Forces TV
Published on 7 Jun 2019As much as the success of D-Day was down to the bravery of soldiers … it was made possible by inventions and new machines. These Mulberry Harbours were a real World War 2 engineering victory.
More Mulberry: https://www.forces.net/d-day/mulberry-harbours-how-allies-floated-concrete-win-d-day
Forces Net D-Day Hub: http://forces.net/dday
The old Latin phrase De mortuis nihil nisi bonum encourages us to only speak well of the dead. The recent death of libertarian billionaire David Koch has brought forth a torrent of vituperation from many people in media and politics, as James Piereson and Naomi Schafer Riley record:
David Koch speaking at the Defending the American Dream Summit in Columbus, Ohio, 21 August 2015.
Photo by Gage Skidmore via Wikimedia Commons.
“Yesterday David Koch of the zillionaire Koch brothers died … of prostate cancer. I guess I’m going to have to reevaluate my low opinion of prostate cancer.” That was Bill Maher last Friday night, joking before his approving audience. Maher went on to say, “The Amazon is burning up. I’m glad he’s dead.” Maher is not known for his kindness toward those with whom he disagrees. In that sense, he reflects the thinking of a growing number of progressives and leftists who openly despise conservatives and libertarians. David Koch, along with his brother Charles, have for decades been targets of harsh rhetoric from the far Left.
What is it about David Koch that inspired such hatred? “We live in the world that he helped build, and it is on fire,” wrote Sarah Jones in New York, denouncing Koch’s “monstrous legacy.” In Esquire, Charles Pierce writes: “Except for his surviving brother, Charles, no man had a worse effect on American politics since the death of John C. Calhoun. Every malignancy currently afflicting us can be traced in one way or another into their wallets, and that’s not even to mention the lasting damage they’ve done to the planet as a whole.”
This is the kind of language that religious cults reserve for heretics and apostates — and in many ways, David and Charles Koch were blasphemers to the liberal orthodoxy. They believed in smaller government and thus criticized the welfare state, excessive taxation, and a great deal of government regulation. At the same time, they criticized America’s wars abroad, along with high levels of defense spending, and were sympathetic to the causes of gay rights and gay marriage. They were consistent in their views across a range of issues, antagonizing liberals but also vexing conservatives. The claim that David Koch was a reflexive right-winger is a caricature of his beliefs.
The Kochs believed in smaller government. Whether it was gay marriage or land wars in Asia, they consistently argued that less government intervention would produce freer and happier people. Their support for drug legalization and abortion rights irked plenty of conservatives, but it drove few over the edge as their support for lower taxes and greater school choice did for liberals. Perhaps nothing irked liberals more, though, than the Kochs’ fight for less environmental regulation. Blaming Charles and David Koch for singlehandedly destroying the rainforests or raising the temperature of the earth seems to be a common theme among critics — an attribution of immense power beyond the capacity of any man or family or company.
Forgotten Weapons
Published on 28 Jun 2019http://www.patreon.com/ForgottenWeapons
Cool Forgotten Weapons merch! http://shop.bbtv.com/collections/forg…
The H&K Mk 23 pistol was developed in the 1990s for the US Special Operations Command and US Navy. The goal was to produce an “offensive handgun” that could serve as a primary armament for a special forces operator as well as a backup arm. It was required to be no more than 12 inches long, fit a suppressor and aiming module with laser and illumination options in both visible and IR spectrum, have at least 10-round magazines, chamber .45 ACP (specifically a 185gr +P loading), and pass a 30,000 round endurance test.
Only two companies were able to supply acceptable initial pistols; H&K and Colt. The Colt pistol failed to pass the 1st phase testing. H&K presented a gun based on the recently-developed USP design, was ultimately chosen as the project winner; adopted as the Mk 23 pistol in 1996. The testing this pistol went through during development is really quite remarkable.
Contact:
Forgotten Weapons
PO Box 87647
Tucson, AZ 85754
Orwell’s press card portrait, 1943
Now, if you showed this book, with its illustrations, to Lord Elton, to Mr. Alfred Noyes, to The Times leader writers who exult over the “eclipse of the highbrow” — in fact, to any “sensible” art-hating English person — it is easy to imagine what kind of response you would get. They would flatly refuse to see any merit in Dali whatever. Such people are not only unable to admit that what is morally degraded can be aesthetically right, but their real demand of every artist is that he shall pat them on the back and tell them that thought is unnecessary. And they can be especially dangerous at a time like the present, when the Ministry of Information and the British Council put power into their hands. For their impulse is not only to crush every new talent as it appears, but to castrate the past as well. Witness the renewed highbrow-baiting that is now going on in this country and America, with its outcry not only against Joyce, Proust and Lawrence, but even against T. S. Eliot.
But if you talk to the kind of person who can see Dali’s merits, the response that you get is not as a rule very much better. If you say that Dali, though a brilliant draughtsman, is a dirty little scoundrel, you are looked upon as a savage. If you say that you don’t like rotting corpses, and that people who do like rotting corpses are mentally diseased, it is assumed that you lack the aesthetic sense. Since Mannequin rotting in a taxicab is a good composition. And between these two fallacies there is no middle position, but we seldom hear much about it. On the one side Kulturbolschevismus: on the other (though the phrase itself is out of fashion) “Art for Art’s sake.” Obscenity is a very difficult question to discuss honestly. People are too frightened either of seeming to be shocked or of seeming not to be shocked, to be able to define the relationship between art and morals.
It will be seen that what the defenders of Dali are claiming is a kind of benefit of clergy. The artist is to be exempt from the moral laws that are binding on ordinary people. Just pronounce the magic word “Art”, and everything is O.K.: kicking little girls in the head is O.K.; even a film like L’Age d’Or* is O.K. It is also O.K. that Dali should batten on France for years and then scuttle off like rat as soon as France is in danger. So long as you can paint well enough to pass the test, all shall be forgiven you.
One can see how false this is if one extends it to cover ordinary crime. In an age like our own, when the artist is an altogether exceptional person, he must be allowed a certain amount of irresponsibility, just as a pregnant woman is. Still, no one would say that a pregnant woman should be allowed to commit murder, nor would anyone make such a claim for the artist, however gifted. If Shakespeare returned to the earth to-morrow, and if it were found that his favourite recreation was raping little girls in railway carriages, we should not tell him to go ahead with it on the ground that he might write another King Lear. And, after all, the worst crimes are not always the punishable ones. By encouraging necrophilic reveries one probably does quite as much harm as by, say, picking pockets at the races. One ought to be able to hold in one’s head simultaneously the two facts that Dali is a good draughtsman and a disgusting human being. The one does not invalidate or, in a sense, affect the other. The first thing that we demand of a wall is that it shall stand up. If it stands up, it is a good wall, and the question of what purpose it serves is separable from that. And yet even the best wall in the world deserves to be pulled down if it surrounds a concentration camp. In the same way it should be possible to say, “This is a good book or a good picture, and it ought to be burned by the public hangman.” Unless one can say that, at least in imagination, one is shirking the implications of the fact that an artist is also a citizen and a human being.
* Dali mentions L’Age d’Or and adds that its first public showing was broken up by hooligans, but he does not say in detail what it was about. According to Henry Miller’s account of it, it showed among other things some fairly detailed shots of a woman defecating.
George Orwell, “Benefit of Clergy: Some Notes on Salvador Dali”, Saturday Book for 1944, 1944.
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