The standard U.S. Armed Forces field ration is, above all other considerations, designed to make you emotional.
Sure, an MRE needs to be nutritious. Obviously, it also needs to be lightweight, packable, durable, quick, and easy to prepare. It’s got to have a long shelf life because who knows when it’ll be called up for active duty. And at the end of the day — and not just because it’s the end of the day — the damn thing ought to taste good.
After years of research and development, laboratory refinement, and testing in the field, the military has the MRE dialed to within an inch of its life. Private, does your dinner have “Vegetable Rotini” stamped on its olive drab shrink wrap? Yes? Then, by God, you can trust that when you just add water, the thing you find rehydrated on the end of your spork will resemble a rotini (Vegetable Class) to the highest degree achievable by military science.
Meals Ready To Eat host August Dannehl trusted in the prowess of the military’s culinary industrial complex. After all, he named his show after its signature offering.
When he visited the labs and testing facilities of the United States Army Soldier Systems Center in Natick, MA, he was excited to spend some quality time covering familiar territory. What he didn’t count on was the depth of the emotional response that many of his interview subjects had to meals they’d eaten as soldiers in the field. And it turns out, that response is no accident.
We want it to be a quality meal that we provide to them. We don’t know if that’s going to be their last meal.
Watch host August Dannehl and fellow veteran Mike Williams, currently the Executive Chef of West Hollywood restaurant Norah, transform the military’s utilitarian ration MRE into a mouthwatering “Jambalaya Risotto with Duo of Duck.”
Meals Ready to Eat can be seen on KCET in Southern California, on Link TV Nationwide (DirecTV 375 and DISH Network 9410), and online at KCET.org.
Captain Michael “Hell Roarin'” Healy, known for bringing the reindeer to Alaska, had another claim to fame in the U.S. Revenue Cutter Service, forerunner to the modern-day Coast Guard.
Healy had a no-nonsense, often violent, style of command. Rumors spread that he had unruly people hung by their hands or feet in the hull of the ship. (And he weathered a couple of failed mutinies as a result.) When dealing with those who tried to block what he felt was the protection of the native people of Alaska, he could turn violent and belligerent until he got what he wanted. He stood for law and order along the 30,000 mile long Alaskan coast.
After multiple courts martial for drunk and disorderly conduct in the late 1890s, Healy was sent to a trial board for abusive conduct towards junior officers while intoxicated. While the trial board recommended him for discharge, Secretary of the Treasury John Carlisle instead removed him from command and placed him on shore duty for four years. Healy was also publicly humiliated by having his punishment read to every commissioned officer on every cutter in the service.
Healy was back on dry land for the first time after nearly 42 years at sea.
This punishment furthered Healy’s paranoia that “they” had been working to drive him out of the service, which he first expressed as early as 1893. While some officers thought this was the beginning of the end of Healy, they were wrong. The Healy family believed their lives could not be ruined any further. They did not know the true tragedy that would come.
At the end of his four year punishment, Healy’s life would take an ironic and drastic turn. Capt. W.C. Coulson, who had sat on the trial board and recommended his discharge, asked for Healy by name to replace him as the commanding officer of the Revenue Steamer McCulloch when his wife fell ill. While he served aboard the McCulloch, Healy received orders to serve upon the Cutter Seminole out of Boston. After more than twenty years on the west coast and nearly a decade in Alaska, he saw the transfer as another punishment because his wife had made her home in the west and his son, now grown, had started his own family there.
When he received these orders, his mental health took a turn for the worst. He was found sitting outside of the stateroom of a passenger on the McCulloch, yelling and threatening to kill himself. The following day, Healy attempted to throw himself overboard, stopped only after being violently wrestled to the deck by Second Assistant Engineer J.J. Bryan. At that point, executive officer 1st Lt. P.W. Thompson brought Healy to the ward room and informed him that he was longer in command of the McCulloch.
Healy was to be guarded in his cabin until Thompson was able to contact the Treasury. On the morning of July 10, 1900, Healy again attempted to throw himself overboard. While he was out of his bunk, he grabbed a piece of glass, and two days later almost succeeded in using it to kill himself. One onlooker offered an explanation for the suicide attempts as a cry for help as Healy was just returned to the ship after a drunken night out and would again be court-marshaled and kicked out of the service.
In 1903, Healy quietly exited the service at the mandatory retirement age and died a year later of a heart attack. He was buried in Colma, California, where he and his family finally settled.
Healy carried secrets with him that could never be uttered in early-twentieth century America. His wife, Mary Jane Roach, was a second generation Irish immigrant but despite eighteen pregnancies, they only had one child. He was constantly criticized for being Catholic, something that was still looked down upon at the turn of the century. In addition, Healy was the child of Michael Morris Healy, an Irish immigrant and slave owner and his slave, Mary Eliza Smith. This was kept a secret even from parts of his family. After his death, Healy’s daughter-in-law destroyed his four-volume diary. She was contacted by a film studio on the possibility of a movie based on his life and they wanted to see his diary in the writing of the film. As she read the diary for the first time, she discovered her husband’s grandmother was a slave.
Today, Healy is known as one of the great giants of Coast Guard history. He singlehandedly saved large groups of natives from starvation, and his courage was unmatched by anyone else at the time. History was kind to him and glossed over his negative personal record in favor of his accomplishments. In honor of his legacy of arctic service, the Coast Guard’s newest ice breaker was named in his honor in 1997.
