Death is a natural conclusion to all life, yet when it claims our beloved entertainment icons, disbelief often follows. From John Lennon to Jim Morrison and Elvis Presley, their passing leaves an indelible mark, reminding us of their lasting impact Artists Jean-Marie Delbes and Hatim El Hihi have recreated a number of well known album covers with deceased band members removed. (Some will need to be updated, sadly)

Imagine two men in heavy canvas coats and metal face masks, standing ten paces apart, pistols in hand. Instead of the hush and horror of an 18th century duel they were met with the clack of elaborate triggers and the soft pop of wax slugs. For a fleeting moment around 1908 the old ritual of honour was reinvented as spectacle and sport, duelling with wax bullets. This curious chapter in the history of shooting lives at the crossroads of aristocratic ritual, turn of the century spectacle and budding modern pastimes. It looked dramatic, it promised risk, and it was deliberately theatrical: the stakes were pride not life. But it was not harmless, and its rise and fall tell us something about changing attitudes to violence, modern sport and safety. Note the handguard on the pistol’s grip to shroud the shooter’s exposed hand . What was wax bullet duelling At the start of the 20th century a handful of shooting clubs in France Britain and the United States promoted a new, non lethal version of pistol duelling. Competitors used specially adapted duelling pistols which fired wax bullets rather than lead. To reduce velocity gunpowder was drastically reduced or omitted and only the primer or a very small charge propelled the soft projectiles. Shooters wore heavy protective clothing and a metal helmet often fitted with a glass plate for eye protection. Pistols sometimes had guards to shield the fingers. The visual was both familiar and strange. It echoed the choreography of honour duels, the measured pace the steps the formalities, while turning what had once been a deadly ritual into a kind of staged combat sport. Matches could be treated as skill contests or as jokey public entertainments where a man might be “theoretically pronounced dead” for comic effect after being struck. But the bullets though soft were not entirely benign. At close range or without proper covering they could break skin or inflict painful wounds and ricochets posed a real danger to bystanders. The Olympic confusion You will read variations of the same claim that pistol duelling was an Olympic sport in 1908. The truth is more nuanced. Pistol duelling as a competitive activity featured at the 1906 Intercalated Games and a version of it was demonstrated in London around the time of the 1908 Games as part of the wider atmosphere of exhibitions and sporting novelties. There were no official demonstration sports in the modern sense until later. So while wax bullet duelling rubbed shoulders with Olympic era events and received international attention it was not a medal event in the 1908 programme in the way many later sports were. Who tried it and what they said The craze originated in France where a Parisian School of Dueling and a number of enthusiasts championed the practice. The pistols and wax projectiles were developed and refined by figures including doctors and shooting aficionados who wanted a safer training method for duellists or an exciting new sport. Not everyone was enchanted. Walter Winans, a noted marksman and big game hunter of the period, who was associated with shooting circles in Britain, warned that the pastime was not without peril. He cautioned that wax slug shooting was risky for spectators and competitors alike remarking that “spectators might lose their eyes by a stray or ricochet bullet.” Whether offered as a challenge to chivalry or as a warning about inadequate safety the sentiment stuck. Journalists who tried the sport reported painful injuries including the loss of skin between thumb and forefinger when a shot landed on an exposed hand. Why it mattered then A few things made wax bullet duelling feel plausible around 1900. The culture of honour still lingered among certain classes. Technological tinkering with firearms and ammunition was common. Public appetite for novelty entertainments was high and exhibitions offered stages to demonstrate foreign sporting curiosities. The idea of simulating a ritual duel without killing the participants was simultaneously nostalgic and modern. In practice the novelty struggled with safety and uptake. The First World War changed attitudes to firearms and combat. Firearms technology and the brutal reality of modern war made mock duels seem oddly naïve. The sport faded and for most of the 20th century wax bullet duelling was a brief oddity to be recalled in magazine pieces and museum displays. The sports modern descendants If the wax bullet duels of 1908 feel familiar it is with good reason. Paintball and airsoft share a family resemblance. Those sports use soft projectiles require protective kit and have become global industries. But unlike paintball the early duels demanded the stylised etiquette of formal pistols and stage like procedure. Paintball emphasises mass action and fun; wax duelling emphasised duel protocol and one on one skill. A duelist protected against wax bullets, Lebouttellier, winner of the International Revolver Championship Wax bullets did not vanish. They survived as practical tools for training trick shooters fast draw competitors and even magicians. Fast draw competitions use wax bullets or balloon popping blanks to allow speed shooting without lethal risk. Magicians have long used wax slugs for bullet catch illusions. Wax projectiles also remain an affordable quiet training round for some shooting clubs. Safety and the lesson learned The story of bloodless duelling is not simply quaint. It is a reminder that technologies invented to reduce harm may introduce new hazards if adopted without proper thought. Heavy gear and helmets mitigated some risks but the soft projectiles could still hurt and the risk of stray shots made spectator safety problematic. The wax experiments also show how sport can serve cultural ends. By reimagining a lethal ritual as a sport the participants sought to domesticate violence, to turn honour into spectacle. That transformation was partial and temporary. The courts social norms and evolving laws made formal duelling obsolete and modern justice systems channel disputes into lawyers offices rather than gun salutes. Where you can still see the kit Museum collections and private collectors sometimes hold Lepage or similar wax bullet duelling pistols complete with masks and wax cartridges. Online collectors sites and a number of specialist firearms blogs and videos explain how these pistols were constructed and how the wax projectiles were formed. They make for an arresting museum display because they sit at the interface of craft making sport and ritual. Sources Atlas Obscura Wax Bullet Duels Were the Paintball Fights of 1909 https://www.atlasobscura.com/articles/wax-bullet-duels-were-the-paintball-fights-of-1909 Mental Floss Bullet Time When Pistol Dueling Was an Olympic Event https://www.mentalfloss.com/article/646824/when-pistol-dueling-was-olympic-event Ripley s Believe It or Not Bloodless Dueling in the Olympics With Wax Bullets https://www.ripleys.com/stories/bloodless-dueling-wax-bullets Forgotten Weapons Lepage Wax Ball Dueling Pistols https://www.forgottenweapons.com/lepage-wax-bullet-dueling-pistols/ TopendSports Pistol Dueling at the 1908 Olympic Games https://www.topendsports.com/events/demonstration/dueling-pistol.htm

The wonderful people over at Pop Sonnets have spent so much time putting a old spin on modern songs. They're absolutely wonderful.

