The attack on Pearl Harbor happened 77 years ago on Dec. 7, 2018.
The Japanese attack on the US naval base in Hawaii killed more than 2,400 American sailors and civilians and wounded 1,000 more.
Japanese fighter planes also destroyed or damaged almost 20 naval ships and more than 300 planes during the attack.
Several photos were captured during the attack, some of which have become iconic of that infamous day.
Here are the stories behind five of those unforgettable images.
A Japanese fighter plane drops what’s believed to be the first bomb on Pearl Harbor on Dec. 7, 1941.
1. The first bomb likely dropped.
The above photo, which was taken by a Japanese photographer, was found by US Navy photographer Martin J. Shemanski at Yokusuka Base near Tokyo Bay shortly after the Japanese surrendered.
The photo shows the Japanese fighter plane (the small black speck that almost looks like a bird) appearing to pull out of a dive after dropping the bomb on Battleship Row. Another Japanese fighter plane can be seen in the upper right corner.
Shemanski and four other US military photographers were ordered to go through Japanese photo processing labs after the surrender, and he found it torn up in a trash can.
“It had a torn photo in it,” Shemanski told the Press-Enterprise in 2015.
“I picked up a couple pieces and I got a shot of a torpedo hitting the Oklahoma. I thought, ‘This is Navy intelligence,'” he added.
The USS Oklahoma was a Nevada-class battleship that was sunk during the attack on Pearl Harbor.
Shemanski told the Press-Enterprise that the picture was torn up in about 20 pieces.
The USS Shaw explodes during the Japanese attack on Pearl Harbor on Dec. 7, 1941.
(US Navy photo)
2. The USS Shaw explodes.
This photo shows the USS Shaw destroyer exploding while in floating dry dock.
Between 7:55 a.m. and 9:15 a.m., the Shaw was hit by three bombs released by Japanese fighters in steep dives from approximately 1,000 feet, according to the US Navy action report.
The Shaw immediately caught fire, and the ship was abandoned. About 20 minutes later, as sailors were trying to flood the dry dock to save the ship, the forward magazines blew up, which is pictured above.
The blast destroyed the bow and damaged the dry dock and a nearby tugboat.
Initially thought to be a loss, the Shaw was eventually repaired and later took part in several engagements in the Pacific, including the biggest naval battle of all-time, the Battle of Leyte Gulf.
The USS West Virginia (left) next to the USS Tennessee during the attack on Pearl Harbor on Dec. 7, 1941.
(US Navy photo)
3. Battleship Row on fire.
The picture above shows the USS West Virginia and USS Tennessee battleships on fire in Battleship Row.
Battleship Row was where seven US Navy battleships were moored on the eastern side of Ford Island (shown in the first picture), which rests in the middle of Pearl Harbor.
These seven battleships alone (the USS Arizona, USS West Virginia, USS Oklahoma, USS Tennessee, USS Maryland, USS California, and USS Nevada) were equal to about 70% of Japan’s active battleship fleet.
Each Japanese torpedo plane carried one Type 91 aerial torpedo with a warhead of 992 pounds, and 21 of them hit their targets. Japanese bombers then flew in after the torpedo plane attacks and caused further damage.
In total, the Japanese sunk the Oklahoma and Arizona, and damaged the other five ships.
A small boat rescues a crew member from the water after the Pearl Harbor attack.
4. Rescuing sailors from the USS West Virginia.
This photo shows a boat rescuing a crew member from the water as two other sailors are in the upper center of the burning USS West Virginia’s superstructure.
The USS West Virginia was a Colorado-class battleship that was hit by at least seven torpedoes and two bombs during the attack.
When the West Virginia was raised from the water for repairs six months after the attack, they found the bodies of three US Navy sailors who had been trapped in a compartment for 16 days, according to the Honolulu Advertiser.
US Marines standing guard had heard the sailors banging for help, but they couldn’t do anything. No one on guard wanted to go near the ship and hear the sounds.
When the sailors bodies were finally recovered, rescuers found a calendar on which the sailors had marked their last days.
We opened fire. . . The battle was a warm one while it lasted. . . While the fight was on, there was nothing to see but Spanish ships burning and sinking. Ship’s Bugler Harry Neithercott, U.S. Revenue Cutter Service McCulloch, Battle of Manila Bay, 1898
The quote above by an eyewitness to the Spanish-American War’s Battle of Manila Bay attests to the fury of this naval conflict as well as the damage inflicted by U.S. warships, including the revenue cutter McCulloch.
The cutter McCulloch was commissioned on Dec. 12, 1897, under the command of U.S. Revenue Cutter Service Capt. Daniel Hodgsdon. Built in Philadelphia, the McCulloch was named for two-time Treasury Secretary Hugh McCulloch. At 220 feet in length and 1,300 tons displacement, the ship was the largest revenue cutter built up to that time. A “cruising” cutter for high seas deployments, it boasted a main armament of one 15-inch bow-mounted torpedo tube and four 3-inch guns, and had an advanced composite hull design with steel planking sheathed with wood.
Before the Spanish-American War commenced, McCulloch made history by steaming from the East Coast to its first station at San Francisco the long way around the globe. This was the first cutter to sail the Mediterranean and transit the Suez Canal. It was also the first to pass through the Red Sea and Indian Ocean, and the first revenue cutter to visit the Far East. Upon arrival at Singapore on April 8, 1898, two weeks before the United States declared war with Spain; orders directed McCulloch to report to Commodore George Dewey and the U.S. Navy’s Asiatic Squadron in Hong Kong. As was common with foreign warships in the Far East at the time, McCulloch hired several Japanese and Chinese men to serve as stewards and in the engine room.
