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WTSH Interview: Young Light. Interviewed by Ellie Sleeper.
Photo by Emily Ulmer
When The Sun Hits Interviews
Interview conducted by Ellie Sleeper
Both in name and spirit, Michael Feerick and Micah Calabrese's Young Light evokes a sense of dawn breaking, of a sliver of light before something even more spectacular appears. For those already familiar with both gentlemen, it will be quite easy to hear traces and vestiges of their past work in what they are doing now, but there remains something quite different in Young Light as well, a certain element that seems more intangible. Perhaps it's a reclaimed youthfulness? Perhaps it's rekindled focus?
To be sure, Young Light is surely more straightforward than its predecessors, Giant Drag and Amusement Parks on Fire, and the formula pays off. The songs Feerick and Calabrese have crafted brim with life and energy, insisting that listeners sing or hum along. Where Micah's influence may keep things tighter and more visceral, Michael's glowing high notes and seeming lightness of being are still present and accounted for. Together, their music speaks of a certain tension that has created a phenomenal end result; their debut EP, Great White Arc, is vibrant and full of spirit without ever seeming self-indulgent or overly cheerful. It would be incredibly difficult to think of a more solid introductory release.
In the midst of the joy of listening to what they've done together, we at When the Sun Hits were fortunate to have Michael and Micah sit down to give us a very candid, revealing, and friendly interview. Catch that and a taste of Great White Arc below.
I think, for me, one of the biggest questions is the obligatory "how did the band form?" What occurred to me while listening was that the more minimal approach of Great White Arc, of course, had some trails of the first APoF full-length, but I also wondered if the time spent in Red Shoe Diaries had any bearing on the goals for the band and how the two of you came together. Was there a conversation that arose out of Michael's time playing barer music, or was Young Light born out of something more organic and circumstantial?
Michael: I remember Amusement Parks' sound guy Ric Peet introducing us to Giant Drag while we were hanging out in Italy in 2007. I needed a girl's name for a couple of songs on Road Eyes, which I was writing at the time, so I used 'Annie' (Hardy) as it fit the phrasing perfectly. This story probably freaks Micah out now! When we got to LA to record the LP in 2009 we played a warm up show at Silverlake Lounge, and at the bar afterwards my friend Fritz, Silversun Pickups' sound guy, introduced me to Micah and we started chatting about music and what not. He came to the studio in Hollywood to tune the drums for the album, we hung out on his roof, he put the entire Lilys back catalogue on my iPod and at some point we decided we must have a jam some time!
I guess we finally did in 2011, just as I was starting to do some acoustic shows. It was refreshing to play songs in an intimate setting, where the songwriting was the focus instead of the layers of sound. Micah came to see me play solo at The Bootleg Theatre and I happened to do a cover of 'Hospital' by the Lemonheads. He mentioned he liked the lower vocals on that song, which I could hit as I wasn't singing over loads of loud guitars! So, I went back to the UK and wrote a batch of songs with all that in mind, designed to be performed without a large band, fewer or no instrumental sections, the lyrics and vocal melody carrying the songs. I came back to LA in 2012, we had literally a couple of rehearsals and went to Chicago to record the EP!
There are definitely a lot of similarities between Great White Arc and the first Amusement Parks record. They both came to be the way they are out of a combination of stylistic design and financial limitation! Also, on both I feel like we were going for the 'Chicago' sound. When we were doing 'APOF' Dan and I A/B'd the drum sound with Albini's, and with 'GWA' we were actually in Chicago recording with Jeff Dean, the heart and soul of the Chicago scene! We popped in to Electrical Audio and hung out while we were there, it's safe to say he uses more gear than us! Anyway I guess with all debuts it's a case of making the most of what you have to work with, and that's where the tone of the record comes from. To put it in perspective though we recorded and mixed 'APOF' in 4 weeks, and 'GWA' in 2 days! On top of all that they both have lo-fi black & white sleeves, I guess subconsciously that's the way I like to do a debut! Naturalistic and noir.
Micah: A friend of mine told me to check out Amusement Parks on Fire and that they were playing the Silver Lake Lounge. I listened on MySpace I decided I was definitely going to the show. I was not disappointed. After the show, our mutual friend and amazing live sound engineer, Fritz introduced us. It turned out APOF would be in LA recording for a while. Everyone pretty much became instant friends that night. At some point Mike and I started talking about working on something together. Eventually the APOF album was complete and Mike and I crammed as much song writing in as we could during his last two months in LA.
I think Mike was interested in something barer. I obviously like the simplicity of a two-piece. Ultimately, what I've found is that no matter what your intentions are, a particular combination of people playing music together already has a sound defined before you even start playing. You either find that sound or you force something else which is guaranteed to turn out terrible.
To linger on other projects, only briefly, would you be willing to talk about where you stand with Giant Drag, Micah? Michael, is there anything we should know about APoF too? If any of it is confidential or under wraps, no worries.
Michael: Not especially. I guess I just find it kind of depressing and unnecessary when bands have such a defined status, like 'hiatus' or 'deceased' or something! The idea of doing a 'farewell tour' sounds pretty miserable to me. Why not leave it open and see if you feel like doing it again in a couple of years?! I wonder what percentage of bands that have a big over-the-top send-off end up doing a big reunion, comeback thing? I don't see the need for all the drama; it's only rock music isn't it! Wait, what was the question?! Oh, Amusement Parks toured Europe at the start of the year and that was great, we'll almost certainly record and tour more in some capacity we feel like it. Sorry to ramble at you, a dude tweeted at YL the other day and just put '@APOF RIP' and I thought that was uncalled for, I guess it stayed with me!
Micah: Annie recently announced she's ending the band and doing a final tour. I'm sad to see it end, but glad that she's moving on to other projects rather than trying to morph Giant Drag into something else. Anything but Annie and me playing together just isn't Giant Drag.
As Young Light, Great White Arc is likely your top priority right now, as it's only just seen the light of day and is still pretty fresh, but are there any other plans you can tease or that you're hoping for? Can we expect tours or some other designs for world domination?
Michael: Absolutely! We're recording another EP this month, I imagine we'll push that one a bit more and build on the foundation of this one. At the moment I'm just enjoying the fact that this one's out there at all, when we were making it we had no expectations whatsoever. I got a kick out of making the artwork for it in a way I didn't with Amusement Parks, with an independent release you have control over the microscopic details, which I care about hugely, obsessively even! On the second Amusements record I remember the CD's coming back and the logo on the cover was squashed, it crushed me. That kind of thing just seems to cheapen the whole package, after spending so much time and money on it! With this one it feels like it's being printed up exactly as intended and it's super satisfying. I really like having Rafe Dunn's writing tying it all together, hopefully we'll continue and expand on that, up to something really special for the album, whenever that happens. And yeah we'll be touring the US and Europe, and wherever else will have us, as much as possible.
Micah: We're dying to record and tour. Mike has to go back to the UK very soon but I'm planning to head over to his side of the world so we can keep the world domination rolling along.
In regards to tours and traveling, it kind of seemed like Michael, you were a bit of an international man of mystery and guitar feedback for a while there. Where exactly IS home for Young Light and for you both as people? Where could fans most expect to see a gig or two?
Michael: 'International man of mystery and guitar feedback' is almost certainly the coolest way I have or will ever be described!! We've been talking about basing the band in Europe for a bit actually, I'd say expect a show anywhere in the US or Europe in the next year or so. Los Angeles is definitely home for Young Light as a band though. This is where we've done everything so far, our rehearsal space is in Eagle Rock, our first show was at Silverlake Lounge, Micah lives here! I feel like the music is grounded here, it's influenced by all our friends' bands we play with and go to see, for me it's fun traversing this scene as a kind of outsider on the inside. You see how Autolux, Radar Bros, Earlimart, The Movies, Happy Hollows, the Silversuns all slot together, and I feel like that's where it's coming from. Whether that translates onto the record I'm not sure. As for me personally, I'll have to get back to you on where home is! The world's so small now, I'm enjoying the luxury of not having to decide. I've been dividing my time between Nottingham and LA and they both feel very much like home, in differing ways.
Micah: The band's home is where the next show is, which will most likely be in the UK or Europe.
As for home, what actually makes it home? What's the best part of wherever you prefer to be? What keeps you comfortable and sane?
Michael: I guess home is where your family and friends are. They keep me comfortable and are making a noble effort on the sane part, bless 'em. The only problem with having awesome family and friends on two continents is that you're constantly missing a lot of people. I suppose on the plus side they never have quite enough time to get completely sick of me before I'm off again, or so I'd like to believe. While I'm here though, for the record, the best part of Nottingham is The Lincolnshire Poacher.
Micah: As long as I've got access to good friends and good food, I'm sane.
Do you consider your music to be part of the current shoegaze/dream pop scene, or any scene? From what I've caught, you both seem to have pretty diverse tastes, so do you classify yourselves at all? How do you feel about genres in music, in a general sense?
Michael: It's funny, this was supposed to be my 'definitely not shoegaze' band, I'm not sure how well that worked out! I've never been one for genres really. When Amusement Parks first started I was surprised that people described it as 'shoegaze' because I'd never heard of those bands and that scene, and it sounded like a derogatory term to me! Of course in hindsight I can see why we were described that way. I was schooled in music history a bit after that, and I really like a lot of those bands now. Obviously MBV were wildly original and influential... that magic moment where they went really Sonic Youth-y! With YL I guess people will see it as being part of that world and that's cool. The two of us definitely have diverse tastes though, we listen to everything and for me that sound is only part of what's going on. 'Abide' doesn't sound like 'shoegaze' to me. There's no delay on the guitars on the EP and not even reverb on the vocals for the most part. Saying that, the first song on the next EP is sounding super dreamy! But it doesn't really matter to me how it's categorised, if it makes it easier for people to identify with or to find out about that's fine with me.
Micah: I'm definitely a fan of shoegaze and dream pop. As far as being part of a scene or scenes in general -- that's getting harder and harder to define. Technology has decoupled music scenes from space and time, so now it feels like every scene that ever existed is eternally happening on top of every other scene.
Michael: I think there's a lot of exciting things happening. I like a lot of the lo-fi LA stuff like No Age, Health, Nightmare Air, the noisier stuff! A Place To Bury Strangers and Asobi Seksu from NY. I like Beach House, are they classified as dream pop? I like the poppier side of things too, M83 and Mew and such. There's a band here in LA, HOTT MT, who I really like. They describe themselves as 'Thai Surf-Gaze' which I thought was interesting and quite apt, definitely worth checking out.
Micah: I'm not sure if these all fit into the "modern shoegaze/dream pop/psychedelia scene," but I really love Tame Impala, Autolux, Deerhunter, A Sunny Day in Glasgow, and a bunch of other bands I'm forgetting right now.
Can you tell us a little about the band's song writing process?
Michael: It differs from song to song but I tend to have chords and melodies ready, having strummed an acoustic for a time, then we'll hash out the structure and feel in the practice space. Micah is really good with arrangement ideas and with only two people that stuff can work itself out really quickly, there's a great energy with a duo which is different to bigger bands. Sometimes songs will get cut down brutally and with others, especially recently, we might add a few minutes' worth of a whole new section, depending on how it feels in the room. I think the next EP will sound more realised and expansive. We've had time to really explore the new songs, whereas on 'GWA' we had no time at all and for the most part were playing the songs as they were written acoustically, which hopefully was an approach that had its own charm!
Micah: Usually Mike comes up with the song, and then we jam on it and try different directions until we're happy.
Michael: I'd say Micah's Roland SH09 synth, as I guess our most distinctive feature is that we're using that instead of a bass guitar and there's one human playing two instruments! It changes the tone of songs and I write with that in mind. We want to make the most of the dramatic, sustained low end and I try to be conscious of all the work Micah will have to do! With this band I wanted a much cleaner, defined guitar sound so I'm using Fender amps, a DeVille mainly, and a Gretsch Corvette or, on the EP, a Fender Telecaster. I still use a couple of effects occasionally but much (well, a little) more sparingly than in Amusement Parks. I use a Marshall Guv'nor and a Russian Big Muff for gain/distortion, a Line 6 Echo Park for delay and an Electro Harmonix Small Clone for the slightly warped stuff.
