*family member says something horribly offensive* Oh—oh,
oh-oh, oh-oh, oh, what, uhh, uh-oh, uhhh, UUHH, UH-OH, UH *laughs* UH OH, UH, UH OH,
UH OH, WHOOPS, OHH NO! WHOOPS! OH NO, UH OH, WHUH OH, UH OH, UH OH, OH NO,
WHOOPS, WHOOPS, OOPSIE DAISY, OH NO, UH OH! *they say something even worse* Oops, oh no, OH no! oops! Oopsie DAISY! Put this one back in the oven! He
needs time to cook! Oh, whoopsa doodle! YYYYIKES!
Manufactured by Webley&Scott LTD, Birmingham c.1929-39 - serial number 41910. .22LR six-round step-down cylinder, double action, top break action, 3″ barrel. An interesting factory conversion that had a limited run in the 1930′s, with fewer than a hundred of these ever made. You can see the noticeably tapered cylinder made to turn this .38-200 revolver into a .22LR plinker.
Though Taylor Swift’s decision to put her discography back on Spotify a week ago was—despite her protestations—an obvious attempt at further inflaming Katy Perry, it’s also a good enough reason as any to reexamine her discography. So it is now that I urge you to listen to her fourth album Red.
It’s hard now to think of Swift as something smaller and more humble than the highest, most gleaming lightning rod in a dark thunderous sky, but when Red was released in October 2012 she was mostly just a good ol’ pop star. She was not without controversy, of course (Kanye West’s interruption of her VMA acceptance speech happened in 2009), but still most of it was centered around which of her songs were about which of her famous ex-boyfriends, a scavenger hunt she openly encouraged via clues written into her albums’ liner notes. She was not yet a one-woman factory for conversations about feminism or race or gentrification, whose every move is treated with presidential-level scrutiny.
Red, in many respects, feels like the last pure Taylor Swift album we’ll ever get. It’s not just the last one before her career became consumed by the narratives that grow from it, but also the last one before she completely engineered her music for world domination. Nobody with a stake in the Taylor Swift business—which is a lot of people—would deem her most recent album 1989 to be anything other than a gigantic success, not when counting (the money derived from) three No. 1 singles, 1.2 million copies moved in its first week, and a sold-out worldwide tour. 1989 is still encoded with Swift’s DNA—top-shelf songwriting and her typically biting, often self-referential lyrics—but it presents a homogenized version of a pop star who once stood alone in an industry colored by the creation and pursuit of trends. 1989 pulls broadly from the history of pop music—”Shake It Off” nods at Motown girl groups, while a song like “All You Had to Do Was Stay” is pure Radio Disney—but it’s mostly infatuated, like so much pop of the time, with the ’80s. The country music of her early days was left a molted skin. Her much cooler friends Haim loomed large.
I really like when the generic members of antagonistic groups are portrayed as regular people. Just in case you forget they aren’t all heartless bad guys knowingly backing the destruction of the world.
Rumors of German “Corpse Conversion” Factory Originate
“And don’t forget that your Kaiser will find a use for you – alive or dead.” A cartoon from Punch, later in April, after the story had made its way to Britain.
April 10 1917, Berlin–A brief news item in the April 10 issue of the Berlin Lokal Anzeiger mentioned the horrid smell of a “Kadaververwertungsanstalt” being run by one German Army Group. The story was, later in the month, picked up by a Belgian newspaper, and then British ones, who translated the word as “Corpse Utilization Establishment.” The story, combined with other rumors from German-occupied Belgium, soon grew a life of its own, alleging that the Germans were using the corpses of their own soldiers as inputs to industrial processes–rendering human fat into glycerine, and so forth.
However, the use of the English word “corpse” for the German “Kadaver” was a mistranslation; although it can be used to refer to medical cadavers, it is primarily used to mean “carcass.” The building in question was processing animal carcasses (at worst, the large number of horses that cycled through the German Army during the war) rather than human corpses. Although this was pointed out at the time, the story continued to be widely believed in Allied countries for years after the war, and was used as an example of German barbarity.
“He’s back.” You friend said as she knocked on your office
“Who?” You sighed as you looked away from the mound of paper
“That nice looking Brummie.” She sighed as she stared off
into nothing and started daydreaming.
With a shake of you head you pushed past her to find said
Brummie, helping your workers and giving them advice how to improve their
effectivity. He glanced toward your office and saw you glaring at him with
crossed arms and swallowed, seeing that he’d overstepped and quickly removed himself
from the floor of your factory.
“Can I help you Mr Shelby?” You asked a little irritated
that he was here for the third time that week.
“No.” When he didn’t offer any more you rolled your eyes and
opened your office door offering him a seat as you fetched him a drink.
“Then why are you here again, your shipment doesn’t leave
till the end of the week.” You mumbled.
When you looked up your eyes met his cold blue ones, a spark
of curiosity seemed to light them up as if your cold shoulder was amusing him. He
wasn’t sure why he came, he told himself it was professional curiosity, but the
reality was he couldn’t get his mind of you.
Only Poll had ever been so abrasive towards him, even Esme
had some amount of submission, when it came to Tommy and finding a woman so level
headed it had knocked his confidence somewhat and he’d hopped with his regular
extra visits to have you unnerved.
So I had a thought - Steve’s comic in The First Avenger uses the actual cover of Captain America #1, yeah? And we see this comic during the USO/propaganda montage, before Steve gets over to Europe, right?
So what’s Bucky doing on the cover? Why is he already a character in the comic, before his dramatic rescue from the HYDRA factory?