Water color illustration of the McCulloch in combat during the Battle of Manila Bay. Notice the inaccurate hull color of white rather than the navy gray worn at the time of the battle.
(U.S. Coast Guard collection)
On April 27, the squadron stood out of Mirs Bay, China, approaching the Philippines three days later. Dewey’s squadron consisted of cruisers Olympia, Boston, Baltimore and Raleigh; and gunboats Concord and Petrel. McCulloch steamed at the rear of the squadron to protect the storeships Nanshan and Zafire. In the midnight darkness of April 30, Olympia had approached Manila Bay followed by the squadron and McCulloch with the storeships. Just as McCulloch passed El Fraile Rock at the entrance to Manila Bay, built-up soot in the cutter’s smokestack caught fire and lit-up the night. Soon, a Spanish battery on El Fraile opened fire on McCulloch, but USS Boston and McCulloch returned fire and silenced the Spanish gun. During the engagement, McCulloch’s chief engineer, Frank Randall, worked feverishly to quell the blaze and died from the heat and overexertion.
As he entered Manila Bay, Dewey slowed the squadron to four knots. He did this to time his opening salvos to daybreak. He ordered McCulloch to guard the storeships, protect U.S. warships from surprise attack and tow any disabled warships out of enemy range. A little past 5 a.m., the battle commenced with Dewey’s famous command, “You may fire when ready [Capt.] Gridley.” Eyewitnesses to the battle recalled that McCulloch found no need to tow U.S warships out of the battleline. When its duty to protect the storeships and rescue damaged warships had ceased, McCulloch joined the fight firing some of the final rounds of the battle.
Chief engineer Frank Randall of the McCulloch died of a heart attack trying to put out a smokestack fire. His was the only death associated with the Battle of Manila Bay and he was buried at sea.
In the Battle of Manila Bay, Dewey’s warships destroyed the Spanish forces as Manila Bay. Before surrendering, the Spanish had lost their entire fleet including 400 officers and men. No American warship was seriously damaged, eight Americans were wounded and chief engineer Randall the only loss of life. Due to the cutter’s superior speed, Dewey dispatched McCulloch to the closest cable facility at Hong Kong bearing news of the victory and the surrender of Spanish forces. In a message to the secretary of the Navy, Dewey commended Hodgsdon for the efficiency and readiness of the cutter.
In January 1899, over a year after departing the East Coast, McCulloch finally arrived at its new homeport of San Francisco. From San Francisco, McCulloch patrolled the West Coast from Oregon to the Mexican border. During part of this time, the ship sailed under the command of famed cutter captain “Hell Roaring” Mike Healy. Beginning in 1906, the crew undertook the annual Bering Sea patrol duty. During these 20,000-mile cruises, McCulloch became well known for humanitarian relief and its mission as a floating court trying legal cases in towns along the Alaskan coast. McCulloch also enforced fur seal regulations patrolling the waters around the Pribilof Islands and seizing poaching vessels of all nationalities. After returning to San Francisco in 1912, McCulloch resumed patrol operations along the West Coast.
Members of McCulloch’s crew pose with a Spanish shore gun disabled during Battle of Manila Bay.
(U.S. Navy photo)
The 20-year-old cutter joined the fight a second time on April 6, 1917, when the U.S. entered World War I. At 6 p.m., McCulloch received telephone instructions from the division commander to put into effect Mobilization Plan Number One. By 7:25, the cutter received a similar “ALCUT (all cutters)” message from Coast Guard Headquarters. In response, the McCulloch transmitted to the local Navy commander a coded radiogram reading “Commanding Officer, U.S.S. OREGON. Mobilization orders received. Report MCCULLOCH for duty under your command.” McCulloch was one of nearly 50 Coast Guard cutters that would serve under the direction of the U.S. Navy.
On June 13, 1917, still a year before the war’s end, McCulloch was lost in an accident. The cutter collided in dense fog with the Pacific Steamship Company steamer Governor and slowly sank off Point Conception, California, with the loss of one crew member. Fast forward to the summer of 2016, when National Oceanic and Atmospheric Administration (NOAA) remotely operated underwater vehicles identified a ship lying in deep water off the California coast. The outline and size of the image closely resembled that of the McCulloch. In October 2016, a joint NOAA-U.S. Coast Guard underwater survey positively identified the wreck as the famous cutter. The discovery was announced to the public in mid-June of 2017, 100 years after its final plunge.
McCulloch was one of five ships lost during World War I. In 1917, the ship sank after a collision in the fog off the coast of California.
(San Francisco Maritime National Historical Park)
During the ship’s 20-year career, McCulloch performed the missions of search and rescue, ice operations, law enforcement, environmental protection, humanitarian relief, and maritime defense. The ship recorded many firsts, such as the first cutter to steam through the Mediterranean and Red seas, transit the Suez Canal, and visit the Far East by way of the Indian Ocean. In addition, its West Coast cruising territory extended from the Arctic and Alaska to southern California. Cutter McCulloch and the men who sailed it remain a part of the legend and the lore of the long blue line.
World War I’s western front stretched from the English Channel to the Adriatic Sea and passed through the Italian Alps. The soldiers there were miserable and the conflict was characterized by long, bloody deadlock.