In the relatively short time humans have been flying, the illustrious name of Bessie Coleman looms large, her legacy a testament to determination and audacity amidst a backdrop of societal barriers. Born on January 26, 1892, in Atlanta, Texas, Coleman's trajectory from humble beginnings to soaring heights is as inspiring as it is emblematic of perseverance in the face of adversity. Coleman took to the sky as the first African American, and the first Native American woman pilot. Known for performing flying tricks, Coleman’s nicknames were; “Brave Bessie,” “Queen Bess,” and “The Only Race Aviatrix in the World.” Her goal was to encourage women and African Americans to reach their dreams. Unfortunately, her career ended with a tragic plane crash, but her life continues to inspire people around the world. One of twelve brothers and sisters, Coleman's mother was an African American maid, and her father George Coleman was a Native American sharecropper. In 1901, her father made the decision to relocate to Oklahoma in an attempt to evade the pervasive discrimination of the era. However, Bessie's mother chose not to accompany him. Consequently, the remainder of the family remained in Waxahachie, Texas. Throughout her formative years, Bessie assisted her mother in endeavours such as cotton picking and laundry washing to supplement the family's income. By the time she reached eighteen years of age, she had amassed sufficient funds to enroll at the Coloured Agricultural and Normal University (now Langston University) in Langston, Oklahoma . Regrettably, financial constraints compelled her to abandon her collegiate pursuits after a solitary semester. At the age of 23, Coleman relocated to Chicago to reside with her brothers. In 1915, she enrolled at the Burnham School of Beauty Culture, embarking on a career as a manicurist at a local barbershop. Meanwhile, her siblings served in the armed forces during World War I, regaling her with tales of their experiences in France . It was during this time that her brother John, perhaps inadvertently, ignited a spark within her by recounting how French women were permitted to pursue aviation, a privilege denied to her due to her race and gender. This revelation ignited a fervent desire within Coleman to take to the skies herself. Undeterred by the barriers before her, she diligently applied to numerous flight schools across the nation. Yet, her aspirations were repeatedly thwarted as none were willing to admit an African-American woman into their ranks. It was the esteemed African American newspaper publisher, Robert Abbott, who offered her a glimmer of hope. Encouraging her to journey to France where such prejudices were less entrenched, Abbott provided the impetus for Coleman to embark on a new chapter in pursuit of her dreams. In preparation for her venture, Coleman commenced evening classes in French, recognising the necessity of fluency in her pursuit of aviation education abroad. This diligent preparation underscored her unwavering determination to defy the odds and grasp the opportunity that lay beyond the confines of her homeland. Bessie in 1922 After persevering through numerous setbacks, Coleman's tenacity was rewarded when she secured admission to the prestigious Caudron Brothers' School of Aviation in Le Crotoy, France. It was here, under the tutelage of seasoned aviators, that she realized her lifelong ambition, obtaining her international pilot's license on June 15, 1921, courtesy of the Fédération Aéronautique Internationale. Fuelled by an unyielding determination, Coleman harboured ambitions beyond mere personal achievement; her vision encompassed the ownership of an aircraft and the establishment of her own aviation school. To finance these aspirations, she embarked on a rigorous schedule of public speaking engagements and film screenings, showcasing her aerial prowess in churches, theatres, and educational institutions. In 1922, Coleman made history once again, executing the inaugural public flight by an African American woman. Renowned for her daring aerobatics, including captivating "loop-the-loops" and precise "figure-eight" manoeuvres, she enraptured audiences on both sides of the Atlantic. Her captivating performances propelled her to newfound fame, solidifying her status as a luminary in the realms of aviation and entertainment. Embracing her role as a trailblazer, Coleman embarked on a nationwide tour, imparting flight instruction, staging aerial exhibitions, and advocating tirelessly for the inclusion of African Americans and women in the realm of aviation. Through her pioneering endeavours, she inspired countless individuals to reach for the skies, transcending barriers of race and gender with each soaring ascent. Merely two years into her burgeoning flight career, Coleman encountered her serious accident. In February of 1923, her aircraft's engine abruptly stopped, causing her to crash. Sustaining grievous injuries, she endured a fractured leg, several cracked ribs, and lacerations to her face. Despite the severity of her afflictions, Coleman exhibited remarkable resilience, convalescing fully from her wounds. Undeterred by the spectre of adversity, she resumed her aerial exploits with characteristic fortitude by 1925. Bessie Coleman smiles as she receives a bouquet from Captain Edison C. McVey, dressed in his uniform as Aeronautical Instructor of the UAL, beside a plane at Curtiss Field, Garden City, Long Island. Through unwavering diligence, Coleman amassed the requisite funds to procure her own aircraft, a Jenny – JN-4 equipped with an OX-5 engine. Promptly thereafter, she returned to her native Texas, intent on staging a grand spectacle for her compatriots. Yet, the looming specter of segregation threatened to mar the occasion, as organisers contemplated segregated entrances for attendees based on race. Undaunted by the prospect of compromise, Coleman steadfastly refused to entertain such discrimination, insisting upon a single stand for all spectators. Following protracted negotiations, the organisers acceded to her principled stance, albeit retaining segregated seating within the stadium. Underscoring her unwavering commitment to equality, Coleman performed with aplomb, earning widespread acclaim for her unwavering defence of her principles. On the fateful day of April 30, 1926, Bessie Coleman embarked on a test flight accompanied by mechanic William Wills. Assuming the role of pilot, Wills guided the aircraft while Coleman occupied the passenger seat. Ascending to an altitude of approximately 3,000 feet, tragedy struck as a loose wrench became ensnared within the engine, precipitating a catastrophic loss of control. With the aircraft careening out of command, Coleman, regrettably, found herself unsecured by a seatbelt within the exposed confines of the aircraft. The absence of any protective canopy rendered her vulnerable, and she tragically plummeted from the open plane to her untimely demise. Simultaneously, Wills, grappling with the uncontrollable aircraft, succumbed to the same fate, crashing a mere distance from Coleman's lifeless form. The loss of Coleman reverberated deeply, evoking profound sorrow among multitudes of people. Noted activist Ida B. Wells-Barnett presided over Coleman's funeral service in Chicago, paying homage to her enduring legacy. In 1931, the Challenger Pilots' Association of Chicago inaugurated an annual tradition, flying over Coleman's gravesite in solemn tribute. By 1977, African American women pilots united to establish the Bessie Coleman Aviators Club, perpetuating her memory and inspiring future generations. In 1992, NASA astronaut, Dr. Mae Jemison, who carried Bessie Coleman’s picture with her on her first mission in the Space Shuttle when she became the first African American woman in space aboard the Space Shuttle Endeavor.

