radio Silence,” a public art piece that resulted from the meeting with Abdulwahed.
Thomas had invited artist Michael Rakowitz to Philadelphia to create a project for Mural Arts Philadelphia, which has been expanding its public art reach from murals into new and innovative spaces.
After nearly five years of research, Rakowitz distilled his project into a radio broadcast that would involve putting the vivacious and caramel-voiced Abdulwahed back on the air, and using Philadelphia-area Iraqi refugees, and local Iraq war veterans as his field reporters. It would feature Iraqi music, remembrances of the country and vintage weather reports from a happier time in Iraq.
“One of the many initial titles was “Desert Home Companion,” Rakowitz said, riffing on “A Prairie Home Companion,” the radio variety show created by Garrison Keillor.
Rakowitz recorded an initial and very informal session with Abdulwahed in his living room in January 2016. Two weeks later, Abdulwahed collapsed. He had to have an emergency tracheostomy and was on life support until he died seven months later.
At Abdulwahed’s funeral, his friends urged Rakowitz to continue with the project, to show how much of the country they left behind was slipping away and to help fight cultural amnesia.
Rakowitz recalibrated the project, which became “Radio Silence,” a 10-part radio broadcast with each episode focusing on a synonym of silence, in homage to Abdulwahed.
“The voice of Baghdad had lost his voice,” Rakowitz said, calling him a “narrator of Iraq’s history.”
It will be hosted by Rakowitz and features fragments of that first recording session with Abdulwahed, as well as interviews with his wife and other Iraqi refugees living in Philadelphia.
Rakowitz and Thomas also worked with Warrior Writers, a nonprofit based in Philadelphia that helps war veterans work through their experiences using writing and art.
The first episode, on speechlessness, will launch Aug. 6. It will be broadcast on community radio stations across the country through Prometheus Radio Project.
One participant is Jawad Al Amiri, an Iraqi refugee who came to the United States in the 1980s. He said silence in Iraq has been a way of life for many decades.
“Silence is a way of survival. Silence is a decree by the Baath regime, not to tell what you see in front of your eyes. Silence is synonymous with fear. If you tell, you will be put through agony,” he said at a preview July 25 of the live broadcast. He said he saw his own sister poisoned and die and wasn’t allowed to speak of it.
When he came to the US in 1981, his father told him: “We send you here for education and to speak for the millions of Iraqis in the land where freedom of speech is practiced.”
Lawrence Davidson is an Army veteran who served during the Iraq War and works with Warrior Writers also contributed to the project. He said the project is a place to exchange ideas and honestly share feelings with refugees and other veterans.
The project kicks off on July 29 with a live broadcast performance on Philadelphia’s Independence Mall — what Rakowitz calls the symbolic home of American democracy. It will feature storytelling, food from refugees and discussions from the veterans with Warrior Writers.
If you’ve never shipped out to boot camp, then you’ve probably never encountered the “last chance” moment all recruits experience before their training kicks off.
Within hours of arriving, the staff gives every newbie a chance to come clean about something they may have lied about to their recruiter or throw an item or two away they weren’t supposed to bring with them into what’s known as the “amnesty box.”
If a boot does toss something away in the box, it’s confidential and they won’t be penalized. But don’t think for a second that the boxes don’t get opened by the staff for a good laugh.
ISIS’ quick rise to prominence in 2014, combined with its real-world battlefield accomplishments in Iraq and Syria was stunning to everyone.
Naturally, when a non-state actor few people even heard of capture so much territory and rout a U.S.-trained and equipped Iraqi Army, a few eyebrows are going to raise. After more than a year, more atrocities, destroyed wonders, and little progress in their defeat, rumors are going to start flying about how such a feat is possible. From where does ISIS get its funding and equipment? How is it possible the most powerful military force can’t seem to ice one ISIS leader? Why did the Iraqis drop their guns so fast?
A lot of questions with few real answers will cause some people to create those answers, even if there is little evidence of it. As long as there’s no evidence against it, people will always twist facts to suit theories instead of theories to suit facts. Here are some of the most twisted theories about ISIS.