Micah: For me, it's my Roland SH09 synth.
What is your process for recording your music? What gear and/or software do you use in the studio? What would you recommend for others?
Photo by Sara Reebles
Michael: I guess your approach and the equipment you'll use always depends on what you're trying to achieve, and with this EP we wanted a very natural, roomy sound. We recorded with Jeff Dean at Million Yen in Chicago, and luckily they have a great live room, it's really big but you still have a lot of control. I suppose that's the first thing I'd recommend for others; find a good space. I think if you have a good musician playing a good sounding instrument in a good sounding room, the rest should come pretty easy. With this EP we lucked out with that studio, they have great outboard gear and it's just a fun place to be, like any good studio should be! Jeff says; "I wanted to go for a natural "live" drum sound. The big live room at Million Yen has an awesome sound so I wanted to capture that as much as possible... I just wanted to get a feel out of the music that if you closed your eyes, and listened, that it felt like the band was in front of you."
Micah: Our process is to find talented engineers who offer to record us for next to nothing because they're amazing and generous people.
As much as it can be the norm to talk gear and physical stuff with this sort of music, I'm always curious just to hear about people's live experiences, the behind-the-scenes happenings. Are there particularly memorable stories from the road, whether past or present, which you'd like to share? Have there been amusing disasters or absolutely incredible experiences you want to brag about?
Michael: Well, I am rather embarrassed to report that at the handful of shows we've played so far, everything has gone smoothly and there's been nothing wildly interesting to report. I guess most of the starting line-up of the LA Kings came to see our first headline show. Actually I did kind of mess up horrifically at that gig. I use a capo on a different fret of the guitar neck for almost every song and Micah (used to, until we learned better!) tune the synth to my guitar. So yeah, when I changed my strings before our set I guess I didn't really pay attention to the note I was tuning to, and for the entire set my guitar was tuned up a semitone. I don't imagine anyone in the audience would've realised but it just served to understandably befuddle Micah, meant I couldn't quite reach the high notes, any vocal muscle-memory I had developed was shot. ...and if there's a more rock n' roll story than that out there, I don't wanna know about it.
Micah: I'm sure I'm forgetting about something, but I don't think we've played enough shows to accumulate any great stories. But, check back with us in a few months.
How do you feel about the state of the music industry today? There is no doubt a massive change underway; how do you see it and do you feel it's positive at all?
Michael: I feel pretty ambivalent if I'm honest, these infrastructures constantly change, people adapt, of course there are positives. Change in the abstract is positive, right? It's great that the entire spectrum of music is so accessible and it's exciting that musicians have to try that bit harder to get your attention. Recording software and equipment is more affordable so more people are using it, a lot of the time in a unique and innovative way. That's all been happening for a long time though, I suppose. On a business end, it's hard to find sympathy for an industry at large isn't it? Most musicians aren't making money. I'm not sure how much that's changed across the board. That poverty is inspiring has always bode well for me. I feel really lucky to have been able to record/release any records at all.
Micah: I feel positive. I'm not sure where the business model is going, but I know people will never stop making music. Paid streaming may pick the business back up some day, but it still has a long way to go as far as audience adoption and amounts paid to artists. I love the idea of Song Kick's Detour - a sort of Kickstarter for tours. I'm interested in seeing how that pans out.
Michael: I'd say whatever works best for the artist. The great thing about today's setup is that the possibilities for DIY releasing are way better and you can end up in a stronger position financially than if you were on a label. I guess the way people shop for music is one of the major changes we're seeing at the moment, it's gonna be interesting to see how that effects the artist/label dynamic and whether that will mean more people start self-releasing through their website or whatever or through a pop-up indie label. I hope so, that sounds much more fun and organic, and I hope will be better all round for musicians.
Micah: The more quality people you have supporting the band, the better. If you've got a deal with a label you respect, then it's a lot easier than trying to assemble that support team yourself. If you don't have a deal, it's at least easier than ever to build your own support team with promotion companies and new tools built by people who used to work at big record labels.
Michael: Besides hearing it live, I don't there's a more immersive or magical way to listen to music than on a well-pressed vinyl, on a decent set of speakers, ideally with a good vintage amplifier. The physical ritual and sonic superiority, it's so much better than any other medium and I feel sad that the younger generation might not know what they're missing. I'm glad the YL stuff is coming out principally on vinyl from the get-go. When we were recording the EP my friends there educated me on the Chicago scene, and I loved how the medium of choice was 4 tracks on 12" vinyl. It seemed like the ideal package and I thought it'd be awesome to do an ethereal take on that, like our 'en homage', coming out on a Chicago label and everything. Hence all the heavy set, photocopied typography on the sleeve, and the liner notes on an insert, etc. I feel like 4 tracks spread over two sides of a 180 gram 12" is pretty much sonically ideal. Saying all that I spend way more time listening to music on my phone these days! I love hearing music on interesting mediums though, a cassette on a good deck can sound really special, and I love listening to a decent 4-track recording on the deck itself, it's an art form within an art form.
Micah: I mostly listen to mp3/aac/ogg/whatever but I prefer vinyl whenever possible. I still have a soft spot for cassettes, but that's more about nostalgia than about sound quality or convenience.
Michael: Yikes, this is a tough one! There are so many I'm not sure where to start. With AmPoF, what I felt were my biggest influences were seemingly the ones that no-one picked up on, with this band maybe they'll become more obvious! With this stuff I wanted to go back to simple and succinct songwriting, and try to subvert it a little, a skewed Evan Dando or psychedelic Robert Pollard. An enduring influence is Stina Nordenstam. Like all the greatest artists she's unique, completely uncompromising and wildly underrated and unknown to most, she writes hauntingly beautiful, honest songs and with every one creates a new world for her stories to exist in. I get inspired by graphic novels, 'Black Hole' by Charles Burns, 'King Of The Flies' by Pirus & Mezzo, novels by Kurt Vonnegut, Douglas Coupland, the films of David Lynch & Cronenberg to name a couple of heroes, people whose art transcends the medium, not that I'd put anything I'd do up there with those guys obviously.
Micah: I feel like everything I've ever heard has the potential to come out in my work, but the majority of influence probably comes from classic rock and 90s alternative. As far as specific artists go: The Beatles (of course), Jimi Hendrix, The Beach Boys, Led Zeppelin, Stereolab, My Bloody Valentine, The John Coltrane Quartet, The Breeders, Neil Young, James Brown, Fela Kuti, Nirvana, Cocteau Twins, Lilys, The Zombies, and on and on and on.
Michael: I find myself re-reading John Fante's 'Ask the Dust' every year or so, it's probably my favourite LA novel and I love wandering around downtown in search of Arturo Bandini! I tend to re-read a lot of Bukowski while I'm here too. I'm reading Levon Helm's 'This Wheel's On Fire - The Story of the Band' at the moment, which may account for some of my drawn-out, whimsical answers earlier! It's fascinating to read someone's experiences in music who essentially started out before rock n' roll even existed. This came about after seeing Bob Dylan, Wilco and My Morning Jacket on their 'Americanarama' tour last weekend, the whole show was very reminiscent of The Last Waltz. Big name guest stars kept appearing, MMJ covered The Band's 'Don't Do It', Jeff Tweedy and Jim James came out and played 'The Weight' with Bob Dylan... I listen to a lot of stuff from that era; Neil Young, America, Big Star, The Eagles even! I never thought I'd be saying this but I like those last couple of Kanye West records. I was excited to hear the new M.I.A single. I was just as in to 'Get Lucky' as everyone else, really like the latest Phoenix record. I never tire of Jim O'Rourke, Wilco, Yo La Tengo. I love Sub Pop's recent output; No Age, Pissed Jeans, King Tuff. Movie and TV-wise I love Lars Von Trier's latest stuff, anything by Charlie Kaufman... I'm obsessed with Breaking Bad and Mad Men of course. Stewart Lee is my hero, comedic and otherwise... I'll leave it there for now!
Micah: My brain is half music and half technology. These days I've been reading books on artificial intelligence, Ray Kurzweil's How to Create a Mind and Jeff Hawkins' On Intelligence. I've also been learning 3D game engine programming. I just submitted a simulation I wrote to the Oculus VR Jam contest.
If you had to choose one track that was the ultimate definition of your sound, which would it be and why? Since the project is fairly recent, if you haven't got one yet, what do you both hope to sound like? What would the perfect Young Light song resemble or how would it feel?
Michael: For the purposes I would say 'Giant Fire' as it was the first song we wrote together at our first practice, hence the goofy name! Everything we were setting out to do is there. With this band I wanted to get away from the 'wall of sound' we were going for with the Amusement Parks stuff and try and emphasize the space around the instruments, while still incorporating the warped, full chords. The lyrics are abstractly talking about the catharsis and excitement of shedding your old skin and starting fresh, moving forward and making a friend of the future. Not all our songs are or will be that positive in scope or blissed out melodically but that's how I'd want the perfect one to feel... or something!
Micah: I think we just recorded that definitive track ("Blank Dice") a few days ago. Hopefully it'll come out later this year.
Is there anything else we haven't covered that fans and followers should know? Are there any shout-outs, plugs, or random anecdotes for us?
Michael: If anyone is actually a fan or follower than I am truly grateful!! As far as plugs go, if you fancied checking out all the bands I play with or am loosely involved with I'm sure they would be very pleased! Oh Boy Les Mecs, JC Decaux, Neil Gold & His Girls, We Show Up On RadaR, Seabirds, Lights Over Phoenix... While I'm here, buy everything on Underground Communique Records, Invada, Hello Thor!
Micah: Nope, you've asked all the relevant questions.
Lastly, what philosophy (on life), if any, do you live by?
Michael: 'Stay Slayer'.
Micah: Strive for greater awareness.
Great White Arc by Young Light
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Buttaba Hills South Paper Subdivision - Landowner Reference Group
Landowner Reference Group - Update on the Paper Roads in the Buttaba Hills South estate
The Reference Group is an advisory body whose role will focus on matters associated with securing ownership of the paper roads in the Buttaba Hills South Paper Subdivision, in order that the landowner group can proceed to prepare a development application encompassing all land in the estate.
Below is an update on the status of the unformed roads in the Buttaba Hills South Estate.
Council has sought legal advice on the status of the Paper Roads, and it is the position of Council that the Paper Roads remain private subdivision roads which were never validly opened as public roads.
Certificate of Title Volume 3151 Folio187 for DP12507 identifies that the paper roads form part of the residue of land in DP12507 standing in the name of Frank Halloran, the original sub-divider.
Accordingly the roads in Buttaba Hills South estate are owned by the beneficiaries of Mr Halloran's estate.
Lot 756 is separate from the paper roads, but is also owned by Frank Halloran's estate.
A solicitor acting for descendants with a possible claim to the roads and Lot 756 is undertaking to find all the lawful successors of Mr Halloran. The solicitor working for the descendants is working as quickly as possible but this process is complex and time consuming and it is not possible to put a timeframe on when this will be completed.
Legal advice provided in 2019 by lawyers acting for a member of the Landowner Reference Group did not add anything new to this understanding.
More recent legal advice received by Council in February and May 2020 by another law firm acting for a member of the Landowner Reference Group has not added anything new to the understanding of the legal status of the roads.
Once all descendants of Mr Halloran have been identified, an application can be made by the solicitor for the descendants to the NSW Supreme Court, seeking administration orders that establish the present day owners of the roads.
When there is a formal direction or order from the Court clarifying ownership, landowners in the estate will be in a position to enter negotiations with the legal owners of the Paper Roads and Lot 756 regarding their purchase.
A meeting of the Reference Group was held to discuss additional legal advice provided by another law firm acting for a member of the Landowner Reference Group. This advice did not alter the status of the paper roads.
However the Group resolved that Council investigate and get legal advice regarding compulsory acquisition of the paper roads. This will be researched by Council and reported back to a further meeting of the Reference Group.