In 1860, George Sherwood Stratton, better known as General Tom Thumb, was photographed standing on a chair between two guards. Phineas Taylor Barnum, better known as P.T. Barnum, is a name synonymous with showmanship and entertainment. He was a pioneering figure in the world of entertainment and a master of promotion and spectacle. Barnum's life and career are fascinating tales of innovation, controversy, and a relentless pursuit of success. Let's have a look at the early life of P.T. Barnum, his foray into the circus business, and the intricate world of his infamous "Freak Show." Before the 'Freak Show' Early Life and Beginnings P.T. Barnum was born on July 5, 1810, in Bethel, Connecticut. His father, Philo Barnum, was a farmer, innkeeper, and storekeeper, while his mother, Irene Taylor Barnum, was a homemaker. From an early age, Barnum displayed a knack for entrepreneurship. At the age of 12, after his father’s death, he started selling snacks and homemade cherry rum to soldiers stationed nearby. By 21, he owned a general store, a small lottery business, and even published a weekly newspaper called "The Herald of Freedom," which often led him into legal troubles due to his outspoken editorials. Krao Farini, a hairy and flexible woman discovered in the Laotian jungle in 1885, was subsequently exhibited by P.T. Barnum as a "missing link." Entry into Show Business Barnum's first significant foray into the world of entertainment came in 1835 when he purchased the rights to exhibit Joice Heth, an elderly African-American woman who claimed to be 161 years old and the former nurse of George Washington. Although the claim was dubious, Barnum’s aggressive marketing drew massive crowds. This experience taught him the power of publicity and spectacle, key elements that would define his career. In 1841, Barnum purchased Scudder's American Museum in New York City, which he transformed into Barnum’s American Museum. He filled the museum with a wide array of exhibits, including taxidermy animals, historical artifacts, and various oddities. However, it was his collection of human curiosities that truly captivated the public. An albino performer from a Coney Island "freak" show was photographed alongside a fat lady, with a Flea Circus poster visible in the background. The "Freak Show" Barnum’s "Freak Show" featured individuals with unusual physical characteristics, unique abilities, or rare conditions. These performers were marketed as "freaks of nature" and became the main attraction at his museum. Some of the most famous acts included: Charles Stratton ("General Tom Thumb") : Born in 1838, Stratton was a celebrated American dwarf who achieved international fame under the guidance of showman P.T. Barnum. Stratton stopped growing at six months old, reaching a maximum height of 2 feet 11 inches. Barnum discovered Stratton when he was just four years old and quickly saw his potential as a performer. Renaming him "General Tom Thumb," Barnum trained him in various acts, including singing, dancing, and impersonations, and showcased him in his American Museum in New York City. Charles Stratton with Barnum Their partnership was highly successful, with Tom Thumb becoming a star attraction and touring extensively in America and Europe. Barnum's astute marketing and promotion elevated Tom Thumb to celebrity status, and their relationship, both professional and personal, was pivotal in shaping the entertainment industry of the 19th century. Despite their business relationship, they shared a genuine friendship that lasted until Tom Thumb's untimely death in 1883. Chang and Eng Bunker : Known as the original Siamese twins, they were conjoined twins from Siam (now Thailand) who were exhibited by Barnum in the 1860s. Joined at the sternum by a small band of cartilage, they shared a fused liver but were otherwise independent in their bodily functions. After being discovered by a British merchant in 1829, they were brought to the United States and toured extensively, showcasing their unique condition in a period when curiosity about medical anomalies was high. Their performances drew massive crowds, and they eventually took control of their own exhibition, significantly profiting from their appearances. The Bunker brothers In 1839, they retired from touring and settled in North Carolina, becoming successful farmers and even slave owners, a controversial aspect of their legacy. They married sisters Adelaide and Sarah Yates in 1843, fathering a total of 21 children. Their domestic lives were complex, as they managed dual households and navigated the societal challenges of their time. Their relationship with P.T. Barnum began in the 1860s when financial difficulties and the need for medical care led them back to public exhibitions. Josephine Clofullia ("The Bearded Lady") : Known for her beard, which she had since childhood, she became a star attraction. Josephine Boisdechêne, born in Switzerland, was said to have been born hairy and reportedly sported a two-inch beard by the age of eight. At the age of eight, she was sent to a boarding school in Geneva, where she received an education from the same institution attended by her mother. At the age of fourteen, following the deaths of her mother and fifth sibling, her father withdrew her from the school. Although she felt at ease in her hometown, she often wore a handkerchief over the lower part of her face when out in public to avoid drawing attention or being mistaken for a man dressed as a woman. In 1853, Clofullia, her husband, one of her two children, and her father relocated to the United States where they were introduced to P. T. Barnum. Barnum offered her a position at his American Museum, and she made her debut there in March 1853 as "The Bearded Lady of Geneva." During her nine-month stint, her son was also showcased as an attraction for a period, earning him the moniker "Infant Esau", inspired by the biblical figure. Grady Stiles Jr., known as "Lobster Boy," inherited a congenital birth defect that ran in his family and inspired his stage name. As an adult in 1948, he struggled with alcoholism and eventually murdered his daughter's fiancé. Barnum sought out individuals who would fit his show through various means. Sometimes, he discovered performers himself, as in the case of Charles Stratton, whom he found through family connections. Other times, he responded to offers from people who heard of his success and wanted to be part of his exhibitions. He also had agents and scouts who traveled to find potential attractions worldwide. Frank Lentini was born with a parasitic twin, ultimately leaving him with a third leg. When his family moved to the United States from Italy, Lentini entered showbiz as "The Great Lentini," joining the Ringling Brothers Circus. 1914 P.T. Barnum's Treatment and Pay The treatment of Barnum’s performers has been a subject of controversy. On one hand, Barnum provided a platform and steady income for people who might have otherwise struggled to find work due to their physical differences. For instance, Charles Stratton earned a substantial salary and lived a life of luxury. Barnum once said, "Money is a terrible master but an excellent servant," emphasizing the importance of financial independence, which he provided to some of his performers. In 1938, Martin Laurello, known as the "Human Owl," showcased his ability to rotate his neck a full 180 degrees in Sam Wagner’s freak show at Coney Island. On the other hand, many of these performers were subjected to exploitation and objectification. Their conditions and appearances were often exaggerated for entertainment purposes, and their personal lives were deeply invaded for the sake of publicity. The extent of their compensation varied; while stars like Tom Thumb became wealthy, others received modest pay. Critics argue that despite any financial benefits, the ethical implications of exhibiting human beings as curiosities cannot be overlooked. In 1902, Felix Wehrle, who had Ehlers-Danlos Syndrome, could stretch his skin to great lengths and was known as the "Elastic Man." P.T. Barnum's influence on the entertainment industry is undeniable. His ability to blend entertainment with marketing innovation laid the groundwork for modern advertising and public relations. He famously declared, "There's a sucker born every minute," though there is no solid evidence he actually said it. Nonetheless, the phrase captures his understanding of human nature and the power of curiosity. In 1917, Pasqual Pinon toured the United States as the "Two-Headed Mexican," adorning the tumor on his head with a wax face. Barnum's legacy is also marked by his role in the formation of the modern circus. In 1871, he established "P.T. Barnum's Grand Traveling Museum, Menagerie, Caravan & Hippodrome," which later became known as the "Greatest Show on Earth" after merging with James Bailey's circus. This circus continued to be a significant part of American culture until it closed in 2017. 1882, Myrtle Corbin, known as the "Four-Legged Girl From Texas," was born with a severe congenital deformity that resulted in two separate pelvises and a smaller set of legs. P.T. Barnum was a complex figure whose contributions to entertainment were both groundbreaking and controversial. His early entrepreneurial spirit, coupled with a keen understanding of human nature, allowed him to build a career that left an indelible mark on history. His "Freak Show" remains a topic of ethical debate, reflecting the complicated legacy of a man who revolutionised the concept of spectacle and showmanship. Below are a selection of images containing members of 'Freak Shows' across the years. Some with Barnum's circus, others were part of different travelling shows in the US. Fannie Mills, known as "The Ohio Big Foot Girl," suffered from Milroy disease, leading to an abnormal enlargement of her legs and feet. 1890 Born into slavery, conjoined twins Millie and Christine McCoy were later sold to the circus, embarking on a 30-year journey around the world as a singing novelty act. This began in 1871. In the early 1910s, an unidentified sideshow performer attracted crowds to Coney Island's Dreamland Trained Wild Animal Arena for a show in New York City. In 1946, Horace Ridler, an English freak and sideshow performer extensively tattooed, showcased himself under the names "The Great Omi" or "The Zebra Man." Madame Devere from Brooksville, Kentucky had a beard that was 15 inches long. Chicago, Illinois. 1890. Director Tod Browning poses with cast members from his film Freaks. 1932. A circus strongwoman balances a piano and pianist on her chest. Circa 1920. The well-known circus sideshow performer Josephine-Joseph, whose half male, half female body earned them a role in the film Freaks. 1932. In 1888, Russian performer Fedor Jeftichew, known as "Jo-Jo the Dog-Faced Boy," rose to fame as a star performer in P.T. Barnum's sideshow. Years later, his unique appearance influenced the physical characteristics of Chewbacca in Star Wars. American silent film actor and sideshow performer Jack Earle shares sweeping duties with two members of the Doll family while on tour with the Ringling Brothers/Barnum and Bailey Circus. Circa 1938. Julius Graubert (Right), the pinhead. Contortionist at a "freak" show. 1925. In 1890, American showman and circus owner P.T. Barnum advertised a Burmese family among his attractions, two of whom had faces covered in hair. Sources Wilson, Robert. Barnum: An American Life . Simon & Schuster, 2019. Kunhardt, Philip B., et al. P.T. Barnum: America's Greatest Showman . Alfred A. Knopf, 1995. Harris, Neil. Humbug: The Art of P.T. Barnum . University of Chicago Press, 1981. Saxon, A.H. P.T. Barnum: The Legend and the Man . Columbia University Press, 1989.

