EliasIak2011
Published 30 Nov 2012“The Doors: Mr. Mojo Risin’ — The Story of LA Woman“
October 14, 2023
Ray Manzarek – “Riders On The Storm”
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September 18, 2023
It turns out that buying up the rights to old rock songs wasn’t a good investment after all
Ted Gioia enjoys a little bit of schadenfreude here because he was highly skeptical of the investments in the first place, although the geriatric rockers who “sold out” seem to have generally made out like bandits this time around:
Back in 2021, investors spent more than $5 billion buying the rights to old songs. Never before in history had musicians over the age of 75 received such big paydays.
I watched in amazement as artists who would never sell out actually sold out. And they made this the sale of a lifetime, like a WalMart in El Paso on Black Friday.
Bob Dylan sold out his entire song catalog ($400 million — ka-ching!). Paul Simon sold out ($250 million). Neil Young sold out ($150 million). Stevie Nicks sold out ($100 million). Dozens of others sold out.
As a result, rock songs have now entered their Madison Avenue stage of life.
Twisted Sister once sang “We’re Not Gonna Take It”. But even they took it — a very large payout, to be specific. A few months ago, the song showed up in a commercial for Discover Card.
Bob Dylan’s song “Shelter from the Storm” got turned into a theme for Airbnb. Neil Young’s “Old Man” was rejuvenated as a marketing jingle for the NFL (touting old man quarterback Tom Brady).
Fans mocked this move. Even Neil Young, now officially a grumpy old man himself, expressed irritation at the move. After all, the head of the Hipgnosis, the leading song investment fund, had promised that the rock star’s “Heart of Gold” would never get turned into “Burger of Gold”.
That hasn’t happened (yet). But where do you draw the line?
I was skeptical of these song buyouts from the start — but not just as a curmudgeonly purist. My view was much simpler. I didn’t think old songs were a good investment. […] But even I didn’t anticipate how badly these deals would turn out.
The more songs Hipgnosis bought, the more its share price dropped. The stock is currently down almost 40% from where it was at the start of 2021.
Things have gotten so bad, that the company is now selling songs.
On Thursday, Hipgnosis announced a plan to sell almost a half billion dollars of its song portfolio. They need to do this to pay down debt. That’s an ominous sign, because the songs Hipgnosis bought were supposed to generate lots of cash. Why can’t they handle their debt load with that cash flow?
But there was even worse news. Hipgnosis admitted that they sold these songs at 17.5% below their estimated “fair market value”. This added to the already widespread suspicion that current claims of song value are inflated.
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September 14, 2023
QotD: Going to “the mall”
“How was the mall?” Mom would ask when you got home.
“Eh, it was dead,” you might say.
“What did you do?”
“Nothing.”
Neither was true. Every trip to the mall had a routine. You’d swing by the sausage and cheese store for samples. You’d go to the record store to leaf through the sheaves of albums, nodding at the rock gods’ pictures on the wall, content in the cocoon of your generation’s culture. Head over to Chess King to see if there was something stylish you could wear on a date, if you ever had one; saunter casually into Spencer Gifts to look at the posters in the back, snicker at the naughty gifts, marvel at some electronic thing that cast colored patterns on the wall. Then you’d find a place, maybe by the fountain in the center, and watch the world go past in that agreeably tranquilized state of mall shopping.
Dead? Hardly. Okay, maybe it was the afternoon, low traffic. No movie you really wanted to see, the same stuff in the stores you saw last week. Of course you’d go back tomorrow, because that’s what you did with your friends. You went to the mall.
A dead mall is something else today: a vast dark cavern strewn with trash, stripped of its glitter, its escalators frozen, waiting for the claws to take it apart. The internet abounds with photos taken by surreptitious spelunkers, documenting the last days of once-prosperous malls. We look at these pictures with fascination and sadness. No one said they’d last forever. But there wasn’t any reason to think they wouldn’t. Hanging out as teens, we never thought we’d outlive the mall.
James Lileks, “The Allure of Ruins”, Discourse, 2023-06-12.