Life for soldiers of the Italian Army was no different. They were poorly equipped and trained, which was even worse horrible when combined with the incompetence of many high-ranking officers. This lack of leadership and equipment is a key reason Austro-Hungarian troops were able to invade the northeast part of Italy.
Soldiers on WWI’s Italian front fought enemies, frostbite, and avalanches.
In 1915, a sudden breakthrough came for the Italians in the form of a special operations unit. Some Italian officers and enlisted men volunteered to go behind enemy lines to gather information and create confusion among their enemies. These volunteers took the name of “Esploratori Arditi” – or “hardy explorers.”
These men were noted for their bravery and initiative and, by the end of the year, the first companies of Arditi were ready for action. Many of their fellow soldiers called them “Companies of the Death” because of the high number of casualties they both suffered and inflicted.
The Arditi led several attacks into the enemy trenches, quite often armed only with grenades and knives. One of their actions is described in the official records relative to the Silver Medal of Honor granted to Capt. Cristoforo Baseggio.
Arditi were issued unique equipment, like this diamond visor.
In 1916, Baseggio led an isolated column of 1500 men — about 200 Arditi and the rest mountain troopers. He ordered an attack on two enemy strongholds at Saint Osvaldo, one at an elevation of 1100 meters and the second at 1440. Even though it was April, there was still snow on the mountains. Soldiers climbed their way up, sliding and falling along the way. Their hands were covered in cuts etched in by frozen crags. Donkeys followed behind, pulling the artillery pieces.
Once they arrived, the soldiers spent the night digging trenches and foxholes. Between 5am and 9am, the Beech trees that hid the Austrians became a hell of flames and metal.
Two companies of mountain troops were sent to the right and to the left sides of the Austrian trenches. The Arditi were ready to attack the center just as soon as artillery blew away the barbed wires. They engaged the enemy in furious hand-to-hand combat, forcing the defenders to fall back, inward to the second line of trenches that encircled the mountain like a crown.
From their higher position, the Austrians managed to trap the Italians in the very trenches they conquered. The first two companies sent by Capt. Baseggio should have joined the action, attacking the enemy from the sides, but never showed up. The captain decided to go look for them himself. He ran through the snow, dodging bullets and hopping over corpses.
Soon, he found the two companies of Arditi pinned down by enemy fire. By all practical measures, his pincer maneuver had failed, so he decided to return to the central section with more of his men. While the reinforcements couldn’t get close enough to the Arditi, the sight of their captain gave the the Hardy Explorers strength enough to push forward again and recapture the trench
Fighting on the Italian Front was particularly brutal.
The two Austrian companies on higher up the hill managed to hold the attackers for a time, but without reinforcements, they were not able to hold it for very long. As was typical of World War I, the Italians gained and lost the trench several times — each advance cost them dearly. On a third attack, the Italians reached the second trench, fighting over piles of corpses made up of troops of both armies. From the nearby high ground, an Italian Lieutenant could see the battle. He wrote,
“The fight on the other side of the valley intensifies more and more, it will soon involve me and my men. I’m separated from my comrades by four hours of rough march. It has been 36 hours that we have not eaten, but we will join our brothers in arms.”
The shocking thunders of artillery were interspersed with moments of silence, during which the men fought each other with knives and bayonets. A mountain trooper named Turin used all of his grenades to clean a trench in the highest position. Then, he jumped in to find an Austrian who had stood his ground in face of the bombardment. Turin’s rifle jammed and the Austrian managed to rip off part of the Italian trooper’s skull.
His comrades arrived and killed the Austrian. Turin wanted to continue the attack, even with his face covered by a horrible mask of blood. He couldn’t stand properly because of the shock. Only the resolute order of his superior convinced him to retreat — but not before cursing the now-dead Austrian one last time.
Arditi became known for their knife-fighting skills.
Forced to step back, the Italians retreated downhill once more, the last of them was a Lt. Rabaioli, who ran back smiling — holding six rifles stolen from the enemy.
After two days of battle and with the reinforcements of Lt. Bongiovanni, Capt. Baseggio took the first of the two strongholds — and went immediately on to recon the second, which was defended by an Austrian battalion. He spent the entire next day attacking this position, using his advantage of artillery in higher position to rain hell on the enemy.
By the end of the day, only a quarter of his company of Arditi — about 50 men — were still able to fight. Exhausted, he gathered and aligned the remaining Arditi in the open and inspected the weapons. Then, they all started marching in a parade in front of the enemy, who, astonished, ceased the fire and abandoned the position.
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.
Everyone has their favorite piece of issued gear. It doesn’t matter why you love it, you just do. And chances are good that you loved it so much, it got “lost” during your last deployment.
Military people are good people, so I don’t like to use the word “theft.” We’ll call it the usual, “Strategic Transfer of Equipment to an Alternate Location.”
7. IR patches
Do you know which country’s troops are the toughest in combat? The United States. Now, do you know which country’s troops would be the most lethal for U.S. troops to fight? The United States.
Those backward flags worn U.S. military uniforms keep blue-on-blue accidents from happening at night. While in the field, they’re worn on the chest or arm. When the wearer transitions to veteran status, it goes on their ball cap.
No matter which brand you prefer, Gerber or Leatherman, this is one of the most useful things troops deploy with. The range of use is astonishing. You can use it for one of its many on-label functions, like a screwdriver. Or maybe you need to bend the lower receiver on a .50-cal back into place. Or maybe you need to pull some shrapnel out of your battle buddy. The multi-tool is what you need.
