The United States and the Soviets disagreed on almost everything; except the fact that anti-tank infantry capabilities are necessary for decisive offensive combat. The Soviets fear our tanks because of their armor, speed, and firepower and raced us in the manufacture of rocket propelled grenades, also known as RPGs. Due to the variety of RPGs in circulation, we will focus on the RPG-7, the most widely used of all Soviet-era anti-tank weaponry.
(TRADOC BULLETIN NO. 3 U.S. Army)
The RPG-7 anti-tank grenade launcher is cheap, simple, and effective. The RPG-7 is part of one of many evolutionary branches of rockets. It is a decedent of the German Panzerfaust anti-tank weapon from which all RPG series stem from. In 1961 the RPG-7 was adopted by Soviet Armed forces.
The RPG-7 is 37.8 inches in length and weighs 14.5 lbs unloaded and 19 lbs when loaded with the 85mm caliber round (the rocket). It has a rate of fire of 4-6 rounds per minute at an arming range of 5 meters. It has a sighting range of 500 meters and a maximum range of 900 meters, at which point it self destructs. This speed is more or less three football fields per second.
The initial velocity of the rocket is 117 meters per second that increases up to 294 meters per second when the rocket assist engages. At full speed, it can penetrate up to 13 inches of armor at zero degrees.
This weapon has seen a wide range of use throughout the world along with the communist favorite AK-47.
The grenade is separated into two parts, the warhead and sustainer motor, and the booster charge. These two parts must be screwed together before the grenade is ready to fire.
When the projectile is first launched it is powered by a small strip powder charge to reduce the backblast area from harming the gunner. At approximately 11 meters the sustainer rocket kicks in, ignites, and boosts the rocket to maximum velocity.
The fins open after launch with canted surfaces that spin the rocket and stabilize the rocket in flight.
The rocket itself is 36.62 inches long and weighs 4.6 pounds. HEAT rounds are olive drab, and practice rounds are black. They use a point impact fuse with a base detonator.
The shape of the warhead is to penetrate tank armor by using the Munroe Effect:
The greatly increased penetration of an explosive into a surface (as of metal or concrete) that is caused by shaping a conical or hemispherical hollow in the forward end of an explosive cartridge – Merriam-Webster Dictionary
When the round detonates a small cone of metal forms and burns through the armor. There is no explosion after the core penetrates the armor, it is often the metal continuing out the other side of the target.
Since the RPG-7 is a direct fire weapon, it’s effectiveness on the battlefield is directly affected by the ability of the gunner. The weapon’s biggest weakness is crosswind when leading a target down range. In winds greater than 7 miles per hour, a gunner cannot expect to hit more than 50% of the time beyond 180 meters. They must calculate both wind direction and velocity, but even then results may vary.
There are two standard sights for this weapon: Iron sights and a telescopic sight.
Iron sights are permanently attached and can sight 200 to 500 meters with no wind or lead adjustment. In a conventional force, it is the backup sight system, but since most forces who use this weapon are unconventional, it is usually the primary.
The Soviet tactical doctrine regarding the RPG-7 states that it is most effective at 300 meters or at a point blank target with a height of two or more meters. The reasoning for 300 meters is that it will reduce the target reaction time to take evasive action or to counterattack. Even if it doesn’t kill the target, it’s still going to scare the sh*t out of it long enough to reload and strike again.
A U.S. Army test against a stationary M60 tank concluded that at 300 meters the probability of a gunner hitting his target is 30%. A second round has a 50% chance of hitting. The round was designed to penetrate 13 inches of armor but in practice penetrates 11 inches of steel instead.
During these tests, the U.S. Army also found that exposed tanks not in defilade are twice as vulnerable as one that is. A troop is to react immediately when fired at by an RPG-7. Because a second round is more likely to hit, it is imperative to suppress with machine guns, pop smoke, and move out of the kill zone.
Out of all the Soviet weapons, the deadliest is their propaganda infecting governments around the world.