Admittedly, I’d rather not be shot with either, but if I had to choose, I’d take a round from the AK47 over the M4 any day of the week. To understand why, it’s important to have a very basic look at the physics behind terminal ballistics, in this case being the science of what happens when a penetrating missile enters a human body. The first place to start is the Kinetic Energy Equation:
KE = ½ M (V12 – V22)
Breaking this equation down into its components, we have Kinetic Energy (KE) influenced by the Mass (M) of the penetrating missile, as well as the Velocity (V) of the missile. This make sense, and it is logical that a heavier, faster missile is going to do more damage than a lighter, slower missile. What is important to understand is the relative influence that Mass and Velocity have on Kinetic Energy, as this is key to understanding why I’d rather be shot by an AK than an M4.
You’ll notice that the Mass component of the KE equation is halved, whereas the Velocity component is squared.
For this reason, it is the Velocity of the projectile that has far more bearing on the energy that it dissipates into the target than the mass.
The V1-V2 component of the equation takes into consideration that the projectile might actually pass straight through the target, rather than coming to rest in the target. In this instance, the change in the Velocity of the projectile as it passes through the target (V1 being its velocity as it enters, and V2 being velocity on exit) is the factor that is considered when calculating how much energy the missile delivered into the target.
Naturally if the projectile comes to rest in the target (ie: no exit wound) then V2 equals zero and the projectile’s velocity as it entered (V1) is used to calculate the KE.
That’s enough physics for now, but you get the concept that the optimum projectile to shoot someone with is one that has a decent mass, is very, very fast, and is guaranteed to come to rest in your target, as to dissipate as much energy as possible into them, and hence do maximal damage.
The next concept to grasp is that of permanent cavitation versus temporary cavitation. Permanent cavitation is the hole that gets left in a target from a projectile punching through it. You can think of it simply like a sharp stick being pushed through a target and leaving a hole the diameter of the stick. The permanent cavity left by a bullet is proportionate to the surface area of the bullet as it passes through the tissue.
For instance, if an AK47 round of 7.62mm diameter at its widest point passes cleanly through a target, it will leave a round 7.62mm hole (permanent cavity). If this hole goes through a vital structure in the body, then the wound can be fatal. However, if the bullet passes through soft tissues only, then the permanent cavity can be relatively benign.
This is a slight oversimplification of the concept, as bullets will rarely remain dead straight as they pass through human bodies, as they have a tendency to destabilize, and the heavier back-end of the bullet will want to overtake the front.
This concept, known as yaw, increases the frontal surface area of the bullet as it passes through tissue, and hence creates a larger permanent cavity.
Far more damaging than the permanent cavity left by a projectile is the temporary cavity that it creates. Anyone who has ever watched the TV show MythBusters will have some familiarity with this concept, and it is best demonstrated using slow motion video imagery of bullets being shot into special jelly known as ballistic gelatin, which is calibrated to be the same density as human soft tissues.
What can be seen in these video images (below) is the pulsating dissipation of energy that emanates out from a bullet as it passes through the gelatin.
This is a visual illustration of the concept of temporary cavitation, and it allows the viewer to begin to appreciate the devastating effect that a high velocity missile can have once it enters a human body. The temporary cavitation is the transfer of Kinetic Energy from the projectile into the tissues of the target, and as we learned above, is relative to the mass and, more importantly, the velocity of the projectile.
As the energy of the projectile is dissipated into the tissues of the target the temporary cavitation pulverizes structures adjacent to the bullet’s tract, including blood vessels, nerves, muscles, and any solid organs that may be in close proximity.
For that reason the high velocity projectile does not need to pass directly through a structure in the body to destroy it. The higher the Kinetic Energy of the projectile the further out from the permanent cavity the temporary cavity extends.
Below is a slow motion video of a 5.56x45mm round (same as the M4 fires) hitting ballistic gelatine in slow motion. After watching, the medical provider can begin to appreciate the damage that gets done to tissues by the pressure wave of the temporary cavitation.
Another characteristic of the M4 round is the tendency for the bullet to disintegrate if it strikes tissue at a decent velocity. Despite being a jacketed round, owing to it being smaller, lighter, and faster than an AK47 projectile, it tends to yaw faster once it hits tissue and the shearing forces on the bullet once it is traveling at 90 degrees through the tissue often tears the bullet into pieces, thus creating multiple smaller projectiles and increasing the chances of all of the bullet parts remaining in the target, and hence dissipating more energy.
The AK47 round, being slightly heavier and slower than the M4 round will have a tendency to remain intact as it strikes tissue, and whilst it will penetrate deeper, it tends to remain intact and not yaw until it has penetrated much deeper than the M4.
The video below shows a soft point round being used, which theoretically should be more destructive than its full metal jacket counterpart, the video still illustrates nicely the significant penetration of the AK47 round without it yawing significantly or disintegrating.
I once saw a good case study illustrating this point nicely where a casualty had sustained an AK47 gunshot wound to the right lateral thigh and we recovered the intact bullet from the inside of his left upper abdominal wall. It had passed through approximately 1 metre of his tissues and shredded his small bowel, but the projectile hadn’t fragmented at all, and the temporary cavitation hadn’t done enough damage to be lethal. The casualty required a laparotomy to remove multiple sections of small intestine, but made a good recovery. That one is a story for another time.
Although an unpleasant injury to have, the fact that the AK47 round was travelling slower than an M4 at the same range would have been, coupled with the fact that the projectile remained intact and didn’t yaw significantly as in passed through him, meant the wound was nowhere near as devastating as the above-mentioned M4 injury in the same area.
It must be noted however that the comparison is far from perfect given that the M4 injury involved the bone, with the one immediately above passing solely through soft tissues.
