Despite how ridiculous some rules and laws may seem, they only have to exist because someone actually did something so ridiculous. That’s why it’s still legal to rain death from above, just as long as that death isn’t actual rain. In this case, the United States is the perpetrator, seeding the clouds in Vietnam to keep the North Vietnamese from infiltrating the South.
“This weather is crazy, as if it’s happening to us on purpose!”
The idea is actually a pretty great one. Instead of bombing the Ho Chi Minh Trail into submission, they would simply render it unusable. With Operation Popeye, the United States Air Force seeded the clouds over the Ho Chi Minh Trail in an effort to make the Vietnamese monsoon season last longer, keep the trail muddy and treacherous, and prevent the North from moving men and material into South Vietnam.
From Thailand, the United States used C-130 and F-4C aircraft armed with lead iodide and silver iodide to spread into clouds above the trail. The chemicals condensed the water in those clouds, forming precipitation in the form of rain. They wanted to stop up the dirt roads used by enemy trucks and men, cause landslides, wash out river crossings, and keep the roads impassable.
The 54th Weather Reconnaissance Squadron contributed to the 2,602 cloud seeding missions flown during Popeye.
That’s a lot of rain.
“I never even imagined that’s what that group was doing,” recalls Brian Heckman, a former Air Force pilot, “until we got over there and showed up for the briefing and then they told us what the project was all about. We just went around looking for clouds to seed.”
And so Popeye continued with gusto, even though Secretary of Defense Melvin Laird had no knowledge of the program and even testified to the “fact” that there were no such programs in Vietnam before Congress. The public didn’t find out about the program until the release of The Pentagon Papers, published by the New York Times and other newspapers in 1971. That’s how the Environmental Modification Convention came to pass in 1977.
Chemtrails were still totally legal.
Its full name was actually the Convention on the Prohibition of Military or Any Other Hostile Use of Environmental Modification Techniques, restricting “widespread, long-lasting or severe effects as the means of destruction, damage or injury.” It basically says that any manipulation of weather (aka “environmental modification”) as a means of destruction in wartime is strictly prohibited.
The United States was an early signatory to this agreement.
The song that many of us identify uniquely with the President of the United States has a surprisingly controversial history. Chester Arthur hated it, Ronald Reagan thought it was a necessary tradition for the office, and President Trump enters a room to Lee Greenwood’s God Bless the USA more often than not. But this essential piece of Presidential entrance music is almost as old as America itself.
During the President’s Inauguration, “The President’s Own” Marine Corps band plays Hail to the Chief after 45 seconds of four Ruffles and Flourishes. The song is also most traditionally played when the President of the United States enters an official event, but there are no real rules for the song outside of the inauguration. The Department of Defense only asks that the song isn’t played for anyone other than the sitting President.
You wouldn’t know it from the orchestral renditions, but the song actually has lyrics, written in 1900 by Albert Gamse:
Hail to the Chief we have chosen for the nation, Hail to the Chief! We salute him, one and all. Hail to the Chief, as we pledge cooperation In proud fulfillment of a great, noble call. Yours is the aim to make this grand country grander, This you will do, that’s our strong, firm belief. Hail to the one we selected as commander, Hail to the President! Hail to the Chief!
The song itself can be traced all the way back to our sixth president, John Quincy Adams. At the time, the song was pop music, much like Greenwood’s song is to President Trump today. The Marine Band played it at the opening of the Chesapeake and Ohio Canal in 1828, an event attended by President Adams. The first time it was played in honor of the Commander-In-Chief was for Andrew Jackson, at a similar canal event the next year.
Martin Van Buren was the first President to hear the tune played for his inauguration in 1837. John Tyler, who ascended to the Presidency after the sudden death of William Henry Harrison, was much derided during his term for the unelected way he came into power. To remind people who was in charge, First Lady Julia Tyler ensured the song was played whenever he arrived at events. The same was done for James K. Polk, who was a short guy. His wife Sarah wanted to make sure everyone knew when he arrived so he wasn’t overlooked.
Hail to that mullet, President Polk.
By the time Chester Arthur came to office in 1881, he hated the song so much, he opted to replace it with another song. Luckily for him, the leader of the Marine Band just happened to be the “American March King” John Philip Sousa. He commissioned Sousa to write a replacement, which the band leader did.
How well did that replacement go over? If you’ve never heard of Presidential Polonaise, you’re in good company — because most of America hasn’t either. The Presidents quickly went back to using Hail to the Chief.
By 1954, the Department of Defense made the song the official music of the President. Of course, that doesn’t mean they have to use the music. The President is the boss, after all.
He isn’t really bound by law or tradition to have the song played for him on every occasion. President Gerald Ford asked the U.S. Marine Corps Band to play his alma mater’s — the University of Michigan — fight song, Hail to the Victors, instead. Jimmy Carter preferred the tune Jubilation by Sir Arthur Bliss. Ronald Reagan, however, felt the office required more tradition and reinvoked Hail to the Chief.
When it comes to uniform variety, the US Air Force is definitely the least inventive of all the branches. The USAF carries the standard work option, OCPs, along with a more professional office version. When things get really fancy, the Air Force just ditches the flight cap and dons a white shirt instead of the blue – and that’s about it. No swords for officers, no Class-As, no khaki, no whites.
But it wasn’t always that way.
The Air Force used to have a ton of different uniforms.
From 1947 to 1995, the Air Force used a white version of its dress uniform for those in tropical zones, an easy way to keep cool while maintaining a professional appearance when necessary. The first fully-Air Force regulated white uniform featured a white coat, shirt, and pants, but with black shoes and blue tie, along with blue mess dress cap (aka the “bus driver” hat), complete with Air Force “farts and darts” on the brim.
For social events, the hat was gone, white gloves were added, and black bow ties replaced the blue necktie. Eventually that gave way to a new uniform, once the Air Force was completely free of Army uniforms in 1959.
In 1959, this uniform became officially known as the Tropical Dress Uniform, which included a coat very similar to the blue coat of the regular Air Force and was made of a Dacron-rayon blend instead of the Army’s cotton uniform. It was mandatory wear in tropical climates, but also at diplomatic functions, dinners, and anywhere else a white coat was the prescribed dress for the event. The blue mess cap was replaced by a white mess cap with an Air Force blue band around it and the black shoes were replaced with white ones.