In 1939, Congress authorized the construction of the USS Wisconsin. The build began at the Philadelphia Naval Yard in 1941. The United States was still doing everything she could to avoid being involved in the war in Europe, but preparing nonetheless. The Japanese attack on Pearl Harbor eleven months later would change everything.
The world was now at war for the second time and the USS Wisconsin would join the fight.
In 1943 on the second anniversary of the Pearl Harbor attack, the USS Wisconsin launched. She was commissioned on April 16, 1944. She left Norfolk, VA, and began her work. A few months later, the USS Wisconsin earned her first star in battle by supporting carriers during Leyte Operation: Luzon Attacks. She would go on to prove her seaworthiness by surviving a typhoon that took out three ships.
In January of 1945 while heavily armed, she escorted fast carriers who completed air strikes against Formosa, Luzon. By supporting these strikes, she earned her second battle star. Shortly after that she was assigned to the 5th Fleet. She went on to assist in the strike against Tokyo, which was a cover for the eventual invasion of Iwo Jima.
Under the cover of terrible weather, the USS Wisconsin supported landing operations for Iwo Jima, earning her third battle star. She would earn her fourth in an operation against Okinawa. Following that, she showed her might by keeping the enemy at bay with her powerful weapons and taking down three enemy planes. The USS Wisconsin earned a fifth star after operations against Japan. After putting in over 100,000 miles at sea since joining the fleet, she dropped her anchor in Tokyo Bay. She was vital to the support of the Pacific naval operations for World War II and earned her rest. She was inactivated in 1948 and decommissioned. It wouldn’t last long.
The USS Wisconsin rejoined the fleet in 1951 to assist in the Korean War operations. Following that war, she was placed out of commission yet again in 1958, and sat idle for 28 years until she was needed once more. She would go on to support operations in the Gulf War in 1991. Throughout her six months there, she played an absolute vital role in restoring Kuwait. She was decommissioned for the third and final time — she definitely earned her retirement.
The USS Wisconsin now sits in Norfolk, VA open to the public as a museum.
“By that time I was a trainer of heart surgeons for the Army,” Lough said in the video below. “I reached a point in my Army career where the future really held more and more administrative responsibilities and I really wanted to continue using my hands.”
He left the military to continue to do what he loved in a safe, private practice. He performed thousands of surgeries on his way to becoming director of his department at The George Washington University Hospital. He was living the definition of success in his second career.
But after the 9/11 terrorist attacks, the call to service began to tug at him.
“I had always considered myself a soldier, and now there was a need for military surgeons, and so I engaged the reserves about joining,” he said.
He wasn’t taking no for an answer.
“You want me to carry water?” he said about a conversation with recruiters. “I’ll carry water.”
He joined the U.S. Army Medical Corps Reserves and returned to service in 2007 at age 58. He deployed to Afghanistan twice, saving hundreds of lives on the front lines before going full active in 2013.
Watch Lough deliver his incredible service story and powerful message about personal growth in this short AARP video:
We hate on each other for whatever reasons, but at the end of the day, we’re still on the same side.
And the rivalry doesn’t stop just because a veteran gets a DD-214. If anything, it gets worse. Just look at the Army-Navy Game. Are you ready to watch two irrelevant college football teams talk shit for weeks leading up to a game whose disappointment starts with ugly uniforms and usually ends with the Navy blowing out Army?
It’s usually all in good fun. But if you didn’t serve, don’t join in – veterans from every branch will turn on you immediately. That being said, let’s take a look at few good reasons airmen hate on Marines.
6. Those stupid haircuts.
Nothing says “motarded” like a Marine’s haircut. You know those memes where a guy with a stupid haircut asks a barber to f*ck up his shit? You could make a book of those memes just walking around Camp Pendleton.
5. They take everything so seriously.
Look, I get it. A lot of Marines are going to see combat. Every Marine is a rifleman, sure. But don’t wait til you’re in the barracks drinking cheap beer, hanging with even cheaper locals to lighten up.
