c 45


Fallschirmjägergewehr 42 automatic rifle - late war variant

Designed by Louis Stange c.1941-42 and manufactured by Heinrich Krieghoff c.1942-45 - serial number 02314.
7,92x57mm Mauser 20-round removable box magazine, gas operated select fire, bipod, ZF4 4x scope, spike bayonet, muzzle brake, 30mm Schießbecher grenade launcher.

An automatic rifle designed to do everything and not weighing much for airborne troops, it somehow worked and inspired small arms development in the following decades.


Nitration of a methoxybenzoic acid. 

The tricky party is that the reaction starts at 45 °C, it is highly exothermic, uses high excess of nitric acid and it should be kept at maximum 40 °C. So what happens? Instant overreaction. 

If this is not bad enough, the yield of the preferred nitro compound is only 10-15% and a LOT nitrous fumes forms during the reaction as seen on the pictures. 

Interesting part is that the gas bubbler contained some water and the formed dinitrogen trioxide is being dissolved in it forming a blue solution. N2O3 is the anhydride of the unstable nitrous acid (HNO2), and produces it when mixed into water. However when it is in high concentrations, it stays in N2O3 form for a while and could be observed, just as in this case. 

If a base is added, the corresponding salt of nitrous acid could be formed:

N2O3 + 2 NaOH → 2 NaNO2 + H2O


Winchester M1897 trench shotgun

Manufactured by Winchester Repeating Arms Co. based on John Browning’s design c.1917-45, this commercial gun was made in 1920 - serial number E683081.
12 gauge, 5+1 shells of nine .33 caliber pellets in a tubular magazine, 20″ long barrel, pump-action repeater with an external hammer and no trigger disconnector, heat shield and bayonet lug for the standard military issue M1917 rifle bayonet.

The old trench broom, in near-mint condition.

i live in that weird borderline part of PA where both WAWA and SHEETZ commercials come on TV during the same commercial break and it just feels silly. idk i find that sort of thing hilarious due to the fact that there was such a divisive split in my one friend group back in college liiiiike there were multiple & absolutely ridiculous yelling matches in the dining hall between people from different areas over which was better. people get heated about this

me? bro i don’t give a fuck as long as i can customize a sandwich on one of those touch screen things at 3 in the fucking morning absolutely shit faced soooo i’m the real winner here. this post really got away from me.


                   ‘  all those angels,  all those demons,  all those sons of bitches  —  they just don’t get it,  do they, sammy?  you see,  WE’RE  the ones you should be  afraid  of.   ’  —  DEAN WINCHESTER   /  written by lou 

guess what i just played

Michael C Hall: ‘My best first-night gift? 

A note from David Bowie’

Michael C Hall photographed at King’s Cross theatre, London, where he’s starring in Lazarus.

Best known for starring roles in US TV shows Dexter and Six Feet Under, Michael C Hall, 45, began his acting career on stage. Born in Raleigh, North Carolina, he first appeared on Broadway in 1999 as The Emcee in Sam Mendes’s production of Cabaret and then took the title role in Hedwig and the Angry Inch in 2014. He is currently starring in the musical Lazarus, by David Bowie and Enda Walsh, at King’s Cross theatre, London, until 22 January.

What’s your pre-stage ritual?
I think rituals develop from production to production; I don’t have any hard-and-fast ones. With this show I’m on stage about 20 minutes before the show officially begins, so I allow that time to be a daily meditation. But that’s lying on stage in front of a 900-plus-seat theatre, people who have come to watch the show, so it’s not exactly private time.

What do you have in your dressing room?
In the past, with dressing rooms and other rooms that are in any way temporary, I’ve been inclined to treat them like a prison cell: “This isn’t my home; I’m not going to stay here for ever.” But lately I’ve done more to personalise them. With Lazarus it’s a pretty small space, but I’ve surrounded myself with some images that for one reason or another evoke the spirit of the show. Most of them are abstract: there’s a David Bomberg print called Ju-Jitsu and an old, psychedelic Mark Rothko image that looks like some sort of memory of a home planet.

But music is important in my dressing room, too – music that helps. At the Mercury prize ceremony I heard this band the Comet Is Coming, an electronic jazz group, and I was blown away by their performance. I got that album and I’ve been listening to it every night before the show.

What do you love most about being on stage?
The immediacy. The fact that no one is waiting to take their turn; everyone is there occupying the space together, audience and actors.

And anything you dislike about it?
Cold season! Cold theatres. People coughing. It’s been pretty much perpetual with Lazarus in London. But a lot of the cast are coughing too.

How do you wind down after a performance?
With this show, the first thing I do is shower. I take off my soaked costume, soaked with… well, some of us call it milk, some of us call it angel blood; whatever it is, I don’t want to spoil the ending for anyone, but I’m pretty much doused in it by the end of the show. So I take a shower and wash that and the evening off. Then I head home. I don’t really go out after the show very often any more. I am somewhat adrenalised at the end, and it usually takes at least a couple of hours before I feel like I can get into bed and hope to fall asleep.

What’s the best first-night gift you’ve received?
It would have to be a handwritten note and gift that I received from David Bowie on the opening night of the production in New York. It was a letter I’ll always cherish, and a gift that was a personal artefact from his life – one that I will keep for ever as a talisman. I opened the card and started reading it before I knew who it was from, and about halfway through the first page I realised it was from David and I was floored.