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September 11, 2023
Golda Meir
Michael Oren reviews Golda a new biopic on the life of Israeli Prime Minister Golda Meir:
Ever since the 1970s, the entrances to many American Jewish institutions have boasted a single bust. It is not of Theodore Herzl, founder of the Zionist movement, or of Israel’s preeminent leader, David Ben-Gurion, nor even of any prominent American Jew — Justice Louis Brandeis or Rabbi Abraham Joshua Heschel. The likeness is not flattering. Beneath tightly bunned hair, the face is unsmiling, its features decidedly bland. Their owner never graduated college, wrote a transformative book, or commanded an army. Still, that statue embodies an ideal to which most American Jews aspire: at once patriotic yet open-minded, liberal but muscular, courageous and caring. The bust, moreover, is of a woman and not just any woman. With an accent as flat as the Midwestern plains, four packs of unfiltered cigarettes a day and the omnipresent purse that held them, the clunky shoes and grandmotherly attire, she was Everywoman. Yet, in a rags-to-preeminence story so appealing to Americans, that woman rose to become the prime minister of Israel. She was Golda Meir — or, as she’s still colloquially known, simply, Golda.
Until my grandmother’s death at the age of 100, she claimed that the proudest day of her life was hosting Golda for a fundraising event in her Boston home. In 1973, and again in 1974, a Gallup poll named Golda “Woman of the Year”, the only non-American ever to achieve that title, garnering twice as many votes as the runner-up, Betty Ford. Though no feminist — Ben-Gurion once called her “the only man in the government” — she became a poster-child of women’s liberation, appearing under the banner, “But Can She Type?” She served as the subject of two Broadway plays, several documentaries, and a made-for-television movie. Golda characters appear in a variety of productions, from Steven Spielberg’s Munich to season 26, episode 1 of The Simpsons. No fewer than nine English-language biographies have been written about her, in addition to her own memoir, and the recollections of her son. She was — and to a large extent, has remained — an American icon.
Not so for Israelis. For 50 years, the name Golda has been associated with reckless hubris, with humiliation and trauma and the loss of an innocent Israel that can never be retrieved. Most bitterly, the name Golda evokes the memory of the 2,656 Israeli soldiers — 83 times the number, proportionally, of Americans lost on 9/11 — killed on her watch. Israel has no end of streets and facilities named for Ben-Gurion, for Prime Ministers Levi Eshkol, Yitzhak Rabin, and Menachem Begin, but there are few Golda Meir boulevards or university halls. New York has Golda Meir Square, complete with that unprepossessing bust, but not Tel Aviv or Jerusalem. Only among Israeli children, born long after her death, does Golda elicit any excitement as the name of a popular ice-cream chain.
Now, half-a-century after her purportedly disastrous performance during the 1973 Yom Kippur War, there are attempts to revisit Golda’s legacy, to examine it in the light of recently released documents, and to reflect on the complex human being behind the bust. Spotlighting these revisions is a bold and riveting new film by Academy Award-winning director Guy Nattiv, starring the incomparable Helen Mirren. After portraying Queens Elizabeth I and II and Catherine the Great, Mirren praised her latest character “one of the most extraordinary I’ve ever played.” That estimation is more than illustrated by the movie simply titled Golda.
[…]
Yom Kippur War — Sinai front 6-15 October, 1973. (via Wikipedia)
Golda Meir remained in her post for another eight months while the people of Israel seethed. Though the Agranat Commission accepted her claim that she acted solely on the defense establishment’s advice and cleared her of any personal responsibility for the war, the population resented the blame placed almost solely on the army. The country, devastated emotionally and economically, was further traumatized by terrorist attacks that killed 52 civilians and wounded 150. Later that year, terrorist leader Yasser Arafat, a holster on his hip, received a standing ovation from the UN General Assembly, which went on to equate Zionism with racism. Succumbing to Arab pressure, 24 of the African countries with which Golda helped establish relations cut ties with Israel. In 1977, the degraded Mapai Party for the first time lost an election to Menachem Begin’s Likud, ending what many Israelis still regard as the state’s golden age.
Such painful events are barely touched upon in either of the Golda films, which prefer to conclude her story with Sadat’s historic visit to Israel in November 1977. The subsequent peace process resulted in the signing of the Egyptian-Israeli peace treaty in 1979, a year after Golda’s death.
Yet her legacy endures — especially now, on the 50th anniversary of the war. Though her standing remains highest in the United States — the Israel National Library reports more searches for her name in English than in Hebrew—in Israel, too, her record is being reconsidered. Here was a woman without military experience who had to rely on men whose expertise on military matters was above reproach. Here was a woman who, when many of those men buckled to pressure, remained clear-headed and strong. And here was a woman who, contrary to long-held wisdoms, repeatedly held out her hand for peace.
