Forgotten Weapons
Published 2 Sep 2017Most people think that the MP41 is simply an MP40 in a wooden stock, but this is actually not the case — and unlike the MP40, the MP41 can be accurately called a Schmeisser — because it was Hugo Schmeisser who designed it.
The MP41 is actually a combination of the upper assembly of an MP40 with the lower assembly of an MP28 — the gun which was Schmeisser’s improved version of the MP18 from World War One. Where the MP40 fires only in fully automatic mode, the MP41 has a push-through selector switch located above the trigger which allows either semi-auto or full auto function.
For the typical user, however, this mechanical distinction is not particularly important, as the MP41 handles very much like the MP40. It has the same relatively low 500 rpm rate of fire, and weighs about 8.2 pounds (3.7kg). It uses the same magazines as the MP40, although the magazines made and sold with the MP41 were marked “MP41”. As with many other SMG designs, the MP41 was never formally adopted by the German military. In this case, the majority of MP41 production (26,000 guns in 1941 and another 1,800 or so in 1944) went to Romanian troops.
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January 2, 2022
The Schmeisser MP41: A Hybrid Submachine Gun
QotD: Female preference for dominant males
In what follows, I will argue that sexual selection liberated sexual dominance from its coercive, ancestral demons. Specifically, I posit that ancestral women, when faced with the prospect of mating with a coercive and dominant man, a non-coercive and non-dominant man, or a non-coercive albeit dominant man, usually opted for the third option.
The first reason for this is the value of male dominance in competition with other males. Specifically, if a man exhibits dominance during courtship and copulation, he is signalling his ability to successfully compete with other men for social status in male hierarchies. Women are attracted to high-status men because such men are either genetically superior, have the resources necessary to invest in a woman and her children, or both. Although some degree of sexual conflict between men and women is expected, a man’s non-coercive dominance during courtship and copulation may say something about his ability to stand his ground in interactions with other men.
The second reason that women prefer dominant men is the fact that other women prefer dominant men. This is not a tautology. My high school American History teacher, Ms. Gibbs, once told us an anecdote about Benjamin Franklin. It was said that old kite-flying Ben would surround himself with average looking women at dinner parties so as to grab the attention of the more attractive ones. Whether true or not, Ben Franklin’s supposed exploits are supported by research on what makes men attractive. Specifically, women are attracted to men whom other women — especially physically attractive women — find attractive. So, if other women find dominant men attractive, it would benefit a woman to mate with a dominant man because any son born of such a union would inherit his father’s dominance and thereby help to spread his mother’s genes. This hypothesis — the so-called sexy-son hypothesis — suggests that whatever other benefits a man might accrue through his dominance, it is simply enough for women to consider it “sexy” for it to be sexually selected into the male line of our species.
Most of the time, however, traits that are preferred by members of the opposite sex communicate something important about the bearer of those traits in addition to sexiness per se. As I will elaborate in my discussion of sexual subordination, sexually selected traits are often selected by prospective sex partners because they are honest, costly signals of an individual’s genetic status. So, for example, a man who is capable of exhibiting dominance, while curbing it just enough to not come off as coercive, may be communicating something important about his physical and psychological state. Specifically, if a man is able to toe the fine line of sexual dominance (and even exhibit a certain amount of passionate aggression) without veering over into the danger-zone of coercion, he may be a good catch, indeed. The subtlety, tact, and finesse required to accomplish this should not be dismissed. As it happens, being a successful “dom” (i.e., a sexually dominant or sadistic individual in the BDSM scene) requires such subtlety, tact, and finesse. As Philip Miller and Molly Devon write in Screw the Roses, Send Me the Thorns:
The ideal [dominant] controls himself, so that he might control his submissive. He will, as a stern dominant, cause tears to flow, and as lover, kiss them away … He understands that to own a woman, one must court the mind with intelligence and humor; win the spirit with compassion and warmth; and take the body with determined strength … He is the honorable sadist who uses pain to extend the bounds of pleasure, vigilant that no harm comes of the hurt.
Understanding the evolution of consensual sexual dominance is half the battle. As BDSM practitioners are never tired of saying, the “sub” (i.e., the submissive or masochistic individual in a BDSM interaction) is just as active a participant as the dom. Some further assert that the sub actually controls the scene and that it is the dom who has to read or intuit the needs, desires, fears, discomforts, and pleasures of the sub.
Gregory Gorelik, “What Sadomasochism Can Teach Us About Human Sexuality”, Quillette, 2017-04-04.
January 1, 2022
“Auld Lang Syne” on Bagpipes – The Snake Charmer
TheSnakeCharmer
Published 8 Dec 2021Playing “Auld Lang Syne” on Bagpipes to bid farewell to this year and welcome the new year. “Auld lang syne” lyrics are meaningful that warms the heart up every time, thanks to Robbie Burns. One of the “Auld lang syne” is one of the most popular New Year song. I took inspiration for this by the beautiful versions of Dan Fogelberg. I hope you enjoy and play my version as your Christmas and New Year’s songs.