4. Calling us the “Chair Force.”
If you’re a Marine Corps legal clerk, maybe slow your roll on calling anyone “Chair Force.” On an Air Force base, you’d still be derided as a nonner, which is as close to POG as the Air Force gets.
Also, the Chair Force crack is so old, Marines are probably going to honor it with a plaque or memorial of some kind.
3. Their damn uniforms.
Look, no one is going to argue about Marine Corps dress blues — we acknowledge they’re pretty damn cool, but let’s talk about the MARPAT. There was nothing wrong with BDUs. We all wore them and they worked for 20 years. Then the Marines had to have their own cammies, because optics and whatnot.
Okay, say we get into a war with China or something, then those might be useful. Hopefully we never find out. The real beef with the uniforms is that they led to every service getting their own uniform, and the Air Force ended up in these:
Cool tiger stripes — at least we’re not the Navy.
2. And what’s with celebrities wearing Marine uniforms?
1. Complaining about superior Air Force facilities.
We hear you. Marine Corps facilities are garbage compared to the Air Force. The truth is that most facilities are garbage compared to the Air Force, even civilian facilities are garbage compared to the Air Force.
But Marines should be complaining to the Navy about facilities. After all, it wasn’t an airman that put Mackie Hall next to Sh*t Creek. You either get indoor plumbing or the F-35, but you can’t have both.
As for our chocolate fountains, I don’t know where that meme came from and I don’t care. If I wanted to eat from the garbage, I’d visit a Marine Corps chow hall.
There’s only one thing I won’t hate on the Corps for though: Those recruiting commercials. F*cking epic.
As written in the Constitution, the President of the United States is also the military’s Commander-in-Chief, and history would indicate that among the things that duty involves is wearing a flight jacket when in the company of American troops. Who pulls it off the best?
For benchmarking, here are how some of the nation’s previous presidents looked while wearing a flight jacket:
The Taliban last week released a 70-minute propaganda video, titled “Caravan of Heroes #13,” in which they imitated US special forces, the Military Times first reported.
While much of the video shows how the Taliban conducts ambushes and assaults, the first 10 minutes of it shows militants replete with tactical garb and weapons, and employing their tactics.
The video is unusual, since most Taliban videos show their fighters wearing turbans and beards, the Military Times reported.
Screengrab from released Taliban video
“The Taliban want to show their supporters and potential recruits that they are a professional force capable of defeating the Afghan government and the coalition,” Bill Roggio, editor of FDD’s Long War Journal, told the Military Times.
“The Taliban has touted its “special forces” in the past, in previous videos, however this video definitely kicks it up a notch,” Roggio said.
An Altus AFB Commissary meat cutter places packaged meat in the main store, Jan. 24, 2014.
Citing supply chain strains and anticipated shortages as a result of the novel coronavirus pandemic, the agency that manages military commissaries says some stores will start limiting how much fresh meat customers can purchase.
Starting May 1, commissaries within the 50 states and in Puerto Rico will limit purchases of fresh beef, poultry and pork, the Defense Commissary Agency announced Thursday evening. For fresh beef, pork, chicken and turkey, customers will be limited to purchasing two items per visit, according to the announcement.
“There may be some shortages of fresh protein products in the coming weeks,” Robert Bianchi, a retired Navy rear admiral and the Defense Department’s special assistant for commissary operations, said in a statement. “Enacting this policy now will help ensure that all of our customers have an opportunity to purchase these products on an equitable basis.”
Military commissaries, located on military bases around the world, operate on a nonprofit basis and offer food items at cost. Considered a military benefit, they are open to active-duty troops, dependents, retirees and some other special veteran categories.
Individual stores will have the ability to increase or decrease limits based on their inventory, DeCA officials added in the release. Some commissaries have already been posting quantity limits on high-demand items, such as toilet paper and hand sanitizer.
The move to limit meat purchases is a troubling one that comes on the heels of an announcement from Tyson Foods, one of the largest meat-processing companies in the nation, that it was being forced to close down plants due to the virus. Eventually, the company warned, the closures would lead to shortages in stores.