In your post-military life, your Gerber is likely to end up constructing Ikea furniture.
5. Gen-III cold weather fleece
Everyone knows a fleece jacket is both comfortable as hell while making you look 20 pounds heavier. The Army’s extreme cold weather fleece has the same problem with the added benefit of being a part of a bigger cold weather system that actually works.
The old issued M-65 field jackets were just like coats, in that you wear them, but they were about as protective as flip-flops.
4. Angle-head flashlights
In the event of nuclear war, two things will survive: cockroaches and your old, angle-head flashlight. These old things are beloved by veterans of many eras. Sure, they update the issued lights, they switched to surefire flashlights, and they even updated the angled heads on some models, but there’s a reason these are so iconic.
You may not have a daily use for a signal light, but chances are good this is in your home or car emergency kit — or even your bug-out bag.
3. The KA-BAR
This one only applies to Marines, but the KA-BAR is pretty much the utility knife. For whatever reason they might need a utility knife, Marines will always say their issued KA-BAR is indispensable. And none of them ever want to give it up at the end of the day.
Not every branch refers to the poncho liner as the “woobie,” but everyone can appreciate how useful this blanket is. It now even has a cult following of troops and veterans who turn their woobies into everything from smoking jackets to snuggies.
If you don’t think the Camelback is an amazing advance in issued military equipment, try to remember what it was like to haul around a canteen on your LBV.
You know what else is great about taking a camelback on a deployment? Or hiking, or boating, or literally anywhere else where you need to carry a lot of water? It doesn’t taste like sh*tty canteen water.
On April 14, 1865, John Wilkes Booth shot President Abraham Lincoln at Ford’s Theater in Washington, D.C. with a .44-caliber single-shot derringer pistol to the back of the head. While Booth fled on horseback, the president was rushed to a boarding house across the street to await the surgeon general. Sadly, the 16th president of the United States died the next morning at the age of 56.
The assassination has maintained infamous throughout history for many reasons. First, the attack was public and led to a heated manhunt. Perhaps more significantly, after four years of civil war, Confederate General Robert E. Lee had just surrendered his army only five days before, effectively ending the conflict. Though Lincoln would not live to see his country recover, in death he kept the promise he made to the Union during his inaugural address “to preserve, protect and defend it.”
President Lincoln and his wife, Mary Todd Lincoln, were at Ford’s Theater that night to attend Our American Cousin, a comedy. The Library of Congress has preserved the contents of the president’s pockets on his final night. Here’s what he had:
Watch the video above to see details of the items in his pockets, which include a pocket knife and two pairs of spectacles. The president also carried on his person a watch fob and a linen handkerchief, stenciled with “A. Lincoln” in red. While these feel very simple, there are some more curious items as well.
First, the president carried newspaper clippings, including, according to the Library of Congress, several favorable to the president and his policies. It’s almost like the 19th Century version of checking out what Twitter had to say about the administration.
Even more curious was the fact that the only currency Abraham Lincoln carried the night he died was a five-dollar Confederate note in a brown leather wallet. “We don’t know with one hundred percent certainty but just a few days earlier, Richmond had fallen, and Lincoln did actually travel to Richmond and this was likely passed onto him as a souvenir,” shared Clark Evans, Head of Reference Services in the Rare Book and Special Collections Division of the Library of Congress.
After his death, the contents of President Lincoln’s pockets were passed onto his son, Robert Todd, and they remained in the Lincoln family for more than seventy years. They were finally placed on display at the LIbrary of Congress in 1976, where they remain the most favored of all objects within the library’s collections.
Myth: There is such a thing as true bulletproof glass
In movies and TV shows, bulletproof glass is often depicted to be indestructible. No matter what weapon is used, no matter how many bullets are fired, bulletproof glass remains intact and unchanged. The only problem is, in real life, bulletproof glass isn’t really bulletproof and it isn’t really glass.
The correct term for “bulletproof” glass is bullet resistant. Why? Because with enough time and concentrated effort or just a big enough caliber bullet, a person can become victorious over the supposed indestructibility of “bulletproof” glass. The strength and durability of bullet-resistant glass depends on how it is made and the thickness of the final product.
Fire a bullet at a normal sheet of glass and the glass will shatter, right? So, how exactly does glass become bullet resistant? There are three main kinds of bullet-resistant glass:
1) Acrylic: Acrylic is a hard, clear plastic that resembles glass. A single piece of acrylic with a thickness over one inch is considered bullet resistant. The advantage of acrylic is that it is stronger than glass, more impact resistant, and weighs 50 percent less than glass. Although acrylic can be used to create bullet-resistant glass, there is no actual glass in the final product.
2) Polycarbonate: Polycarbonate is also a type of plastic, but it differs from acrylic in many ways. Polycarbonate is a versatile, soft plastic with unbeatable strength. It is a third of the weight of acrylic and a sixth of the weight of glass, making it easier to work with, especially when dealing with thickness. Polycarbonate is combined in layers to create a bullet resistant product. Whereas, acrylic repels bullets, polycarbonate catches the bullet and absorbs its energy, preventing it from exiting out the other side. Polycarbonate is more expensive than other types of materials, including glass and acrylic, so it is often used in combination with other materials for bullet-resistant glass.
