SAR is pleased to present this journal by longtime Emma-Gee, Rick Cartledge about his experiences at Knob Creek.

It was with great pride that I took this article assignment from Small Arms Review. This writer has been under the weather for about two years. The twelve cylinder Packard is back. It could use a paint job, but the tires are new and the motor’s tuned. Many of the faithful readers have been terribly kind. In the following I shall return that kindness. I invite you once again to climb up on my running board and ride with me for a while. We will travel through four very special days in October. Nearly everyone agrees that the Fall ’97 Knob Creek Show and Shoot surpassed any that we’ve had for years. The weather and the people could not have been nicer.

I crossed the Salt River on I-65 about sunrise on Thursday morning, hit the exit and pulled to the red light at the top of the ramp. I swung across the bridge and stopped at the light by the entrance ramp to I-65. At this point we begin our journey. I looked toward Shepardsville, Kentucky. Beyond it stretched the mountains that lead to the Knob Creek Range. Shepardsville gave the South one of its most honored sons, Col. Philip Lightfoot Lee of the Orphan Brigade’s 2nd Kentucky. I found it fitting that Shepardsville’s cloud laden sky glowed grey and crimson, the colors of The Gallant Pelham. Later at Knob Creek Range I would view a new Rich Pugsley gun, a gun that all Southerners wish that John Pelham had fired.

While freshening up at the motel, I snapped on the news channel. The presenter waxed fondly about the Harvest Home Festival in New Albany. She introduced a local string band from the Louisville environs. The musicians cranked up with Bill Monroe’s ‘Uncle Pen’. As I motored up to the range house, Range Master Homer Saylor flagged me down. We shook hands. I told Homer about ‘Uncle Pen’ and stated it appeared we would have a great weekend. Homer agreed. We plan to go together one day to Rosine and pay our respects to Mr. Monroe. Homer and I both wore short sleeves. Short sleeved shirts became the dress du jour for all four days and nights. The presence of automatic weapons goes without saying.

Ola Amigos

I headed past the main line and around to the front of the range house. Twice a year this spot becomes the crossroads of the Title 2 world. Don Turnbull sounded the horn on his golf cart. I shook hands with the raconteur and master of the Boyes Rifle. We exchanged greetings. I brought him salutations from his good friend William Helmer, author of ‘Dillinger: the Untold Story’. Bill sent his regrets that he could not attend. He and Rick Mattix had just completed ‘The Public Enemies Almanac’ for Facts on File. Mr. Helmer experienced unexpected delays in Chicago and Rick was trailing some new Bonnie and Clyde story in Iowa.

While I searched for Paul Mahoney of Krinks, the prettiest mule driver in the Alabama Cavalry motored around the corner of the range house. She threw up her hand and I waved her over. She stopped her titanium taxi and accepted my contribution to the campfire. She safely bore it to the campsite in Kenny Sumner’s eighty acre camping field. I would later join them under St. Andrew’s Cross. We talked of distance guns and the election of the Scottish Parliament. We shall follow with great interest the developments north of Hadrian’s Wall. We send a heartfelt ‘Well done!’ to the children of William Wallace and Robert Roy MacGregor, as we are one in the same. Come springtime we will hoist a flagon and toast the tattoo on Sean Connery’s arm. It translates ‘Scotland Forever’.

On returning to the range house I found Paul Mahoney. Pauly said he had finished his post sample BREN in time for the shoot. He was on his way to get it. While I awaited Paul and the BREN, Beth and Glen Whittenberger strolled up and said hello. I first met Beth when she and Glen were dating. The week before Knob Creek, AMC ran a series of Film Noir greats. I taped most of them.
While watching the Robert Mitchum, Jane Russell classic ‘His Kind Of Woman’ I thought of Beth and Glen. About an hour before the movie debuted, the mail came. ‘The Thompson Collector News’ arrived and told the story of the ‘All Thompson Show and Shoot’ in August. The winners of the men’s and women’s shooting competition both answered to the name Whittenberger. Enough said.

Paul Mahoney sauntered out of the pole barn with the BREN gun thrown over his shoulder. He drew a crowd. BRENs have a tendency to do that. Mr. Mahoney gave us a good show. He asked us to find the receiver welds. There in the bright sunlight I could only find one. He showed us three more. Pauly stripped the receiver so that we could view the inside. Paul marveled at the skill that the Commonwealth machinists used to make the BREN. I marveled at Paul’s skill in putting one back together.