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Filmed by Karan Katiyar
Edited by Archy Jay#Auldlangsyne #Bagpipes #Newyearsong
Merry Olde England
Sebastian Milbank on the often disparaged nostalgic view of “the good times of old England”:
The decadence and excess of the city is of a piece with puritanical restraint
William Wordsworth wrote:
They called Thee Merry England, in old time;
A happy people won for thee that name
With envy heard in many a distant clime;
And, spite of change, for me thou keep’st the same
Endearing title, a responsive chime
To the heart’s fond belief; though some there are
Whose sterner judgments deem that word a snare
For inattentive Fancy, like the lime
Which foolish birds are caught with. Can, I ask,
This face of rural beauty be a mask
For discontent, and poverty, and crime;
These spreading towns a cloak for lawless will?
Forbid it, Heaven! and Merry England still
Shall be thy rightful name, in prose and rhyme!Merry England is an easily mocked concept in today’s society, but in my view it carries a perennial insight: that the decadence and excess of the city is of a piece with puritanical restraint. Both apparently opposite features reflect an urban sophistication and the ruling imperative of commerce. The moneymaking frenzy of cities like London gave rise to excessive consumption and the relaxing of prior moral and social norms. Yet the 17th century Puritans were in large part cityfolk, alienated from rural tradition and well represented amongst bankers, merchants and urban middle class trades and professions.
William Hogarth’s most famous engraving is Gin Lane, which shows a street filled with people immiserated by the gin craze, a child toppling out of its mother’s arms, emaciated figures dying in the open, madmen dancing with corpses, a pawn-shop with the grandeur of a bank eagerly sucking in objects of domestic industry and converting them into gin money. Less well known is the image that accompanied it, the engraving Beer Street. In this latter engraving, plump and prosperous individuals pause from their labour to receive huge foaming mugs of ale, buxom housemaids flirt with cheerful tipplers, bright inn signs are painted, buildings are going up, and the pawn-shop is going out of business.
Merry England is an image of a society centred on human life and happiness rather than the demands of commerce. Here labour and rest both have their place: noble objects like a fine building and a bounteous meal are provided by hard work, but once completed, time is devoted to appreciating and relishing the finished product. Decoration and adornment are the outward sign of this; they are by their nature a form of abundance. The finite object of labour and production thus gives rise to an infinite realm of feast, celebration, adornment and signification. This enchanted public sphere, shaped to the human person, is limitless within its limits, and points beyond itself to the truly limitless and eternal world of the transcendent.
In the commercially determined sphere of modernity, it is instead work and consumption that are rendered limitless. The objects have become entirely ones of consumption — there is no limit to the consumption of gin, which stands in for all consumer objects. Hogarth shows us the humane objects of household industry — the good cooking pots, the tongs, the saw and the kettle — replaced with money. Liquidity is everywhere, capital has broken down the social order, removing all distinctions of sex, age and class. Now all persons and all things are joined together by a single seamless system of predation.
The alternative that many advocated to this situation was embodied in the Temperance movement: a Puritan-dominated enterprise which saw drinking as a threat to industry as well as the spiritual and moral health of the nation. This is a deep tendency in the British character: the impulse to look upon poverty and distress as a culpable disease and to preach individual self-restraint as the cure. Puritans were often well-to-do, literate townspeople, whose collective refusal to participate in dancing, drama, drinking, gambling, racing and boxing not only set them apart from the boisterous lower orders, but also from the quaffing, hunting, hawking and whoring nobility.
A 4000 Year Old Recipe for the Babylonian New Year
Tasting History with Max Miller
Published 29 Dec 2020Help Support the Channel with Patreon: https://www.patreon.com/tastinghistory
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Subtitles: Jose MendozaDISH NAME
ORIGINAL c.1740BC RECIPE (From The Yale Babylonian Tablets)
Tuh’u sirum saqum izzaz me tukan lipia tanaddi tusammat tabatum sikara susikillum egegerum kisibirrum smidu kamunum alutum tukammas-ma karsum hazannum teterri kisibirrum ina muhhi sipki tusappah suhutinnu kisibirrum isarutu tanaddi.Tuh’u. Lamb leg meat is used. Prepare water. Add fat. Sear. Add in salt, beer, onion, arugula, cilantro, samidu, cumin, and beets. Put the ingredients in the cooking vessel and add crushed leek and garlic. Sprinkle the cooked mixture with coriander on top. Add suhutinnu and fresh cilantro.
MODERN RECIPE
INGREDIENTS
– 1lb (450g) Leg of Lamb Chopped into bite size pieces.
– 3-4 Tablespoon Oil or Rendered Fat
– 1 ½ teaspoons Salt
– 2 Cups (475ml) Water
– 12 oz (350ml) Beer – (A sour beer and German Weissbier are recommended, but any non-hoppy beer will suffice)
– 1 Large Onion Chopped
– 2 Cups Arugula Chopped
– 3/4 Cup Cilantro Chopped
– 2 Teaspoons Cumin Seeds crushed
– 2 Large Beets (approx. 4 cups) Chopped
– 1 Large Leek Minced
– 3 cloves Garlic,
– 1 Tablespoon Dry Coriander Seeds
– Additional Chopped Cilantro for garnish
– Samidu* (Something akin to 1 Persian Shallot)
– Suhutinnu* (Something akin to Egyptian Leek for garnish)
*These ingredients have no definite translation; the shallot and leek are the best guesses of scholars at Yale and Harvard Universities)METHOD
1. Add the oil/fat to a large pot and set over high heat. Sear the lamb for several minutes in the oil until lightly browned.
