World War Two
Published 14 Apr 2023We are getting closer and closer to D-Day and the potential liberation of Nazi Europe. But how much do the Germans know about this? Is the leak inside the British Embassy in Ankara enough to thwart the efforts of Operation Bodyguard, Operation Fortitude, and everything else the Allies are doing to deceive Adolf Hitler? Let’s find out. This is the story of Cicero.
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April 15, 2023
Do the Germans Know About Operation Overlord?
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Type 68 North Korean Tokarev/High Power Hybrid
Forgotten Weapons
Published 18 May 2020The Type 68 is a North Korean hybrid of the Tokarev and the High Power, used as a military service pistol until replaced by the Beak-Du-San copy of the CZ75. The general outline of the gun is a copy of the Tokarev, with a modular removable fire control group, lack of manual safety, and tall thin sights. It is chambered for 7.62x25mm, and uses a magazine identical to the standard Tokarev except for not having a magazine catch cut, as the Type 68 has a heel magazine release.
Internally, the High Power elements include a detent-retained barrel pin, use of a solid barrel cam instead of a 1911/Tokarev swinging link, and a fixed barrel bushing. Two patterns of markings exist, one with a date and North Korean marking, and one (like this example) with only a serial number.
North Korean guns of all types are very rare in the United States. A very small number of Type 68s have come into the US, generally through Central America (probably via Cuba) and South Africa (via Rhodesia/Zimbabwe).
Update: It appears that the original design work for these was done by an independent engineering firm in Yugoslavia. The design (a TT33 with High Power type locking and angled slide serrations) was not completed in time for the trials that would lead to adoption of the Yugoslav M57, and the drawings were transferred to “another country” — probably North Korea.
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QotD: When the pick-up artist became “coded right”
When did pickup artistry become criminal? Relying on online sex gurus for advice on persuading women into bed used to be seen as a fallback for introverted, physically unprepossessing “beta males”. And for this reason, in the 2000s, the discipline was promoted by the mainstream media as a way of instilling confidence in sexually-frustrated nerds. MTV’s The Pickup Artist shamelessly broadcast its tactics, with dating coaches encouraging young men to prey upon reluctant women, hoping to “neg” and “kino escalate” them into “number closes“. Contestants advanced through women of increasing difficulty (picking-up a stripper was regarded as “the ultimate challenge”) with the most-skilled “winning” the show.
Today, the global face of pickup artistry is Andrew Tate: sculpted former kickboxing champion, self-described “misogynist”, and, now, alleged human trafficker. Whatever results from the current allegations, his fall is a defining moment in the cultural history of the now inseparable worlds of the political manosphere and pickup artistry, and provides an opportunity to reflect upon their entangled history.
Pickup artistry burst onto the scene in the 2000s, propelled by the success of Neil Strauss’s best-selling book The Game. More a page-turning potboiler cataloguing the mostly empty lives of pickup artists (PUAs) than a how-to guide (though Strauss wrote one of those too), the methods in the book had been developed through years of research shared on internet forums. The “seduction underground”, as the large online community of people doing this research was called, then became the subject of widespread media attention. Through pickup artistry, the aggressive, formulaic predation of women was normalised as esteem boosting, and men such as those described in Strauss’s The Game could be viewed in a positive light: they had transformed from zero to hero and taken what was rightfully theirs.
The emergence of PUAs generated a swift backlash. The feminist blogs of the mid-to-late 2000s internet, of which publications like Jezebel still survive as living fossils, rushed to pillory them. The attacks weren’t without justification, but the world of PUAs during this period, much like the similarly wild-and-woolly bodybuilding forums, had no obvious political dimension beyond some sort of generic libertarianism. It was only after these initial critiques that it began to be coded as Right-wing by those on the Left. Duly labelled, PUAs and other associated manosphere figures drifted in that direction. MTV’s dating coaches were not part of the political landscape, merely feckless goofballs and low-level conmen capable of entertaining the masses. But their successors would be overtly political actors.
Oliver Bateman, “Why pick-up artists joined the Online Right”, UnHerd, 2023-01-08.