I had sent Paul a copy of the BREN gun book that Jim Allee prints at IDSA Books. Jim prints the Small Arms Identification Guides written by distinguished Australian gun writer, Mr. Ian Skinnerton. Pauly found the exploded diagrams and serial number sequences especially helpful. He considered Mr. Skinnerton’s book the best nine bucks he’d spent lately. Paul then took his BREN to his shooting slot and went to see Bob Landies for some magazines. We each departed to our separate ways.

I didn’t get far. Brian held out a friendly hand and we talked about the 1914 Hotchkiss article that we are working on. As we talked, we watched Mike Krotz and Bill Mitter unload a dewat Soviet 107mm recoilless from the Vietnam era. Just then, Jim Ballou dropped some web gear over my shoulder. ‘What’s that?’, he inquired. It appeared to be a World War I BAR gunner’s belt fitted for a wide looped .45 holster. Wrong! Jim stated that I held in my hand an original Colt Monitor commercial belt. A shrewd collector had found it up East. The collector brought it to the Knob Creek Shoot for a friend of his. Though he had already sold the rare belt, he lent it to Jim for inclusion in the BAR book. I told Jim that I had brought the Baby Face Nelson picture for the ‘In Unfriendly Hands’ section and would bring it to him later. Jim said thanks and went to photograph the Monitor belt. It is not without good reason that many of us eagerly await Jim Ballou’s book.

Show Time

A group of friends motored up I-65 past the Gene Snyder on Thursday night. We zeroed in on the Outback Steak House off Wendy Lane. Our table talked automatic weapons, the next table discussed the battle rifle match, and the table behind us talked suppressors. Outback treated us as cordially as the Derby crowd. Good to their word, the restaurant enforced ‘No Rules’. We stayed too late enjoying the stimulating conversation.

We all looked a little bleary eyed when we met Friday morning. All of us arrived early, anticipating the opening of the gun show and putting some brass on the ground. While we waited, a man with a confident stride walked toward us. He carried two trophies. I had seen the impressive trophies displayed in the range house on Thursday morning. The sponsors bought large third place trophies. The sizes went up from there. This man carried a very large one and the biggest of all — ‘Aggregate Top Shooter’.

He introduced himself as Malcome Davis of Huntsville, Alabama. We talked shooting for a while. He then noticed the ‘Bonnie and Clyde’ shirt I wore, presented by the fine citizens of Dexter, Iowa. I told Malcome that I wrote historical articles on Title 2 for the Small Arms Review. I asked him if he knew that he carried the same name, though spelled differently, as the Tarrant County, Texas Deputy killed by Clyde Barrow and W. D. Jones. Malcome replied that he did. He laughed. Malcome then told the story of the first date he had with the woman who would become his wife. He took her to see ‘Bonnie and Clyde’. With shooting and knowledge like that, the “Alabama Cavalry” may be engraving Malcome an invitation at this very hour. We shook hands at about the time we heard Kenny Sumner on the loud speaker.

Kenny announced the opening of the show. The crowd poured into the pole barn. For those who have never had the privilege (and it is a privilege) to stroll through the gun show at Knob Creek Range, the following will attempt to give you a sense of it. To say that weapons, accouterments, books, videos, and RKIs fill up the place states the case too simply. Specifics tell the tale. We will have to dodge all of the Lafette tripods that march out of the pole barn like the mop brigade in ‘Fantasia’ — 34s, 42s, Yugos, and what Bill Mitter humorously calls ‘Braunsweigers’, the optically equipped Bundeswiers sold by Robert Landies. The following describes some of the many interesting exhibits seen at this gun show.

Kent Lomont displayed one of the rare 1898 brass Argentine Maxims. This gun was very similar to the one Bob Landies displayed last spring. I confess an unmendable weakness for the venerable Maxim gun. The ’98 tops my list. An American genius designed this gun. Master machinists breathed life into this magnificent weapon during the twilight of the Guilded Age. Mr. Lomont kindly field stripped the top of the gun and handed over the pieces. The lock reminds one as much of a Swiss watch as it does a gun part. The brass D handles pass for a work of art in their own right. The safety looks like a brass ellipse bonded to a thick popsicle stick. When flipped up for firing, one views a series of concentric brass ellipses cradling raised brass letters that exclaim ‘Fuego’. The whole gun reminded me of Tom Berringer’s famous line from the ‘Rough Riders’ by John Milius — ‘Indian Bob, kill the German!’ Kent once remarked that if they told him he could have only one gun and that was a Maxim gun, he wouldn’t be too unhappy. Though I would plead for a Thompson, this writer agrees.