The subject of the First World War evokes many images, many of which are used repeatedly nowadays in film and TV, but they tend to concentrate on the drama and the misery of war. The reality was that it didn’t rain every day, the trenches were not knee deep in mud all year round, and soldiers were not subjected to shelling and death every day of their lives. In fact, day-to-day life was, as one veteran expressed “90 per cent sheer boredom and 10 per cent fear, but when we were frightened, we were very frightened, though you tried not to show it”. Certainly, death and destruction were present, as they typically are in times of war. However, these soldiers were youthful, dynamic, and notably hopeful. Most of them were convinced that nothing grave would befall them, always thinking that bad things would happen to someone else. To cope with their anxiety, they confided in their intimate friends, sharing their struggles and apprehensions. Numerous veterans have shared their reflections on their experiences in the First World War, expressing a blend of nostalgia and fondness, along with sorrow for fallen comrades. Their quintessentially British sense of humour played a crucial role in maintaining their perspective and resilience during difficult times. Even in the darkest moments, their ability to find humour shone through, as they often recounted amusing anecdotes to us. Their extensive use of songs and slang provided much of the entertainment. Like in any profession, soldiers had their own language that was difficult for outsiders to understand. During the years 1914-18, a significant change occurred in Britain as men from various backgrounds were enlisted in a large citizen army, leading to the creation of a unique language among them. Unlike previous times when military slang stayed within the ranks, a large portion of it was brought back home by soldiers returning from the western front during the First World War. Beyond its immediate effects on politics and geography, WWI also left a lasting imprint on the English language, especially through the slang used by British soldiers, affectionately known as "Tommies." Remarkably, many of these expressions have endured, seamlessly integrating into everyday vernacular. Let's explore some of these enduring phrases and their origins from the trenches of the Great War. 1) ‘Having a chat’ An everyday saying we use now originates from the harmful insect known as the louse. During wartime, body lice were prevalent in the trenches, living in the folds and creases of clothing, multiplying rapidly, and leading to skin irritations and itching. The expression is often ascribed to the Hindi word for a parasite, ‘chatt’, but is more possibly from an earlier medieval English word for idle gossip, ‘chateren’. Soldiers in the Napoleonic Wars certainly referred to lice as ‘chats’. During the Great War it was common to see small groups sitting around and talking as they used their fingernails, or a candle, to kill the lice. Such groups were described as men who were ‘chatting’. 2) ‘Plonk’ The now almost universal word for a bottle of wine. The British soldier has traditionally failed since time immemorial to master the pronunciation of even the simplest foreign words, and it is merely mispronunciation of the French ‘vin blanc’. 3) ‘Pillbox’ Before the war began, a number of small defensive military fortifications known as blockhouses had been built. These structures were predominantly made of sturdy timber, with a significant amount of them being erected during the Boer War. However, the term was only widely adopted into English during the latter part of the Great War because of the huge numbers of concrete bunkers constructed by the Germans across the flooded Flanders battlefields. They were called pillboxes due to their similarity to the small receptacles used by civilians for carrying medication. 4) ‘Blighty’ The mysterious origins of this word, now widely used in British English, remain unclear. It may have come from the Arabic ‘beladi’, meaning ‘my own country’, or the Hindi word ‘bilaik’, referring to a foreign place or country. For the Tommies, it meant only one thing: home. The best possible way to get there was to sustain a wound serious enough to require hospitalisation in England, which was enviously termed ‘a Blighty one’. 5) ‘Third light’ There was a belief that lighting a third cigarette from the same match brought bad luck. This superstition stemmed from a practical reason: German snipers could spot and target a light source, like a flaring match, in about five seconds at night from a distance of over 500 yards. Consequently, the time it took for the third person to light their cigarette was also around five seconds. 6) ‘Tank’ Fosters of Lincoln produced the first modern armoured fighting vehicles discreetly, keeping their purpose hidden from German spies by informing workers that they were actually mobile water tanks. Some were even clearly marked in Cyrillic ‘Water tanks for Russia’. The ruse certainly worked, because their first use on the Somme on 15 September 1916 was a complete surprise to the Germans. 7) ‘Sniper’ Before the outbreak of the First World War, armies utilised specialised marksmen called 'sharpshooters'. However, the Germans introduced thousands of highly trained riflemen equipped with telescopic-sighted rifles when the war began. These soldiers were commonly referred to as 'snipers' by British officers, a term that originated from the army's activities in India during the late 18th century, where officers engaged in bird hunting in the hills, with the Snipe bird being one of the most challenging targets to hit. Starting from 1914, the term 'snipers' gained widespread usage in the British press and has since been universally accepted. Today, 'sniping' can also encompass making sharp or sarcastic remarks about another individual. 8) ‘Over the top’ An example of an expression that has seen a resurgence, although now with a very different meaning. Originally it referred to the physical act of launching an attack by climbing over the sandbag parapet in front of a trench – literally by going over the top. It thus became synonymous with setting off on any highly dangerous venture, usually with a slim chance of survival. It mostly died out after the war but in recent years has been revived, albeit now meaning to embark on a course of action or to make a remark that is either excessive or unnecessary. 9) 'Shrapnel’ Often used today as a reference to the annoying, and all-but-worthless small change that accumulates in one’s pockets or purse. It is possibly the most incorrectly used word from the war, as it is invariably misapplied to describe the lethal flying splinters from high-explosive shells. In fact, it refers to the lead balls launched from airburst shells (a little like airborne shotgun cartridges) invented by Lt Henry Shrapnel of the Royal Artillery in 1784. 10) ‘Bumf’ Printed paper that is produced in huge quantities for no discernable reason, and apparently has no information value. The junk mail we all receive on a daily basis is a prime example. It is derived from the army term ‘bum-fodder’ – paper that has only one possible practical use. It is originally from prewar schoolboy slang then appropriated by the soldiers to refer to excessive paperwork. It generally referred to the endless streams of army orders that were issued from headquarters. During a fierce attack on the Somme, a British orderly officer was bombarded with messages from headquarters, asking about the quantity of tinned jam in storage and the number of pairs of socks needed. #ww1 #slang