By 1983, the Air Force introduced a new white uniform, the White Ceremonial Dress uniform, which was gone by 1989. Many aspects of the White Ceremonial Dress Uniform can still be seen on today dress blues, especially for officer ranks as the white ceremonial dress uniform was optional for lower enlisted personnel.
But whether tropical or ceremonial, the end of the white uniform came in 1995, when they were all phased out in favor of a simplified blue version for all locales and functions. The only formal uniform that remains in the Air Force is the Mess Dress Uniform, which is now drastically different from its ceremonial predecessors.
U.S. President Donald Trump says Saudi Arabia’s King Salman has told him Riyadh will ramp up oil production in response to turmoil in Iran and Venezuela.
The Saudi government confirmed the two leaders had spoken about global oil markets, but made no mention of any agreement for Riyadh to increase production.
The June 30, 2018 conversation comes as oil prices have ticked upward following Trump administration pressure on allies to stop buying oil from Iran.
In a post to Twitter, Trump said Salman had agreed to an increase, but did not indicate a time frame for the possible 2 million barrels.
“Just spoke to King Salman of Saudi Arabia and explained to him that, because of the turmoil and disfunction in Iran and Venezuela, I am asking that Saudi Arabia increase oil production, maybe up to 2,000,000 barrels, to make up the difference,” Trump said in a June 30, 2018 tweet.
Russia has ratcheted up military tensions in Syria by announcing it would send the advanced S-300 missile defense system to Syria, and the US military had a savage response.
Asked for comment on the announced movement of the missile defense batteries to Syria, Maj. Josh T. Jacques of the US Military’s Central Command, which covers the Middle East, said Russia “should move humanitarian aid into Syria, not more weaponry.”
Another Pentagon official similarly had words for Russia, responding to Russian claims that Soviet-era Syrian defenses blocked 83 missiles from a US-led strike early April 2018.
“This is another example of the Russian disinformation campaign to distract attention from their moral complicity to the Assad regime’s atrocities,” Pentagon spokesman Eric Pahon told Business Insider, referring to Syrian President Bashar al-Assad.
Russia stands accused by international observers of bombing humanitarian aid convoys on their way into besieged Syrian towns and stifling efforts to ease suffering in the country while they support Assad and allegedly cover him while he conducts chemical warfare against his own citizens.
Experts tell Business Insider that the S-300 likely could not stop another US strike like the one on April 14, 2018, where 105 missiles hit three suspected chemical weapons sites in the country. Russia claims its defenses can down “any” US missile.
Syria has been mired in a brutal civil war since March 2011. Russia, Syria’s ally, has provided air support and training for Assad’s military since late 2015, during which time it has been linked to several war crimes involving the death of civilians.
This article originally appeared on Business Insider. Follow @BusinessInsider on Twitter.
The “Star-Spangled Banner” is American lyrics laid on top of a British song to make one glorious national anthem. It details the endurance of American troops against a British naval bombardment at the Battle of Fort McHenry in 1814.
But while Americans singing the song at baseball games know that the U.S. came out victorious, Francis Scott Key and other witnesses of the battle had little to be optimistic about. The British brought more ships to the fight than the Americans had cannons on the fort.
The British planned a two-pronged assault on the city. The army would march overland to attack the city on foot while the navy was to destroy Fort McHenry and follow the river to the city. There, it would bombard the city and assist in its capture.
The ground attack seemed doomed from the start. About 12,000 American troops, many more than the British had expected, were guarding the city. So the British troops sat back and waited as dozens of British ships, including five of Britain’s eight bomb ketches, moved forward to bombard the fort that only had 19 guns with which to defend itself.
Luckily for the Americans, shallow waters around the fort kept some of the ships away. Unluckily for them, 16 ships were able to get within range of the fort while staying outside the range of the American guns.
Starting early on Sep. 13, the British fired on McHenry with rocket ships and bomb ketches. Bomb ketches were ships with a mortar or howitzer built into the deck. The gun could not be turned, so the ships were pointed at the fort and kept in place with spring-loaded anchor lines. The “bombs bursting in air,” came from these devastating ships.
Meanwhile, ships firing Congreve rockets sailed into range as well. The rockets were made in a variety of sizes. The ones that lit the night at Fort McHenry were mostly 32-pound rockets that carried seven pounds of explosives. They could explode in the air but were designed to be incendiary weapons, setting fires within forts and enemy ships.
One moment was more dangerous than any other for the defenders; a bomb fired from one of the ketches landed in the fort’s gunpowder supply. It failed to go off and the troops were able to split the gunpowder into smaller stores around the tiny island.
At another point, British Rear Adm. George Cockburn thought the fort had been badly damaged and moved the ships closer for better accuracy. American artillerymen rushed through the incoming shells and began firing when the British came within range, driving them back.
In the morning, he looked to the flagpole at first light to see if the fort had survived. If British colors were flying, Baltimore would be destroyed and America would lose a second major city in less than a month.
The flag had changed overnight, but not to the Union Jack. A storm that raged throughout the battle had forced the fort to fly its smaller American flag. Since the morning dawned clear, the garrison changed to its normal flag, a 42-foot by 30-foot beast.
Meanwhile, the British troops ashore saw the American flag flying and knew that the naval assault had failed. They withdrew and left Baltimore in relative safety.
The “Star-Spangled Banner” would be published in newspapers up and down the coast over the following few days under a variety of names, usually “The Defence of Fort McHenry.” One publication called it, “The Star-Spangled Banner” and the name stuck.
Peter with his platoon at Army boot camp. He is third row from bottom, far right. Photo credit Peter Markle.
Peter Markle grew up during a period of intense change for the country with the Civil Rights Movement and the Vietnam War etched into his mind. His father proudly served in WWII in the Pacific where he brought those hard-learned lessons and values back to the family, which greatly impacted Peter. After time in the U.S. Army Reserves and on the USA Hockey Team, Markle decided to become a filmmaker. He has directed many great films, especially military and historical ones, to include Bat 21, Faith of my Fathers, Flight 93, Saving Jessica Lynch, Nightbreaker and Youngblood. Markle has also directed numerous episodes for hit shows including the X-Files, CSI, Without a Trace, Life, NYPD Blue, Burn Notice, Rescue Me, ER and Homicide: Life on the Street.