I moved on to the book and video tables to search for several items. Friends in Georgia sent me with a list. Alabama Arms sold a very fine video on the Browning guns. A friend had recently purchased a nice DLO A-4. He wanted some visual instruction. On viewing the Alabama Arms video, my friend stated that he found it very interesting. He stated it wasn’t fancy, just very helpful. Alabama Arms now debuts a video on the Swedish K. Several dealers featured video material on a wide range of interesting subjects. To those new to the Title 2 world, some of the most informative videos come from Knob Creek Range. For those who wish to know more of KCR’s biannual event, I recommend Fall 1996 and Spring 1997.

On another table I found a book seller of very discerning taste. Among his fine wares, he offered ‘The Devil’s Paintbrush’ by Dolf Goldsmith and Jim Allee’s quality reprint of ‘A Rifleman Went To War’ by Herbert McBride. I still consider Mr. Goldsmith’s book on the Maxim gun to be the finest gun book on a single gun by a single author. Tracie Hill called me during the formative days of ‘Thompson: the American Legend’. He asked me to write for him. The first question I asked was, ‘Do you have a copy of The Devil’s Paintbrush?’. Tracie replied that he did. I stated to him that Dolf had set the bar two notches higher and we should strive to reach it. Tracie agreed. The rest is history. ‘A Rifleman Went To War’ speaks for itself. Along with T. E. Lawrence’s ‘Seven Pillars of Wisdom’ and ‘The Art of War’ by Sun Tzu (the Hoosier warrior Bobby Knight’s favorite book), my family considers McBride required reading. Capt. Herbert McBride brings us to ‘White Feather’.

Mike Waterhouse came carrying a white 20 round box of ammo. Mike knew I wasn’t a distance shooter but thought I might want a box of the ammo he now carries at his table. As usual, the knowledgeable Mr. Waterhouse proved correct. Dennis Duphily had returned from overseas and I had run into him outside the pole barn. I remembered something wonderful when I read the name on Mike’s white ammo box — Carlos Hathcock II.

Several years ago, Carlos Hathcock came to the Knob Creek Range as the guest of Dennis Duphily, and Dan Shea. By the time I got to Carlos, he had run out of his sniper books. Neither his health nor mine is what it once was. I shook the hand of the man who embodies the phrase ‘Every inch a Marine’ and promised to return. I found a copy of ‘A Rifleman Went To War’ and brought it to him. I asked, ‘Do you know this book soldier?’. Carlos cracked a knowing smile and replied, ‘That’s the bible.’ I explained to Carlos that my young nephew had a tough time getting into this world. I asked Carlos to write something for Liam in Herbert McBride’s book. Carlos did.

I don’t shoot well enough to know how good the ammunition is. What I do know is this. If Carlos Hathcock put his name on it, it’s good enough for me. At the end of that day several years ago, Dennis and I watched as Carlos Hathcock departed. As he motored away Dennis said, ‘I hope that Carlos knew how loved and respected he was by every one who met him.’ I told Dennis that I was confident that he knew. With the white box from Mike Waterhouse, I am equally confident of something else. Carlos Hathcock would find welcome at the Knob Creek Range at any time. I hope that in some fall or some springtime that one of America’s most beloved soldiers might find the time to come and, once again, be among us. Should he wish to come on short notice, he should bring his books and T-shirts. I am confident that there will always be a place for him at the S.A.R. table. Dan Shea and Jeff Zimba back me up on this.