In the grand arena of Roman chariot racing, no name looms larger than that of Gaius Appuleius Diocles. His rise to prominence as one of the most successful athletes in the Roman Empire has not only been immortalised in historical records but also cemented his status as one of the wealthiest sportsmen of all time. His fame and fortune make him a subject of fascination even today, with comparisons frequently drawn between his earnings and those of modern athletes. Early Life Gaius Appuleius Diocles was born in 104 CE in Lusitania, a Roman province located in what is modern-day Portugal. Little is known about his early life, but it is believed he was born into a family of modest means, with no apparent ties to the wealthy patrician class or any particular influence within the racing circuits. His humble origins, however, would serve to highlight the extraordinary trajectory of his career. Chariot racing, one of the most popular sports in Ancient Rome, was a perilous pursuit. The races took place in vast arenas, the most famous being the Circus Maximus in Rome, which could hold an estimated 150,000 spectators. The sport attracted massive crowds, enormous sums of money, and intense rivalries between the racing factions (or teams) known as the Reds, Whites, Blues, and Greens. Diocles, initially racing for the White faction, would later switch allegiances to the Greens and finally to the Reds, where he found his greatest success. Career and Success Diocles began his chariot racing career at the age of 18. As a novice, his talents were quickly recognised, and he rapidly ascended through the ranks. His transition from the White to the Green faction marked a significant step in his career, but it was with the Red faction that he truly became a household name across the Roman Empire. Diocles raced for 24 years, an extraordinary length of time for a charioteer. The average career of a Roman charioteer was fraught with danger, and many racers met early deaths from crashes and injuries. The fact that Diocles not only survived but thrived for over two decades speaks to his exceptional skill, resilience, and perhaps a degree of luck. During his career, Diocles participated in 4,257 races, a staggering number considering the perilous nature of the sport. He won 1,462 of these races, amounting to a victory rate of over 34%. His success was not only a product of his mastery of the reins but also of his strategic acumen—Diocles was known for his ability to close out races in the final moments, coming from behind to snatch victory from his competitors. The Fortune of Diocles Diocles’ triumphs on the racetrack were not only celebrated with fame but also with enormous financial rewards. Roman charioteers, especially the most successful ones, were lavishly compensated for their victories. However, Diocles’ earnings eclipsed those of his peers, solidifying him as not just the greatest charioteer but one of the wealthiest individuals in the Roman Empire. By the time he retired at the age of 42, Diocles had amassed an astonishing fortune of 35,863,120 sesterces. To put this in perspective, a Roman legionary soldier at the time earned about 900 sesterces per year. Diocles’ earnings were equivalent to the annual salary of more than 39,800 legionaries, or roughly the cost to supply grain for the entire city of Rome for an entire year. The Modern Equivalent When adjusting for inflation and economic changes, estimating the modern equivalent of Diocles’ fortune is complex. However, some estimates place his earnings at approximately $15 billion (around £11.6 billion) in today’s terms. This immense figure dwarfs the earnings of modern athletes, even those who are considered the highest-paid in the world. For comparison, Lionel Messi, one of the top-earning athletes in 2023, took home approximately $130 million (£101 million) that year, from a combination of his salary, endorsements, and sponsorships. Similarly, LeBron James earned around $119 million (£93 million) in the same period. While these figures are monumental in today’s economy, they pale in comparison to Diocles’ earnings when adjusted for historical context. In fact, Diocles’ fortune makes him arguably the highest-paid athlete in history, even surpassing modern sporting giants such as Michael Jordan or Floyd Mayweather. The Legacy of Diocles Diocles’ legacy extends far beyond his remarkable earnings. He remains an enduring symbol of what can be achieved through talent, determination, and a bit of luck. His success represented more than just personal achievement; it demonstrated the societal importance of chariot racing in Ancient Rome. Chariot races were not mere entertainment but a powerful form of social and political expression. Victories in the circus were celebrated with religious fervour, with the winning charioteer seen as a representative of divine favour. In this context, Diocles was not just an athlete but a cultural icon. Even today, scholars and sports historians look to Diocles’ career as a testament to the role of sport in ancient societies and the rewards that came with success at the highest level. His story also illustrates the precarious nature of athletic careers, both ancient and modern, where fortune and fame often come at a heavy physical cost. Though there are no known surviving portraits or statues of Diocles, his name is inscribed in historical records and on monuments dedicated to chariot racing, including the famous inscription at the Circus Maximus, which chronicles his victories and his staggering wealth. Chariot Racing: A Dangerous Sport The life of a charioteer was fraught with peril. Races involved teams of horses pulling lightweight chariots at tremendous speeds around a track. The tight turns and chaotic nature of the races often led to catastrophic crashes, known as naufragia . Competitors were regularly thrown from their chariots, trampled by horses, or crushed beneath the wheels of rival chariots. Charioteers faced a grim reality: a single mistake could lead to death or severe injury. To mitigate the dangers, some charioteers tied the reins around their bodies, enabling them to control the horses more effectively. However, this method also made it more difficult to escape if their chariot overturned or crashed, often resulting in fatal consequences. Despite the risks, chariot racing was a path to immense wealth and fame for those who could master the craft, as Diocles demonstrated. Comparing Diocles’ earnings to those of modern athletes serves as a reminder of how lucrative sports have been for millennia. While today’s top athletes enjoy vast riches and global fame, Diocles’ accomplishments suggest that the concept of the sports superstar is not a modern invention but has deep historical roots. Though over 1,800 years have passed since Diocles raced in the Circus Maximus, his legacy as the wealthiest athlete in history remains largely unchallenged. His story exemplifies the timeless allure of sports, where talent and risk can lead to extraordinary success. #highestpaidathlete #Diocles #chariot

Once upon a time, there was a lady named Catherine II, who ruled over Russia with sass and scandal for a whopping three decades. Originally known as Sophie Friederike Auguste von Anhalt-Zerbst, she underwent a magical transformation into Catherine back in 1745 when she decided to join the cool kids' club, also known as the Russian Orthodox Church. Catherine got hitched to Grand Duke Peter, who was basically Russian royalty on steroids, being the grandchild of the legendary Peter the Great and all set to inherit the throne. Together, they had a son named Paul, who eventually snagged the title of Tsar Peter III in 1762. However, his reign was shorter than a toddler's attention span at a magic show, as he got booted out of power faster than you can say "Fabergé egg." With Peter conveniently out of the picture (and some whispers of suspicion hanging in the air), Catherine was left to rule the roost. And rule she did, with a flair for the dramatic and a penchant for romance. She didn't just dabble in affairs; she dished out gifts and power to her paramours like candy on Halloween. One lucky dude even scored a mind-blowing 1,000 indentured servants. But Catherine wasn't just about scandalous love affairs; she had a soft spot for the arts, too. The Hermitage Museum is practically bursting at the seams with her collection of fancy trinkets and treasures. However, don't expect to find any remnants from her infamous "salon of scandal," where the furniture was said to be adorned with, um, intimate body parts and steamy scenes. Or so the gossip goes! Catherine is often portrayed as the women who could find sexual dalliance but not fulfilment – thus the lurid legend about her being killed shagging a horse. (Powerful women are always maligned by their obvious sex – see the pornographic attacks on Marie Antoinette .) Legend has it that traces of Catherine's risqué hideaway may have been discovered at the Imperial Palaces of Tsarskoye Selo (now known as Pushkin), nestled near St. Petersburg. According to the tales whispered by German soldiers during World War II, they stumbled upon her clandestine chamber, complete with titillating artwork, cheeky wooden sculptures, and furniture straight out of an adult novelty shop. Unfortunately, the plot thickens as the location was allegedly pillaged and plundered, leaving behind nothing but whispers and faded memories. Or so the story goes. The haul is NSFW.