redpajama_set_name: RedPajamaCommonCrawl


As the temperatures drop, connecting with your ladies at home seems so much more desirable (and less expensive) than a night out. This delicious version of friendship bread (where you share some of the ongoing starters with friends) gives you a reason to spend a little quality time together. And baking can be a very relaxing form of self-care.
The natural bacteria and heat in the air help create a process that ferments the bread starter and creates natural yeast. This starter can be used in any sourdough bread recipe. The sourdough bread itself only consists of a few natural ingredients, which makes it much better than many store-bought breads that are highly processed and contain unnecessary additives. The long rise time makes this bread easier to eat because the yeast and bacteria combination pre-digests the starch in the grains.
And although it might be basic AF, nothing says fall like the smell of pumpkin spice. Pumpkin spice, also known as pumpkin pie spice, generally consists of a combination of ground cinnamon, nutmeg, ginger, cloves and sometimes allspice. Pumpkins are high in vitamin A, and the spices have circulation, anti-inflammation and digestive benefits. Not to mention the antioxidants.
1. Begin by whisking flour and water together in a large bowl.
2. Cover with a kitchen towel or plate.
3. Place in a warm location in your kitchen; behind the stove is a great spot. I ended up placing mine next to a Himalayan salt lamp on my kitchen counter.
4. Every day for five days, stir in another 1/4 cup of flour and 1/4 cup of water to "feed" the starter.
5. By day 3 you should see bubbles forming on the top of the starter and it will start to have a yeast-like smell; that's how you know the fermentation process is working.
6. Your starter will be ready to use at Day 5; keep feeding it every day to keep it alive and you will have a never-ending supply of sourdough bread starter.
7. To share the starter with a friend, place 1/4 cup in a jar or plastic zipper-lock bag along with the instructions for feeding and maintaining the starter. Always reserve at least 1/4 cup for yourself to keep it going.
8. If you're not ready to use your starter, or just have too much to use at that time, you can refrigerate or freeze it for later use. When you're ready to use it, let it get to room temperature and feed it one more day, before using it the next day to make your bread.
1. Stir all dry ingredients together until fully incorporated. Add wet ingredients and stir with a fork until fully combined.
2. Let rest uncovered for 20 minutes.
3. Lightly coat a bowl with olive oil. Make sure the bowl is big enough to allow your bread dough to double in size.
4. Generously flour a clean surface and knead dough by hand for 5-10 minutes. This is a sticky dough so you might need to continually add flour to both the top of the bread and your kneading surface.
5. Shape dough into a ball and place in the oiled bowl, then flip it over so both sides are covered in the olive oil.
8. Cover loosely with a wet towel and allow to rise for another hour.
9. When thirty minutes are left in your time for the second rising, put a cast iron dutch oven (with the lid) in the oven and preheat on 400 degrees for the remaining 30 minutes.
10. Very carefully place the dough (still on the parchment paper) in your dutch oven and put the lid back on the dutch oven.
11. Bake for 40 minutes.
12. Remove the bread from the dutch oven and let cool on a wire rack for at least 30 minutes before serving.


Beginning at puppy and kitten wellness exams, veterinarians monitor deciduous (baby) teeth, missing teeth, extra teeth, swelling, and oral development. As they age, your veterinarian will look for developmental anomalies, accumulation of plaque and tartar, periodontal disease, and oral tumors. The veterinarian can perform a basic oral examination while pets are awake. However, anesthesia is required for a more complete examination.
Dental cleanings are performed under general anesthesia, While your pet is under anesthesia, its vital signs (such as body temperature, heart rate, and respiration) are monitored. Pre-anesthetic blood work, and IV fluids are included in all dental procedures which helps ensure your pet's safety while under anesthesia.
Even a well-hydrated pet will benefit from IV fluids while anesthetized for surgery or a dental cleaning and his blood pressure can change rapidly during anesthesia. Adding more fluid to a pet's body is one of the many ways veterinary teams can correct low blood pressure and ensure the best possible outcome.
Many animals can seem healthy, but have an undetected health issue which could cause problems during surgery. Pre-anesthetic blood testing is important before anesthesia to make sure that the liver and kidneys can handle the anesthetic. Knowing about these problems ahead of time gives the doctor the opportunity to customize the surgery or anesthesia protocol for that particular patient, or to postpone surgery until the underlying issue is addressed.
Using instruments much like human dentists, veterinarians remove plaque and calculus from your pet's teeth. Polishing with a special paste smooths out scratches to the tooth enamel which helps prevent plaque and tartar. A Fluoride treatment is then applied to the freshly polished teeth.
X-rays of your pet's teeth are needed periodically to evaluate your pet's oral health. X-rays also help veterinarians detect abnormalities that cannot be seen through physical examination alone. They can also confirm the need for tooth extraction when teeth are loose or badly infected.