I then went to Jonathan Arthur Ciener’s table where I always expect to see something new. Jon rarely fails to have some innovative new product or variation on display. This time, Jonathan smiled broadly as he showed me the ‘Platinum Cup’, his new 22 conversion for the 1911 pattern government automatics. Jonathan stated that he responded to his customers’ requests for a full featured upper. To his 22 slide, he added a number of custom features. He first fabricated a raised serrated flat top slide. Jon then inlayed a micro adjustable Millet sight. He augmented the Millet rear sight with an accentuated serrated front sight. Jon then added angled cocking slots and tightened the whole thing up. He then finished it with the kind of quality that people have come to expect from Jon Ciener. Some years ago I shot with Dave Rosenfield and Mary Ann Sanborn, they of the famed ‘His’ and ‘Hers’ Vickers guns. Dave assisted Jonathan in evaluating some of the first Ciener prototypes. Dave gave me a test drive and it functioned flawlessly. Next spring I hope to try one of the new ones.

Knob Creek takes shooting seriously, but it isn’t all serious. The tellers told these tales better. The following tells two jokes and of a funny conversation. Married lady to girlfriend, ‘I got a machine gun for my husband.’ Girlfriend replied, ‘Good trade!’ The second one goes like this. Married guy to his buddy, ‘My wife said she’d leave me if I bought another machine gun. I’m sure gonna miss her.’ A dealer told me he knew he’d arrived when his first three Christmas cards came from lawyers. I told the dealer of the brilliant novel ‘Primal Fear’ written by fellow Georgian William Diehl. In the opening of the movie made from this book, the fine actor Richard Gere skillfully delivers a couple of lines about law school and the justice system through his character Martin Vail. We won’t print them here. You will have to rent the video (Ladies beware). Before the title page in his fine book, Bill Diehl quotes Charles-Louis de Secondat from 1742 writings relevant to 1986. Among those to whom the Founding Fathers looked to for inspiration, they listed the Baron de Montesquieu. The writer from Georgia and the Baron from Bordeaux provide some very interesting reading.

Though many tables presented interesting wares, I will close this section by telling the reader of one table in particular. This table instructs the reader on what to look for at KCR. It also helps the newcomer to avoid the same mistake that I made on the first trip to the Creek. You will see a dealer with a single table and might pass him up for a dealer with ten. As I maneuvered toward the back of the pole barn, an astute collector waved his hand. He need not have thrown up a flag. I had already spotted the ginny FBI Thompson case crouched on the front corner of his table. He had acquired some rare items from an old time Class 3 dealer who was now retiring. He kindly allowed me to examine them while giving me some valuable lessons.

Among the original Colt Thompson mags, the collector displayed several mint double dates and a shot mag. Next to the mags sat four boxes of rare ammunition. One contained 50 rounds of Thompson shot shells. The second box contained .45 Auto CF cartridges marked ‘Adapted for the Thompson Sub-Machine Gun’. The third unopened box contained Western Super X .45 Auto .230 grain Metal Piercing Lubaloy. The fourth box held .45 Auto tracer from the Frankford Arsenal. This same table had earlier yielded the previously mentioned commercial Monitor belt for another astute collector and Jim Ballou. Needless to say, several knowledgeable collectors with deeper pockets than mine went through this table like a plague of locusts. I deeply appreciated viewing these rare items and learning something from my knowledgeable friend. This man and his table make the following point. If you ignore a single eight foot table, you might just pass up the mother lode.

The Writers Meeting

The Usual Suspects assembled at Mark’s Feed Store on Dixie Highway in Louisville. We rolled in about 8:30 Friday night. The aroma of barbeque filled the parking lot. We each selected from the menu and finished the meal with buttermilk pie. The meeting room at Mark’s gave the tell tale sign of good food. As the servings moved down the table, the conversation died. Before we could escape and find sofas to lie down on, Dan Shea opened the meeting.

First and foremost, Dan gave a glowing report on the acceptance of our magazine. In the months to come, readers will know the full impact of this acceptance. Jeff Zimba reported a steady stream of subscribers flowing past the S.A.R. tables and moving to the Gun Owners of America tables next to ours. Mr. Larry Pratt personally manned the G.O.A. tables and greeted one and all. Holly Gifford reported many favorable comments from readers who viewed the first issue at Knob Creek. A motion was made to commend Dan Shea and the Moose Lake staff for the fine job that they had done. The reader should know that the staff started flat footed. In four months they assembled the magazine. We still have some kinks to iron out. That being said, when the first issue hit the streets we knew that we had something to be proud of.

