The U.S. Military Considered Building Halitosis and Flatulence Bombs


During World War II, the United States military considered taking a more natural approach to its weaponry—by releasing odors resembling those produced by the human body. (Hey: all’s fair in love and war.) 

German-occupied France was the intended test site for a stinky contraption which never bore its rotten fruit. Conceived by American scientists in 1945 and nicknamed the “Who? Me?” bomb, this unmade gadget now sounds like an April Fool’s novelty from Hell. Essentially, it was a small, handheld device that would have chipped away at Nazi morale by releasing an eye-watering stench modeled after human flatulence. 

For better or worse, the idea didn’t get very far. According to documents that were declassified in 2005, researchers abandoned the idea because “people in many areas of the world do not find faecal odor offensive, since they smell it on a regular basis.”

Those reports also go into putrid detail about several other scent-related weapons that the U.S. defense department toyed with—and hopefully stood upwind from. Among them was the never-built “Halitosis Bomb” intended to discharge an odor reminiscent of “severe and lasting” dragon breath. 

Another invention that never made it past the drawing board still managed to cause a major uproar. The unmistakable product of its “don’t ask, don’t tell” era, a so-called “Gay Bomb” concept was pitched in 1994 by the Air Force’s Wright Laboratory. 

Not even the most creative conspiracy theorists alive could come up with something this absurd. And yet, telltale government papers obtained through the Freedom of Information Act in 2007 confirmed that Wright scientists actually asked the Pentagon for $7.5 million to help develop one. 

An explosive laden with some unspecified “aphrodisiac,” the bomb would render male enemy soldiers “sexually irresistible” to each other, a tactic that was deemed “distasteful but completely non-lethal.” Ultimately, the Pentagon rejected this proposal, though the fact that it was ever conceived in the first place sparked justifiable outrage among LGBTQ taxpayers. “It’s just offensive that they think by turning people gay that the other military would be incapable of doing their job,” said Geoff Kors of Equality California.

The “Ig Nobel Prize” committee—a group that salutes weird and/or amusing contributions to science—also weighed in by awarding the Wright Lab’s efforts with their tongue-in-cheek 2007 “Peace Prize.” Curiously, no one affiliated with the armed forces agreed to accept this illustrious honor in person. 

5 Things You Might Not Know About Ansel Adams

You probably know Ansel Adams—who was born on February 20, 1902—as the man who helped promote the National Park Service through his magnificent photographs. But there was a lot more to the shutterbug than his iconic, black-and-white vistas. Here are five lesser-known facts about the celebrated photographer.


Adams was a four-year-old tot when the 1906 San Francisco earthquake struck his hometown. Although the boy managed to escape injury during the quake itself, an aftershock threw him face-first into a garden wall, breaking his nose. According to a 1979 interview with TIME, Adams said that doctors told his parents that it would be best to fix the nose when the boy matured. He joked, "But of course I never did mature, so I still have the nose." The nose became Adams' most striking physical feature. His buddy Cedric Wright liked to refer to Adams' honker as his "earthquake nose.


Adams was an energetic, inattentive student, and that trait coupled with a possible case of dyslexia earned him the heave-ho from private schools. It was clear, however, that he was a sharp boy—when motivated.

When Adams was just 12 years old, he taught himself to play the piano and read music, and he quickly showed a great aptitude for it. For nearly a dozen years, Adams focused intensely on his piano training. He was still playful—he would end performances by jumping up and sitting on his piano—but he took his musical education seriously. Adams ultimately devoted over a decade to his study, but he eventually came to the realization that his hands simply weren't big enough for him to become a professional concert pianist. He decided to leave the keys for the camera after meeting photographer Paul Strand, much to his family's dismay.


If you've ever enjoyed Kings Canyon National Park in California, tip your cap to Adams. In the 1930s Adams took a series of photographs that eventually became the book Sierra Nevada: The John Muir Trail. When Adams sent a copy to Secretary of the Interior Harold Ickes, the cabinet member showed it to Franklin Roosevelt. The photographs so delighted FDR that he wouldn't give the book back to Ickes. Adams sent Ickes a replacement copy, and FDR kept his with him in the White House.

After a few years, Ickes, Adams, and the Sierra Club successfully convinced Roosevelt to make Kings Canyon a national park in 1940. Roosevelt's designation specifically provided that the park be left totally undeveloped and roadless, so the only way FDR himself would ever experience it was through Adams' lenses.


While many of his contemporary fine art photographers shunned commercial assignments as crass or materialistic, Adams went out of his way to find paying gigs. If a company needed a camera for hire, Adams would generally show up, and as a result, he had some unlikely clients. According to The Ansel Adams Gallery, he snapped shots for everyone from IBM to AT&T to women's colleges to a dried fruit company. All of this commercial print work dismayed Adams's mentor Alfred Stieglitz and even worried Adams when he couldn't find time to work on his own projects. It did, however, keep the lights on.


Adams and legendary painter O'Keeffe were pals and occasional traveling buddies who found common ground despite their very different artistic approaches. They met through their mutual friend/mentor Stieglitz—who eventually became O'Keeffe's husband—and became friends who traveled throughout the Southwest together during the 1930s. O'Keeffe would paint while Adams took photographs.

These journeys together led to some of the artists' best-known work, like Adams' portrait of O'Keeffe and a wrangler named Orville Cox, and while both artists revered nature and the American Southwest, Adams considered O'Keeffe the master when it came to capturing the area. 

“The Southwest is O’Keeffe’s land,” he wrote. “No one else has extracted from it such a style and color, or has revealed the essential forms so beautifully as she has in her paintings.”

The two remained close throughout their lives. Adams would visit O'Keeffe's ranch, and the two wrote to each other until Adams' death in 1984.

George Washington’s Incredible Hair Routine

America's Founding Fathers had some truly defining locks, but we tend to think of those well-coiffed white curls—with their black ribbon hair ties and perfectly-managed frizz—as being wigs. Not so in the case of the main man himself, George Washington.

As Robert Krulwich reported at National Geographic, a 2010 biography on our first president—Washington: A Life, by Ron Chernow—reveals that the man “never wore a wig.” In fact, his signature style was simply the result of an elaborately constructed coiffure that far surpasses most morning hair routines, and even some “fancy” hair routines.

The style Washington was sporting was actually a tough look for his day. In the late 18th century, such a hairdo would have been worn by military men.

While the hair itself was all real, the color was not. Washington’s true hue was a reddish brown color, which he powdered in a fashion that’s truly delightful to imagine. George would (likely) don a powdering robe, dip a puff made of silk strips into his powder of choice (there are a few options for what he might have used), bend his head over, and shake the puff out over his scalp in a big cloud.

To achieve the actual ‘do, Washington kept his hair long and would then pull it back into a tight braid or simply tie it at the back. This helped to showcase the forehead, which was very in vogue at the time. On occasion, he—or an attendant—would bunch the slack into a black silk bag at the nape of the neck, perhaps to help protect his clothing from the powder. Then he would fluff the hair on each side of his head to make “wings” and secure the look with pomade or good old natural oils.

To get a better sense of the play-by-play, check out the awesome illustrations by Wendy MacNaughton that accompany Krulwich’s post.


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