text:
Pioneers of Eclipse, Astronomy and Space tours since 1979
A TOTAL SOLAR ECLIPSE
BACK TO PROJECT GREENLAND 2021 ITINERARY
Project Greenland 2021 - Frequently Asked Questions
What is the payment schedule and payment options?
If you make a Provisional Reservation we will email you an invoice with payment option details when a payment is due. Payments can be made by credit/debit card or by bank/wire transfer. Initial deposit due within 1 month of invoice date - 10% Stage Payment - 40% due in January 2021 The Final balance of the total price is due by 15th March 2021
How do I book on a tour?
You can book on Project Greenland June 2021 any time by completing the online Provisional Reservation form (click here), or you can contact us by phone if you have any queries. From the UK 01422 887110 From outside the UK +44 1422 887110
Is a passport required?
You will need to have a passport for Project Greenland June 2021. Most countries require that a passport be valid for at least six months beyond the completion of your trip. If your passport expires sooner than that, you must renew your passport prior to travel.
Do I need Travel Visas?
You must have all visas (and vaccination) certificates that are necessary to enter or pass through any countries involved in Project Greenland June 2021. Visa requirements are subject to change so please check with a Visa Service Company in the country in which you are located or you can check details online instantly with companies such as CIBT Visas (https://cibtvisas.co.uk/). Visas can be obtained through the relevant embassy or consulate.
General Note: Some countries refuse admission to travellers not meeting their accepted standards of dress or appearance (even if they hold a visa). Entry may also be refused to certain countries if your passport bears stamps or visas (valid or expired) for Israel. Please note it is your responsibility to ensure you have the correct, current visa information in good time before departure and that you act on it.
International Flights and arrival/departure Airport Transfers
We can assist with flight advice from all worldwide destinations. Flight packages become available approx. 11 months in advance of a tour departure or you can arrange your own International flights if you prefer. Please note: Airport transfers and assistance are included on tour arrival and departure days if you take advantage of the International flight package offered by our flight partner. If you choose to arrange your own International flights then the meet point is the hotel on Day 1 and the tour ends at the hotel on the final day. Astro Trail work closely with Star Travel UK (https://staruk.uk/), for International Flight arrangements for our projects. Star Travel UK are fully IATA and ATOL bonded. For UK departures Star Travel UK will provide an ATOL certificate (an ATOL does not apply for non UK departures).
Do I need Travel Insurance?
It is adviseable that you have Travel Insurance for any overseas travel arrangements and Astro Trails strongly urges you to purchase travel insurance before making your first deposit payment onto a project. Travel Insurance policies are widely available and offer a range of financial protection for your trip. Health cover is obviously a necessity and we would also advise a policy which covers any loss in respect of non-refundable cancellation charges. The policy costs and the extent of coverage vary considerably, a simple internet search will provide many alternatives and you are free to make your own choice. There are however only a few insurers who will arrange cover if you are making your reservations more than a year in advance (usually necessary for eclipse trips) but this link connects to an insurer who may arrange cover up to two years (24 months) ahead of your trip. Please check with the company direct as company policy can and does often change.
You will be staying in good, clean, regulated accommodation and there is no reason to expect greater health risks than a journey in your home country. There are no specific health or inoculation requirement for entry into any of the countries visited, but different authorities advise a range of protection which is available. If you have an existing medical condition you should contact your own medical practitioner for personal advice. A useful general health advice website for travellers is http://www.who.int/ith/en/ and there are also advice sites in individual countries. https://wwwnc.cdc.gov/travel https://www.nhs.uk/livewell/travelhealth/Pages/Travelhealthhome.aspx http://smartraveller.gov.au/guide/all-travellers/health/Pages/default.aspx
Why book with Astro Trails?
Astro Trails is the latest version of a project which started in 1973 when Transolar Travel, a small UK travel agency, chartered a cruise ship to take members of the British Astronomical Association and their friends to observe a total solar eclipse off the coast of West Africa. David McGee, the owner of Transolar went on to run projects to follow the Apollo spaceflight launches from Florida, and from 1980 his brother Brian McGee took over responsibility for continuing the organisation of solar eclipse tours and he is still involved in the operation to this day. Brian McGee is a familiar name to thousands of people who have travelled on the many astronomy projects he has organised since 1980, originally as Explorers Travel and subsequently as Astro-Trails. With expeditions to almost every total eclipse over the past four decades the track record of being clouded out on only two occasions has required more than just luck! The itineraries for the projects reflect the active curiosity of people who join this kind of expedition and such people are always good travelling companions. Our team have many good memories of the people, places and events over the past 40 years and we look forward to joining you on many more.
Do you have Astronomy Experts on Project Greenland June 2021?
Depening on the final group size, we normally try to have at least one Astronomy expert on each project. Our colleagues are chosen from a group of experts who have assisted us on many previous solar eclipse trips - see this section on our website for details of some past and present names and faces. We distribute a handy Eclipse Information and Observation Guide prior to travel.
Who are the local guides on the tours?
We work with a team of local guides and country specialists provided by our partners in Greenland. Their main responsibility is to make sure that all members of the group are well looked after and return home having had a wonderful trip with some fantastic memories. It is their responsibility to ensure that the tour runs smoothly and that all the daily logistics are in place and also to oversee the health and safety aspects of the tour. We also have a core team of specialist Astro Trails co-ordinators who oversee the logistics of the project in its entirety.
Which local firms provide services within Greenland?
Our partners in Greenland are Tangent Expeditions, a small niche company who have been operating expeditions to Greenland for over 30 years. Tangent Expeditions began in 1989 when owner and director Paul Walker organised his first two month expedition to East Greenland. Since then, he's gone on to organise over 250 expeditions all over Greenland, becoming the leading expert in his field. He has guided many of these himself and now works with a team of highly qualified guides.
What Hotel Accommodation is provided?
The hotels used for this expedition are mostly equivalent to three star standard but they can vary dramatically between places. All hotel rooms provide private bathrooms (*with the exception of accommodation if required at Qaanaaq - see below). In smaller towns and in remote areas hotel facilities are more limited than may be expected in major cities, particularly in areas close to the eclipse track where there is a very high demand for accommodation. *Please note that accommodation (if required due to weather conditions) at Qaanaaq is 'no frills' basic accommodation and there are no single rooms available (singles will be required to share a twin room for this 1 night) We try to include accommodation which best reflects the local area in which we are travelling and aim for mid-range accommodation, with the key requirements being cleanliness, safety, comfort and a good location.
Is it possible to share a twin room instead of paying a single room supplement?
Tours are based on customers sharing twin-bedded or double rooms. If you book on a Twin Share basis, you will share a room with someone of the same sex. However, if there is no one to pair you up with on your Tour closer to final balance stage, we will have to charge you a Single Supplement. On all tours we offer the opportunity to pay a supplement to pre-book a single room.
What meals are included?
All Tours include breakfast, but other meals are often not included. This allows you to try the cuisine in local restaurants and also to choose what and where to eat and how much to spend. Our local guides will often be able to help with advice on restaurants.
What ground transportation is provided?
Wherever possible we charter comfortable, full size touring coaches for all land sectors. Transportation in Greenland is generally based on smaller buses and taxis as this is a small group (maximum 30 participants)
How many people are travelling on the tour?
Our tours are extremely popular and Project Greenland is based on a maximum group size of 30 people (20 is the group minimum).
Greenland The average minimum temperature in Ilulissat in June is 0.0°C (32°F). June is a dry month with an average of 25mm of rain. This month is known as a chilly month and the average maximum temperature lies around 5.0°C (41°F). During the night it can cool down considerably. You can find full climate details via these links - Observation site Qaanaaq Denmark Copenhagen Greenland Kangerlussuaq Ilulissat Qeqertarsuaq
Will an itinerary change?
The long distances covered in these itineraries necessarily involve a number of journeys. All itineraries are based on current routes and schedules and will therefore be subject to change in the event of schedule or route changes or in the case of Project Greenland June 2021, weather conditions. You will be informed of any known major changes when we become aware of them. Minor changes will be advised in your Final Itinerary approximately two weeks prior to departure. Weather conditions around Qaanaaq cannot be advised until closer to eclipse day and the itinerray may be changed accordingly to suit best eclipse observation logistics.
Terms & Condtitions
Astro Trails Ltd
Eagle House
25 Severn Street
SY21 7AD
info@astro-trails.com
Tel: + 44 (0) 1422 887110
© 2020 Astro Trails. Proudly created by Juliet Sidney - Bamboo


text:
Yellow Caesar est un court-métrage de propagande britannique réalisé par Alberto Cavalcanti, sorti en 1941.

Synopsis
Composé de documents d'archives et de quelques passages de fiction, le film brosse un portrait mordant de Benito Mussolini, yellow Caesar : empereur couard.

Analyse
Les images sont détournées. La voix d'acteurs (plusieurs acteurs différents) remplace parfois celle de Mussolini dans certains extraits d'archive où il apparaît, et lui font tenir des propos qui le ridiculisent ou sont censés être révélateurs du caractère mégalomane et pleutre du personnage. Il s'agit clairement d'une caricature, apparentée au Blitz Wolf de Tex Avery.

Fiche technique
 Titre : Yellow Caesar
 Titre original : Yellow Caesar
 Réalisation : Alberto Cavalcanti
 Scénario : Michael Foot et Frank Owen, avec des dialogues de Adrian Brunel et un commentaire de Michael Frank
 Montage :  Charles Crichton
 Production : Michael Balcon et John Croydon
 Pays d'origine : Grande-Bretagne
 Format : Noir et Blanc
 Genre cinématographique : Documentaire
 Durée : 24 minutes
 Date de sortie : 1941

Distribution
 Michael Frank : voix du commentateur
 Douglas Byng : le sympathisant anglais
 Marcel King : voix de Benito Mussolini
 Sam Lee : voix de Benito Mussolini
 Lito Masconas : le speaker radio italien
 Max Spiro : voix de Benito Mussolini
 Feliks Topolski : le dessinateur
 Jack Warrock : voix de Benito Mussolini

Lien externe

Court métrage britannique
Film réalisé par Alberto Cavalcanti
Film britannique sorti en 1941
Film de propagande britannique
Film de propagande de la Seconde Guerre mondiale
Film parodique
Film en anglais

redpajama_set_name: RedPajamaWikipedia


how bout their totally legal right, according to well established international law, which allows the occupied to use any and all forms of force to resist their hideous invidious illegal occupiers, satanic israel.
the king david hotel bombing was the mastermind of shamir's fellow mass murderering zionist terrorist menachem begin.
"Andrew Seaman, the Society of Professional Journalists' ethics committee chairman, said there are still questions about why the new owners went through such great pains to conceal their identity and waited so long to reveal themselves.