WATM: Tell me about your family and your life growing up?
I was born in Danville, PA. in the Geisinger Hospital that my mother’s father started. We lived on a farm outside Hazelton, PA. I have vivid memories from my first years there. The barn and particularly the hay loft, the fresh fruit that was picked daily in season, the creek where one of the workers killed a water moccasin one day. In first grade we moved to Minneapolis where my father got a job at a bank and I was introduced to a real winter. And the rink directly across the street in the park where I discovered ice hockey.
When I grew up there was no social media and absolutely no restrictions what you did with your free time when not in school. We had a black lab that left the house in the morning with us, went on his own way when he got bored with our activities which included exploration, sports, fishing etc. My dad hung a huge bell that could be heard
a half a mile away which was rung for lunch and dinner. The dog was always the first one back. Times have changed. We had enormous freedom and there was no temptation to bury our faces in smart phones. All activity was self-created.
I distinctly remember being fascinated the movies and got completely lost in them at the local cinema which is still there today. One of my favorites was Shane with Alan Ladd. Years later his son, Alvan Ladd, Jr. greenlit one of my films (Youngblood).
Markle with Flint Generals (IHL). Photo credit PM.
I continued hockey throughout high school and my senior year was asked to join the Olympic Hockey development program which ran through the summer. I played at Yale, had a tryout after my senior year with Boston, played minor league hockey and then three years with the US National team participating in two World tournaments.
Markle with the USA team. First row second from the right. Photo credit PM.
WATM: What is the most distinct memory of your mother and your father?
My parents were very social and community involved. My dad was one of the founders the youth hockey program in our area which started with one team and expanded in a few years into 500 participants. My mother worked throughout her life for hospitals concentrating on rehabilitation. Her interest in health care no doubt emanated from her father who was first assistant surgeon to Will and Charlie Mayo and at one point in his career became President of the American College of Surgeons. They were both extremely social and the vast majority of their best friends served in some way during WW2, many as Naval pilots. My dad was interested in everyone he met. He was the best listener I’ve known. That did not imply he didn’t have a point of view. His advice was judicious and more than often accepted. My mother was a community organizer. That would include in her community as well as her hospital work. Her friends would call her in the morning for their marching orders for the day.
WATM:What values were stressed at home?
It was the traditional ‘Golden Rule’. It’s a timeless aphorism and sometimes hard to follow in a competitive world like film but being honest and empathetic wins out in the short and long run. My mother also told me that lying not only was reprehensible but far more difficult to keep track of than the truth. Both underscored that failure was the inevitable pathway to success. It all depends on how you react to it.
WATM: What influenced you to join the US Army, what was your experience and what lessons did you take away from your service?
I graduated from college at the height of the Vietnam conflict and joined the rest of my class in deciding what was the next move. A significant number of the class including myself applied for the Naval OCS (officer candidate school) in the language division which was in Monterey, Ca. The sample copy of the test which was based on a made-up language was circulated around the campus. I remember looking at it and getting the gist of the concept. Apparently, the other students there got the gist as not one of several hundred who took it missed a question. There was some sort of investigation by the Navy, but it was dropped. I did not attend OCS and assumed upon graduating I would be drafted. I was playing professional hockey when I was told to report to Fort Snelling where the Minnesota Army Reserve was located. I was with four other players at the end of a 200-person line when our names were called, and we were told to report to the front. We were all inducted into the Reserves and told that we would all get time off when playing for the US National hockey team including world tournaments. A month later I was in Stockholm.
Peter lining up for the action shot even before becoming a director. Photo credit PM.
I did basic training at Fort Leonard Wood in the middle of the summer. It was incredibly hot and humid. I made fast friends in my platoon and had a great drill sergeant. It was a lot like summer football camp but with longer hours. Up at 4am for a 5-mile run in army boots to lights out at 10pm. I was told that you had to learn how to stand in formation while asleep. Done. We had soldiers who gained 80 pounds (never had more than one meal a day) and others who lost 80 (never ran over 10 yards in their lives before). It was a very different mix from my fraternity in college where we had 4 Olympic Swimmers (including Don Schollander who won 5 gold medals and Calvin Hill who was All Pro in the NFL. As a footnote The President of the frat my sophomore year was Fred W. Smith, founder/CEO of FedEx and decorated US Marine in Vietnam, and for my senior year it was George W. Bush who also ended up in the Air Force Reserves.
The harassment was handed out pretty democratically until the PT contest. Parallel bars, low crawl, 100-yard man carry, the 6-minute mile in army boots, push ups etc. I scored the only perfect score in my company (200 men) and was given the weekend off. That would not have happened if my 98-pound roommate, Eddie Pragg, didn’t let me use him for the man carry.
I have to underscore that my boot camp experience on every level was positive. It was tough but extremely well organized. The officers were exacting but fair. The staff was totally professional. It ran like clockwork at a time when so many were going through the turnstile each day. There are some correlations to making a film where it demands a unified front and an ability to make quick adjustments according to the situation at hand. I was just a grunt in the machine but there were numerous examples among the staff on every level as well as my fellow platoon mates that have stayed with me my entire life.
No one knew other than a small handful of reservists as to whether they would end up in Vietnam. I did not have to confront the prospect of being shipped out. I realized that I was uniquely privileged. I did OJT (on the job training) at Fort Ord in Chicago before ending back in Minneapolis for weekend duty once a month at Fort Snelling. Motor pool, clerical work, city public projects. No riots or disasters to contend with. We did summer camp at Fort McCoy in Wisconsin and in addition to my normal duties and drills I was an editor of the camp newspaper distributed the last day. I decided to take a somewhat satirical angle on the experience and was surprised at the reception. There was laughter, soldiers reading bits out loud and fortunately no reprisals from the brass. I was encouraged to write by my freshman English professor in college and never took it seriously until listening to the reception of my version of ‘The Onion’ distributed around camp.