Some critics have been unkind to Golda. They take issue with the film’s concentration on her career’s least illustrious period and with the allegedly one-dimensional depiction of a personality known to be compassionate one minute but backbiting the next, alternately maternal and coarse. Most expressed discomfort with the director’s obsession with Golda’s cigarettes — they are practically actors — which earned the film a PG-13 rating for “pervasive smoking”. I, for one, would have liked to see more of Golda’s insecurities about her lack of higher education, military experience, and Hebrew eloquence. I would have welcomed more of the swift-witted Golda who once quipped to Kissinger, arriving in Tel Aviv after exchanging kisses with Egyptian and Syrian leaders, “Why, Mr. Secretary, I didn’t know that you kissed girls, too!”
Nevertheless, Golda must take its place alongside other outstanding portraits of leaders in crisis. Like Gary Oldman’s Churchill in Darkest Hour and Bruce Greenwood’s Kennedy in Thirteen Days, Helen Mirren’s Golda Meir offers a profile of greatness in the face of overwhelming adversity. These are films that, rather than merely report and redramatize facts, show us character. And Golda — the woman, not the myth — should continue to generate our interest as well as our respect. The Everywoman behind the bust should still be revered.
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August 28, 2023
The Last Chance | Dorktown
Secret Base
Published 15 Aug 2023The Minnesota Vikings of the 1970s were among the greatest football teams ever assembled. Entering 1974, Bud Grant’s teams had reached two Super Bowls, but lost them both. The good times don’t last forever. It’s time to cash in.
Written and directed by Jon Bois
Written and produced by Alex Rubenstein
Rights specialist Lindley Sico
Secret Base executive producers Will Buikema and Jon BoisKnown goofs:
• At about the 42-minute mark, Jon says Fran Tarkenton held a 45-8-1 record as starter between 1973 and 1976. His record across these years was actually 43-10-1.
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August 21, 2023
What the parades are for | Dorktown
Secret Base
Published 8 Aug 2023This is the second episode of our seven-part docuseries, The History Of The Minnesota Vikings.
For the Vikings, the 1970s were so full of comedy, drama, and doomed snowmobiling expeditions that we had to split this decade into two episodes. And we STILL had to leave stuff out! What a team.
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August 11, 2023
Toward a more perfect Homo Sovieticus
Ed West on the interplay between Soviet ideology and Soviet humour during the Cold War:
Krushchev, Brezhnev and other Soviet leaders review the Revolution parade in Red Square, 1962.
LIFE magazine photo by Stan Wayman.
Revolutions go through stages, becoming more violent and extreme, but also less anarchic and more authoritarian. Eventually the revolutionaries mellow, and grow dull. Once in power they become more conservative, almost by definition, and more wedded to a set of sacred beliefs, with the jails soon filling up with people daring to question them.
The Soviet system was based on the idea that humans could be perfected, and because of this they even rejected Mendelian genetics and promoted the scientific fraud Trofim Lysenko; he had hundreds of scientists sent to the Gulag for refusing to conform to scientific orthodoxy. Lysensko once wrote that: “In order to obtain a certain result, you must want to obtain precisely that result; if you want to obtain a certain result, you will obtain it … I need only such people as will obtain the results I need.”
Thanks in part to this scientific socialism, harvests repeatedly failed or disappointed, and in the 1950s they were still smaller than before the war, with livestock counts lower than in 1926.
“What will the harvest of 1964 be like?” the joke went: “Average – worse than 1963 but better than 1965”.
The Russians responded to their brutal and absurd system with a flourishing culture of humour, as Ben Lewis wrote in Hammer and Tickle, but after the death of Stalin the regime grew less oppressive. From 1961, the KGB were instructed not to arrest people for anti-communist activity but instead to have “conversations” with them, so their “wrong evaluations of Soviet society” could be corrected.
Instead, the communists encouraged “positive satire” – jokes that celebrated the Revolution, or that made fun of rustic stupidity. “An old peasant woman is visiting Moscow Zoo, when she sets eyes on a camel for the first time. ‘Oh my God,’ she says, ‘look what the Bolsheviks have done to that horse’.” The approved jokes blamed bad manufacturing on lazy workers, while the underground and popular ones blamed the economic system itself. This official satire was of course nothing of the sort, making fun of the old order and the foolish hicks who still didn’t embrace the Revolution and the future.
Communists likewise set up anti-western “satirical” magazines in Poland, East Germany, Czechoslovakia and Hungary, where the same form of pseudo-satire could mock the once powerful and say nothing about those now in control.