Margaux Hemingway, born Margot Louise Hemingway on February 16, 1954, was an American fashion model and actress who emerged as one of the most iconic faces of the 1970s. A scion of literary royalty, Margaux’s life was marked by extraordinary beauty, turbulent struggles with mental health and addiction, and a tragic end that mirrored the sorrowful fates of many in her storied family. A Legacy of Art and Tragedy Born into the Hemingway dynasty, Margaux was the granddaughter of the esteemed writer Ernest Hemingway. The Hemingway lineage, celebrated for its artistic brilliance, was also notoriously shadowed by mental health struggles and tragic deaths. Margaux was no exception. Growing up in Ketchum, Idaho, Margaux’s early years were steeped in the dual influences of her family’s literary acclaim and the natural beauty of her surroundings. Margaux adopted the more glamorous spelling of her name during her rise to fame, allegedly inspired by the Château Margaux wine her parents were drinking on the night she was conceived. This touch of extravagance hinted at the blend of allure and excess that would characterize her life. The Rise to Stardom Margaux’s striking beauty and statuesque figure, standing nearly six feet tall, quickly propelled her to the pinnacle of the modeling world. In 1975, she signed a million-dollar contract with Fabergé as the face of Babe perfume, making her the highest-paid model in the world at that time. This landmark deal marked a turning point in the modeling industry, demonstrating the immense commercial value of top models. As Margaux herself once remarked, “I am not a Hemingway by accident. It’s the best name in the world.” Her face graced the covers of leading fashion magazines, including Vogue, Elle, and Cosmopolitan, cementing her status as a fashion icon. Margaux’s elegance and charisma were undeniable, and she seemed destined for enduring fame. Transition to Acting In 1976, Margaux made a high-profile leap into acting with her debut in “Lipstick,” a film where she starred alongside her younger sister, Mariel Hemingway. Despite the film’s controversial reception, Margaux’s performance was notable for its raw intensity. She later appeared in several other films, including “Killer Fish” (1979) and “They Call Me Bruce?” (1982), though she struggled to achieve the same level of success she had enjoyed in modeling. Margaux’s acting career, while providing moments of promise, was marred by the challenges of transitioning from modeling to film—a common hurdle faced by many models-turned-actresses. Critics often noted her struggle to find roles that fully utilized her talents, leading to a series of disappointments that mirrored her personal struggles. The Shadow of Addiction Despite her outward success, Margaux’s life was increasingly troubled by alcoholism and addiction. Her battle with these demons was well-documented and deeply intertwined with the mental health issues that plagued her family. Margaux often spoke candidly about her struggles, offering a rare glimpse into the private pain behind her public persona. “I’m a Hemingway. I know all about addiction. We all have the curse of alcoholism,” she once admitted. Margaux’s addiction issues led to several stints in rehabilitation facilities and a tumultuous personal life. Her marriages to Errol Wetson and later to Bernard Foucher ended in divorce, adding to her emotional turmoil. The pressures of maintaining her public image, coupled with her personal vulnerabilities, created a vicious cycle that proved difficult to break. Mental Health Struggles Margaux’s mental health was a recurrent theme in her life narrative. She was diagnosed with epilepsy in her twenties, a condition that exacerbated her existing struggles with depression and anxiety. Her battle with epilepsy was compounded by the side effects of medications and the societal stigma associated with the disorder. Margaux often felt isolated and misunderstood, a sentiment echoed by many who suffer from chronic illnesses. Her family’s history of mental health issues, including her grandfather’s suicide, cast a long shadow over Margaux’s life. The Hemingway family’s legacy of suicide—Ernest Hemingway, his father, and later Margaux’s sister, Mariel’s husband—contributed to the sense of fatalism that Margaux sometimes expressed. In a poignant reflection, she once said, “You can’t escape the Hemingway curse.” A Tragic End On July 1, 1996, Margaux Hemingway was found dead in her Santa Monica apartment. Her death was ruled a suicide by drug overdose, a tragic end that resonated deeply with the public and her family’s history. She was 42 years old. Margaux’s passing underscored the devastating impact of untreated mental health issues and addiction, as well as the often-overlooked struggles faced by those in the limelight. Margaux Hemingway’s life is a stark reminder of the fragility of beauty and fame. Her legacy is one of brilliance marred by tragedy, a narrative that continues to evoke empathy and reflection. As we remember Margaux, it is essential to recognise the importance of mental health support and the perils of addiction, issues that transcend even the most glamorous of lives. In the words of her sister Mariel Hemingway, “Margaux was a beautiful, generous, and kind soul. Her struggles were real, and they were many. But she was more than her struggles. She was a person who loved deeply and wanted to be loved.” Sources: • Plimpton, George. “Paper Lion: Confessions of a Last-String Quarterback” . Harper Perennial, 2006. • “Margaux Hemingway Dies at 42.” Los Angeles Times , July 2, 1996. • Hemingway, Mariel. “Out Came the Sun: Overcoming the Legacy of Mental Illness, Addiction, and Suicide in My Family” . Regan Arts, 2015. • “The Hemingway Legacy: Suicide and Mental Illness.” Psychology Today , August 15, 2012.

Each new batch of youngsters believes the old fogies before them were all boring squares, imagining a world before the 1960s where everyone wore stuffy suits and wouldn't dare be a little filthy. But that's a load of rubbish. Our ancestors lived in a world that was downright saucy and scandalous. Sure, they kept their naughtiness under wraps, but that only made it all the juicier! There exists a rich heritage of shockingly explicit popular music that traces its roots back to the inception of our diverse nations (and, let's be honest, throughout human history), but perhaps its pinnacle was reached in the 1920s and 30s when blues singers unleashed their raw sensuality in late-night juke joints. Picture a jam-packed club, thick with smoke, intoxicated patrons, and a sultry songstress belting out lyrics that would make even the most seasoned sailor blush. Ah, those were the days. Within this realm lies a subgenre dubbed 'Dirty Blues,' featuring tracks with delightfully scandalous titles like "Big Ten Inch Record," "Baby Let Me Bang Your Box," and "Get 'Em From The Peanut Man (Hot Nuts)." Lucille Bogan, hailed as one of the earliest professionally recorded blues singers, also stands tall among the pantheon of Dirty Blues legends. Throughout the 1930s, her repertoire largely revolved around themes of drinking and sex, with songs like "Sloppy Drunk Blues" and "B.D. Woman's Blues" (where 'B.D.' stands for Bull Dyke). Among her most notorious recordings is "Shave 'Em Dry," which exists in two versions: a tame rendition reflective of the sanitized tracks pressed onto wax at the time, and a jaw-droppingly explicit version that offers a glimpse into the unfiltered lyrics heard in the clandestine clubs. It's a rare window into a bygone era slipping away into obscurity. Bogan ceased recording in 1935 and relocated to Los Angeles, where she briefly managed her son's jazz band, Bogan's Birmingham Busters, before her passing in 1948 at the age of 51. The full lyrics for Shave 'em dry - I got nipples on my titties, big as the end of my thumb I got something between my legs'll make a dead man cum Oh, daddy, baby, won't you shave 'em dry? Now, draw it out! Want you to grind me, baby, grind me until I cry Say I fucked all night, and all the night before, baby And I feel just like I wanna, fuck some more Oh, great God daddy, grind me, honey, and shave me dry And when you hear me holler, baby, want you to shave it dry I got nipples on my titties, big as the end of my thumb Daddy, you say that's the kind of 'em you want, and you can make 'em cum Oh, daddy, shave me dry And I'll give you something, baby, swear it'll make you cry I'm gon' turn back my mattress, and let you oil my springs I want you to grind me, daddy, 'til the bell do ring Oh, daddy, want you to shave 'em dry Oh, great God daddy, if you can't shave 'em baby, won't you try? Now if fucking was the thing that would take me to Heaven I'd be fucking in the studio 'til the clock strike 11 Oh daddy, daddy, shave 'em dry I would fuck you, baby, honey, I'd make you cry Now your nuts hang down like a damn bell sapper And your dick stands up like a steeple Your god-damn ass-hole stands open like a church door And the crabs walks in like people, haw, shit! Shucks, ooh! Baby, won't you shave 'em dry? A big sow gets fat from eating corn And a pig gets fat from sucking Reason you see this whore, fat like I am Great God, I got fat from fucking Eh, shave 'em dry (with pleasure) My back is made of whalebone And my cock is made of brass And my fucking is made for working men's two dollars Great God 'round to kiss my ass Whoa, woo, daddy, shave 'em dry