text:
Experiences, stories & reflections
LET'S TALK WITH... SVEIN RASMUSSEN
#LETSTALK
SVEIN RASMUSSEN
Founder & Chief Innovator
[...]
I'm glad to share with you my chat with one of the most inspiring people I have ever met, Svein Rasmussen, founder of STARBOARD, premium brand in windsurfing and paddle boarding and B-Corp dedicated to lead and inspire the change to care about Mother Nature.
Let's talk to the windsurfer Svein. In 1983, you won the Mistral Worlds and you were Windsurfing World Champion. In a few words… tell us something about your passion for sea sports.
Being close to the sea, ocean, rivers and lakes, makes me feel energized, yet mentally relaxed. It's like love, hard to explain, it's just there and grows with the years as one understands the strength and fragility of the oceans, while the respects grows when I imagine the millions of years it has been here, while I am just passing by here at earth in a little glimpse. Being able to play on the surface of this gigantic sea of love is my ultimate experience and seeing it being treated better is my goal.
After one year, in 1984, you participated to the Olympic Games of Los Angeles. How does it feel to participate to the Olympic Games?
Being allowed to represent Norway in the very first Olympics of Windsurfing was amazing and one of those truly inspiring occasions in life.
In 1994 you founded Starboard and in the last two decades it's the premium brand in windsurfing and paddle boarding. What makes you will to do better and better?
I guess we are in this game to give it our best effort year after year and one day pass the torch to those who can bring our little movement a little further, it's all about getting people into the water so they understand better the importance of protecting it.
The logo of Starboard is TIKI, the fun-loving god-king of water and waves.
What's the "spirit of TIKI"?
Tiki is indeed the god - king of wind and wave and an offspring of the sun god, loads of energy from that direction.
I read one sentence on Starboard website that, in my opinion, is impressive:
"It's no longer good enough to be the best IN the world, we really need to start becoming the best FOR the world". Why?
Our days are numbered in terms of continuing our consumption and single use mindset. People, companies and governments can change to work in new directions, namely figuring out ways where their existence contributes positively to the long-term wellbeing of our planet. For the record, my opinion is that we, humans, may wish to reconsider that we are some sort of king species who can do whatever we want as long as it makes financial sense and falls within our current legislation. We may need to reconnect and work with the other species to become better for the world, creating a dignified level of interspecies respect.
I love Starboard not only for the top products you create but also because we share the same mission: connect people to nature. How does Starboard want to achieve this goal?
Get people into the water, then have them take on the privilege of protecting their playground and build up a resistance against ocean pollution and destruction. It's about supporting smaller groups and see them further connect through larger frames. It's a project in work, we're just getting started on a journey to gather likeminded people forming a resistance movement. My personal take away after going to different types of higher level eco oriented meetings, is that we are Zombies who have not yet realised that time is running, most of us are corrupted including myself, so we also need unspoiled people to join forces with seasoned people who can help guide it all.
Starboard has a strong plastic-free mission. The fins of my board are made by up-cycled fishing nets. In your opinion, what is missing to finally win the global fight against plastic pollution?
We need single use plastic regulations, prohibiting companies from offering products using single use plastic packaging for any product where an alternative product could be used. So, we need for the government that we have voted for, to take some decisive steps.
Companies often pointing at needs for better recycling, circular economy and customers being irresponsible, but it's the company's single use packing that is the main issue, so they all need to be forced to look themselves in the mirror.
Starboard has created the first climate park to restore and protect mangrove forests in Myanmar: the THOR HEYERDAHL CLIMATE PARK.
For every board produced, you plant a mangrove tree. Why are you focused on mangroves restoration?
Mangroves are sea trees, they live at the coastline, protecting villages against storms and erosion and helping to clean the water while giving nutrition to water species. Supporting reforesting of mangroves also helps the local economy.
And yes, according to scientists, one Mangrove tree in our Climate park absorb 1 ton of CO2 during its first 20 years of life, then it continues and absorbs even more. From our own research planting mangroves is the most efficient way to balance our carbon footprint and I love the people involved in the project, making it all more fun and engaging.
The target for the Worldview International Foundation is to plant 1 billion trees, absorbing 50 million tons of CO2 annually, just enough to example balance the CO2 footprint of my birth country Norway.
Would you like to share some tips with us in order to let the spirit of Tiki be part of our daily life?
Perhaps go back to the earliest memories of your life, feel the excitement of exploration. See the wonders of nature trough unspoiled eyes and live life with an open mindset where you question anything that makes no sense to you.
THANK YOU SVEIN
ENJOY THE WORLD OF STARBORD
& STAY TUNED FOR THE NEXT #LETSTALK!
#Biodiversity
#DearDiary
#Let'sTalk
#PositiveVibes
#ScienceQuest
#VitaminSea


text:
Spectrophotometric determination of sama...
Spectrophotometric determination of samarium(III) with chrome azurol S in the presence of cetylpyridinium chloride
Soylak M., TÜRKOĞLU O.
TALANTA, vol.53, no.1, pp.125-129, 2000 (SCI-Expanded)
Doi Number: 10.1016/s0039-9140(00)00386-6
Journal Name: TALANTA
Keywords: spectrophotometry, samarium(III), chrome azurol S, cetylpyridinium chloride
A sensitive, simple method for the determination of trace amounts of samarium by spectrophotometry is described based on the formation of the samarium-chrome azurol S (CAS) complex in micellar medium. The molar absorptivities of the complexes at pH 7.5 at 505 nm were 3.6 x 10(4) and 1.4 x 10(5) 1 mol(-1) cm(-1) for water media and cetylpyridinium chloride (CPC), respectively. Beer's law is obeyed from 0.05-2 mg 1(-1) of samarium at 505 nm as Sm-CAS-CPC complex. Optimal conditions such as reagent amounts, and pH for the samarium determination were reported. The effects of foreign ions were also investigated. The proposed method was successfully applied to the determination of samarium contents in synthetic samples. (C) 2000 Elsevier Science B.V. All rights reserved.


EXCELLENT A TOUS POINTS DE VUE !
Hi, Is your Hotel near The Ponte Vecchio or Piazza Della Signoria area?
It's around the corner from Santa Croce, an easy walk to everywhere. More quiet and less touristy and very special.


Venue hire starts from £50 with prices going up depending on the service you need or want and where it is please contact us. Artist hire and DJ services start at £100, Other services from £20 upwards depending on the service needed. Please ask us.
We are BIG One Productions, a events and theatre company in Blackpool.
All DJ,s that work under us have PAT tested gear and all DJ,s have Public Liability To the cost of 10 million as does our venue.
Our venue has full PA and lights system. For artists and DJ,s that go on the road they will have a full PA system.
All from 1940,s right up to date you tell us what you want we do the rest.


Stand straight against a wall without your shoes. Make a mark level with the top of your head. Measure from this point down to the floor.
Measure around the base of the neck where a collared shirt would fit, or measure a collar band on a shirt that fits you well.
Measure the fullest part of your chest/bust. Hold the tape firmly, but not tightly. Be sure the tape is level and straight across your back. Stand naturally.
First, remove your belt. Then, measure over shirt (not over pants) at 1/2" to 1" below the navel. Hold the tape firmly but not tightly. If pants are worn under a protruding belly, measure where pants are typically worn. NOTE: For women, please refer to the hip measurement as the key point of measure for fitting pants.
For shirts and covering garments such as coveralls - measure midsection over clothing around the fullest part of the abdomen. NOTE: Include both "A" and "B" measurements if ordering multiple garments.
Stand with your heels together. Measure around the fullest part of the hips. Hold the tape measure straight and level.
Standing straight, measure the distance from the crotch to just below the ankle bone. OR - using similar style pants that fit you well: lay garment flat with front and back creases and smooth. Measure along the inside seam of one leg from the bottom of the hem to the crotch.
Bend the elbow slightly. Start at the center back of the neck and measure across the shoulder to the elbow and down to the wrist bone.
Measure the circumference of the head at its widest diameter, approximately 1/8" above the ears.
FRONT - This is the distance from the center front at the top of the waistband to the intersection of the crotch seams. BACK - This is the distance from the center back at the top of the waistband to the intersection of the crotch seams.
While standing with arms down, measure across the back from one shoulder joint to the other.
Measure the maximum circumference of the upper arm just below the under arm.
Measure the maximum circumference of the forearm at approximately 6" above the wrist.
Measure the wrist circumference over the wrist bone.
Measure around thigh (parallel to floor), below crotch.
With the leg straight, measure the knee circumference over the knee cap and parallel to the floor.
Measure the circumference of the largest part of the lower leg approximately half way between the knee and ankle and parallel to the floor.
Measure along the outside of the leg from the top of the waistband to the bottom of the hem of just below the ankle bone. OR - lay garment flat, measure along outseam from top of band to bottom of hem.
With arms at the sides, measure around the broadest part of the shoulders and upper arms, keeping the tape level at all times. If over-arm measurement is more than 7" larger than the chest measurement, go up one size.