1. Hillary Clinton admitted Americans created and support ISIS
There’s an internet rumor going around that Hillary Clinton’s most recent book, Hard Choices, contains a passage where Clinton admits the United States decided to support and create ISIS, “as part of a plan to support the Muslim Brotherhood and establish U.S.friendly governments.”
This was recently repeated by Egyptian Culture Minister Gaber Asfour on Egyptian television. It has also been repeated in Jordan, Lebanon, and the Palestinian Territory.
In this story, the U.S. wanted to invade Egypt to prevent the ouster of Mohammed Morsi, who was a leader of the Muslim Brotherhood, but the plan was thwarted by crack Egyptian military units.
This theory does prove that Arabs and Republicans have an equal distaste for Hillary Clinton.
2. Edward Snowden’s leaked documents show an American plan to create ISIS
This theory claims Edward Snowden’s stolen cache of documents from NSA computers includes plans to establish the Islamic terror organization. According to Iranian state television, Operation Hornet’s Nest was supposedly designed to justify yet another American intervention in the Middle East.
The U.S., with the UK, Canada, Israel, and Sunni kingdoms Kuwait, Saudi Arabia, and Qatar allege these governments conspired in a number of ways to create ISIS and maintain a presence in Arab countries.
3. ISIS’ leader is under mind control powers of the CIA
One Iranian website claims ISIS leader (or “Caliph”) Abu Bakr al-Baghdadi spent more than five years in American custody in Iraq and the Zionist New York Times is attempting to help cover it up. Why was he held for so long? The CIA wanted to create a fake opposition group in Iraq to set up Iraqis who were against the U.S. to more easily target them, or worse.
While held at Camp Bucca, Iraq, the CIA turned Baghdadi into a “Manchurian Candidate-style” robot in the same way the CIA controlled Jim Jones, the infamous cult leader, a similar CIA puppet, so he could create a “Muslim Jonestown” — ISIS.
4. Baghdadi is an Israeli intelligence agent
The Caliph’s real name is Shimon Elliot, born of Jewish parents and trained by Israel’s intelligence agency, Mossad. He is an expert in psychological warfare against Arabs and is an expert espionage agent.
Iranian intelligence sources also say he cooperates with the U.S. Secret Service and UK authorities to recruit political opponents from both societies.
His mission is to get into groups and countries who are a threat to Israel and destroy them from within to make them an easier target for Zionist forces or to create an enemy outside of Israel for Israel’s enemies to fight one another.
5. The U.S. ignored warnings about ISIS/Fueled the rise of ISIS
A 2012 Defense Intelligence Agency report showing an analysis of the state of the war in Syria in 2012 was released via a Freedom of Information Act request in 2015. The analysis was just observations and predictions about what the U.S. knew at the time. There are no policy directives or actions taken. Yet, depending on who reviews the document, either side uses it as proof of a narrative dictating President Obama knew about ISIS and chose to do nothing OR the U.S. fueled ISIS to destabilize the region in a “divide and conquer” strategy.
6. ISIS videos are fakes
This theory stems from the difficulty in finding the videos where they’re posted once their existence is made public (most outlets take them down), that they don’t look real (or as Hollywood thinks an execution should look), or are created to inspire more false flag attacks.
The website Infowars further fueled this view in a post about the CIA creating fake al-Qaeda videos during the 2003 build up to the American invasion of Iraq.
7. ISIS captured MH370 to use it against America on 9/11/14
American Lt. Gen. Thomas McInerney was quoted in American media as saying the U.S. should expect a terrorist attack on on September 11, 2014 in New York City. This time, ISIS would be the perpetrators, however, not al-Qaeda. He believed the missing Malaysian Airlines flight 370, which disappeared in March 2014 on its way to Beijing from Kuala Lumpur, would reappear in NYC, flown by ISIS.
“It is going to be earth-shattering,” he said. “The fact is we may even see a 9/11/14 MH370 surface again… We should go to DEFCON 1, our highest state of readiness and be prepared.”
In case you didn’t know, the former Secretary of Defense, Chaos Actual, Gen. James Mattis (ret.) wrote an Op-Ed in the Wall Street Journal and it’s just ahead of his memoir covering how he learned leadership from his time as a young buck Lt to his time leading the Pentagon.