“The food supply chain is breaking,” company chairman John Tyson said in a full-page ad that appeared in the New York Times April 26.
On Tuesday, President Donald Trump issued an executive order ordering Secretary of Agriculture Sonny Perdue to “take all appropriate action under that section to ensure that meat and poultry processors continue operations,” calling the plants “critical infrastructure for the nation.
To that end, the administration will purchase billion in excess dairy, produce and meat “to be distributed in order to assist Americans in need as well as producers with lost markets,” the White House said in an announcement accompanying the order.
In DeCA’s Thursday announcement, Bianchi said the supply chain for commissaries overseas remained strong.
“In addition, we continue to prioritize quantities for our overseas shipments, so we should be able to support the demand,” he said. “If we experience any unexpected major hiccups in the pipeline, we will look at expanding shopping limits to other locations.”
The release noted that purchase limits were also intended to head off the phenomenon of panic buying, which has led to bare shelves in supermarkets all over the country. As demand spiked, DeCA issued a March 14 directive allowing store managers to implement shopping limits as they saw fit to maintain stock availability. That directive remains in effect.
“We know this is a potentially stressful time for all concerned,” Bianchi said. “But together we will meet these challenges and support our service members and their families throughout the duration of this crisis wherever necessary.”
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.
Justin Eggen had some things stuck in his head for a long time during — but especially after — his two deployments to Afghanistan. These thoughts became poems and short stories that reflected his feelings and personal experience as a Marine in Marjah and in Afghanistan’s Sangin Valley. Like so many writing combat poetry, they are Eggen’s way of handling the overwhelming series of emotions from and memories of his time there.
In this episode of Mandatory Fun, We Are The Mighty’s Blake Stilwell talks to Justin Eggen on what it was like to write poetry as a Marine Corps combat veteran — and why every U.S. troop needs some creative outlet for thoughts and feelings like his.
“When I was younger I wrote a bit of poetry,” Eggen says. “And I realized this is a good outlet for releasing a lot of pent up memories and aggression.”
That was then, this is now.
Eggen wrote up a few poems for “shits and giggles” after he returned from his deployments with the Corps, but the response was better than he ever imagined. He sent it to people who said he needed to share his combat poetry with the world.
Initially, however, he wasn’t apt to publish his works and share them with the world. At first, it was just a way to release the mental anguish. Eggen didn’t really take poetry or writing seriously, especially as a way to cope with what he describes as his mind “still living over in Afghanistan.”
“Ten years ago, I didn’t even think I would deploy to Afghanistan,” Eggen says, describing the drawdown of troops in Afghanistan while he was entering the Marine Corps. “When I joined, Afghanistan wasn’t even in people’s minds. Our Drill instructor said if we’re lucky, we’d go to Iraq.”
But don’t expect Justin Eggen’s combat poetry to look like anything a stereotypical beret-wearing beatnik might write. Eggen was a .50-cal machine gunner on a route clearance platoon, searching for IEDs in the roads around his area of responsibility.
The enemy was like a ghost: They were very good at making IEDs that were hard to detect because they were composed of very few metal elements. His second book, which is currently being written, will be about fighting such a ghostly enemy.
His first book is about the struggle of having your mind stuck back over there.
“A huge part of being home after the Marine Corps is trying to face what happened,” he says. “You get blown up and you’re never the same, regardless of if you’re in a vehicle or on foot. You hit an IED and that rattles you to an extent and you’re changed for the rest of your life. I have friends who are not the same. I am not the same person.”
For Eggen, writing down a lot of what happened, especially as combat poetry, is a powerful thing. Not just for him but for anyone who is struggling emotionally or mentally from a traumatic experience in their life.
He enjoys his work a lot and even enjoys reading them. Each one tells its own little tale. While the longer stories and poems are deeper to him, he also revives the ancient art of the warrior writing haiku. They’re just as deep, but short and sweet and he loves the challenge of writing them.