So there it is, all things being equal, when all is said and done I’d rather be shot with an AK47 than an M4 on any day of the week. Naturally, as medical responders, it is always important to treat the wound and not the rifle that inflicted it, and I have certainly seen some horrendous AK47 wounds over the years and some relatively minor ones from M4s, so it all depends.
The main take home points for medicos are to be aware of the magnitude of damage that can be caused by the temporary cavitation resulting from high velocity missile wounds, and also if you find an entrance wound, there’s no telling where in the body the projectile might have ended up!
In 2002, the U.S. military tapped Lt. Gen. Paul Van Riper to lead the red opposing forces of the most expensive, expansive military exercise in history. He was put in command of an inferior Middle Eastern-inspired military force. His mission was to go against the full might of the American armed forces. In the first two days, he sank an entire carrier battle group.
The exercise was called Millennium Challenge 2002. It was designed by the Joint Forces Command over the course of two years. It had 13,500 participants, numerous live and simulated training sites, and was supposed to pit an Iran-like Middle Eastern country against the U.S. military, which would be fielding advanced technology it didn’t plan to implement until five years later.
The war game would begin with a forced-entry exercise that included the 82nd Airborne and the 1st Marine Division.
When the Blue Forces issued a surrender ultimatum, Van Riper, commanding the Red Forces, turned them down. Since the Bush Doctrine of the period included preemptive strikes against perceived enemies, Van Riper knew the Blue Forces would be cominfor him. And they did.
But the three-star general didn’t spend 41 years in the Marine Corps by being timid. As soon as the Navy was beyond the point of no return, he hit them and hit them hard. Missiles from land-based units, civilian boats, and low-flying planes tore through the fleet as explosive-ladened speedboats decimated the Navy using suicide tactics. His code to initiate the attack was a coded message sent from the minarets of mosques at the call to prayer.
How did 19 ships and some 20,000 U.S. troops end up at the bottom of the Persian Gulf? It started with the OPFOR leadership.
Van Riper was the epitome of the salty Marine Corps general officer. He was a 41-year veteran, both enlisted and commissioned, serving everywhere from Vietnam to Desert Storm. Van Riper attended the Marine Corps Amphibious Warfare School, The College of Naval Command and Staff, Army War College, and the Army’s Airborne and Ranger Schools.
In fact, the three-star general had been retired for some five years by the time he led the Red Forces of Millennium Challenge. He was an old-school Marine capable of some old-school tactics and has insisted that technology cannot replace
human intuition and study of the basic nature of war, which he called a “terrible, uncertain, chaotic, bloody business.”
Van Riper told the story of Millennium Challenge to journalist Malcolm Gladwell, he said the Blue Forces were stuck in their own mode of thinking. Their vastly superior technology included advanced intelligence matrices and an Operational Net Assessment that told them where the OPFOR vulnerabilities were and what Van Riper was most likely to do next out of a range of possible scenarios. They relied heavily on that. When the Blue took out Red’s microwave towers and fiber optics, they expected his forces to use satellite and cell phones that could be monitored.
Not a chance. Van Riper instead used motorcycle couriers, messages hidden in prayers, and even coded lighting systems on his airfields — tactics employed during World War II.
“I struck first,” he said in ”
Blink: The Power of Thinking Without Thinking,” written by Gladwell in 2005. “We did all the calculations on how many cruise missiles their ships could handle, so we simply launched more than that.”
In fact, Van Riper hated the kind of analytical decision making the Blue Forces were doing. He believed it took far too long. His resistance plan included ways of getting his people to make good decisions using rapid cognition and analog but reliable communications.
The other commanders involved called foul, complaining that a real OPFOR would never use the tactics Van Riper used — except Van Riper’s flotilla used boats and explosives like those used against the USS Cole in 2000.
“And I said ‘nobody would have thought that anyone would fly an airliner into the World Trade Center,'”
Van Riper said in reply. “But nobody [in the exercise] seemed interested.”
In the end, the Blue Forces were all respawned and Van Riper was prevented from making moves to counter the Blue Forces’ landing. He had no radar and wasn’t allowed to shoot down incoming aircraft he would have otherwise accurately targeted. The rest of the exercise was scripted to let the Blue Force land and win.
Van Riper walked out when he realized his commands were being ignored by the exercise planners. The fix was in.
The three-star wrote a 21-page critique of the exercise that was immediately classified. Van Riper spoke out against the rigged game anyway.
“Nothing was learned from this,”
he told the Guardian in 2002. “A culture not willing to think hard and test itself does not augur well for the future.”
With its unmatched precision, Lockheed Martin’s THAAD can equalize tensions around the world with its mobility and strategic battery-unit placement.
In order to deter North Korean provocations and further defend the Pacific region, the Pentagon deployed a THAAD battery toGuam in April 2013.
However, after the rogue regime’s most recent launch, the US has reportedly agreed to deploy the THAAD to South Korea — which would counter almost all incoming missiles from the North.
The pressure to deploy THAAD is rapidly mounting, as US defense officials have cited North Korean missile developments.
In October, Admiral Bill Gortney, commander of the North American Aerospace Defense Command, assessed that North Korean has “the capability to reach the [US] homeland with a nuclear weapon from a rocket,” The Guardian reported.
Gen. Curtis Scaparrotti, commander of the United States Forces Korea, a sub-unified command of the US Pacific Command, told a forum in 2014 that placing THAAD in the country is a “US initiative.”
Discussions to equip South Korea with THAAD were held during South Korean President Park Geun-hye’s visit to the White House last October.