Of course, Mattis makes a very in-depth analysis into why America’s allies are vital and some insight into his resignation last December – but he also makes a case against the tribalistic political-sphere that seemed to envelope 2019. He’s always remained apolitical, despite sitting in the Trump cabinet. The petty squabbling and BS just distracts from the mission.
I know reading lists were sort of his thing – and it’d be kind of awkward for him to put his own book on his own reading list for people to buy and read. So just assume it’s on there since I don’t think he’s even updated it since he was last in the office.
Anyways, here are some memes to get your extended weekend started while I shamelessly give an unsponsored plug for the Patron Saint of Chaos’ new book.
In the coming years, Washington, D.C.’s Pershing Park will be transformed as a memorial honoring the men and women who fought in the First World War is built, adding to where the statue of General John J. Pershing currently stands.
The 2015 National Defense Authorization Act established the World War I Centennial Commission, which was given the authority to build the memorial in the park. Over the course of a year, potential designs were submitted and voted on. In January 2016, the design, titled The Weight of Sacrifice, was chosen.
The designers, Joseph Weishaar, an architect-in-training currently located in Chicago, and collaborating artist sculptor Sabin Howard of New York, explained their vision:
The fall sun settles on a soldier’s etched features, enough to alight the small girl patting his horse. Above him 28 trees rise up from the earth, flamed out in brazen red to mark the end of the Great War. He stands on the precipice of the battlefield, surveying the rising tide which has come to call his brothers from their havens of innocence. The figures before him emerge slowly, at first in low relief, and then pull further out of the morass as they cross the center of the wall. They all trudge onward, occasionally looking back at the life that was until they sink back in and down into the trenches.
This is a moment frozen in time, captured in the darkened bronze form which has emerged from the soil to serve as a reminder of our actions. Along the North and South faces we see the emblazoned words of a generation gone by. 137 feet long, these walls gradually slip into the earth drawing their wisdom with them. Around the sculpted faces of the monument the remembrance unfolds. Each cubic foot of the memorial represents an American soldier lost in the war; 116,516 in all. Upon this unified mass spreads a verdant lawn. This is a space for freedom built upon the great weight of sacrifice.
The allegorical idea that public space and public freedom are hard won through the great sacrifices of countless individuals in the pursuit of liberty provides the original design concept for this project. A memorial and a park built to represent this truth should pay homage to the loss incurred in securing these freedoms. The raised figurative walls visually express a narrative of the sacrificial cost of war, while also supporting a literal manifestation of freedoms enjoyed in this country: the open park space above. The urban design intent is to create a new formal link along Pennsylvania Avenue which ties together the memorial to Tecumseh Sherman on the West and Freedom Plaza on the East. This is achieved by lowering the visual barriers surrounding the existing Pershing Park and reinforcing dominant axes that come from the adjacent context.
The raised form in the center of the site honors the veterans of the first world war by combining figurative sculpture and personal narratives of servicemen and women in a single formal expression. The integration of a park around and atop the memorial alludes to the idea that public space and personal freedom are only available through the sacrifice of our soldiers. Above all, the memorial sculptures and park design stress the glorification of humanity and enduring spirit over the glorification of war.
These themes are expressed through three sources: relief sculpture, quotations of soldiers, and a freestanding sculpture. The figurative relief sculpture, entitled “The Wall of Remembrance,” is a solemn tribute to the resilience of human bonds against the inexorable tide of war. The 23 figures of the 81′ relief transform from civilians into battered soldiers, leading one another into the fray. The central piece, “Brothers-in-Arms,” is the focus of the wall, representing the redemption that comes from war: the close and healing ties soldiers form as they face the horrors of battle together. The wounded soldier is lifted by his brother soldiers toward the future and the promise of healing.
The quotation walls guide visitors around the memorial through the changes in elevation, weaving a poetic narrative of the war as described by generals, politicians, and soldiers. The sculpture on the upper plaza, “Wheels of Humanity,” recreates the engine of war. These are soldiers tested and bonded by the fires of war to each other and to the machinery they command. For all of the courage and heroic stature they convey, each looks to the other for guidance and a signal to action. The bronze medium used throughout stands for the timeless endeavor we face in the universal pursuit and right of freedom.