2. Add the onions and let cook for 5 minutes, then add the beets and let cook for 5 minutes. Then add the salt, beer, arugula, cilantro, samidu (shallot) and cumin and bring to a boil. Mash the garlic into a paste and mix with the leek, then add to the pot.
3. Lower heat to medium and let simmer for approximately 1 hour, or until the beets and meat are cooked to your liking.
4. Once cooked, dish it into a bowl and sprinkle with coriander seeds. Garnish with fresh cilantro and suhutinnu (leek)PHOTO CREDITS
Crocus: By Safa.daneshvar – Own work, CC BY-SA 3.0, http://bit.ly/3hfNN7F
Statue of Nabu: By Osama Shukir Muhammed Amin FRCP(Glasg) – Own work, CC BY-SA 4.0, http://bit.ly/2KodVkV
Temple of Nabu at Borsippa: Osama Shukir Muhammed Amin FRCP(Glasg), CC BY-SA 4.0 https://creativecommons.org/licenses/…, via Wikimedia Commons
Ishtar Gate: Joyofmuseums, CC BY-SA 4.0 https://creativecommons.org/licenses/…, via Wikimedia Commons
King Marduk-zakir-shumi: By Osama Shukir Muhammed Amin FRCP(Glasg)Throne Dais of Shalmaneser III at the Iraq Museum.jpg, CC BY 4.0, http://bit.ly/3nMw22j#tastinghistory #babylon #akitu
QotD: Heinlein’s “Crazy Years”, Alfred Korzybski’s General Semantics, and modern times
While Heinlein (as far as I know) supplied no rationale for the advent and the recession of the craziness in the Crazy Years, A.E. van Vogt was freer with his speculations: insanity, either of individuals or of peoples, in van Vogt’s stories (and perhaps in the theories of Alfred Korzybski, who discovered or invented General Semantics) is caused by a fracture or disjunction between symbol and object. When your thoughts, and the thing about which you think, do not match up on a cognitive level, that is a falsehood, a false belief. When the emotions associated with the thought do not match to the thing about which you think, that is a false-to-facts association, which can range from merely a mistake to neurosis to psychosis, depending on the severity of the disjunction. You are crazy. If you hate your sister because she reminds you of your mother who beat you, that association is false-to-facts, neurotic. If you hate your sister because you have hallucinated that you are Cinderella, that association is falser-to-facts, more removed from reality, possibly psychotic.
The great and dire events of the early Twentieth Century no doubt confirmed Korzybski in the rightness of this theory. Nothing prevents a race of people from contracting and fomenting a false-to-facts belief: the fantasies of the Nazi Germans, pseudo-biology and pseudo-economics combined with the romance of neo-paganism, stirred the psyche of the German people for quite understandable reasons. From the point of view of General Semantics, the Germans had divorced their symbols from reality, they mistook metaphors for truth, and their emotions adapted to and reinforced the prevailing narrative. They told themselves stories about Wotan and the Blood, about being betrayed during the Great War, about needing room to live, about the wickedness of Jewish bankers and shopkeepers, about the origin of the wealth of nations — and they went crazy.
The Russians, earlier, and for equally psychological and psychopathic reasons told themselves a more coherent but more unreal story about history and destiny, taken from a Millenarian cultist named Marx, and they were, on an emotional level even if not on a cognitive level, convinced that shedding the blood of millions would bring about wealth as if from nowhere. And, because they used the word “scientific” to describe their brand of socialism, they actually thought their play-pretend neurotic story was a scientific theory that had been discovered by rigorous ratiocination — and they went crazy.
Berlin was bombed into submission during the Second World War, and the Berlin Wall collapsed along with the Soviet Empire at the end of the Cold War. But the modern methods of erecting false-to-facts dramas appealing to mass psychology, once discovered, did not fall when their practitioners fell: scientific socialism, naziism, fascism, communism, all have in common the subordination of word-association to political will. All these doctrines have a common ancestor, which is the social engineering theory of language: if you change the connotation of word, so the theory runs, you change the connotations of thoughts. General Semantics says that if an individual, or whole people en mass, adopt deliberately false beliefs, supported by deliberately manipulative word-uses, he or they will have increasingly unrealistic and maladaptive behaviors. Introduce Political Correctness, ignore factual correctness, and the people will go crazy.
The main sign of when madness has possessed a crowd, or a civilization, is when the people are fearful of imaginary or trivial dangers but nonchalant about real and deep dangers. When that happens, there is gradual deterioration of mores, orientation, and social institutions — the Crazy Years have arrived.
John C. Wright, “The Crazy Years and their Empty Moral Vocabulary”, John C. Wright, 2019-02-18.