I would be remiss not to mention that it was my father who was the real soldier. He dropped out of the University of Pennsylvania to join the Navy. He got his pilot license at 17 and became one the youngest flight instructors in the armed forces during WW2. He was assigned to the USS Bataan, a light aircraft carrier, and fought in the last years in the Pacific through the surrender which he witnessed being docked next to the Missouri in Tokyo Bay. Because of his flight experience he was put in charge of the CIC (combat information center) directing planes when airborne, spotted bogies (enemy planes) and skunks (unidentified surface ships) basically directing aerial combat operations along with the brass. They were in the middle of the kamikaze blitz and had numerous close calls. He witnessed both the Bunker Hill and the Franklin take direct hits some less than 200 meters away with the loss of over 1000 sailors. During one Kamikaze attack a sister ship got hit and 19 soldiers were thrown overboard. Dad marked his ship’s position using the DTR (dead reckoning system) and he convinced the brass to take 8 ships after dark for a search. They implemented a staggered zig zag course for six hours and miraculously found the sailors within 10 minutes of the search stop order. To be noted as well, his brother, Alvan, landed on Omaha Beach, fought 5 major battles in the Bulge as an artillery captain and was honored the Chevalier of the Legion of Honneur by the French. He attended the 70th Anniversary of Normandy.
Peter’s father (Thomas) during WWII. Photo credit PM.
Pictures from Peter’s father during his time in the Navy. Photo credit PM.
Pictures from Peter’s father during his time in the Navy. Photo credit PM.
Pictures from Peter’s father during his time in the Navy. Photo credit PM.
Pictures from Peter’s father during his time in the Navy. Photo credit PM.
Pictures from Peter’s father during his time in the Navy. Photo credit PM.
Pictures from Peter’s father during his time in the Navy. Photo credit PM.
WATM: What values have you carried over from the Army into directing and writing?
It’s a tiresome analogy but it would be teamwork. I’ve been on series where one show had 4 stages in use at the same time. One devoted primarily to build sets designed for a particular episode, another three with sets for shooting a current episode, pickups from previous episodes and for the next one. Well over 100 people will be working to accomplish the same goal. Each department head is crucial to the mission (production; accounting; director and assistant directors; art; camera; casting; catering; construction; costume; lighting; grip; locations; makeup/hair; medic; post-production; property; publicity; research; script supervision; set dressing; sound; special effects; stand-ins; stunts; transportation; video playback; visual effects. The similarity to the chain of command in the military is obvious. Lots of departments. Lots of personnel. And all interdependent with one another. I guess the ‘weakest link in the chain’ is a prevalent dynamic in both film and the armed forces. I was shooting a film in Borneo (Bat 21) and the special effects department head had set a series of explosions along a path through the jungle Gene Hackman and Danny Glover would run by. This was primarily done using a nail-board which each nail represented an explosion. After going hot contacting the individual nails with metal (could be a screwdriver) set off the blast. The department head said that he was going to use a computer program instead of the old system, the ‘eyeball approach’. I questioned whether it made sense to switch now but he said it was safer. I called action and Danny and Gene started running along a riverbank. An explosion (representing a bomb) goes off so close to them that they both instinctively duck and cover their faces but continue running. The second explosion is closer, and we get the same reaction for the talent. I look over at effects and he is white as a ghost. The shot was incredible, but we almost lost two actors. Back to the nail board. We never told Gene or Danny.
WATM: What is the most fulfilling project you have done and why?
I guess it’s always the first one because you actually pulled off the impossible. It was a low budget comedy called The Personals where no one was paid. It got great reviews and a crazy learning experience. Bat 21 was up there for the subject matter, the location and working with Gene and Danny. Flight 93 was the first 9/11 film and it was done for AE TV. It was nominated for and won a bunch of Emmys. It was also a challenge to write because the majority of the account took place on the plane. The 9/11 Commission report had just come out and had a great deal of information that I was able to incorporate into the film. We covered not only the drama on the plane but also the families as well as the air traffic controllers and military involvement on the ground.
WATM: What was your experience like in working with such talents as Gene Hackman, Danny Glover, Senator John McCain, Kiefer Sutherland, Dennis Hopper, Daryl Hannah, Rob Lowe, Patrick Swayze, Keanu Reeves, Cynthia Gibb, John Candy, Jerry Reed, Joe Pantoliano, Ed Lauter and the like?
After a tryout with the New York Islanders and being assigned to a farm team I made the abrupt decision to become a filmmaker. A good friend of my parents told me something that I never forgot – ‘If you do something you love you increase the odds a hundred-fold that you will be happy and successful.’ I gave it a shot. I ended up doing several military related projects including Bat 21 with Gene Hackman, Faith of my Fathers with Scott Glenn and Shawn Hatosy, Saving Jessica Lynch, Flight 93 and Nightbreaker with Martin Sheen and Emilio Estevez.
All were based on true stories. Bat 21 chronicled the rescue of a 52-year-old Air Force Colonel who was flying a mission to identify through electronic surveillance SAM missile sites that would be knocked out by fighter jets prior to a B52 carpet bombing. His plane was hit by a SAM and he ended up in enemy territory with no ground combat experience. He was guided to his rescue by a spotter plane that flew daily missions tracking him. Gene Hackman played the Colonel and Danny Glover the pilot. Both actors were terrific to work with. Gene prepped at night and arrived early in the day to walk the ‘set’ (only locations in our case). I don’t think I ever did more than 3 takes with him in a scene. Danny is a natural and had great insights into his character. All day aerial shooting was done with him in the plane. It was 95 degrees, humid and our takes had to be limited to seconds in some cases. It was major hazard duty, but Danny embraced it. At times he had control of the stick and relied on our stunt pilot in the other seat to let him know when to bank away.
On the set of Bat 21 with Gene Hackman and Peter. Photo credit Peter.