“You get 17 syllables to portray a story,” he explains. “if you can build something that makes people think in 17 syllables, that’s a huge challenge. That’s what Japanese warriors used to do after battle, write haikus. That was the first version of “combat poetry.” That’s how they dealt with a battle. So that’s what I did for three weeks straight, counting syllables on my fingers.”
Service members are held to a pretty high standard when it comes to grooming practices. The military requires that work uniforms look as neat as possible, men’s faces need to be clean shaven, and haircuts fall with in regulation.
Staying within these standards can be difficult, especially if you’re deployed. But for many, it’s just a matter of heading to the local base and getting a $12 haircut at the PX or NEX. The cut may not turn out celebrity style perfect, but you will be within regs.
Grooming standards vary amongst the branches, but at least one aspect remains the same — the hairline needs to be tapered. A fellow troop’s haircut is one of the first things veterans and service members notice.
Check out our list of military haircuts that would fail inspection:
1. War Daddy
In David Ayer 2014’s war movie “Fury,” Brad Pitt plays a hard-charging tank commander with a pretty awesome hair cut. But we can’t imagine how the Army managed to get a talented hair stylist out on the German front lines to keep his hair perfectly gelled.
We guess everyone in the 1940s cut their hair like Macklemore. (Source: Sony/Screenshot)
2. American Sniper
The story of legendary Navy SEAL sniper Chris Kyle hit the big screen in 2014 directed by the iconic Clint Eastwood. With all the excellent production value the film had one aspect was over looked — this Marine’s sideburns.
We could mention he also needs to shave, but that’s not what this article is about — maybe next time.
We bet he just asked the barber to take a little bit off the top before attending his big brother’s wedding. (Source: WB/Screenshot)
3. Broken Arrow
Christian Slater plays Riley Hale, a military stealth pilot who needs to track down a war head, defeat the villains, and locate a pair of Osters.
We know it makes you sad to trim around the ears, but you know what else is sad? Terrorism. Now go shave.
4. Full Metal Jacket
Although this Stanley Kubrick film is epic on multiple levels, it’s a hard fact to swallow that these Marines stationed on a large military base in Vietnam can’t find a pair of hair clippers. We’re just saying.
5. Jarhead 3: The Siege
The Jarhead franchise just won’t stop making bad movies. Not only does the corporal standing on the left need a quick touch up, but he may want to consider switching out his 8-point cover before the sergeant major rips him a brand new a**hole.
Maybe they bought the cover at an airsoft store? (Source: Universal/ Screenshot)
John Travolta plays DEA investigator Tom Hardy (not that Tom Hardy) in 2003’s “Basic.” Although the character isn’t on active duty, his backstory in the film states he’s a former soldier. So before he goes out on a mission to locate a rogue soldier, we think he should clean it up around his ears.
During World War II, sitting in aircraft hangars at Birmingham, England, were millions of undelivered pieces of mail and packages. Those U.S. service members in Europe took notice that no mail was being delivered and Army officials reported that a lack of reliable mail was hurting morale. It was predicted that it would take six months to clear the backlog in England, but who was up for the task?
In November 1944, African-American women — 824 enlisted and thirty-one officers — were recruited from the Women’s Army Corps, the Army Service Forces, and the Army Air Forces to form the 6888th Central Postal Directory Battalion, or the “Six Triple Eight.” The first and only all-female African-American battalion to be deployed overseas during World War II was organized into a Headquarters Company, for administrative and service support, and four postal directory companies — A, B, C, and D — commanded by either a captain or a first lieutenant. The battalion would be commanded by Maj. Charity Edna Adams Earley, the first African American woman to achieve the rank of lieutenant colonel in the U.S. Army.
Retired Master Sgt. Elizabeth Helm-Frazier touches the bust made in the likeness of battalion commander Lt. Col. Charity Adams on the monument honoring the all-female, all-African-American 6888th Central Postal Directory Battalion Nov. 29, 2018 in the Buffalo Soldier Commemorative Area, Fort Leavenworth, Kan. Helm-Frazier, of Md., said she knows how important mail is to service members, and she joined the project team to help get the monument funded so that future generations will know that women in uniform also helped guarantee freedom.