Simo Häyhä, after the war. His face was scarred by his wartime injury. Simo Häyhä, also known as “The White Death,” stands as one of the most legendary snipers in history. His legacy, forged during the Winter War between Finland and the Soviet Union (1939-1940), showcases extraordinary skill, resilience, and a deep commitment to his homeland.  Häyhä is believed to have killed over 500 enemy soldiers during the conflict, the highest number of sniper kills in any major war. Consequently, he is often regarded as the deadliest sniper in history. Häyhä and his new rifle, a gift from the Finish army. At a mere five feet in height, the unassuming Häyhä was anything but imposing and could easily go unnoticed, a quality that may have contributed to his skill in sniping. Born on December 17, 1905, in Rautjärvi, Finland, Häyhä grew up in a rural environment where hunting was both a necessity and a way of life. This early exposure to firearms and the natural environment was pivotal in shaping his skills. As a young boy, Simo spent countless hours honing his shooting abilities, primarily through hunting small game. This practical experience was further augmented by his participation in shooting competitions, where he gained recognition for his exceptional accuracy and calm demeanor. Häyhä’s military career began in 1925 when he joined the Finnish voluntary militia, the White Guard. Here, his talents were refined through rigorous training. His dedication and natural aptitude for sharpshooting were evident, setting the stage for his future role in the Winter War. During the 1939–40 Winter War between Finland and the Soviet Union, Häyhä was a sniper in the Finnish Army, under the command of Lieutenant Aarne Juutilainen in the 6th Company of Infantry Regiment 34. The harsh temperatures ranged between −40 and −20 °C (−40 and −4 °F). Häyhä wore complete white camouflage gear, while the Soviet soldiers lacked camouflage uniforms, making them easy targets in the snowy conditions. Joseph Stalin had eliminated many military experts during the late 1930s in the Great Purge, leading to significant disorganisation within the Red Army. Finnish snipers hiding behind snowbanks in a fox hole. Häyhä utilised his issued Civil Guard rifle, an early series SAKO M/28-30. He also favoured iron sights instead of telescopic sights, as they allow a sniper to present a smaller target for the enemy (a sniper needs to raise their head a few centimeters higher when using a telescopic sight) and are dependable even in extreme cold, unlike telescopic sights that tend to fog up in cold weather. Another drawback of telescopic sights is that sunlight can reflect off the lenses, exposing the sniper's position. Häyhä lacked experience with scoped rifles and thus chose not to switch to the Soviet scoped rifle. To combat the severe cold, Häyhä dressed appropriately in multiple layers of clothing. He carried sugar and bread in his pockets, consuming them for the necessary calories to stay warm. His small stature of 160 centimeters (5 ft 3 in) helped him conceal his position. Hidden in a snow pit, he could remain still and observe the enemy for extended periods. Häyhä's routine involved moving to the prepared position well before dawn and staying there until after sunset. He often piled compact snow in front of his position to hide himself, cushion his rifle, and minimize the telltale puff of snow caused by the muzzle blast. He would even hold snow in his mouth while sniping to prevent his breath in the cold air from revealing his location. All of Häyhä's kills were accomplished in less than 100 days, an average of five per day at a time of year with very few daylight hours. His kill count as a sniper was based on his own reporting, with the confirmation of his comrades, and only those who were verified to be dead were counted. No count was taken when several snipers shot at the same target. Enemy soldiers killed with a submachine gun with Häyhä as a group leader were not counted. Häyhä's division comma nder Antero Svensson credited him with 219 confirmed kills with a rifle and an equal number of kills by submachine gun, when he awarded Häyhä with an honorary rifle on 17 February 1940. On 21 December 1939, Häyhä achieved his highest daily count of 25 kills. In his diary, military chaplain Antti Rantamaa re ported 259 confirmed kills made by rifle and an equal number of kills by submachine gun from the beginning of the war until 7 March 1940, one day after Häyhä was severely wounded. On 6 March 1940, Häyhä wa s wounded after an explosive bullet fired by a Red Army soldier hit his lower left jaw. After the battle, as he appeared to be dead, he was placed on a pile of dead bodies. Rumours of Häyhä's death spread around in Finland and the Soviet Union. He regained consciousness a week later on 13 March, the day that peace was declared. He read about his own death in a newspaper, and sent a letter to the paper to correct the misunderstanding. The Russian trenches were full of Simo Häyhä’s enemies — and it was only a matter of time before he was caught. According to a Finnish Army document, Häyhä's confirmed kills during the Winter War were documented as follows: 22nd December 1939: 138 sniper kills in 22 days 26th January 1940: 199 sniper kills (61 in 35 days) 17th February 1940: 219 sniper kills (20 in 22 days) 7th March 1940 (a day after being wounded): a total of 259 sniper kills (40 in 18 days) Although Häyhä never publicly disclosed this information, his personal memoir, uncovered in 2017, reveals that he estimated his total number of kills to be approximately 500, referring to it as his "sin list". It took several years for Häyhä to recuperate from his wound which required lengthy treatments and several surgeries. Although his face remained disfigured, he otherwise made a full recovery. After World War II, he was given a farm in Valkjärvi a small municipality located in southeastern Finland near the Russian border. He became a successful moose hunter and dog breeder. In addition to farming, he enjoyed hunting, and his hunting parties over the years included the President of Finland. Nevertheless, his actions during the Winter War faced disapproval from some individuals, leading to hate and even death threats. The scars he bore from the war were visible on his face, causing him to avoid large gatherings due to his fame. He chose to live a solitary life as a bachelor, finding solace in his work despite battling loneliness and fear, with nights being particularly challenging. Despite this, he sought comfort in the company of friends and occasionally visited his parents' and siblings' homes post-war. As farm work became too strenuous, he decided to rent out his farm and relocate to an apartment in the heart of Ruokolahti. Known for his humility, Häyhä refrained from boasting about his wartime achievements and seldom discussed his war experiences. When questioned in 1998 about his exceptional sniping skills, he simply attributed it to "practice." In an interview with Helsingin Sanomat on Independence Day in December 2001, just before his 96th birthday, Häyhä finally opened up about his wartime encounters. When asked if he felt remorse for the numerous lives he had taken, his response was, "I did what I was told, as well as I could. There would be no Finland unless everyone had done the same." Sources • Laqueur, Walter. “Simo Häyhä: The White Death.” Military History Quarterly , vol. 32, no. 4, 2020, pp. 54-67. • Värri, Seppo. The Sniper’s Tale: Simo Häyhä and the Winter War . Helsinki: Otava Publishing, 2018. • “Simo Häyhä: The White Death.” Finnish Military Archives , accessed June 2024. • Ryhänen, Pertti. “In the Crosshairs: An Analysis of Simo Häyhä’s Sniping Techniques.” Journal of Historical Warfare , vol. 45, no. 2, 2019, pp. 210-225.