3) Glass-Clad Polycarbonate Bullet-Resistant Glass: This type of bullet-resistant glass uses a combination of materials to create the desired result. We are all familiar with the process of lamination. It is what teachers do to paper to protect it from the unidentifiable substances of kids’ fingers so it will last longer. Manufacturers of glass-clad polycarbonate bullet-resistant glass use the same process. A piece of polycarbonate material is laminated, or sandwiched, between ordinary sheets of glass and then it undergoes a heating and cooling process to mold the materials together into one piece. The end result is a product that resembles glass but is thicker and more durable.
Thickness plays a huge part in a product’s ability to resist bullets. Bullet-resistant glass is designed to remain intact for one bullet or one round of bullets. Depending on the force of the bullet being fired and what type of weapon is used, a thicker piece of bullet-resistant glass is needed to stop a bullet with more force. For instance, a shot fired from a 9mm pistol is less powerful than one fired from a rifle. Therefore, the required thickness of bullet-resistant glass for a 9mm pistol is less than is needed for a rifle. The final thickness of bullet-resistant glass usually ranges from about .25 inches to 3 inches.
The latest and greatest design for bullet-resistant glass is one-way bullet-resistant glass. Yes, it is exactly what is sounds like. One-way bullet-resistant glass consists of two layers–brittle glass and a flexible material such as the polycarbonate plastic material described above. When a bullet hits the brittle glass layer first, the glass breaks inward toward the plastic, which absorbs some of the bullet’s energy and spreads it over a larger area so the polycarbonate material is able to stop the bullet from exiting. When a fired bullet hits the polycarbonate material first, the bulk of the force is concentrated on a small area that prevents much energy from being absorbed. Then, since the glass material breaks outward away from the polycarbonate, the bullet maintains enough energy to break through the glass and travel toward its destination. One-way bullet-resistant glass is most ideal for armored vehicles.
The moral of the story is don’t believe everything you see. Although movies do a good job to entertain us and teach us a thing or two, the truth about bullet-resistant glass is not one of them.
Depending on the size and type of bullet-resistant glass, it can cost between and 0 per square foot.
Although polycarbonate plastic can bond with glass to resist bullets, paper towels can scratch its surface and ammonia-based window cleaning liquids will damage the material.
Obtaining bullet-resistant glass is completely legal in the United States. You don’t even need a permit.
The most popular bullet-resistant product in demand is bulletproof transaction windows like those used in banks.
Ever thought about making your beloved iPad bulletproof? A company in California created an iPad cover made of polycarbonate material to better protect the device. Although the new transparent cover will protect the screen from scratches, dents, and shattered glass, there is no guarantee that the bullet-resistant material will actually stop a bullet.
A sheet of polycarbonate plastic can take an hour beating with a sledgehammer, whereas, an acrylic piece of comparable thickness might succumb in minutes.
Marine Corps drill instructor and Hollywood actor R. Lee Ermey was robbed of an Oscar for his legendary portrayal of Gunnery Sergeant Hartman in Stanley Kubrick’s 1987 classic “Full Metal Jacket” and snubbed by the Academy’s Oscar “memoriam” montage.
But while the Academy may not have thought his contribution worth recognition, we know the Gunny knew a thing or two we should all remember about military service.
Ermey had a long career. As well as his iconic role in “Full Metal Jacket,” where he improvised most of his dialog, and that long run on “Mail Call,” he played iconic roles as the police captain in “Se7en,” the voice of Sarge in the “Toy Story” movies, the mayor in “Mississippi Burning” and a chilling serial rapist in a 2010 episode of “Law & Order: SVU.”
Ermey also had a wicked sense of humor, one that allowed him to play the over-the-top movie director Titus Scroad in the cult TV series “Action” and the lead kidnapper in the “Run Ronnie Run,” the bizarre comedy from “Mr. Show With Bob and David” guys Bob Odenkirk and David Cross.
He left us on April 15, 2018, and he’s now at rest at Arlington National Cemetery.
So what did his TV and movie appearances teach us about service? Here are nine great examples.
1. Once a Marine, always a Marine.
In his “Full Metal Jacket” rants, Gunny Hartman tells his recruits that their Marine Corps training had permanently changed them. They’re no longer mere men: They’ve become Marines.
“Today, you people are no longer maggots. Today, you are Marines. You’re part of a brotherhood. From now on, until the day you die, wherever you are, every Marine is your brother. Most of you will go to Vietnam. Some of you will not come back. But always remember this: Marines die. That’s what we’re here for. But the Marine Corps lives forever and that means you live forever.”
2. You gotta break someone before you build them up.
Few civilians understand the bonds of trust required for a military unit to function and even fewer can grasp the process that goes into tearing down the idea of the individual so a person can be truly absorbed into the group. Gunnery Sgt. Hartman can help you with that.
“If you ladies leave my island, if you survive recruit training, you will be a weapon. You will be a minister of death praying for war. But until that that day, you are pukes. You are the lowest form of life on Earth. You are not even human fucking beings! You are nothing but unorganized grab-ass-tic pieces of amphibian shit! Because I am hard, you will not like me! But the more you hate me, the more you will learn! I am hard, but I am fair! There is no racial bigotry here. I do not look down on niggers, kikes, wops, or greasers. Here you are all equally worthless. And my orders are to weed out all non-hackers who do not packed the gear to serve in my beloved corps. Do you maggots understand that?”
Gunny Hartman may have been talking about Pablo Picasso’s 1939 portrait of Dora Maar.
3. Modern art is not good art.
Hidden in Gunny Hartman’s psychological tear down are some important observations about other parts of our world. He’s also an art critic.
“You’re so ugly you could be a modern art masterpiece!”