text:
Rather than posting thread after thread about older / forgotten weapons I thought it would be better to simply have one thread with different posts. Please feel free to post / comment when ever the mood strikes.
Hope you enjoy the thread.
Likes: TAEZZAR
Astra 700 Special: Failed Copy of the FN 1910
https://www.rockislandauction.com/det...
The Model 700 Special was an attempt by Astra to piggyback on the popularity of the FN Model 1910 automatic pistol. Astra took their Model 100 (a renamed Ruby pistol of WWI lineage) and changed the styling to resemble the FN gun, including adding a rotating mainspring cap around the barrel, as the 1910 used. The other internal parts, however, remained pure Ruby - including the barrel installation method, the shrouded hammer, the trigger mechanism, and the mid-frame safety.
These pistols were made for sale primarily in China, although they did not prove to be very popular items. A total of 4,000 were made in 1926 and 1927, and they remained in Astra's catalog into the early 1930s. Seeing the failure to get initial success, Astra cut off production when they introduced the Model 900 - a visual copy of the Mauser C96 Broomhandle, which would prove to be far more popular and successful.
Remington EtronX: Electrically Primed Ammunition
One of the more mainstream attempts at incorporating electronic into firearms technology on the civilian market was the Remington EtronX, introduced in 2000. It consisted of a standard Remington 700 bolt action rifle, with the trigger and firing mechanisms replaced by electric versions. The firing pin itself became an insulated electrode, the trigger operated an electronic switch instead of a mechanical sear, and a 9V battery feeding a capacitor provided the energy to ignite the new type of primer - basically a resistor that would generate heat to ignite a charge of smokeless powder.
Remington made a valiant effort with the EtronX, but came up short. Unfortunately, the only practical advantage to the electronic workings was a reduction in lock time of the action (the delay from trigger press to cartridge ignition). They did in fact achieve a virtual elimination of lock time, but this was not a problem that needed to be addressed for the general sporting rifle market. Between questions about ammunition availability and a general market rejection of electronic component in firearms, the rifle failed to sell, and was dropped from Remington's catalog in 2003.
Yeah, the AR15 is Now Becoming C&R Eligible
Given the status of the AR15 as the preeminent military rifle still today, it comes as a surprise to many people to learn just how old the gun really is. Civilian production of the SP-1 model by Colt actually began in 1964, which means that early SP-1 rifles started becoming Curio & Relic qualified back in 2014. Right now in 2017, more than 10,000 C&R AR15s exist - and this is one of them.
Gahendra: the Nepalese Martini (or not)
Long a mysterious unknown member of the Martini family, the Nepalese Gahendra rifles finally became available in the US and Europe after IMA purchased Nepal's cache of historic arms. The Gahendra is a uniquely Nepalese design built to sidestep British reluctance to supply military arms to the colony. Developed by a General Gahendra (who is also responsible for the Bira copy of the Gardner Gun), the rifle is not actually a Martini at all. Instead, it shares its mechanical features mostly with the earlier Peabody falling block rifles, using a hammer and flat mainspring (the Martini improvement replaces there with a striker and coil spring).
Whitney-Beals Walking Beam Pocket Revolver
This revolver, designed by Fordyce Beals (how cool of a name is that?), was developed while Colt's patent on using the hammer to index the cylinder was still in effect. To avoid that patent, this Beals design uses the trigger to rotate and index the cylinder, with the hammer being cocked separately. The gun was manufactured by Eli Whitney, who ran an industrial factory specializing in working with independent inventors who did not have the capital or resources to do their own manufacturing.
This model of revolver is commonly known as a walking beam or walking lever type, after the mechanism of the trigger moving the cylinder. This was a mechanism commonly used in other application to convert linear motion to rotational motion.
Beals would go on to work with the Remington company on his later pocket pistol design, and would have a major part in designing Remington's 1858 Army revolver.
1875 Snider Carbine Portuguese Contract
In this video Eric and Kevin play with some black powder at the range with a Portuguese Snider Carbine. These were basically purpose built rifles based on the P-61 design that use a centerfire blackpowder cartridge inserted from a special breech with a much higher rate of fire than a traditional front stuffer. Stay tuned later in the video for a speed comparison of the Snider and Kevin's P-61 Musket. Much more on the way.
http://www.facebook.com/iraqveteran88...
Disclaimer: Our videos are for entertainment purposes only, imitation or the use of any instruction shown in the videos is solely AT YOUR OWN RISK. Iraqveteran8888 will not be held liable for any injury to yourself or damage to your firearms resulting from attempting anything shown in any our videos.
Savage .25 ACP Prototype Pocket Pistols
Savage was very successful with their .32 ACP and .380 ACP pocket pistols, and in the 1910s was interested in also breaking into the .25 ACP market, to compete with the Colt 1908 "Baby Browning". Savage invested in all the tooling to make a new blowback .25, but never put them into serial production. Only a few dozen were ever made, in two separate runs. Why so few? The exact reason is lost to history, but most likely the company determined that they would not be able to produce the guns at a price that would be competitive.
Today's video is a re-make of a previous one, because I was able to get examples of both production runs to show, and also learned (thanks to master gunsmith Bill Chase) how to disassemble them! It's quite the non-intuitive process...
Farquhar Hill: Britain's WW1 Semiauto Rifle
The Farquhar-Hill was a semiauto rifle developed in Britain prior to World War 1. It was the idea of Birmingham gunsmith Arthur Hill, and financed by Aberdeen industrialist Mowbray Farquhar. The design began as a long-recoil system, but that was replaced with a unique spring-buffered gas operated mechanism before and production began.
Basically, a gas port in the barrel taps gas off to a piston, which moved about 3 inches rearward and was then caught and held by a latch. At that point, the other end of the spring would be released to move backward, pushing on the bolt and bolt carrier, unlocking and cycling the action. This gave the rifle a very light felt recoil impulse, and also buffered the bolt from potential over-pressure cartridges.
The Farquhar-Hill was chambered for the .303 British cartridge, and in its military form fed from 19-round drum magazines. A large order for 100,000 rifles was placed by the British military, but cancelled when WW1 ended. A small number of the rifles were sold in the military pattern as well as in box magazines fed sporting patterns, but Farquhar was more interested in pursuing military contracts, and would continue to work with machine gun designs going into the 1920s.
Thanks to the Institute of Military Technology for giving me access to these two rifles: http://www.instmiltech.com
Shooting the MP40 Submachine Gun
A bit of shooting with an MP40 at an indoor range, courtesy of Hill & Mac Gunworks.
Various Guns Bren Gun 1940
Sirocco Military Gear and Equipment
News reel showing various machine guns in used by the British Army at the start of World War Two, 1940.
Bren Gun at the Range
We take a 1940 Bren gun to the range to demonstrate function, disassembly, and shooting from a variety of positions. For more information, check out http://www.ForgottenWeapons.com .
SIG PE-57: Swiss Roller-Delay!
Want to see a shooting comparison of the PE-57 and the G3? Check out today's InRangeTV video:
https://www.youtube.com/watch?v=Jsglg...
The SIG PE-57 is the civilian semiauto version of the Stgw57, Switzerland's first self-loading service rifle. Developed from the German MG-42 but incorporating a substantial influence form the FG-42 as well, the PE-57 is a roller-delayed blowback action chambered for the 7.5x55mm Swiss cartridge. It was also made for US commercial export as the SIG AMT (American Match Target), and sold to the militaries of Bolivia and Chile.
The PE-57 uses an in-line stock layout much like the FG-42, which minimizes muzzle climb, as well as a folding bipod which can be positioned at either the front or rear of the barrel shroud. The standard magazines hold 24 rounds. This rifle looks very awkward, but handles quite well, except for its rather heavy weight (12.25 pounds / 5.6kg). It is most at home in a fixed position, firing at long range targets from its bipod.
Only a few thousand of these rifles were ever imported into the US, and I would like to thank Bob for generously providing use of this one for video!
Mannlicher Model 1894 Pistols
The Mannlicher Model 1894 was one of the first successful semiauto pistol designs, and used a very unusual blow forward action. Instead of having a moving slide, the bullet would actually pull the barrel forward when fired, cycling the action. The Model 1894 used a double action trigger and had a 5-round internal magazine fed by stripper clips. It was tested by several large militaries, but rejected by all of them.
The US trial report is particularly illuminating, noting that for all its technological leading-edge status, the gun was in practical terms no more useful than a revolver. The first ones were made in 7.8mm, with production changing to a slightly smaller frame and a straight-walled 6.5mm cartridge when it moved to Neuhausen, in Switzerland.
Only three blow-forward pistols were ever produced in number, with the other two being:
1908 Hino-Komuro: https://www.youtube.com/watch?v=IelUF...
1908 Schwarzlose: https://www.youtube.com/watch?v=kHQep...
1908 Schwarzlose in Slow Motion: https://www.youtube.com/watch?v=HQEXU...
Maxim Silverman Model 1896 Automatic Pistol
Hiram Maxim is obviously best known for the Maxim Machine Gun, but he and (most significantly) his assistant Louis Silverman also dabbled in handgun design. It appears that the work was primarily Silverman's, done with the tacit support of the Maxim company. A followup version was made with more of Maxim's fingerprints on the design, but it never appears to have been produced - while three of the Maxim-Silverman guns are known to still exist.
This pistol began as a simple blowback action, albeit a clever and elegant one. It was chambered for the 7.63mm Borchardt cartridge, which proved to be too strong for a blowback mechanism to safely handle. This was remediated by the addition of a delaying spring added to the side of the frame to hold the bolt closed slightly longer during the firing process. The two other known prototype examples are in different calibers; one in an experimental 8mm version of the Borchardt round, a larger framed model in .455 Webley.
Overall, these pistols are simple, elegant, and quite ahead of their time. It is unfortunately that they were not given more attention at the time, but it is reasonable that the Maxim company would be more interested in devoting its resources to the military machine gun market.
Thanks to the Institute of Military Technology for giving me access to this pistol: http://www.instmiltech.com
Who is Colt? A History of the Colt Patent Firearms Manufacturing Company
Today we will take a look at the history of the Colt company, from Sam Colt's first efforts in Paterson (and before) to the West Hartford remnants that survive today. If you enjoy this type of history, please let me know in the comments!
Gun display racking provided by Matrix Armory: http://www.matrixarmory.com
MAC 1950: Disassembly & History
Shooting the MAC 1950: https://www.youtube.com/watch?v=sduZ4...
The PA MAC 1950 (Pistolet Automatique Modele 1950) was the result of a 1946 French effort to standardize on a single military pistol. By the end of WWII, the French military had accumulated a mess of different pistols of French, Spanish, American, and German origin; officially using the Luger, P38, Mauser HSc, 1911 (and A1), 1935A, 1935S, Star, Ruby, and Model 1892 revolver.