Jeff Zimba passed out some writing assignments. The book authors then gave their reports. Frank Iannamico stated that his STEN gun book neared completion. Though not yet chipped in stone, a mighty pile of rock dust lies below the granite slabs. Moose Lake will launch Frank’s book as the first of many offerings. Jim Ballou then spoke about the BAR book. He echoed Frank’s comments on the fine cooperation that museums and private collectors gave to their projects. Jim then passed around the cover photo. Though Jim keeps this close to the vest, suffice it to say that the readers will find it simply stunning. Jim had even arranged for the breakfast table decorations in the range house cafeteria on Saturday morning — BAR prototypes. With S.A.R. at KCR, if you snooze you lose.

Dan then turned to the suppressor writers and scheduling the upcoming match. The previous trials generated great interest and keen competition. Many dealers delayed table setups and ran down to the lower range to watch.

Simply put, our suppressor writers put their share of brass on the ground. They are just very quiet about it.

After the meeting Dan and I ran into each other in the motel parking lot. He asked how I thought the meeting had gone. Before answering, I thought of all the bright and enthusiastic men and women who gathered at Mark’s Feed Store. I knew we had a winner. I stated that this meeting didn’t resemble ones that any of us had ever attended. Each person in that room brought honed skills to a new magazine. We all stood together on the starting line. In ten years, we might all look back and be amazed at the race we had run.

We are unlike any other publication. If the reader looks for sky diving from a Piper Cub, he should apply elsewhere. If the reader wants to stand on the cutting edge, look out the back door of a flying boxcar, and hurtle out into the blackened night — he has found his magazine. This is not to say that we don’t make mistakes. We do. We won’t make mistakes on some dusty library shelf. We will make our mistakes standing knee deep in a brass pile.

‘Build It and They Will Come’

Kevin Costner filmed his motion picture ‘The War’ in my home town several years ago. Mr. Costner showed himself to be personable, accessible, and gracious. With all due respect to Mr. Costner (and this writer has a great deal of respect for him), there is one thing that ranks as more American than baseball — Freedom. Legitimate ownership and uses of Title 2 weapons serve as an index of freedom. The camaraderie between free Americans brought about the Knob Creek Show and Shoot. Readers who have journeyed to Westpoint, Kentucky will fully appreciate what they are about to read. Those who have never seen the Creek will still find the following interesting.

In an article for another magazine, this writer told of the changes in the Creek from the time when he first started coming more than ten years ago. Last April while dining on some fine steaks in Louisville, a friend who preceded this writer by more than ten years told his story. I ran into him this fall at Bob Landies’ tables while we looked over some of Ohio Ordnance’s semi auto only BARs. I asked Bob about the new .308 models and he stated they worked fine. Bob then announced the 1918 classic semi autos. Ohio Ordnance will build 300 limited editions of the famed blue steel guns with their finely checkered wood. Could there be a ‘scattergun’ replica in someone’s future? Only time will tell.

We then moved around to the back side of the table and took up a position by a beautiful 08 Maxim gun. We looked over the sled mount as Bob told us about the gun. This gun showed fine attention to detail as did many of the excellent belt feds offered by the dealers at this shoot. As Mike Krotz joined us, I asked my friend to again relate his story. He called off a list of the early shooters. We knew the names of them all. Just as he started telling the story of how he first came to the Creek, Mike and Bob had to excuse themselves to wait on customers. My friend and I talked one on one.

As my friend strolled through a midwest gun show in 1976, he ran into two known machine gunners. One of them stated that they planned to go to Kentucky to put some brass on the ground. They asked if he would like to come with them. They got an affirmative response. The two gunners instructed my friend to awaken early on Saturday. They would pick him up on the way. The adventurous three rolled up in front of the range house about one o’clock on Saturday afternoon. About a dozen guys hammered away on the main line. As the three unpacked their guns, Kenny Sumner came out and shook their hands. They asked if they could shoot with the rest of the shooters. Kenny explained that they would need shooting slots. Kenny pointed toward the line and said ‘Take those three slots over there that are next to each other.’ They still have them.

My friend explained that no vendors set up shop until about 1978. They displayed their wares under hospital tents. With apologies to Ted Nugent, the M.A.S.H. unit vendors presented ‘Intensities In Tent Cities’. The Knob Creek Show and Shoot was up and running. As we reminisced, Mr. Biff Sumner walked by. We waved to Mr. Biff and asked him to join us. Biff Sumner then gave us the story of how it all began.