(Prudence Siebert, Fort Leavenworth Lamp)
Upon arriving in Birmingham after their initial training at Fort Oglethorpe, Georgia, the 6888th’s mission seemed simple: clear the backlog of mail bags that filled hangars from floor to ceiling. However, many of the letters and packages were addressed simply to “Junior,” “Buster,” or to soldiers who shared common names such as “Robert Smith.” Also, the hangars themselves were poorly lit, unheated, and cold and damp, with rats making their homes in packages of stale cookies and cakes. The women wore long underwear and extra layers of clothing underneath their uniforms in order to stay warm. The lighting was poor due to the windows being blacked out to prevent light from escaping and alerting enemy aircraft of their location during nighttime air raids. The late Staff Sgt. Millie L. Dunn Veasey stated that there were buzz bombs that came down. “You could see them, and then you didn’t know where they were going to land,” she said. “You had to go get into a shelter. Just drop everything, and just run.”
Members of the 6888th sorting mail.
(The National Archives)
With World War II raging on, the soldiers of the 6888th were given six months to sort and deliver the mail — they did it in three months. The women divided into three eight-hour shifts and worked seven days a week to sort and redirect an average of sixty-five thousand pieces of mail per day, totaling nearly seven million pieces in Birmingham alone. The mail clerks used special locator cards that contained soldiers’ names, unit numbers, and serial numbers to help ensure proper delivery; they also had the duty of returning mail addressed to those service members who had died. The women developed the motto “No mail, low morale,” as they were providing the support of linking service members with their loved ones back home.
Following their three months in Birmingham, the members of the 6888th were deployed to Rouen, France, to clear two to three years of backed up mail. And again, the women completed the task in just three months. While deployed to Paris, they faced new challenges: the theft of packages and items from packages to supply the populace.
French civilians and soldiers from the 6888th sort mail in the spring of 1945.
(U.S. Army Womens Museum)
The battalion was transferred home and disbanded at Fort Dix, New Jersey, in 1946. There was no ceremony, no parades, no public appreciation, and no official recognition for all their accomplishments.
Though there have been exhibits and educational programs about the 6888th, public events honoring the women of the battalion have been few. One of the most prominent events was a ceremony by the Women in Military Service for America Memorial at Arlington National Ceremony. Veterans received certificates, letters of appreciation from the secretary of the Army and the Army chief of staff, lapel pins, and decals. The most recent event to honor the 6888th was the Nov. 30, 2018 dedication of a monument located at the Buffalo Soldier Commemorative Area on Fort Leavenworth, Kansas. Five surviving members of the battalion attended: Pvt. Maybelle Rutland Tanner Campbell, Pfc. Elizabeth Barker Johnson, Cpl. Lena Derriecott Bell King, Pvt. Anna Mae Wilson Robertson, and Pfc. Deloris Ruddock.
Veterans who served during World War II with the 6888th, (left to right) Pvt. Anna Mae Wilson Robertson, Pfc. Elizabeth Barker Johnson, Pfc. Deloris Ruddock, Pvt. Maybelle Rutland Tanner Campbell, and Cpl. Lena Derriecott Bell King gather around the monument honoring the battalion Nov. 29, 2018 the day before a ceremony dedicating the monument at the Buffalo Soldier Commemorative Area, Fort Leavenworth, Kan. The women, all in their nineties, are five of seven known surviving members.