Indeed in 1956, the East German Central Committee declared that the construction of socialism could “never be a subject for comedy or ridicule” but “the most urgent task of satire in our time is to give Capitalism a defeat without precedent”. That meant exposing “backward thinking … holding on to old ideologies”.
[…]
Leonid Brezhnev had a stroke in 1974 and another in 1976, becoming an empty shell and inspiring the gag: “The government of the Union of Soviet Socialist Republics has announced with great regret that, following a long illness and without regaining consciousness, the General Secretary of the Central Committee of the Communist Party and the President of the highest Soviet, Comrade Leonid Brezhnev, has resumed his government duties.”
Brezhnev was an absurd figure, presiding over a system few still believed in. His jacket was filled with medals – he had 260 awards by the time of his death – and when told that people were joking he was having chest expansion surgery to make room for all the medals he’d awarded himself, he apparently replied: “If they are telling jokes about me, it means they love me.”
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July 28, 2023
QotD: “Stakeholder” Capitalism
Of course, nobody participating in the push to replace shareholder capitalism with stakeholder capitalism would describe it this way. But then, euphemism and branding are each crucial tools in the Marxist’s verbal toolbox. So when you ask a stakeholder capitalist to describe stakeholder capitalism, what you ordinarily hear is that, as a business ethic, it combines the “sustainability” shareholder capitalism supposedly lacks with the “inclusivity” we’re not supposed to recognize is merely stultifying, policed conformity, the yield being a Woke capitalism that replaces production and consumption with “sharing and caring,” taking it out of the realm of the invisible and mechanical, as Adam Smith would have it, and placing it into the realm of values, where it can be used to shape the Greater Good the Marxist pretends he cares about. It’s fascism with a smiley face.
In the stakeholder capitalist system, investors aren’t — or at least, they shouldn’t be — solely interested in profits driven by production and consumption. And this is because to the stakeholder capitalist, itself a euphemism for collectivist corporatist, “it is well proven that our current form of Capitalism is inherently unsustainable because it requires endless growth on a planet with finite resources.”
Of course, none of this is “well proven” — the history of shareholder capitalism suggests the opposite, in fact, as innovation has led to the production of more and more out of less and less — but whether this is or isn’t the material case is incidental to those who are working on this inorganic worldwide paradigm shift commonly known as The Great Reset.
Because the move toward a “caring and sharing” worldwide economy, especially one that we’re told will be both sustainable and inclusive, requires those who care, those who share, and — most importantly, and at the very heart of the turn — those who get to determine what is cared about, who must do the sharing, and how most effectively to police the excesses that the ruling elite determine aren’t sustainable, while slowly dissolving the idea of the individual and his will to make way for an inclusive collective required to run the machinery of the self-installed Elect. It’s a global system of neo-Feudalism dressed in the finery of familiar values that have been deconstructed and re-signified, often without their consumers even aware that the values they reference — which were once commonly understood and largely shared by the civil society — are now their precise inverse: “tolerance”, thus, becomes the violent rejection of intolerance, as they define it; free speech is separated from “hate speech”, as they adjudicate it; individualism is but a controlling fiction maintained by the white male power structure that must be replaced by an ordered and value-determined collection of identity markers that construct you, while simultaneously acknowledging that there is no “you” beyond this assembly of discourses that assign your being its social situatedness, then places you within a collective of those with similar — though never identical — constructions. Once here, you are graded on the intersectional scale. Your relative worth and power come down to not to the content of your character, but rather to the collection and arrangement of your victimization tokens.
Jeff Goldstein, “Maybe I’ll be there to shake your hand, maybe I’ll be there to stakeholder capitalist the land”, protein wisdom reborn!, 2023-04-26.
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July 9, 2023
Grain Elevator
NFB
Published 30 Sept 2015This documentary short is a visual portrait of “Prairie Sentinels”, the vertical grain elevators that once dotted the Canadian Prairies. Surveying an old diesel elevator’s day-to-day operations, this film is a simple, honest vignette on the distinctive wooden structures that would eventually become a symbol of the Prairie provinces.
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July 8, 2023
Canada’s Nuclear-Armed Cold War Interceptor: the story of the McDonnell CF-101 Voodoo
Polyus
Published 14 Aug 2020When Soviet or unidentified aircraft approached Canadian airspace in the 1960s and 70s, they were met by an iconic cold war interceptor. Armed with both conventional and nuclear weapons, they were a formidable foe in their day. It served to support NORAD and protect the Northern approaches into the North American heartland during the height of the Cold War. Although it was neither designed nor built in Canada, the reliable Voodoo remains a Canadian Cold War icon and was well loved by its ground crews and pilots.