Trials were held in 1950, although the outcome was predetermined - this pistol, designed by St Etienne and largely derived from the Model 1935S, was to be the next French military sidearm. A design from the SACM company was also tested, as was a commercially purchased SIG SP47/8, but this was for comparison sake only. In fact, the SIG was the best performer in the testing, with the St Etienne design suffering from cracked parts and durability problems. It would be improved, however, and deemed suitable for adoption by early 1951.
Production began in 1953 at the Chatellerault arsenal (hence the "MAC" name used in the US). All of 221,900 were made by Chatellerault until it was shut down in 1963, when production transferred to St Etienne, where another 120,000 would be made by 1978.
Mechanically, the gun is largely taken form the Browning 1911, with a few improvements. The recoil spring is of a captive design, and the fire control group is all built into a single easily replaced unit (similar to the Tokarev and the 1935S). It is single action only, with hammer-block and magazine safeties and a 9-round magazine of standard 9x19mm ammunition. It is still in French service, having proven to be a reliable and dependable weapon, if outdated by today's standards.
Firearm Showcase: The Krutzch Rifle, the Pumpgun's Steampunk Grandaddy at the Cody Firearms Museum – HIGH RES PICS!
http://www.thefirearmblog.com/blog/...paign=Feed:+TheFirearmBlog+(The+Firearm+Blog)
WWII era Walther PP Pistol
I take out my WWII era police Walther PP chambered in .32 ACP (7.65) and do some shooting with it. I talk about how the Walther PP influenced other handgun designs of the 20th century as well.
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Are you interested in getting a degree in Firearms Technology? Check out Sonoran Desert Institute: https://sdi.edu/programs/
Full30: http://www.full30.com/
MAC 1950: Tactical Shooting Competition
History and disassembly of the MAC 1950: https://www.youtube.com/watch?v=m16n4...
Following up on yesterday's discussion of the history and mechanics of the French Pistolet Automatique Modele 1950, today I am running it in a run-n-gun pistol match.
The gun worked well for me, not having any malfunctions, but did present a couple issues. One was hammer bite, and the other was my inadvertently engaging the slide-mounted safety when racking the slide (whoops!). Otherwise, the gun was pretty much on par with other contemporary service pistols - the trigger is reasonably good, as are the sights. The 9-round magazines are terribly small by today's standards, but were rather the norm in comparison to the P38, 1911, Browning High Power, Beretta 1951, SIG P210, and other service sidearms of the 1950s.
In the match, I was 2nd of 3 shooters in the "single stack" division, and 43rd of 49 overall.
With the Model 1896 pistol, Ferdinand Mannlicher made an effort to improve the ballistics of his pistols and make them less awkward, by moving to a locked breech action and a bottlenecked higher velocity cartridge. The very first Model 1896 was a blowback, but this was almost immediately replaced by the locked system seen here.
In 1897, a further improvement was made by replacing the 7-round fixed magazine with 6-round detachable magazines (although stripper clips could still be used to reload them). Some confusion exists about the dates of these guns because they were patented in the 1896/7 time frame, but not released onto the commercial market until 1901/3. Presumably Mannlicher was attempting to garner military contracts before putting in the time and money to market them commercially.
In addition to standard pistols, these were available with longer barrels, shoulder stock lugs with combination holster/stocks, and as sporting carbines.
Tasting History: Scho-ka-kola - WW2 German Chocolate
This video is a brief history of the infamous WW2 caffeinated German chocolate ration, Scho-Ka-Kola.
Intended originally for the 1936 Olympics, scho-ka-kola gained adoption in the WW2 German military forces and continues to be available today.
If you want to try some Scho-Ka-Kola, you can get it from Varusteleka here:
https://www.varusteleka.com/en/produc...
If you're interested in seeing someone eat 70+ year old Sho-Ka-Kola, check out Steve1989's video here:
https://www.youtube.com/watch?v=hmdLn...
Please consider supporting us on Patreon!
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Limited Edition Bearcat Shopkeeper Sixguns from Tyler Gun Works - Gunblast.com
Gunblastdotcom
FOR MORE INFO: http://gunblast.com/BOGE-TylerBearcat...
Boge Quinn ( http://www.gunblast.com ) tests the Limited Edition Bearcat Shopkeeper Sixguns from Tyler Gun Works.
The Tyler Gun Works Bearcat Shopkeepers are fun, beautiful, reliable, accurate, and a true bargain. I highly recommend you get them while the getting is good.
Order the Tyler Gun Works Limited Edition Ruger Bearcat Shopkeeper at
http://www.tylergunworks.com.
Check out the Ruger Bearcat series, along with the wide and diverse Ruger line, at
http://www.ruger.com.
To order the standard Bearcat Shopkeeper from a dealer in your area, click on the DEALER FINDER at
http://www.lipseys.com.
View Mike Barranti's leather artistry and order Barranti Leather at
http://www.barrantileather.com.
To buy 22 Long Rifle ammo online, go to
http://www.midsouthshooterssupply.com and http://www.luckygunner.com/rimfire/22....
Five Excellent YouTube Gun Channels you Might not Know About...
While ForgottenWeapons has become a fairly large channel with a lot of visibility, there are plenty of other people out there creating excellent informative video content on historical firearms. Today I want to point out 5 other channels with great material that I enjoy watching, and learn from. They are:
C&Rsenal: https://www.youtube.com/channel/UClq1...
Chris Bartocci: https://www.youtube.com/channel/UC_tD...
CapAndBall: https://www.youtube.com/user/capandball
BritishMuzzleloaders: https://www.youtube.com/user/britishm...
Vbbsmyt: https://www.youtube.com/user/vbbsmyt
And, of course, Forgotten Weapons' own sister channel, InRangeTV:
http://www.youtube.com/InRangeTVShow
Mannlicher Model 1901 & 1905 Pistols
The Model 1901 and 1905 automatic pistols were the final development of the Mannlicher system. In this iteration they used internal magazines, a straight walled 7.65mm cartridge, and a delayed blowback system in which the slide had to overcome a spring-loaded wedge before it could open.
The Model 1901 was a compact version with an 8-round magazine, and the 1905 was a larger frame with a 10-round capacity, although both use identical mechanisms. The guns were moderately successful on the commercial market, although the only military adoption of the design was form Argentina, which bought about 6,000 of the 1905 model guns. These were surplussed onto the US commercial market in the 1960s, and are generally distinctive for the bright spot on the right side where the Argentine crest was ground off prior to sale (although some have been refinished to hide this).
Both the 1901 and 1905 are very comfortable, sleek and elegant guns to handle and fire. For some high speed footage of an Argentine 1905 firing, check here: https://www.youtube.com/watch?v=hjDzQ...
To see a Roth-Theodorovic prototype pistol with a similar Tambour safety, check here: https://www.youtube.com/watch?v=-aRzp...
Semiauto DPM Light Machine Gun Review
Don't let the terrible web site fool you, the guns are excellent:
http://smgguns.com/?page_id=321
I have had a parts kit for a Soviet DPM light machine gun (actually a Polish one, but the design is identical) stashed away for many years now, with the hope to eventually have it built into a live gun. When I found out that SMG (maker the the sweet semiauto FG42 replicas) was making a new production run of DP and DPM barrels, receivers, and semiauto trigger conversions I jumped at my chance. I sent my kit to SMG, and they built it into this complete semiauto rifle.
The DP was introduced in 1928 as the standard Soviet light machine gun, and served through World War Two. In 1944, several defects were acknowledged and improved, notably the location of the recoil spring, the grip, and the bipod. This created the DPM, which did see some slight use at the very end of WW2, as well as use by several eastern bloc nations after the war (including in Korea). It would be updated again in 1946 with the RP46 conversion assembly to feed from Maxim belts instead of the distinctive pan magazines (and in fact, SMG is working on a reproduction of the RP46 conversion as well, although it is not yet ready).
Anyway, I took my new semiauto DPM out to the range and got a firsthand understanding of why these guns were so well liked by troops who used them. The design is nothing if not solid, rugged, and dependable. Like other iconic Soviet firearms, the DP/DPM is elegantly simple and bombproof. It is easy and comfortable to shoot, and SMG's new and very clever linear hammer-fired semiauto conversion gives it a better trigger than any other semiauto machine gun conversion I have handled. Most such guns have really heavy and really creepy triggers, but this is about 8lb and very crisp - and that makes a huge difference in its shootability.
In a nutshell, the gun zeroed easily and shot well, it had no malfuctions in my 3 or 4 pans of ammo expended (using Czech surplus steel-case ammo), and was really a joy to shoot. I would not hesitate to recommend them, and SMG is offered everything from individual parts for you to build yourself to kit build services, and turnkey complete guns.
Sosso 1941 Italian Prototype Pistol
The Model 1941 Sosso is a huge Italian experimental semiauto pistol designed by Giulio Sosso. It uses a short recoil locking mechanism and is chambered for standard 9x19mm Parabellum ammunition, but its more unusual feature is its magazine. Instead of using a traditional spring and follower, the magazine body holds a 21-segment chain, like a machine gun belt. The chain is rotated one position each time the pistol's slide cycles. This would prevent problems related to magazine spring fatigue or varying pressure between the first and last round, but it also introduces a whole new set of potential problems.
Only 5 of these pistols were made (by FNA Brescia), with the other 4 of them being presented to significant Italian political and military figures. It was not adopted or put into any sort of serial production for reasons that should become very clear once the internals of the gun are seen. One could probably buy a dozen Beretta 1934 pistols for the cost of one Sosso...
Ostfront 1987: Walther WA-2000 vs SVD Dragunov
The WA-2000 is surrounded by lore and accolades. It's in movies, it's in video games, it's frequently referred to as legendary.
However, it's also extraordinarily rare and barely made it out of the prototype stage of development. In fact it's pretty fair to say that even the produced ones are still really "prototypes".
The Germans are consistently considered masters of firearms design, and the WA-2000 falls into that paradigm but there's very little data regarding the actual performance of the WA-2000, and even less so in the field.
We aim to add some real data and testing to this ambiguity!
So, we pit the Walther 2000 against its closest counterpart - the SVD Dragunov - on the fictional Eastern Front of 1987!
How does the WA-2000 actually peform?
What is it like to fire?
How can it compare to the Soviet mass produced DMR?
Let's find out!
Don't forget to also check out Forgotten Weapons for the history and disassembly of the WA2000:
https://youtu.be/_av1zBdnxXY
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Inland M1 Carbine
Shooting and discussing a WWII Classic Carbine!
Wheellock 101: History and Shooting
The wheel lock was one of the first types of early gun or firearm, developed as an alternative to the simple but problematic matchlock musket. The wheellock uses an iron pyrite set against a spinning serrated wheel to produce sparks to fire a charge of black powder. The wheel lock was complex and expensive, but did not require the constant attention of a matchlock and its slow-burning fuse.
Today we will be discussing the history of the system, and then going through the process of loading and firing a wheel lock. Don't miss the fantastic slow motion footage!
British Submachine Gun Overview: Lanchester, Sten, Sterling, and More!