Clad in elegant suits and ties, with their top hats tilted towards the camera, these individuals appear to be posing for high-end portraits. However, beneath their polished exterior lies a sense of guilt reflected in their eyes, concealing the dark and serious crimes that were handled by law enforcement officers during that era. These images capture the mugshots of Australian convicts from the 1920s and 1930s, recently revealed by Australia’s Justice & Police Museum. The museum has released an extensive collection of 2,500 photographs, offering a window into the dark yet captivating world of early 20th-century crime in Australia. These images, showcasing female criminals including murderers, bigamists, bootleggers, and prostitutes, provide a rich historical narrative and a glimpse into the lives of those who walked the thin line between respectability and infamy. The “Special Photographs” Most of these “special photographs” were taken in the cells at the Central Police Station in Sydney. Unlike traditional mugshots that portray a stern and unflattering view, these images possess a unique charm and an almost artistic quality. As curator Peter Doyle explains, these photographs capture “men and women recently plucked from the street, often still animated by the dramas surrounding their apprehension.” Doyle suggests that the subjects of these photographs were allowed, or perhaps even invited, to position and compose themselves as they liked. This freedom resulted in images where personal style and individuality shine through, providing a potent mix of inborn disposition, personal history, learned habits, and chosen personal style. The photographs capture not just the physical appearance of these individuals, but also a sense of their character and the era they lived in. A Glimpse into the Past The meticulous composition and excellent quality of these images make them stand out. They offer more than just a record of criminal activity; they are snapshots of a bygone era, capturing the fashion, attitudes, and social dynamics of the time. Each photograph tells a story, not just of crime and punishment, but also of human complexity and societal norms. The images of these convicts, dressed impeccably and often looking directly into the camera with a mix of defiance and vulnerability, challenge our perceptions of criminality. They remind us that behind every crime, there is a human story, often as complex and multifaceted as the individuals themselves. Historical Significance The release of these photographs by Australia’s Justice & Police Museum is significant not only for their historical value but also for their contribution to our understanding of early 20th-century society in Australia. They provide a rare and intimate look at the lives of people who lived on the fringes of society, offering insights into the conditions that led them to crime. These images are not just mugshots; they are portraits of an era, reflecting the tumultuous times and the often harsh realities faced by individuals caught in the grip of poverty, desperation, and circumstance. They also highlight the role of law enforcement and the justice system in shaping public perceptions of crime and morality. Alfred Ladewig, otherwise known as Tiny, was a trickster and pickpocketer who would travel from Brisbane through Sydney and down to Melbourne to make money Patrick Riley (alias Matthew Edward Riley) was convicted in October 1924 of making counterfeit coins, and of having a coining instrument (ie a mould) in his possession, for which he was sentenced to two years imprisonment with hard labour. Cross-dressers Neville McQuade, 18 (left) and Lewis Keith, 19, (right) were believed to have been scamming gay American servicemen during WWII Albert Stewart Warnkin is listed in the NSW Police Gazette of 10 November 1920, as charged with attempting to carnally know a girl eight years old. No entry is found for Beutler, whose picture is inscribed ‘wilful and obscene exposure’. Thomas Craig, Raymond Neil (aka “Gaffney the Gunman”), William Thompson and FW Wilson. 1928.This photograph was apparently taken in the aftermath of a raid led by Chief Bill Mackay on a house at 74 Riley Street, ‘lower Darlinghurst’. Numerous charges were heard against the 15 men and women arrested. It was a house frequented by ‘reputed thieves’. Crime: murder. Eugenia Falleni spent most of her life masquerading as a man. In 1913 Falleni married a widow, Annie Birkett, whom she later murdered. The case whipped the public into a frenzy as they clamoured for details of the ‘man-woman’ murderer. Aged approximately 35. William Stanley Moore was an opium dealer and wharf labourer and was arrested in May 1925 Joseph Messenger and Valerie Lowe were arrested in 1921 for breaking into an army warehouse and stealing boots and overcoats to the value of 29 pounds 3 shillings. The following year, when this photograph was taken, they were charged with breaking and entering a dwelling. Those charges were eventually dropped but they were arrested again later that year for stealing a saddle and bridle from Rosebery Racecourse. As an adult Messenger was active in inner-Sydney underworld through the 1920s, and he appears in the NSW Criminal Register (16 July 1930 entry no 171) as a seasoned criminal and gang affiliate. The description of his modus operandi includes, ‘Violently [resists] arrest…frequents wine saloons, billiard rooms, and racecourses … consorts with prostitutes’. This photograph shows Messenger at age 18. De Gracy and Edward Dalton, 1920.A cropped print of this photograph appears in a police photo book from the 1920s, annotated in pencil “magsmen”, with no further information offered. Harry Williams was sentenced to 12 months of hard labour in March 1929 for breaking, entering and stealing. Murray/Williams’ entry in the NSW Criminal Register, April 30 1930 describes him as a housebreaker and thief, whose MO includes ‘[breaking] leadlighted door or windows or [forcing] the fanlights of dwelling houses during the absence of tenants’. He ‘disposes of stolen property to patrons of hotel bars or to persons in the street … professing] to be a second-hand dealer’. Although he ‘consorts with prostitutes’ and ‘frequents hotels and wine bars in the vicinity of the Haymarket’, he is described as being of ‘quiet disposition’. Gilbert Burleigh on the left is identified as a ‘hotel barber’, and Delaney‘s picture is labelled ‘false pretences & conspiracy’. A companion photograph makes it clear that in fact, Delaney was the hotel barber – meaning one who books into a hotel, boarding house or residential and robs (or ‘snips’) fellow patrons, usually in the dead of night. In this instance, Delaney was charged with stealing a cigarette case, a hairbrush, a clock and a quantity of clothing from a dwelling-house. A month later he was further charged ‘being about to abscond from bail’. He is described as ‘a fireman and a returned soldier’. Mug shot of William Cahill, 30 July 1923, Central Police Station, Sydney. Details unknown. An entry in the Supplement to the NSW Police Gazette Sydney for Skukerman, (alias Kukarman, alias Cecil Landan) is captioned ‘obtains goods from warehousemen by falsely representing that he is in business’. “Silent Tom” Richards and T Ross, alias Walton, 12 April 1920, presumably Central Police Station, Sydney. George Whitehall, carpenter, handed himself into Newtown police after hacking to death his common-law wife, Ida Parker on Thursday afternoon 21 February 1922, at their home in Pleasant Avenue, Erskineville. This photo was apparently taken the following morning at Newtown Police Station. No entry for Fiori/Permontto is found in the NSW Police Gazette for 1924, although this photo appears in a later photo supplement, in which Fiori is described as a safebreaker. Walter Keogh appears in the Photo Supplement to the 1923 NSW Police Gazette (7 February Group 1 p. 4) identified as a pickpocket, and later in 1928 (26 December, Group 4 p. 15) as a ‘suspected person and bogus land salesman’. Thomas Bede, 22 November 1928. Captioned: ‘This man refused to open his eyes’. Alfred John (or Francis) West. 1922.West is mentioned in the NSW Criminal Register as a ‘pickpocket and spieler’. Walter Smith is listed in the NSW Police Gazette, 24 December 1924, as ‘charged with breaking and entering the dwelling-house of Edward Mulligan and stealing blinds with a value 20 pounds (part recovered)’, and with ‘stealing clothing, a value of 26 pounds (recovered) in the dwelling house of Ernest Leslie Mortimer.’ Sentenced to 6 months hard labour. A picture of Sidney Grant (alias ‘Pretty Sid’) appears in the ‘Criminal Photographs’ section of the New South Wales Police Gazette, 2 May 1923 captioned ‘Confidence man (notes for gold)’. Hampton Hirscham, Cornellius Joseph Keevil, William Thomas O’Brien & James O’Brien. 1921.The quartet pictured were arrested over a robbery at the home of bookmaker Reginald Catton, of Todman avenue, Kensington, on 21 April 1921. The Crown did not proceed against Thomas O’Brien but the other three were convicted and received sentences of fifteen months each. Details surrounding this particular photograph are unknown, but Sidney Kelly was arrested many times and much written about in newspapers during the 1920s, 30s and 40s. He was charged with numerous offences including shooting, and assault, and in the 1940s was a pioneer of illegal baccarat gaming in Sydney. This image appears in the Photo Supplement to the NSW Police Gazette, 26 July 1926, p. 6 captioned, “Illicit drug trader. Drives his own motor car, and dresses well. Associates with criminals and prostitutes”. Harold Price was a thief and gunman. This photograph was taken after he was was arrested and charged with committing robbery under arms at a house in Randwick, Sydney, for which he was sentenced to two years hard labour. The handwritten inscription on this unnumbered Special Photograph reads ‘Frederick Edward Davies stealing in picture shows and theatres Dets Surridge Clark and Breen Central 14-7-21’. Police held sneak thieves in particularly low regard, which may account for the decision to photograph Davies in front of the police station’s toilet stalls.