Clayton Rohner and Danny Glover in Bat 21. Photo credit IMDB.com
Faith of my Fathers was based on John’s McCain’s early days at Annapolis through his release from the Hanoi Hilton where he was imprisoned for 5 years. Shawn Hatosy was remarkable as he had to age 20 years over the course of the film in portraying John. Scott Glenn was perfect, giving an understated yet powerful performance as his father who was commander of all U.S forces in the Vietnam theater. McCain himself visited the set in New Orleans where we reconstructed an abandoned brewery into the prison. One day I watched him walk over to a cell by himself and enter. I joined him and asked him what he thought. His reply, ‘it’s identical. But you know at times I actually miss it.’ Perplexed, I asked, ‘miss what?’ John replied, ‘being there. I made some great friends. It was one of those shared experiences that forms you for the rest of your life.’ That summed up John McCain for me.
Peter, Shawn Hatosy and Senator John McCain on the set of Faith of my Fathers. Photo credit Peter.
Saving Jessica Lynch was a jingoistic, short of the facts script when I received it. I did extensive research which included interviewing soldiers who were in Iraq and one we hired as an extra who was part of the actual rescue effort. The final product told the real story: A convoy consisting of essentially non-combat personnel (cooks and clerks) made a couple of bad decisions and ended up driving through a town inhabited by Fedayeen. The New York Times and other reputable news outlets broke stories that our film debunked. Lynch did not shoot back during the attack. Eleven American soldiers died. She was taken to a hospital and was on her back through her rescue. The Times wrote a retraction after the film aired praising the film for its authenticity.
Laura Regan in Saving Jessica Lynch. Photo credit IMDB.com
Pete and Laura on set. Photo credit PM.
A scene from Saving Jessica Lynch. Photo credit IMDB.com.
Peter directing a scene of Saving Jessica Lynch. Photo credit PM.
Just before filming starts on the set of Saving Jessica Lynch. Photo credit IMDB.com
An action sequence from Saving Jessica Lynch. Photo credit PM.
Nightbreaker was a pet project of Martin Sheen. It chronicled the use of army soldiers as guinea pigs to determine the short- and long-term effects of being exposed to a nuclear blast. This was a story from the 50s when nuclear proliferation was at its apex. Emilio plays Martin role as a young man during the actual tests. It tracks the character in middle age trying to come to terms with his involvement. Both actors were terrific to work with and inhabited the pervasive guilt from being involved in the malignant endeavor. Joey Pantoliano played a Sergeant who was in charge of a platoon of guinea pig soldiers and brought the entire range of conflicted emotions to his part.
Peter with Martin Sheen on the set of Nighbreaker. Photo credit Peter.
Joe Pantaliano, Peter and Emilio Estevez on set for Nightbreaker. Photo credit IMDB.com
Peter and Martin on set. Photo credit Peter.
Flight 93 was the first film about 9/11. Obviously, there was a military component as soon as it was discovered that it was a coordinated terrorist attack. I remember someone seeing the film and mentioning that it must have been harrowing to make. I noted that our fuselage (the real interior of a 757) was flying at an altitude of one meter, zero knots and within a 15 second walk to craft services (snacks). The best we could do would imagine how we would have reacted in the situation. Would we have been that heroic? Would we be at the head of the conga line attacking the cockpit or hiding in the bathroom in the back? Maybe somewhere in the middle? The coordination between the military and the civilian air services was impressive even though three of the four targets were hit. The passengers on 93 had more time to gather information and communicate with ground control so enable them to coordinate an attack.
Peter on the set of Flight 93. Photo credit IMDB.com
What the outside of the set looked like. Photo credit PM.
Peter working with the cast on Flight 93. Photo credit IMDB.com
More on set work for Flight 93. Photo credit IMDB.com
93 was an intense journey as are all films. Lots of moving parts, decisions, conflicts and compromises. But ultimately it is teamwork that wins out.
Rob Lowe, Pete and Patrick Swayze on set for Youngblood. Photo credit IMDB.com
Pete (bottom center) with the cast and some crew of Youngblood. Photo credit IMDB.com
Youngblood was a passion project and a blast to make. It was about a young hockey player from the US trying out for an elite Canadian junior team. Rob Lowe, Pat Swayze and Cindy Gibb were the leads. Keanu Reeves played a goalie and it was his first job in a film. Goalies are characters because it’s such an insane position and he was totally quirky in the audition. Rob was great to work with. He had no previous experience skating but progressed quickly enough for us to make it work. He had two doubles who filled in the action scenes who were both elite players.
Pat was a figure skater and quickly adjusted to hockey skates. Rob would agree with me that Pat was a force of nature. He’d be working on 10 other personal projects when not on the set. He composed the song ‘She’s like the Wind’ in his hotel room using a portable mixing setup. We had two scrimmages a week during prep with crew and our hockey extras. Our extras were elite players (two went into the NHL a month after wrap and had huge careers). An executive from MGM came up to make sure I wasn’t participating in the games for obvious reasons and was taken to the rink and just as he sat down, he saw me collide with another player. Pat who knew the exec was there skated over to me and said ‘stay down. He’ll have a heart attack.’
Rob, Peter, Ed Lauter and Ken James. Photo credit PM.
Pete on the ice with his DP Mark Irwin. Photo credit PM.
Tony Danza, Pete, Nick Tuturro and Samuel L. Jackson on the set of Dead and Alive: The Race for Gus Farace. Photo credit IMDB.com
Frank Vincent, Tony Danza and Pete on Dead and Alive: The Race for Gus Farace. Photo credit IMDB.com
Danny Glover and Pete sharing a moment. Photo credit PM.
Dayton Callie, Michael Madsen, Pete and Dennis Hopper on the set of The Last Days of Frankie the Fly. Photo credit IMDB.com
Pete on the set of “The X-Files” with David Duchovny. Lily with the poncho, Pete, David and Melinda (Pete’s wife) Photo credit IMDB.com
Peter and Louis Gossett Jr. on the set of El Diablo. Photo credit IMDB.com
Pete and Daryl Hannah taking a break on The Last Days of Frankie the Fly. Photo credit IMDB.com
WATM: As a veteran, how do we get more veteran stories told in the Hollywood arena?
There are so many diverse stories that can be told. The multiple perspectives include what branch of service, when, the mission, the soldiers involved, fact or fiction etc. Like any project it depends on the strength of the narrative and its ability to attract the actors that help finance the project and the studio/production company to green light it. Personally, I think the number is infinite. All conflicts are different just like every individual is different.