THAAD’s ‘hit to kill’ lethal effects
The THAAD missile does not carry a warhead. Instead, the interceptor missile uses pure kinetic energy to deliver “hit to kill” strikes to incoming ballistic threats inside or outside the atmosphere.
Each launcher carries up to eight missiles and can send multiple kill vehicles at once, depending on the severity of the threat.
Lockheed’s missile launcher is just one element of the antimissile system.
The graphic below, from Raytheon, shows the rest of the equipment needed for each enemy-target interception.
How THAAD works
Five minutes after an enemy missile takes off, a truck-mounted THAAD interceptor missile launches in pursuit of its target.
This is a close shot of what the THAAD missile looks like when launched:
And here’s what the launch looks like from far away:
THAAD’s missile hunts for its target, then obliterates it in the sky.
The following infrared imagery shows THAAD demolishing the target:
By the end of 2016, the US Missile Defense Agency (MDA) is scheduled to deliver an additional 48 THAAD interceptors to the US military, bringing the total up to 155, according to a statement from MDA director Vice Admiral J.D. Syring before the House Armed Service Committee.
According to the US Missile Defense Agency, there are more than 6,300 ballistic missiles outside of US, NATO, Russian, and Chinese control.
Other US partners around the globe are interested in purchasing THAAD.
The United Arab Emirates has become the first foreign buyer after signing a deal with the Department of Defense for $3.4 billion. Saudi Arabia and Qatar have “expressed interest,” according to Richard McDaniel, vice president of Patriot Advanced Capability programs at Lockheed Martin. “We expect deals,” he added.
The UAE seems like a particularly appropriate buyer: In September, 45 of its troops deployed near Yemen were killed when an enemy missile struck an arms depot, a reminder of the strategic challenge of ballistic missiles falling into the wrong hands.
Westmoreland convinced President Lyndon B. Johnson that the base should be held at all costs, triggering a 77-day siege that required planes to constantly land supplies on the improved airfield.
The Marines and other troops on the base sought continuously to knock the North Vietnamese off balance and to relieve the pressure on the base. The February 25 patrol aimed to find North Vietnamese and either kill them or take them captive to collect intelligence.
It was led by an inexperienced lieutenant who, after his men spotted three enemy fighters who quickly fled, ordered a full-speed chase to capture or kill them despite advice to the contrary from others.
The Marines fought valiantly, but they were taking machine gun and other small arms fire from three sides mere moments after the fight began. Grenades rained down on their position as they sought cover, concealment, and fire superiority.
Under increasing fire, Ridgeway and another Marine attempted to break contact and return to the base, but they came across a wounded Marine on their way. Unwilling to leave an injured brother, they stopped to render aid and carry him out.
As they stopped, bursts of machine gun fire hit the three Marines, wounding all three. One was killed by a grenade moments later, another died of wounds that night, and only Ridgeway survived despite the enemy shooting him in the helmet and shoulder. He was later captured when a Vietnamese soldier tried to steal his wristwatch and realized the body was still breathing.
That September, his family was part of a ceremony to bury unidentified remains from the battle and memorialize the nine Marines presumed dead whose bodies were only partially recovered.
But for five years after the battle, Ridgeway was an unidentified resident of the Hanoi Hilton, undergoing regular torture at the hands of his captors.
It wasn’t until the North Vietnamese agreed to a prisoner transfer as part of the peace process in 1973 that they released his name to American authorities, leading to Ridgeway’s mother getting an alert that her son was alive.
Five years after the battle and four years after his burial, Ridgeway returned to America and was reunited with his family. He later visited the grave and mourned the eight Marines whose names shared the list with his. A new memorial was later raised with Ridgeway’s name removed.
Disney is aiming to make Disney+ an essential, if not the essential, streaming service by taking advantage of its extensive collection of properties. That means a robust selection of old titles like, oh, the entire Disney vault along with new shows inspired by proven franchises that Disney either created or acquired. That’s why we have the first-ever live-action Star Wars series, a Monsters, Inc. series, and a slew of shows set in the Marvel Cinematic Multiverse to look forward to. Now, we’re getting our first look at one of the most highly anticipated of those Marvel shows, Loki.
Disney just released photos from its Investor Day event, which took place on April 11, 2019. It was at this event that the details of the service were announced, and one photo shows Marvel Studios head Kevin Feige — the man as responsible for the MCU as anyone — talking to the audience with an image from Loki behind him.
The photo is frustratingly out of focus, but there are still plenty of clues for Marvel fans to pour over.
It shows a blurry figure resembling Tom Hiddleston — reprising the titular role — walking in front of what looks like an AMC Gremlin, next to the trunk of a less distinctive car with a similarly retro aesthetic. The cars match the vintage coats worn by a man and a woman walking away from the camera.
But the reason we’re confident that at least part of Loki will take place in the 1970s is the marquee behind Hiddleston. It reads JAWS in big red letters. Spielberg’s fourth film hit theaters in 1975, so the marquee matches the time period of the rest of the clues and offers a bit more specificity.
When we last saw Loki, he was in 2012 New York, a time and place before his death in Infinity War. He teleports away using the Time Stone, a move that, according to Joe Russo, creates a branched reality.
So our best guess is that the series will take place in that reality, one that takes place in the past and, if the Hollywood Reporter is right, will show him as he “pops up throughout human history as an unlikely influencer on historical events.”
This article originally appeared on Fatherly. Follow @FatherlyHQ on Twitter.