Truthfully, Gunny Hartman’s material is closer to Don Rickles than Steve Martin but Steve’s the one who said, “Comedy is not pretty.”
4. Comedy is not pretty.
He’s a talented insult comic.
“Well I’ve got a joke for you, I’m going to tear you a new a–hole.”
Ask yourself: “Is my toilet clean enough that I could invite the mother of Our Savior to use my bathroom?”
5. A clean toilet is a holy toilet.
He’s concerned that our religious icons have a good bathroom experience.
“I want that head so sanitary and squared away that the Virgin Mary herself would be proud to go in there and take a dump.”
What’s YOUR major malfunction?
6. A great catchphrase works in any situation.
Ask anyone who grew-up in a household where dad always asked “What’s your major malfunction?” Every Single Time they did something he didn’t like.
7. The Heart is the Deadliest Weapon.
He even operates on multiple levels. He may SAY a Marine is the deadliest weapon but listen closely: The threat really comes from a Marine’s cold, cold heart.
“The deadliest weapon in the world is a Marine and his rifle. It is your killer instinct which must be harnessed if you expect to survive in combat. Your rifle is only a tool. It is a hard heart that kills. If your killer instincts are not clean and strong, you will hesitate at the moment of truth. You will not kill. You will become dead Marines. And then you will be in a world of s***. Because Marines are not allowed to die without permission. Do you maggots understand?”
8. Everyone Needs Mail.
Ermey did his part on his long-running History Channel series to educate a generation of Americans who knew nothing about the military. He also reminded everyone that communication is critical for men and women who are serving their country. If you want to remember Ermey, write a letter, send an email or make a phone call in honor of his service.
This article originally appeared on Military.com. Follow @militarydotcom on Twitter.
Whoa-ho-somebody’s coming! After having a series of cameos as new characters in the 2016 Ghostbusters remake, Sigourney Weaver, Bill Murray, and Dan Aykroyd are apparently all returning to their original roles for the 2020 Ghostbusters movie that is just a straight-up sequel to the two buster films from 1984 and 1989.
“It’s going to be crazy working with the guys again!” Sigourney Weaver told ParadeMagazine last week and confirmed that she will, once again, be playing Dana Barret in the new Ghostbusters written and directed by Jason Reitman, son of original Ghostbusters director, Ivan Reitman. Back in January 2019, a new teaser trailer dropped for the new Ghostbusters, featuring classic Ecto-1 car being spookily discovered in a barn, somewhere. After that, it was revealed that the movie will focus on a new generation of teenage Ghostbusters (including Finn Wolfhard from Stranger Things) and will, be set in the same continuity of the movies from the ’80s. This means Weaver is playing Dana, Murray is playing Venkman, and Aykroyd is playing Stanz. Ernie Hudson’s return as Winston wasn’t mentioned, but it seems pretty likely, too. (Sadly, Harold Ramis is out because he passed away in 2014.)
Relevant to Buster-lore, Dana had a son in Ghostbusters II; baby Oscar. Could Finn Wolfhard be playing Oscar all grown-up? Does that even work, actually? Sadly, probably not, if Oscar was a 1-year-old in Ghostbusters II, he’d be 31 in 2020. But hey, there are all sorts of weird dimensional portals in the Ghostbusters universe, right?
Back in 2016, Weaver, Murray, Hudson, Aykroyd, and Annie Potts all had cameos in the Ghostbusters reboot film (starring Kristen Wiig, Leslie Jones, Kate Mckinnon, and Melissa McCarthy) though none of them were playing their original characters. For longtime fans of Ghostbusters, the idea that all the surviving actors would just be back in the movie playing the characters that made them famous is obviously, mass hysteria.
The new Ghostbusters is set to release sometime in 2020. As of this writing, Sigourney Weaver’s comments have not been officially confirmed by Sony Pictures or the director, Jason Reitman.
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
A Chinese destroyer used a weapons-grade laser to target a US Navy P-8A surveillance aircraft flying above the Pacific last week, US Pacific Fleet said Thursday.
In a statement, the US accused the People’s Liberation Army Navy destroyer of “unsafe and unprofessional” actions over the incident, said to have occurred about 380 miles from Guam, where the US has a significant military presence.
The laser appeared to be part of the destroyer’s close-in weapon system, a Pacific Fleet spokeswoman told Insider.
“The laser, which was not visible to the naked eye, was captured by a sensor onboard the P-8A,” Pacific Fleet said. “Weapons-grade lasers could potentially cause serious harm to aircrew and mariners, as well as ship and aircraft systems.”
The Chinese destroyer, hull No. 161, appears to have been the Type 052D Luyang III-class destroyer Hohot.
US Pacific Fleet accused the Chinese warship of violating international rules and regulations, including agreements on conduct at sea, by targeting the aircraft, which was operating in airspace above international waters, with a laser.
The latest incident is not the first time the US military has accused the Chinese military of using lasers against US assets and personnel.
In 2018, the Department of Defense accused the Chinese military, specifically personnel stationed at the country’s first overseas military base, in Djibouti, of using lasers to target US aircraft operating nearby, CNN reported at the time.
A notice to airmen issued at the time urged pilots “to exercise caution when flying in certain areas in Djibouti,” saying the call for caution was “due to lasers being directed at US aircraft.”
“During one incident, there were two minor eye injuries of aircrew flying in a C-130 that resulted from exposure to military-grade laser beams, which were reported to have originated from the nearby Chinese base,” the notice said.