Dennis Hopper, Pete and Kiefer Sutherland on The Last Days of Frankie the Fly. Photo credit IMDB.com
Gillian Anderson and Peter on the set of “The X-Files”. Photo credit IMDB.com
WATM: What are you most proud of in life and your career?
First would be having a family which I did at an advanced age. I met my wife, Melinda, while casting a television film. I guess you could call it an acceptable version of the casting couch. That is to say I wasn’t the only one in the room and it wasn’t at the Peninsula Hotel. She was the best actress for the part, and I was immediately attracted to her by her performance and presence. We laughed and argued (about the role) in the room. I knew she was going to be a challenge, but it has made our lives infinitely interesting. And, of course, I’m a guy and like most of our species have not progressed that much from the stone age. We have two kids, Lily and Lucas. As moms and dads know, when children make an appearance, life as you knew it evaporates. But in a good and challenging way. When they got into their teens, I learned so much. Such as I was a horrible dresser and not to yell at basketball or soccer officials. We taught them both to ski and the progression of literally carrying them down the hill to not being able to ski any of their favorite double black runs with them is humbling. You realize that you can give them some direction but that they are on their own paths and need to fumble and fall and learn to pick themselves up again.
Per career I think it would be not willing to quit. To keep trying. I never had a film gross 100 million and did not play one game in the NHL, but I was rewarded in countless ways for my efforts. I have met so many wonderful, dedicated, talented people along the way which is one of the most valid ways to judge one’s life. And I can say that my time spent in the Army was an integral part of the on-going journey.
Despite how common it is to see movies marketed as being “based on a true story” or “inspired by real events,” there’s often very little realism to be found in the 90 minutes between credits. Hollywood’s depictions of violence are always muddled by a combination of plot convenience, budget constraints, and a genuine lack of understanding of how real violent encounters play out, but as an audience, we tend not to care all that much.
Realism isn’t really what we go to the movies for, of course, otherwise the new Rambo flick would be about his battle with arthritis, and “Top Gun: Maverick” would tragically be about how many of his fellow aging pilots are dying of prostate cancer due to the high levels of radiation they’re exposed to in the cockpit. For the most part, we’d prefer that our movies make sense, but they don’t necessarily need to be tied to the laws of reality as we know them.
But there’s a downside to our willingness to suspend disbelief at the cinema: it eventually colors the way we see real violence. Thanks to movies, there are a number of misconceptions many of us harbor about how a fight plays out. Like the idea that the police owe you one phone call after you get arrested (it’s much more complicated than that), we eventually accept movie shorthand as the gospel truth, and before you know it, we just assume these things we see time after time are basically realistic.
Martin Riggs was saved by this trope in the first Lethal Weapon
Getting shot in a bulletproof vest would totally ruin your day
One of the most commonly unrealistic tropes in any movie or TV show that depicts a gunfight is how effective “bulletproof vests” are at stopping inbound rounds. The scenes even tend to play out in the same way: the bad guy gets the drop on our hero, shooting him or her center mass and sending them sprawling backward. For a brief moment, it seems all is lost… that is, until our hero stands back up, revealing their magical bulletproof vest and, occasionally, acting a bit dazed from the experience.
Of course, in real life, getting shot in most bullet-resistant vests will feel like getting hit in the ribs with a baseball bat… and that’s assuming it stops the bullet at all. In real life, ballistic protection is broken down into ratings, with lighter, more malleable Kevlar vests usually good for little more than pistol caliber attacks, and large, heavy ballistic plates required to stop more powerful platforms like rifles. There’s a solid chance the 7.62 round from an AK-47 would go tearing right through the sorts of vests often depicted in films as being “bulletproof,” and even if it didn’t, the recipient of that round would be in a world of hurt for days thereafter.
The face you make when you realize you haven’t hit anything.
Dual-wielding pistols helps make sure you don’t hit anything
There’s a long list of reasons you never see highly trained police officers or special operations warfighters engaging the bad guys with a pistol in each hand, but for some reason, movies keep coming back to the dual-wielding trope because somebody, somewhere just thinks it looks cool.
Some gunfighters will attest that in a close-quarters firefight, aiming can give way to something more akin to pointing, as you keep your field of view as open as possible to identify threats and move to engage them as quickly as you can. Even in those circumstances, however, managing the battlespace and the weapon requires your full attention, and splitting it between two pistols is a sure-fire way to lose the fight.
Without a spare hand to reload, clear malfunctions, and stabilize your weapon, your best case scenario is burning through the magazine in each pistol before having to drop them both to reload, and because you’re splitting your attention between weapons, chances are really good that you won’t manage to hit anything before you have to reload either.
This scene’s a lot darker when you realize Frank probably would have died in real life.
Any tranquilizer dart that immediately puts you to sleep would probably just kill you
Tranquilizer darts are like quicksand traps: we all grew up worried about them, but they’re surprisingly absent from our actual adult lives. Of course, there’s good reason for that — neither are nearly as threatening as they’ve been made out to be.
The thing about tranquilizing someone with a dart is that the sort of drugs used to put a patient (or animal) to sleep are also very capable of simply killing them when administered in too high a dose. That means dosages of tranquilizers must be very carefully calculated based on the size, weight, and makeup of the target. A high enough dose to instantly put a subject to sleep (as is often shown in movies) would be far more likely to kill than subdue.
There’s a reason surgeons use anesthesiologists, or doctors that specialize in administering anesthesia, to “tranquilize” their patients… when it comes to the sort of drugs that can simply kill you, it pays to be careful.
The Navy’s first newly built Ship-to-Shore Connector maritime warfare craft launched on the water in early 2018, paving the way for stepped up production and introducing a new era in modern amphibious warfare for the Marines.
Naval Sea Systems Command recently awarded a deal to Ship-to-Shore connector-maker Textron to acquire long-lead early procurement materials for the new fleet of watercraft. The new SSC mobile amphibious connectors are able to transport larger armored vehicles, such as an Abrams tank, from amphibious assault ships to combat ashore.