Armament Research Services (ARES) is a specialist technical intelligence consultancy, offering expertise and analysis to a range of government and non-government entities in the arms and munitions field. For detailed photos of the guns in this video, don't miss the ARES companion blog post:
http://armamentresearch.com/british-s...
Great Britain was one of the few countries that went into World War Two with virtually no submachine gun development. Not every country had an issued SMG by 1939, but virtually everyone had at least been working on experimental concepts - except the British. It was only with the outbreak of hostilities that the need for such a weapon suddenly became apparent and its acquisition became a military priority.
This was solved by acquiring and copying the German MP28/II, which was quickly followed by a simplification program that would lead to the MkI, MkI*, and ultimately MkII and MkIII Sten guns. The Stens were truly exception studies in simplification, getting down to a mere 5.5 man-hours of production time. Only after the threat of immediate German land invasion had subsided was the Sten allowed to become a little bit user-friendly, in the MkV guise.
At the end of WW2, the British were finally able to scrap the Sten (known to be a compromise gun all along) and replace it with something with more finesse. Tests were run on the MCEM series, on BSA guns, on interesting prototypes like the double-stack-magazine Vesely V42 - but it was George Patchett's much improved Sten which would be chosen and come to be known as the Sterling SMG (named after it's manufacturer).
Schwarzlose 1901 Toggle-Delayed Prototype
Andreas Schwarzlose was a German designer who created several very interesting and unusual handgun designs (in addition to his 1907 heavy machine gun, which was adopted as a standard arm of the Austro-Hungarian military). His first handgun was the model 1898, a short recoil, rotating bolt pistol that was remarkably ahead of its time but failed to sell well. This was followed by this experimental toggled locked 1901 prototype design.
The 1901 Schwarzlose is a toggle-delayed blowback system, but not in the same way as the Luger or Pedersen. It has a unique set of arms that provide a major mechanical disadvantage to delay opening when fired, unlike anything else. It also uses a torsion type of mainspring, which is also quite unusual in handgun design. All in all, a fascinating pistol!
When it failed to become commercially successful, Schwarzlose moved on to his 1908 blow-forward pocket pistol, which (remarkably) was the most successful of all his handguns.
1898 Schwarzlose: https://www.youtube.com/watch?v=rYl0d...
Poland's WW2 Battle Rifle: the Maroszek wz.38M
http://jamesdjulia.com/item/1665-396/
Had it not been for the German and Russian invasions in 1939, Poland might have entered the 1940s with a very modern semiauto infantry battle rifle - the wz.38M. Designed by Josef Maroszek (notably also the designer of the wz.35 Ur antitank rifle), the wz.38M is a simple and efficient rifle which includes elements from the BAR as well as several Czech firearms.
It is a gas operated action with a Browning/Petter locking system, in which the bolt tilts up and down, locking against a cut in the top of the receiver. It disassembles into 4 components (plus one pin) in moments - really quite impressive for its time - and even still very good by today's standards.
In total, just 55 of the rifles were made as an experimental trials batch, delivered to the Polish Army in 1939. Archival records of the weapon end at that point, as the German and Russian occupation ended Polish arms development. Only 5 examples are known to survive today, with two in Poland, one in Germany, and two in the United States.
Shooting the Czech ZH-29 Rifle
The Czech ZH-29 is one of the first well developed semiauto military rifles - it was light, mechanically simple, reliable, and handled well, unlike many of its ungainly or excessively complicated predecessors. It only found two buyers, though, in China and Ethiopia, despite being tested by many major military powers. The production examples were chambered for the 8mm Mauser cartridge, and several sources claim that it was a quite uncomfortably painful rifle to shoot. I want to know, was that true?
To me, the recoil from the ZH29 was not particularly bad. It was similar to other selfloading 8mm rifles of the same approximate weight - noticeably but certainly not painful. That said, it did kick me in the cheek more than other rifles I have shot.
Unfortunately, the gas settings and ammunition were not cooperating on this occasion, and the rifle was short-stroking consistently. That was not a problem typical to the design, and ought to be fairly easy to resolve on this particular example, although I did not have enough time to address it myself.
Axel Peterson .22 Luger Single Shot Conversion
Axel Peterson was a Swedish immigrant who became a very respected gunsmith in the Denver area in the late 1800s, and whose shop remained in business until World War 2. Peterson was best known for his smallbore .22 target rifles, but he did much more than just that. Like, for example, this .22 rimfire single shot Luger conversion. This is a really remarkably complex way to make such a pistol, which makes it all the more interesting to look at!
Canadian Experimental Lightweight No4 Enfield
In 1943 the need for a lighter and handier version of the Lee Enfield rifle became clear throughout the British Commonwealth, and experimentation began in Canada, Britain, and Australia. The work in Britain would culminate in the No5 Mk1 rifle, but the Canadian arsenal at Long Branch would try some different ideas first. Several different experimental prototypes were made with varying features, but they all shared the idea of substantially lightening the rifle without shortening it very much. This was done by removing metal anywhere possible, most obviously including the elimination of the stock socket and the use of a single piece stock in place of the traditional two piece Enfield stock.
These modifications, also including an aluminum alloy trigger guard, were able to cut 25% of the weight from the rifle, and do so without a significant loss in accuracy. However, I suspect the resulting rifle would have proven far too fragile for combat use had it been adopted. The stock is surprisingly light and thin at the wrist, and it feels like it would not take much force to crack it. In addition, lightening cuts down the length of the hand guard made it quite susceptible to warping with heat and humidity changes.
Ultimately the Long Branch Lee Enfield carbine experiments would be abandoned as the No5 "Jungle Carbine" was adopted instead.
US Test Trials .45 Caliber Knoble Pistol
One of the domestic American pistols entered in the US 1907 pistol trials was this short recoil, toggle locked design by W.E. Knoble of Tacoma Washington. Knoble submitted two experimental pistols to the trial, one with a single action trigger and one with a double action trigger - although he was unable to attend the trial himself. Unfortunately for Knoble, the trials board found his guns crude and unsatisfactory upon examination, and they were dropped from competition without having fired a single shot. The Luger, Colt/Browning, and Savage would go on the be the winners of the initial trials, with the 1911 ultimately winning.
Knoble's .45 caliber pistol here does certainly lack the finesse of many other pistols, but it did not appear to me to be dangerously crude, and I am a bit surprised that it was not at least test-fired by the trials board. At any rate, Knoble did make a few other guns of a similar style in .30 Luger and .22 Long Rifle, but never had a design reach a production stage.
Australian Prototype Jungle Carbine Enfields
Shortened No1 Mk3*: http://jamesdjulia.com/item/1655-396/
No6 Mk1: http://jamesdjulia.com/item/1652-396/
No6 Mk1/1: http://jamesdjulia.com/item/1651-396/
In 1943, experimentation began in Great Britain, Canada, and Australia into developing a shortened and lightened version of the Lee Enfield rifle. In Australia, the work was done on the No1 Mk3* rifle, as the Lithgow Arsenal had never switched over to production of the No4 rifle.
We have three experimental prototype carbines from Lithgow to look at today. The first is simply a shortened SMLE, with no serious effort given to reducing weight. This rifle is visually very similar to the commercial SMLE "Jungle Carbines" marketed by a number of companies, although the real one here has several features missing form the commercial copies - most notably a simple rear aperture sight.
The other two are examples of the two types of rifle that were ultimately considered for formal adoption (and a large order for one was actually placed, before being cancelled at the end of WW2). These are designated the No6 Mk1 (with a rear aperture sight) and the No6 Mk1/1 (with a rear tangent sight). Approximately 100 of each were made, half with brass buttplates and half with rubber recoil pads. In this form, slightly more than a pound was removed from the standard SMLE, and the reduced length did make for a handier rifle. The Australian need for this type of carbine was removed with the end of the war, although in Great Britain the No5 Mk1 carbine - the same in practical terms as these Australian examples - would be taken into formal service for several years.
A Swarm of Angry Bees: The American 180 .22LR Submachine Gun
The American 180 is a .22 rimfire submachine gun that fires at 1200-1500 rounds per minute or more, and feeds from drums of 177 to 275 rounds capacity. While it makes a great recreational machine gun, it was actually initially developed with law enforcement sales in mind. The notion was that the .22LR cartridge posed a minimal danger of overpenetration and was extremely easy to control, and the many repeated hits that could be made with the American 180 would make up for its lack of ballistic effectiveness. And that's not necessarily incorrect.
Several law enforcement agencies did actually buy the guns, and one police shooting involving one is documented, from 1974. It never became really popular with police agencies, though, and production basically ground to a halt in 1986 when it became impossible to manufacture new machine guns for the civilian market.
M1915 Howell Automatic Rifle Enfield Conversion
The M1915 Howell Automatic Rifle is a conversion of a standard No1 MkIII Lee Enfield rifle into a semiautomatic, through the addition of a gas piston onto the right side of the barrel. Despite its very steampunk appearance, the Howell is actually a quite simple conversion mechanically. The rifle action had not been modified at all, and a curved plate on the end of the gas piston is used to cycle the bolt up, back, forward, and down just as it would be done manually.
The additional metal elements added to the gun are there to prevent the shooter from inadvertently getting their hand or face in the path of the bolt. The crude tubular pistol grip is necessary because the shooter's hand on the wrist of the stock would normally be in the path of the bolt's travel. Note that the Parker-Hale bipod on this example is a non-military addition from its time in private ownership.
In addition to these elements, the Howell has been fitted with a 20-round extended magazine to better exploit its rate of fire. However, the Howell was made as a semiautomatic rifle only, and not fully automatic. It was offered to the British military circa 1915, but never put into service. Instead, the British would significantly increase production and deployment of Lewis light machine guns. Howell would offer his conversion in basically the same form to the military again at the onset of World War 2, but was again turned down.
Shooting the Howell was remarkably successful - I had expected it to be very malfunction-prone, but in fact it ran almost completely without fault. In retrospect, I would attribute this to the simplicity of its conversion, which made no changes to the feeding and extraction/ejection elements of the SMLE. The gun was a bit awkward to hold, and the offset sights left one with really no cheek weld at all, but recoil was gentle thanks to the gas systems function and added weight. Quite a remarkable gun, and one I am very glad to have been able to shoot.
Cool Forgotten Weapons merch, including this shirt specifically about the Howell! https://shop.bbtv.com/collections/for...