An ongoing petition on Change.org is seeking at least 15,000 signatures to convince Secretary of the Navy Sean Stackley to name DDG 127, an as-yet unnamed destroyer, after Fire Controlman 1st Class Gary L. Rehm, Jr., who allegedly gave up his own life while attempting to rescue six sailors in a flooding compartment on the USS Fitzgerald.
The Fitzgerald was struck by the ACX Crystal, a Philippine container ship, on June 17. The much larger Crystal impacted the Fitzgerald almost squarely on the sleeping berths, causing massive damage to the area where a number of sailors were resting.
As the water rushed in, the rest of the crew was forced to close the hatches while Rehm was still inside.
DDG 127, the ship which petitioners hope will be named after Rehm, is an Arleigh-Burke Class destroyer like the Fitzgerald. The guided-missile destroyers can fire a variety of missiles against everything from land targets to aircraft to submarines to other ships and even missiles in flight.
The Fitzgerald is named for Lt. William C. Fitzgerald, an officer who began his career as an enlisted sailor before graduating from the Naval Academy. He later gave his life to cover the retreat of civilians and other sailors under attack by the Viet Cong on Aug. 7, 1967. The ship’s motto is “Protect Your People.”
Rehm’s actions, if proven during the Navy’s investigation, surely upheld the ship’s traditions and motto.
The other six sailors who died in the June 17 crash were Sonar Technician 3rd Class Ngoc T Truong Huynh, 25; Gunner’s Mate Seaman Dakota Kyle Rigsby, 19; Yeoman 3rd Class Shingo Alexander Douglass, 25; Gunner’s Mate 2nd Class Noe Hernandez, 26; Fire Controlman 2nd Class Carlos Victor Ganzon Sibayan, 23; and Personnel Specialist 1st Class Xavier Alec Martin, 24.
Composer Ramin Djawadi had a formidable task ahead of him for the final season of “Game of Thrones.” Back when he was working on the seventh season in 2017, Djawadi didn’t know his music written for Jon and Dany would also need to play right as Jon Snow plunged a dagger into Daenerys’ heart.
Showrunners David Benioff and D.B. Weiss had “talked a little bit in riddles” about Dany’s fate and the music Djawadi needed to write, the composer said in an interview with INSIDER on June 11, 2019.
“They said, ‘OK, this needs to be a really romantic theme, but make sure that it’s a love theme that can imply complications,'” Djawadi said. “That’s how they started me out. They said things turn differently and things go wrong.”
Their love “theme” (the term Djawadi uses to refer to the melody unique to a character’s scenes that you can hear on the soundtrack) was worked into a track on the season eight score called “The Iron Throne.”
Daenerys and Jon embracing just before her death.
The song played just as Jon and Dany kissed, mimicking the way she believed they were going to have a happy ending. But it was cut short, right as Jon stabbed his queen. Djawadi says “The Iron Throne” is one of the songs he’s most looking forward to playing live later this year when the “Game of Thrones Live Concert Experience” goes on tour.
Keep scrolling to read INSIDER’s full interview with Djawadi, in which he reveals the “positive” message of the final scene with Jon Snow.
Kim Renfro: The final song heard on the show, called “A Song of Ice and Fire,” is obviously such an important endcap to the series. What were the emotions that you wanted baked into that particular track?
Ramin Djawadi: The thought was to really create a bookend to the whole show. We have our main title song that really represents everybody and the entire series, and we thought there’s no better way to end the show than with our main title theme. But this time it was with a full choir. We have men and women and children actually singing it.
Jon leading the remaining wildlings beyond the Wall.
We’ve heard that main title so many times at every beginning of the episode, so we wanted to leave the show with that — including the very last note on our small dulcimer [instrument]. The main title ends when the title card goes to black and they have that little “dum dum ba ba bum bum” on the dulcimer, and those are the same last notes people will hear on the show.
Renfro: Did you have any conversations with showrunners David Benioff and D. B. Weiss about what is going on with Jon specifically? I feel like the shows ends on this optimistic note, where he’s half-smiling and there are children around him. The children’s presence felt really important in that scene, because it’s this mark of the future and possibility. At the same time it’s a little sad, because he’s going into exile, basically, and leaving behind his past life. Were there conversations about that?
Djawadi: Yeah, absolutely. The idea is really that he stops and he looks back, and then the main title starts, and it’s the idea of a new beginning. It’s supposed to be positive and yeah, like you said, the fact that there are children around and [other] people — he’s not just by himself.
Jon taking one last look at Castle Black before heading into the North.
Djawadi [continued]: Originally [he was] with the Night’s Watch, and you’re not allowed to have a wife and children and all that, but this is him going out there with the wildlings, and you can interpret it like he’s starting a new life. He’s a changed man, and he’s leaving the past behind, and so it’s definitely supposed to be something positive. There are many possibilities now — that’s how we can look at it.
Renfro: I’d to talk about Brienne and Jamie, and the music you wrote for their important scenes. How did you approach that aspect of season eight, and especially the romantic element with both of them?
Djawadi: What’s interesting is their theme together came out of what I call the “Honor Theme” […] over the seasons, when they met and the way they treated each other, it was always an honorable theme. So that became their music. And the other big scene which I loved so much there, when she gets knighted, it was used there, and then, yeah, then we basically every time, I’m pretty certain with the development of their relationship, their theme was playing.
Djawadi: Yeah, I was going to get to that [laughing]. I just threw that in there because I thought it would be a subtle nod to their relationship. When she sits there and she thinks about him and writes down all the things he had done, the second half is the ‘Honor’ theme, but yeah a big chunk of that [song] is the wedding theme.