0:00 Introduction
0:29 McDonnell F-101A development
1:06 F-101B Interceptor
3:11 Canada becomes involved with the Voodoo
4:15 The Nuclear question
5:08 Comparison with contemporaries
5:36 Operational History
8:04 Legacy and Retirement
8:48 Conclusion
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July 3, 2023
Nuclear power
One of the readers of Scott Alexander’s Astral Codex Ten has contributed a review of Safe Enough? A History of Nuclear Power and Accident Risk, by Thomas Wellock. This is one of perhaps a dozen or so anonymous reviews that Scott publishes every year with the readers voting for the best review and the names of the contributors withheld until after the voting is finished:
Let me put Wellock and Rasmussen aside for a moment, and try out a metaphor. The process of Probabilistic Risk Assessment is akin to asking a retailer to answer the question “What would happen if we let a flaming cat loose into your furniture store?”
If the retailer took the notion seriously, she might systematically examine each piece of furniture and engineer placement to minimize possible damage. She might search everyone entering the building for cats, and train the staff in emergency cat herding protocols. Perhaps every once in a while she would hold a drill, where a non-flaming cat was covered with ink and let loose in the store, so the furniture store staff could see what path it took, and how many minutes were required to fish it out from under the beds.
“This seems silly — I mean, what are the odds that someone would ignite a cat?”, you ask. Well, here is the story of the Brown’s Ferry Nuclear Plant fire, in March 1975, which occurred slightly more than a year after the Rasmussen Report was released, as later conveyed by the anti-nuclear group Friends of the Earth.
Just below the plant’s control room, two electricians were trying to seal air leaks in the cable spreading room, where the electrical cables that control the two reactors are separated and routed through different tunnels to the reactor buildings. They were using strips of spongy foam rubber to seal the leaks. They were also using candles to determine whether or not the leaks had been successfully plugged — by observing how the flame was affected by escaping air.
The electrical engineer put the candle too close to the foam rubber, and it burst into flame.
The fire, of course, began to spread out of control. Among the problems encountered during the thirty minutes between ignition and plant shutdown:
- The engineers spent 15 minutes trying to put the fire out themselves, rather than sound the alarm per protocol;
- When the engineers decided to call in the alarm, no one could remember the correct telephone number;
- Electricians had covered the CO2 fire suppression triggers with metal plates, blocking access; and
- Despite the fact that “control board indicating lights were randomly glowing brightly, dimming, and going out; numerous alarms occurring; and smoke coming from beneath panel 9-3, which is the control panel for the emergency core cooling system (ECCS)”, operators tried the equivalent of unplugging the control panel and rebooting it to see if that fixed things. For ten minutes.
This was exactly the sort of Rube Goldberg cascade predicted by Rasmussen’s team. Applied to nuclear power plants, the mathematics of Probabilistic Risk Assessment ultimately showed that “nuclear events” were much more likely to occur than previously believed. But accidents also started small, and with proper planning there were ample opportunities to interrupt the cascade. The computer model of the MIT engineers seemed, in principle, to be an excellent fit to reality.
As a reminder, there are over 20,000 parts in a utility-scale plant. The path to nuclear safety was, to the early nuclear bureaucracy, quite simple: Analyze, inspect, and model the relationship of every single one of them.
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June 28, 2023
Ted Gioia’s confession – he’s a Dan stan
While I’ve never been much of a musicologist — and definitely not any kind of musician — I admit I had a very similar evolution of feeling toward the music of Steely Dan as Ted Gioia, who charts his progress from Never Dan to Dan stan:
I often make jokes about Steely Dan fans.
They’re bros and geeks and sad wannabes. But the painful truth is that I’m one of them now.
And if you don’t watch out, it could happen to you too.
At least I can laugh at myself. That’s good, because fans like me are the real target of the jokes.
And it’s true — we are a trifle obsessed.
If you’re a Dan stan, you see the band’s influence everywhere. Random patterns take on new Dan-esque shapes. For you it’s just rush hour traffic, but for us it’s a message from the cosmos.
But I wasn’t always like this. Once upon a time, I was a Steely Dan skeptic, a real Dan-o-phobe. I thought I was safe from their pernicious influence, but I was wrong.
This is my story.