The Pentagon said the activity posed “a true threat to our airmen.”
Some 53 years ago, in a faraway Special Forces camp in southeast Asia, Sergeant First Class Eugene Ashley Jr achieved immortality during one of the fiercest battles of the Vietnam War.
Ashley joined the Army in 1950. After finishing boot camp and Advanced Infantry Training, Ashley went to Germany. When the Korean War broke out in 1953, Ashley deployed in Korea with the 187th Regimental Combat Team. Then, for a brief period, Ashley got out of the Army and was placed in the Inactive Reserves. A few months later, he reenlisted and was assigned to the 82nd Airborne Division. Up to that point, Ashley had trained in numerous military occupational specialties, including as an infantryman, ambulance driver, anti-aircraft ammunition handler, heavy weapons specialist, and parachute rigger; he had also held leadership positions at the squad and company level.
In 1966 he decided to make the jump to Special Forces and graduated from the Special Forces Qualification Course (SFQC) a year later. Upon completion of training, Ashley was assigned first to the 7th Special Forces Group and later to the 3rd Special Forces Group. In 1968, he deployed to the Republic of Vietnam with Charlie Company, 5th Special Forces Group.
Ashley’s arrival to Vietnam coincided with the Tet Offensive, which began in January 1968 and would last till September. During Tet, the NVA and Vietcong took US and South Vietnamese forces by surprise and attacked several large cities throughout South Vietnam, including the capital Saigon where they briefly penetrated the US Embassy.
Once in country, Ashley found his way to the large Marine Corps base at Khe Sanh, which was under siege by the North Vietnamese. Although the majority of the NVA and Vietcong attacks during the Tet Offensive were quickly dealt with, the siege of Khe Sanh continued for months. Carrying morbid similarities with the Siege of Dien Bien Phu, where the French were defeated by the Vietminh in 1954 and were forced out of Indochina, the fighting at Khe Sanh drew international attention.
Close to Khe Sanh was the Lang Vei Special Forces Camp, which was just a mile-and-a-half from the border with Laos. Green Berets stationed in Lang Vei were no foreigners to NVA attacks. Artillery and sniper fire was a pretty common occurrence even before the Tet Offensive. But what was coming next was not common at all.
On the night of February 6, the NVA launched a tank assault on the Special Forces base. Radioing Khe Sanh for assistance, the Marines there couldn’t believe that NVA armor was within the Lang Vei perimeter—this was the first time the NVA had used tanks in force. During the initial hours of the battle, Ashley coordinated airstrikes and mortar and artillery fire in support of his fellow Green Berets in the camp. Then, seeing that reinforcements from Khe Sanh weren’t going to reach the overran camp in time, Ashley and other Green Berets took matters into their own hands.
Ashley hastily organized a relief force comprised of Special Forces operators and partner forces and led them to the nearby camp. In the ensuing hours, Ashley would lead five assaults against NVA tanks and heavy infantry. Time after time, Ashley led by example and destroyed numerous enemy positions. The fifth assault, however, would be his last.
Ashley’s Medal of Honor citation offers a glimpse of his actions on that fateful night.
“During his fifth and final assault, he adjusted airstrikes nearly on top of his assault element, forcing the enemy to withdraw and resulting in friendly control of the summit of the hill. While exposing himself to intense enemy fire, he was seriously wounded by machinegun fire but continued his mission without regard for his personal safety. After the fifth assault he lost consciousness and was carried from the summit by his comrades only to suffer a fatal wound when an enemy artillery round landed in his area. Sergeant Ashley displayed extraordinary heroism in risking his life in an attempt to save the lives of his entrapped comrades and commanding officer. His total disregard for his own personal safety while exposed to enemy observation and automatic weapons fire was an inspiration to all men committed to the assault. The resolute valor with which he led five gallant charges placed critical diversionary pressure on the attacking enemy and his valiant efforts carved a channel in the overpowering enemy forces and weapons positions through which the survivors of Camp Lang Vei eventually escaped to freedom. Sergeant Ashley’s conspicuous gallantry at the cost of his own life was in the highest traditions of the military service, and reflects great credit upon himself, his unit and the United States Army.”
One American officer made the bold proclamation that “a braver man than Colonel McIntosh never lived.” Few could argue with this assessment when evaluating the deeds of James Simmons McIntosh.
Born in Georgia in 1787, James Simmons McIntosh came from a long line of soldiers. His great-uncle, General Lachlan McIntosh, served with Washington at Valley Forge. His father, John McIntosh, was the American commander who taunted the British to “come and take it” when they demanded the surrender of Fort Morris in 1778. It was only appropriate that James enter the army when of age.
He received an appointment to the First United States Rifle Regiment as a lieutenant at the age of 25 in November 1812. Like his forefathers, he had a chance to fight the British, and fought at the Battle of Scajaquada Creek in August 1814. McIntosh received a serious wound and was left for dead on the field of battle. An American burial party discovered McIntosh still breathing and transferred him to New York to recover. The House of Representatives of Georgia later presented Lieutenant McIntosh with a dress sword for his “gallantry and intrepidity” in the war that he carried until his death.
Left for Dead: The Battle of Palo Alto
At the conclusion of the war, he opted to stay in the army for the next 30 years. McIntosh rose to the rank of lieutenant colonel of the Fifth United States Infantry Regiment by 1839. In October 1845, he reported to General Zachary Taylor in Corpus Christi, Texas, when war clouds loomed over Mexico. He played a leading part in Taylor’s operations when war broke out in 1846. On May 8, 1846, at the Battle of Palo Alto, his regiment held the extreme right of Taylor’s line and beat back a fierce Mexican lancer charge to save the army’s baggage train.