It’s just a hint of what their relationship — if they had stayed together, if he was still alive — what it could have been. What they could have become. That’s why I put that in there. I was amazed some people picked up on it. I was hoping people would go, ‘Wait a minute, that’s from season two.’ And that was exactly my intent. I thought it would be very appropriate.
Renfro: People absolutely loved that. A lot of fans were so attached to their relationship, and I think that it was really special to get a hint at that dream. Like Jaime and Brienne could have been married in some alternate timeline.
Brienne writing down Jaime’s deeds in the White Book.
Djawadi: Exactly. That was exactly my intention. It just shows the power of music, right? There were no words [in that scene] but by putting that in there your imagination goes [into] where this could have gone. I wanted people to have that emotion, and have those thoughts. I’m glad it was picked up.
Renfro: What was the most challenging scene to write music for this season?
Djawadi: I find almost everything challenging [laughing]. I guess maybe “The Night King.” I definitely knew that I wanted to really try to wrap up [on the show] things nicely with all the themes that we know and have come to love, so there were opportunities for that, but there were opportunities for new things.
Obviously “The Night King” theme was our big new theme this season, and writing that piece was challenging in many ways. One is because we decided to for the second time in “Game of Thrones” history to really focus on the piano again. We felt this was an opportunity to have a big piano piece, and we wanted to call back to “Light of the Seven.”
Game of Thrones S8 – The Night King – Ramin Djawadi (Official Video)
Djawadi [continued]: But then of course I had to reinvent myself, and here I was, thinking, “OK, how can I beat myself? I need to have something that has the same impact at this particular moment on the show and call back to ‘Light of the Seven,’ but it can’t be the same piece.”
If I had done an arrangement of “Light of the Seven” again it wouldn’t have made any sense. Cersei was nowhere to be seen, and that piece belongs to Cersei. But it was a very long scene, just like “Light of the Seven.” There were a lot of similarities, so I definitely made a connection [between them]. For example, I end up in the same key and tempo as the “Light of the Seven” by the end of “The Night King.”
But I also [wrote it knowing] when the piano drops people would sit up and go, “Oh, piano’s coming. This means something’s happening now. What’s going on here?” And the idea was that it would have the reverse effect. That you’d see the Night King on his final march towards Bran, and you’d think back to the Cersei theme and that this is all going his way and he’s going to win and it’s over.
We just had 50 minutes of action music and battle and they tried and tried, and they just can’t do it. It was supposed to feel like a finale and that they were all going to die. And then of course the big surprise happens at the end.
Arya surprised everyone when she killed the Night King.
Renfro: I know for past seasons there were times when Benioff and Weiss would give you some advance notice of an arc that was coming, because you needed to start planting those musical themes a little bit sooner. Did you have any advance notice that Dany was going to die, or that she was going to have this kind of turn at the end? The theme you used for her and Jon, called “Truth” on the season seven score, comes back into play right as she’s dying. Did you know when you wrote it that it was going to be a part of her death?
Djawadi: They showed me this season very early, earlier than any other season. But they weren’t that specific about Dany dying back in season seven. We’ve had such a good working relationship; they always give me exactly the information I need to know at the time.
When I wrote [Jon and Dany’s] theme, they said, “OK, this needs to be a really romantic theme, but make sure that it’s a love theme that can imply complications.” That’s how they started me out. They said things turn differently and things go wrong […] they talked a little bit in riddles.
To be honest, I never even thought about who was going to die, but I just took it as, “I need to write a love theme that has some drama to it, that can show complications.” That’s really the word they used, that things will go wrong and [it’s] “complicated.” That word gave me enough information.
The Jon and Daenerys love theme played during their season seven finale sex scene.
Renfro: So the “Game of Thrones Live Concert Experience” is coming back. I’m super excited. I live in LA now, so I get to go to the Hollywood Bowl version. What made you decided to go with an outdoor/amphitheater vibe versus in the indoor arena setup from the past two iterations?
Djawadi: We just want to try different things. The Hollywood Bowl is a historic venue, and performing there has been on my bucket list. With venues like the Hollywood Bowl and others in all the different cities, these outdoor concerts can be very special. It’s just another way of performing it, and obviously the stage brings different challenges by being outside, but it’s exciting.
I’m actually really majorly reworking [the show] right now, because there’s so much material from season eight — we could have done a concert just with season eight alone. I’m trying to keep a cohesive story from seasons one through eight, which is tricky because I only have that limited amount of time. It’s exciting that I have choices, which is great. So I’m in the process of doing that right now. I can’t wait. Hollywood Bowl will be amazing.
Renfro: Is there a particular part of season eight you’re most excited to perform live for people?
Djawadi: Well, of course “The Night King” because it’s just a great set piece, and it’ll be fun and exciting to perform. And another one, I have to say, is actually [“The Iron Throne”]. It’ll be in there in one way or another. That’s the theme from when Dany dies, and it was such an emotional scene for me to write. I’m just really attached to it. I think it’s such a powerful scene, with Drogon, and so that piece is just special to me. I’m very excited to play that live with an orchestra.
Renfro: Well, I can’t wait to see it. Thank you for bringing all this music to life, and congratulations on finishing out this series. It’s really incredible that it’s come all this way, and that you’ve been there from the start.
Djawadi: Thank you. I think it still hasn’t caught up with me fully that [it’s over]. The live concert tour is helping me with it, because I just don’t want to let go, just how many fans probably don’t want to let go of the show. It helps me to still be working on the music and just stay in that world longer.
And yes, looking back it’s crazy when I think of how this all started out in 2011. And now with the concert tour, all this music that I’ve written and just going through it, I feel very lucky that I’ve been part of this. It’s been unbelievable.