The new SSCs are designed to replace the existing fleet of Landing Craft Air Cushions (LCAC) able to move Marines, weapons and supplies from ship to shore for amphibious operations. The connectors will integrate emerging computer technology able to reduce the needed crew size and perform more functions independently.
The upgraded amphibious ship-to-shore craft includes lighter weight composite materials, Increased payload capacity, modernized engines, and computer automated flight controls, Textron Systems Vice President of Marine Systems Scott Allen told Warrior Maven in an interview in early 2018.
The SSC’s new Rolls Royce engines will have more horsepower and specialized aluminum to help prevent corrosion. The lighter weight be enable a better lift capacity, allowing the craft to transport up to 74-tons — enough to transport heavy armored vehicles from ship to shore for an amphibious assault, Allen said.
Textron Ship-to-Shore Connector.
The Navy’s 72 existing LCACs, in service since the 80s, can only transport up to 60-tons, reach speeds of 36-knots and travel ranges up to 200 nautical miles from amphibious vehicles, Navy officials explained.
Textron engineers also say the SSC is built with digital flight controls and computer automation to replace the traditional yoke and pedals used by current connectors. As a result, on-board computers will quickly calculate relevant details such as wind speed and navigational information, they explained.
The new SSC’s have also moved to a lower frequency for ship electronics, moving from 400 Hertz down to 60 Hertz in order to better synchronize ship systems with Navy common standards, Textron developers explained. Along with these properties, the new craft reduces the number of gear boxes from eight to two.
With some of the existing fleet of LCACs approaching 30-years of service, the Navy needs to begin replacing them with new ones, service officials have told Warrior Maven.
The new Rolls Royce engine is the same one currently used in an MV-22 Osprey tilt-rotor aircraft, Textron developers said. The new SSCs also increases the strength of the deck and improve the propellers when compared with existing LCACs.
An amphibious assault vehicle assigned to 3rd Battalion, 3rd Marine Regiment, embarks the well deck of the amphibious transport dock ship USS Green Bay (LPD 20).
(U.S. Navy photo by Mass Communication Specialist 1st Class Chris Williamson)
LCACs can access over 70-percent of the shoreline across the world, something the new SSCs will be able to do as well, service officials said.
Designed with over-the-horizon high-speed and maneuverability, LCACs are able to travel long distances and land on rocky terrain — even driving right up onto the shore.
In order to bridge the gap from existing LCACs to the new SSCs, the Navy implemented a special service life extension program for the LCACs — many of which are now approaching three decades of service.
The LCACs were re-engined with new engines, given new rotating machinery, new command and control systems, new skirts and fixes to corrosion issues. The effort is designed to put another 10 years of life back into the LCAC, Navy officials described.
The idea with the service life extension is to bridge the time-lapse or gap until the new SSCs are ready to enter the force in larger numbers, senior Navy officials explained.
Some of the enhancements being engineered into the SSCs are designed to address the changing threat landscape in a modern environment, a scenario that is expected to change how amphibious operations will be conducted in the future.
Since potential adversaries now have longer-range weapons, better sensors and targeting technologies and computers with faster processing speeds, amphibious forces approaching the shore may need to disperse in order to make it harder for enemy forces to target them. This phenomenon, wherein potential adversaries have advanced weaponry designed to make it harder for U.S. forces to operate in certain areas such as closer to the shore, is described by Pentagon analysts as “anti-access/area-denial.”
This article originally appeared on Warrior Maven. Follow @warriormaven1 on Twitter.
At the end of Star Wars: The Last Jedi, Luke Skywalker said: “see ya around, kid.” And now, it seems like Luke and is real world alter-ego, Mark Hamill, weren’t kidding around. It’s not exactly confirmed yet, but Mark Hamill is strongly suggesting that he will return to the role of Luke Skywalker for the final installment of the newest Star Wars trilogy, the yet-untitled Star Wars Episode IX, debuting on Dec. 20, 2019.
On July 5, 2018, Hamill posted a countdown to Episode IX on Twitter with the words “Who’s counting? #9WillBeFineAllInGoodTime.”
Although Hamill is an expert at lovingly messing with Star Wars fans online, posting this reminder that the next Star Wars film is over a year away seems pointed. Ask yourself this question: why would Mark Hamill be posting about Star Wars: Episode IX on Twitter if he had absolutely nothing to do with it? Then, ask yourself another question: because Episode IX is possibly the very last installment of numbered Star Wars films in the main “saga,” would J.J. Abrams really not include the most beloved and famous character of all time for the grand finale? Search your feelings, you know it to be true! Mark Hamill is will return as Luke Skywalker, and if he doesn’t then he’s trolled people on Twitter harder than usual, and the powers-that-be at Disney and Lucasfilm have really dropped the lightsaber.
From a canonical, nerdy standpoint, one might wonder how Luke Skywalker could return in Episode IX since he clearly became one with the Force at the end of The Last Jedi. But, that question answers itself. We all saw Luke fade away into the Force, just like Yoda and Obi-Wan did, meaning his spirit will doubtlessly live on and guide Rey, and maybe even Ben Solo, from beyond the grave.
To put it another way, if Luke could project his image halfway across the universe just to play mind games with Kylo Ren, then it stands to reason his ghost will show up in Episode IX. And if Mark Hamill can play mind games with Star Wars fans on Twitter, then it also stands to reason he’s full of more than just a few surprises.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
The Air Force was recently considering a new strategy to its PT tests. In a nutshell, it’s going to give any airmen who might fail a PT test a “mulligan” and list the test as a diagnostic instead of a record test. It may possibly be allowed for an airman to list a failed test as off-the-books, but that part isn’t set in stone.
The Air Force was surprisingly serious (to the other troops who use phrases like “Chair Force”) about failed PT tests and other branches also have a practice test system in place. But I can’t help but point out the bad optics on this one.