The Mexican army fell back to a strong defensive position situated at Resaca del la Palma after their defeat at Palo Alto. McIntosh and his regiment were ordered to conduct a frontal assault on the left of the entrenched Mexican line the next day by General Taylor. McIntosh rode forward as Mexican bullets cut through the air. He was one of the first Americans to set foot inside the Mexican position, but had to dismount due to the uneven terrain.
In the chaos of the assault, McIntosh was waylaid by six Mexican infantrymen before he could unholster his pistol. One of the six assailants bayoneted McIntosh’s arm, breaking the bone. As he fell to the ground, two other soldiers attempted to skewer him with their bayonets. McIntosh grabbed the barrel of one of the Mexican muskets with his bare hand and stopped the infantryman’s bayonet within inches from his face. While preoccupied with warding off this attack, the other Mexican infantryman drove his bayonet into McIntosh’s mouth, forcing his front teeth inward, and piercing the back of his neck.
The Mexican infantrymen left the American colonel for dead. McIntosh found the strength to lift his mangled body from the ground and stagger in the direction of the American line. His shattered arm dangled at his side, and his face and neck were a bloody mess. Lieutenant James Duncan of the Second Artillery noticed McIntosh staggering across a small pool of water, and ordered his men to assist the colonel.
Duncan asked if he could do anything for McIntosh. The veteran colonel somehow managed to get off the words, “Yes! Give me some water, and show me to my regiment!”
He collapsed soon after and was transported back to Point Isabel, Texas, to recover. Most American newspapers reported he had died during the battle. In twelve months, the old Spartan recuperated from his ghastly wounds and headed back to join Winfield Scott’s army on its march against Mexico City. McIntosh again assumed command of his beloved Fifth United States Infantry Regiment. He distinguished himself in command of the regiment at the Battles of Contreras and Churubusco.
A Final Stand: The Battle of El Molino del Rey
On the night of Sept. 7, 1847, General William Worth called together the senior officers of his command and broke the news to them that General Scott had ordered a forlorn assault on the strongly fortified Mexican position at El Molino del Rey. That night these officers, including McIntosh, poured over a battle map under candlelight in preparation. Most of those present would be dead before noon the next day.
At dawn on Sept. 8, 1847, three American columns of 3,447 men were arrayed shoulder to shoulder for the assault on El Molino del Rey. With his superior ill, McIntosh took command of the Second Brigade. He was ordered to concentrate his brigade’s assault on the center of the Mexican defenses anchored by the strongly fortified Casa Mata. In his usual manner, he made his way out in front of his men conspicuously mounted on his horse and carried the sword presented to him by the citizens of Georgia.
The Mexican defenders sat motionless until the McIntosh’s men advanced to within 100 yards of the Mexican position. The American infantrymen were nearly swept to pieces over the open ground. They pushed through the storm of bullets and made it to within 25 yards of the Mexican position.
McIntosh remained mounted through the hail of bullets to inspire his men to continue forward. A musket ball suddenly hit him in the thigh, causing him to crash to the ground. While lying wounded, another ball tore through his knee and painfully lodged into his groin. Lieutenant Ralph W. Kirkham of his staff ordered two American infantrymen to carry the wounded colonel to the rear. They grabbed McIntosh by his coat and began to drag him to the rear.
McIntosh refused to be dragged any further until he received word that a second American assault broke through the Mexican position. He kept probing those nearby, “Is that fort taken yet?” The Americans suffered 20 percent casualties that day, making it the bloodiest day of the U.S-Mexican War for the United States.
McIntosh lingered in a makeshift hospital for over a month. His most recent wounds healed well, and it appeared for a time that the resilient colonel would recover. His health took a turn for the worse when his old War of 1812 wound broke open and became infected. He died on Sept. 26, 1847, and was buried in a nearby Mexican cemetery.
Members of his native Georgia raised enough money to cover the expenses of bringing his remains back home for reburial. His sword and uniform, pierced by eight bullet holes, were placed upon his coffin during his funeral. He was reburied in the Colonial Park Cemetery on March 18, 1848, resting in immortality alongside those members of his family that fought so valiantly in the service of their county.
Some senior citizens retire to Florida. Marine Lt. Col. Art Nalls retired to the cockpit of his privately-owned AV-8B Harrier “jump jet.”
Once a naval aviator and test pilot experienced in roughly 65 different types of aircraft, Nalls made a fortune in the real estate development business after he left the service. But he never forgot his love of flying or the first aircraft he flew in the Marine Corps — the Harrier.
After attending an air show and rediscovering his passion for flight, Art purchased a Russian Yak 3 (Yakovlev Yak-3), only to soon realize that the enormous Soviet Star on the plane wasn’t exactly attracting the eyeballs at airshows. What the people wanted to see were our nation’s greatest planes. He noticed that the biggest star at any airshow was the Harrier Jump Jet, so beginning in 2010 Art Nalls began his quest to own one himself. Everything finally came together after discussing the possibility of owning one with the FAA (and receiving approval), and then finding a British Harrier Jump Jet for sale after Great Britain took them out of commission.
Although the video doesn’t mention the price he paid, the going rate for a Harrier is around $1.5 million. Then of course there’s the insane price of gas, which Nalls makes up by performing at air shows.