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June 25, 2023
Fifty years after The Princess Bride was published
William Goldman’s novel The Princess Bride was not a blockbuster, nor did the movie adaptation get a huge box office when it released in 1987. Yet despite apparent early mediocrity, it became a cult classic. It’s now fifty years after the book came out, and Kevin Mims has a look back at both the novel and the movie:
Even by the eccentric standards of fantasy literature, William Goldman’s 1973 novel The Princess Bride is extremely odd. The book purports to be an abridged edition of a classic adventure story written by someone named Simon Morgenstern. In a bizarre introduction (more about which in a moment), Goldman claims merely to have acted as editor. Unlike Rob Reiner’s much-loved 1987 film adaptation, the book’s full title is The Princess Bride: S. Morgenstern’s Classic Tale of True Love and High Adventure, The “Good Parts” Version. Yes, all that text actually appeared on the cover of the book’s first hardcover edition (all but the first three words have been scrubbed from the covers of most subsequent editions).
In the 1990s, I worked at a Tower Books store in Sacramento. Every few months, someone would come into the store and ask if we had an unabridged edition of S. Morgenstern’s The Princess Bride. The first time this happened, a younger colleague who had worked there longer than I had told my customer, “The Princess Bride was written by William Goldman. There is no S. Morgenstern. Goldman made him up.” The customer wasn’t convinced. “It’s metafiction,” my colleague explained. “A novel that comments on its own status as a text.” When the customer had left, my colleague told me that a lot of people still believe there is an original version of the novel available somewhere, written by Morgenstern. Having fallen in love with the story via the Hollywood film, they were now looking for the ur-text.
Although I was a big fan of William Goldman, I had never read The Princess Bride. My wife and I saw the film when it first appeared in American theaters, and we have rewatched it several times since on VHS and DVD. Only about 10 years ago did I actually get around to reading the novel. And when I did, I found myself sympathizing with all those people who still believe that, somewhere in the world, there exists an unedited edition.
In his introduction, Goldman tells us that S. Morgenstern was from the tiny European nation of Florin, located somewhere between Germany and Sweden, which is where the story’s action takes place. Such a place never existed, but it’s not surprising that many 21st-century American readers don’t know the names of every current and former European kingdom. European history is littered with microstates that rose briefly and then vanished without leaving much of a trace. Back in the 1990s, before Internet access became commonplace, confirming the existence of a small defunct European statelet would have involved a trip to the library.
But readers in the 1970s might have been more alive to Goldman’s ruse. Back then, metafiction was all the rage. John Barth became a literary superstar (among the academic set, anyway) with books like The Sot-Weed Factor (which, like The Princess Bride, is a fantastical comic adventure supposedly written by a fictional author) and Giles Goat-Boy (the text of which, Barth writes in the foreword, was said to have been written by a computer). In 1983, Goldman would publish a second novel behind the Morgenstern pseudonym, titled The Silent Gondoliers, but this time he removed all mention of himself, even from the copyright page.
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Canada’s DeLorean – Bricklin SV-1
Ruairidh MacVeigh
Published 5 Sept 2020This week, it’s back to cars, and today we look at the history of a motoring scandal that took place 10 years before DeLorean and his DMC-12, but followed nearly the same notes; a rushed design, shady business practices, an inexperienced workforce in an impoverished part of the world, etc.
The Bricklin SV-1 may have looked good on paper, but in reality it was a severely flawed design that was ahead of its time in many aspects, but highly primitive in others.
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June 20, 2023
MAC Operational Briefcase (the H&K We Have at Home)
Forgotten Weapons
Published 3 Mar 2023Note: This video was proactively deleted to avoid a channel strike when YouTube went nuts over suppressors. I am reposting it today since they have rolled back those policy changes.
If a swanky outfit like H&K can make an “Operational Briefcase” with a submachine gun hidden inside it, then you can bet Military Armament Corporation is going to do the same! MAC made these briefcases for both the M10 and M11 submachine guns, and made a shortened suppressor for the M10 pattern guns to fit. They actually have a distinct advantage over the H&K type by fitting a gun with suppressor — but a distinct disadvantage in the exposed trigger bar on the bottom of the case, with no safety device of any kind.
Note: Possession of the briefcase with a semiauto MAC-type pistol that fits it is potentially seen as constructive possession of an AOW. A machine gun can be legally fitted in the case, but a semiauto pistol in it is considered a disguised weapon, and thus requires registration as an AOW.
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