The family of a decorated special operations Marine killed in Afghanistan in 2011 received his Silver Star after the U.S. Army took the unusual step of upgrading one of his prior medals.
Staff Sgt. Nicholas Sprovtsoff, 28, an explosive ordnance disposal technician with MARSOC’s 1st Marine Special Operations Battalion earned the Bronze Star with combat valor device in 2011 for working heroically to disarm a bomb in Afghanistan before an explosion left him fatally wounded.
But a prior deployment to Afghanistan with an Army unit in 2007, Sprovtsoff had already distinguished himself as a hero. While serving as a sergeant with Marine Corps Embedded Training Team 5-1, attached to the Army’s 2nd Battalion (Airborne), 503rd Infantry Regiment, Sprovtsoff had conducted himself with distinction during a 48-hour firefight.
According to a medal citation obtained by Military.com, he fought with “disregard for his own safety and in spite of wounds sustained in combat,” coordinating his unit’s defense during the long fight.
The medal was approved and awarded as a Bronze Star, but upgraded to a Silver Star last year, said Capt. Barry Morris, a spokesman for MARSOC. The news was first reported by Marine Corps Times Friday.
“[Sprovstoff’s] command at the time nominated him for a Bronze star with “V,” Morris explained. “As it went up the chain, his actions were so heroic, the Army upgraded him to a Silver Star; but at the end of the day, when someone hit the approve button, it was approved as a Bronze Star, rather than a Silver Star.”
Morris said the Army ultimately caught the error and coordinated with the Marine Corps to upgrade the award.
Calls from Military.com to the Army’s awards branch, which oversaw the medal upgrade, were not returned Friday.
The commander of MARSOC, Maj. Gen. Joseph Osterman, presented Sprovstoff’s widow, Tasha, with the award in a ceremony in Colorado Springs, Colorado, according to Marine Corps Times.
“[Sprovtsoff’s] courage, dedication and sacrifice inspire us on a daily basis to help others, to cherish our freedom, and to try to make a positive difference in the world,” Osterman said in a statement. “Also, the individual sacrifices [his] family have made is extremely important for MARSOC to recognize. We will always be inspired by the actions of our fellow Raiders and we will strive to operate at a level that honors them and their family.”
Sprovtsoff was killed Sept. 28, 2011 in Helmand province, Afghanistan and buried in Arlington Cemetery Oct. 6 of the same year.
According to his Bronze Star citation from that deployment, Sprovtsoff had fearlessly and safely led a team of Marines through a region filled with improvised explosive devices following an enemy ambush. His work during the deployment had led to the elimination of 40 IEDs.
Sprovstoff and his wife Tasha are featured in Oliver North’s 2013 book “American Heroes on the Homefront.”
While Sprovtsoff’s award upgrade appears to be an outlier due to an administrative error, there could be more upgrades coming for American troops who fought in Iraq and Afghanistan.The Pentagon announced in January that it would review all Silver Stars and service crosses awarded after Sept. 11, 2001 — some 1,100 awards — to determine whether a higher upgrade is warranted. The military services have until Sept. 30, 2017, to turn their recommendations in to the secretary of defense.
There has long been a dispute between the towns of Lexington and Concord over which fight sparked the Revolution, but the first shots were fired at Lexington, which was less of a battle and more of a massacre. The debate was so fierce that President Ulysses Grant almost avoided the centennial celebrations there to avoid the issue. Taken together, however, there is little doubt that the spark of the Revolution started on this day in April, 1775.
The Battles of Lexington and Concord were the first military engagements of the American Revolution, pitting members of the Massachusetts Bay Colony militia against British regular army forces. The militia was not under the royal governor, but controlled by the rebel Massachusetts Provincial Congress.
Seven hundred British troops were dispatched from Tory-held Boston to capture and destroy rebel arsenals at Concord, Mass. The rebels knew the British would come and had already moved the weapons and supplies. The British force moved through Lexington on the way to Concord.
At first light on April 19, 1775, the Redcoats met some 70 colonial militiamen moving into ranks on the local common. They were vastly outnumbered. Their commander, John Parker, was not willing to risk his men at such odds, and so placed them in formation, but not blocking the road to Concord. He ordered his men not to fire unless fired upon.
Rather than just march on to Concord, a British Marine lieutenant led his men onto Lexington Common to disarm the militia. Instead of disarming, the colonists moved to disperse. That’s when a shot rang out from an unknown source. Before this encounter, there was no war declared in the colonies. The British had come and gone to seize arms and supplies many times, retreating back to the major cities each time. This time was different.
The idea of Americans in open rebellion against the British Crown was likely a shock to the subject of the British Empire. At the time of the Battles of Lexington and Concord, the British controlled territory on every inhabitable continent across the globe. Down on Lexington Common, however, those opening salvos left eight Americans dead and an equal number injured, along with one injured British regular. The engagement soured the chances of reconciliation between the colonies and the Crown.
The British would continue to Concord, where the Battle of North Bridge in Concord would kill two colonists and three Redcoats. The British retreated all the way back to Boston and were harassed by colonial militias the entire way home.
Poet Ralph Waldo Emerson composed the “Concord Hymn” in 1837, immortalizing the two events for the unveiling of a battle monument at Concord’s North Bridge.
“By the rude bridge that arched the flood/Their flag to April’s breeze unfurled/Here once the embattled farmers stood/And fired the shot heard round the world.”
This story would one day lead to the defeat of the British at the hands of a Franco-American force, the birth of America, and eventually, School House Rock.