(Prudence Siebert, Fort Leavenworth Lamp)
Carlton Philpot, Buffalo Soldier Monument Committee chair and project director, said that the goal of this monument is to “make it unique enough that no one will have to look for it when they come into the park.” With the names of five hundred battalion members and a 25-inch bronze bust of its leader, Lt. Col. Charity Adams Earley, the monument is truly unique. It joins monuments dedicated to Gen. Colin Powell, 2nd Lt. Henry Flipper, the 555th Parachute Infantry Division, the Buffalo Soldier, and others in the Circle of Firsts and the Walkway of Units at the Buffalo Soldier Commemorative Area. As Earley’s son, Stanley, said, “My mother was always enormously proud of the Six Triple Eight. This monument is a statement of the responsibility, determination, and honor, and it is a gift from the recent past addressed to the future.”
Kansas Sen. Jerry Moran said, “When we unveil this monument, what we are really saying is this: Thank you for your service. We respect you and we love you.”
After the horrific terror attacks at the 1972 Munich Summer Olympics ended in the death of 11 hostages, nations of the world began creating their own versions what we, in the United States, call Special Weapons and Tactics teams, or SWAT teams. Just under a year later, France established their very own elite tactical police unit called the Groupe d’Intervention de la Gendarmerie Nationale, or GIGN.
Their counter-terrorism efforts are well regarded when they operate within their homeland, but not many know that they’re also a component of the French Armed Forces, which means they’re one part elite police officers and one part special operations soldier.
They’ve quickly become the most experienced and successful counter-terrorist organization in the world, tallying up over 1,800 publicly known missions with a near-flawless track record. And each time the Gendarmerie step up against a threat, they’ll always bring a trusty six-shooter revolver as their sidearm.
If it looks stupid, but works, it ain’t stupid.
(Groupe d’Intervention de la Gendarmerie Nationale)
While the GIGN does employ a wide variety of firearms for any given mission, including the MP5 submachine gun, the Fabarm SDASS Tactical shotgun, the Hécate II sniper rifle, and, recently, the BREN 2 rifle, their sidearm of choice is almost always the Manurhin MR73 double-action revolver. It should be noted that some have been known to carry Glock 17s, but that’s more the exception than the rule.
When the testing which sidearm to field, the MR73 made the cut after the teams were able to each shoot over 150 rounds of .38 Special with their sample weapons. They didn’t need to see any other firearms — the MR73 was the first and only sidearm they wanted to test.
Each MR73 is made to be used in marksmanship competitions. Each has an adjustable trigger weight in both double-action and single-action modes so it can be made to perfectly fit its wielder.
Even when the officer is given a choice of firearms, they’ll still almost always take the revolver. Because nothing beats a classic.
(Groupe d’Intervention de la Gendarmerie Nationale)
But while the MR73 revolver is a solid, practical choice, it’s just as much a status symbol. Commissioner Robert Broussard also saw what the revolver meant to the lawmen of America. It was the weapon of choice used by police to take down both Wild West outlaws and prohibition-era gangsters. A weapon like that earned its place among his police.
Historical status aside, the Manurhin MR73 is one the last remaining high-quality French firearms. The truth is, there simply aren’t many French firearm manufacturers that strive to achieve ultimate quality. Having a highly-customizable, expertly-crafted, .38 Special-firing symbol of both France industry and Wild West lawman? It’s the perfect match for the GIGN.
Since its founding in 1958, DARPA, the Defense Advanced Research Projects Agency, has kept the United States as a technological leader in robotics, electronics, communications, and combat. President Eisenhower first authorized what was then known as ARPA as a response to the Soviet launch of the Sputnik satellite in 1957, and the Agency quickly became known for its far-fetched research, its startling advances, and its secrecy.
Inventions by DARPA have changed the way we communicate, work, and travel – both in peace and war. Our list of DARPA projects includes concepts crucial to the internet, GPS, interactive maps, advanced computing, and transportation. And DARPA researchers are currently working on an astounding array of projects, everything from robotic dogs to healing microchips. Much of it won’t work, and some of it won’t ever see the light of day – but everything DARPA does keeps the US on the forefront of technological dominance.
This DARPA projects list features some of the coolest, most attention-getting innovations DARPA has been involved with. Which inventions and breakthroughs do you think are the coolest in DARPA history? Vote them up below!