I mean, I get it. Any notion that the Air Force might someday consider being a fraction more lenient in comparison to the other branches or older vets will cause outrage. On the other hand, I know I would have killed for something like that back in my lower enlisted days…
Anyways, here are some memes while I ponder how much weight I’ve gained since getting out of the Army…
(Meme via Private News Network)
(Meme via Army as F*ck)
(Meme via Disgruntled Vets)
(Meme via The Salty Soldier)
(Meme via Decelerate Your Life)
(Meme via On The Minute Memes)
True story: I had an E-6 MP live in the apartment next to me off-base…
You know the type, the kind that called in a “noise violation” for my TV being “too loud.” Seeing him get an eviction notice was one of the happiest days of my life in the Army.
If you were taken aback by Tony Stark’s face during his final moments in “Avengers: Endgame,” it could have looked a lot more grisly.
“We gave the filmmakers a full range [of looks] to choose from and one of those was where the energy from the stones had acted right up into his face and popped one of his eyeballs out and it was hanging out on his cheek,” Weta digital VFX supervisor Matt Aitken told Insider of one of the most gruesome designs they did for Iron Man’s death.
“They didn’t go for that one,” Aitken chuckled.
The “Endgame” visual effects team, consisting of Industrial Light and Magic (ILM), Marvel, and Weta Digital, put together a full range of looks for Marvel Studios and directors Anthony and Joe Russo to look over.
The team needed to strike the perfect balance between a look that was believable enough that Tony could die, but that wasn’t too scary for kids and families to watch together.
This was one of many designs made for Tony’s death scene.
“With any development item, you want to be able to give the filmmakers a full gamut, from sort of a light touch all the way to horror, and this will never be in it,” said Marvel VFX producer Jen Underdahl. “But by doing that exercise and by letting them see sort of every stage, they can kind of pinpoint and circle the drain on where they think the look is going to settle.”
“We did go several rounds on that guy from grisly to not so grisly to more light of a touch, back to OK this is the spot where we think the audience is not going to get too freaked out, but also really understand that Tony has reached the point of no return,” Underdahl added.
The film helped lay out viewer’s expectations for Tony’s impending death by physically showing the damage the stones did to two other larger, powerful characters. The idea was that, hopefully, by the time Tony snapped and used the gauntlet viewers would be able to see the consequences of him wielding the stones.
“We had seeded in the film this notion of Thanos having damage. There are consequences to him snapping and pursuing this ideology. You see the damage in his face and what that did to him, and he’s built for this,” said Underdahl. “Then [you] see the consequences to Smart Hulk, who was made of gamma radiation and the damage that it did there.”
If this is what the stones did to Hulk, then you had to know it wasn’t going to go well for Tony.
(Marvel Studios, composite by Kirsten Acuna)
“You knew somewhere in the math that Tony himself, even though he’s got this suit and it’s going to fight for him, ultimately what’s going to result would be something he couldn’t recover from,” she added.
Atkins, Underdahl, and Marvel visual effects supervisor Swen Gillberg said they pushed the design past where they wanted to go so that they ultimately fell somewhere right in the middle of two extremes.
Another one of those extreme looks involved a nod to one of Batman’s most famous villains.
“We did do a Two-Face version where you got inside and you saw the sinews and you saw them in the teeth and that,” said Underdahl of another one of the more grisly Tony Stark designs.
In “The Dark Knight,” the Batman villain, Harvey Dent, is severely burned after half of his face is lit on fire.
For reference, here’s how Dent/Two-Face looks. I think it’s safe to say no one would have wanted to see this version of Tony.
“It takes you away from this really powerful moment,” said Underdahl of why that wouldn’t have been the right move for that moment. “You don’t want to be focusing on that or grossed out.”
“When he’s collapsing against the tree stump, you’ve got to know that he’s in a really bad predicament, that he has made this terrible sacrifice,” Atkins added. “But then you also didn’t want it to distract from his performance. And it’s a really subtle performance that he has in those intimate moments with Spidey and then with Pepper. So yeah we definitely worked quite hard on achieving that one, but we got there.”
“Avengers: Endgame” is one of 10 films on the shortlist for the visual effects category at the 92nd Academy Awards. The five final Oscar nominees will be announced Monday morning.
This article originally appeared on Insider. Follow @thisisinsider on Twitter.
Ethiopian Emperor Tewodros II spent his last hours holed up in a fort near the Red Sea town of Maqdala. He was under siege by British troops who had just routed his numerically superior force and tore through his lines. With the British storming his fortress, the Emperor shot himself in the head, ironically using a gun gifted to him from Queen Victoria.
British forces had a field day with the fort. They would eventually destroy it before heading back to England, but first, they had to plunder everything of value from the captured prize. Their victory train required 15 elephants and 200 mules to carry all the gold, gems, and artifacts back to where they came from. But the British took more than that, they presented the Emperor’s seven-year-old son to Queen Victoria and kept locks of Emperor Tewodros II’s hair as a prize.
Not my first prize choice, but whatever.
Tewodros’ legacy lives on in the hearts and minds of Ethiopians to this day. More than 150 years later, the defiant Emperor’s spirit of independence inspires some of Ethiopia’s finest writers and artists. He is now a symbol for the potential of the country, a forward-thinking leader that would not bow to outside pressure or simply allow his people to be colonized. His star was on the rise as he worked to keep his country away from the brink of destruction, only to be brought down in a less-than-glorious way.
The Christian emperor was busy reuniting Ethiopia from various breakaway factions as the power and force of Islam and of Islamic nations put pressure on him to push back. Tewodros expected help from the Christian nations of the world but found none was forthcoming. He tried imprisoning British officials to force an expedition to come to Ethiopia’s aid. He got an expedition, but the 12,000 troop-strong force was coming for him, not his enemies.
The fort at Maqdala overlooks a deep valley. The British did not have an easy time of it here.
The Emperor imprisoned those officials at Maqdala, where he himself was holed up, along with 13,000 of his own men. The British force coming to the fort was comprised of only 9,000 men, but they were carrying superior firepower with them. When the redcoats completely tore up the Abyssinian army, Tewodros decided to take his own life, rather than submit to the humiliations that the British would surely subject him to.
That small act of defiance earned him immortality in Ethiopia, who remembers Tewodros today as one of the country’s most prominent cultural and historical figures.
And for decades, the Ethiopians have demanded the return of Tewodors’ hair. Only now, after decades and a French push to restore captured colonial artifacts to their home countries, has England ever considered giving in.