In 2018, Boeing filed patents for a number of potential cannon mounting solutions for the supersonic heavy payload bomber, the B-1B Lancer, with the intent of creating a B-1B gunship similar in capability to the famed Spooky AC-130 and its most recent successor, the AC-130J Ghostrider. While the patents indicate Boeing’s interest in prolonging the life of the venerable Lancer, there’s been little progress toward pursuing this unusual design.
Recently, the U.S. Air Force announced plans to begin retiring its fleet of B-1Bs in favor of the forthcoming B-21 Raider, prompting us to ask ourselves: could we actually build a B-1B gunship to keep this legendary aircraft in service?
Could we really build a B-1B Gunship?
Boeing’s patents indicate a number of cannon-mounting methods and even types and sizes of weapons, giving this concept a broad utilitarian appeal. America currently relies on C-130-based gunships that, while able to deliver a massive amount of firepower to a target, max out at less than half the speed that would be achievable in a B-1B gunship. The Lancer’s heavy payload capabilities and large fuel stores would also allow it to both cover a great deal of ground in a hurry, but also loiter over a battlespace, delivering precision munitions and cannon fire managed by a modular weapon control system.
In theory, it all sounds well and good, but there are also a number of significant limitations. The B-1B Lancer’s swing-wing design does allow it to fly more manageable at lower speeds, but it would almost certainly struggle to fly as slowly as an AC-130J can while engaging targets below. Likewise, a B-1B gunship would be just as expensive to operate as it currently is as a bomber–making it a much more expensive solution to a problem one could argue the U.S. has already solved.
But that doesn’t mean we’ll never see this concept, or even these patents, leveraged in some way. If you’d like to learn more about the concept of turning a B-1B into a gunship, you can read our full breakdown (that the video above is based on) here.
In the hours after Paris was liberated from the Nazis in 1944, three Allied vehicles — two French tanks and an American Jeep — slipped into the city on a dangerous, top secret mission carrying an intelligence agent and a handful of nuclear scientists.
The operatives were members of a special detachment of the Manhattan Project called the “Alsos Mission.” They were hand-picked to scour the recently-liberated countryside for intel on a German nuclear superweapon.
In 1938, German physicists Otto Han and Fritz Strassman were the first to split the atom, putting the Nazi Reich far ahead of the Allies in developing nuclear weapons. And with the development of the V-1 and V-2 rockets, the threat of a long-range destructive superweapon was very real.
The U.S. needed to know just how far along the Nazis were and they needed specific skills – in this case, nuclear scientists – to understand and determine their progress.
In the upcoming Star Wars film “Rogue One: A Star Wars Story,” the Rebel Alliance recruits Jyn Erso to work with a team led by Rebel intelligence officer Cassian Andor to steal the schematics of the Imperial superweapon, the Death Star. Erso’s unique skills and connections as a criminal are what make her the right choice.
And her covert op looks a lot like the clandestine work of the Alsos Mission, says a noted intelligence historian.
“Essentially, these are spy movies at heart,” says International Spy Museum curator Dr. Vince Houghton, in an exclusive interview with WATM. A U.S. Army Armor veteran and historian, Houghton admits he’s also a huge Star Wars fan.
“The backbone of all the movies are spy issues, whether it’s stealing the plans for the original Death Star, or stealing the plans for the second Death Star which turns out to be a big Imperial deception operation,” he says.
Teaming up a unique skill set with a commando group is exactly what the Alsos Mission did in WWII. It was formed in 1943 to gain intel on Axis technological progress. American para-intelligence soldiers and scientists moved with the Allied lines — and sometimes even behind enemy lines — to capture enemy atomic weapons scientists and records, Houghton says.
“That’s actually probably the most direct lineage for Rogue One,” he added. “You’re looking at a superweapon – in the case of the Alsos mission, a German atomic bomb would be a superweapon.”
The Alsos Mission was a little-known part of the Manhattan Project that coordinated foreign intelligence. Their mission was to gather information about the development of atomic weapons abroad while preventing foreign powers from making progress. They did it on the bleeding edge of the Allied advance.
“They’re trying to find secret information and doing it right under everyone’s noses,” Houghton says.
The mission’s first action came in Italy after the Italians surrendered to the Allies. A unit of American, British, French, and Italian researchers were to enter Rome right behind the Allied lines. They captured prominent Italian scientists and secured university laboratories, Army history documents show.
A month after the Normandy landings in June 1944, the Alsos Mission was in France and had to fight its way across the country and into Belgium and the Netherlands in the search for French and German scientists and their labs.
Of special interest to the team was 150 tons of missing Uranium ore – which were never found.
The nuclear labs in France were finally discovered on the hospital grounds in Strasbourg, along with intelligence indicating other nuclear sites inside Germany. The Army’s extensive review of the Manhattan Project shows the team discovered that Nazi scientists were unable to enrich Uranium and thus did not have a nuclear weapon.
Once inside Germany, Alsos operatives captured prominent scientists and their research, and destroyed processing plants, removed experimental technology and nuclear material, and – most importantly – kept all of it out of the hands of the Soviet Union.
“It’s because no one was really paying attention to them,” says Houghton. “Everyone was paying attention to the conventional forces, so they were able to move around Europe and capture up all these scientists and all this nuclear information. They’re able to eventually determine that there was no German bomb, but they were very worried at first. The rumor persisted well into the later days of the war.”
“Rogue One: A Star Wars Story” is in theaters Dec. 16th. You can catch more of Dr. Vince Houghton on the International Spy Museum’s weekly podcast, Spycast, on iTunes and AudioBoom.