The Sumner family bought the land from the government some years ago. Biff Sumner owned an automatic weapon and knew several friends who owned them. In 1963, Mr. Sumner invited five of his friends to come put brass on the ground. He explained that an old gun testing range stood on some of his property. The shooters began using the old range. Word spread from friend to friend through the Class 3 community. Each year a few more hearty souls showed up for good shooting and conversation. They camped on the spot where the Waffle Man now sets up his booth. As the vendor ranks began to swell, the campers moved to the other side of the range house. That is where this writer first started camping.

In 1975, Mr. Biff Sumner turned the shoot over to his son Kenny. Kenny, with the help of a lot of dedicated people, built the Knob Creek Show and Shoot into what it is today. Someone not familiar with the Title 2 world would not believe that Knob Creek today came from six people. They do not understand that automatic weapons have protected our freedom. They cannot comprehend that legitimate ownership of them serves as an index of that freedom. Many of us who come to the Creek know the following above all else. Those who harbor shallow views on individual freedom lead poorer and emptier lives than we do.

In 1963, five men looked for a place to put brass on the ground and be free. A sixth man provided it. With due respect to Mr. Costner, the following simply states how the Knob Creek Show and Shoot came to be. Biff Sumner built it. Kenny Sumner expanded it. And, oh, how they came!

The Endless Line

I first came to Knob Creek for the guns and still do. I now come more for the people, some of the best this earth has to offer. That being said, when Saturday afternoon rolls around I am ready for two things, a lit cigar and a loaded machine gun. Those who have viewed a certain picture in ‘Thompson: the American Legend’ know that I come by this in an honest fashion. We now go up on Knob Creek’s main shooting line. We shall discuss some of the wonderful guns being shot there. We will tell of it when the line goes hot. The reader then will join in conversation with some of the knowledgeable people who congregate when the barrels cool.

These serious men and women have graciously allowed me to be among them for the past ten years. I know all by face and most by name. As most of them know that I handled hundreds of names per week before retirement, they forgive me when I stumble. In the following you will meet some of them and learn from them, as do I. In this section they will pass along some words of wisdom. They will also tell some stories that the reader will find interesting.

When I first went through the orange gate, I sought out Mr. Irv Kahn. I have known this man for more than ten years and known of him for more than twenty. I never fail to learn something when speaking with him. I brought him salutations from Donna and Bill Taylor, mutual Class 3 friends from Georgia. I then got some good advice on ammunition for a friend’s BREN gun. We then talked about the thundering A-4 that Mr. Kahn has hammered for as long as I have known him. Early on, Mr. Kahn gave me some of the best advice I have ever received. As more and more people enter the Class 3 world, remiss would it be not to restate some of his sage words.

You should learn before you buy. No truer words were ever spoken about Title 2 weapons. Many first time buyers purchase guns that they have heard of or guns that their friends told them about. They buy without ever having fired an automatic weapon or without knowing much about their care and feeding. At Knob Creek, dealers on the main line and the lower range offer guns to rent. For a reasonable fee you can test drive a number of different guns. Brass put on the ground by your own hand proves to be amazingly instructive. A $100 investment can save a $3000 mistake. Remember, you will buy retail and sell wholesale. A $200 tax awaits you at the door. Mr. Kahn simply suggests that the buyer try to make his purchase intelligently not emotionally. Neither of us claims to have always done it that way. Most dealers want you to be happy with your purchase. It means that you will probably do business with them again.

Secondly, Mr. Kahn advises to always buy good ammunition and clean your weapon thoroughly after shooting. He once asked why anyone would spend $5000 for a gun and try to save $2 on a box of ammunition. When he made that statement we were discussing the bulged barrel on someone else’s Colt Thompson wrecked by some gun show reloads. Bad ammunition can seriously harm a fine gun as well as its owner. For those new to the Title 2 world I would expound a bit on Mr. Kahn’s words. You will not shoot as much ammo as you initially think that you will. You will just shoot concentrated bunches. Over a year, you will probably not run much more ammunition through a Thompson than you do through the 1911 you own. If you seriously shoot your handgun, it will balance out. Always buy good ammunition and clean your gun properly.

I then went to see Mike Free. I congratulated Mike on his latest triumph. Mike and Tracie Hill have won three best in shows with their Thompson exhibit. Their latest victory came at NRA Show in Pittsburgh, PA. Fellow writer Don Thomas and his son Paul came over. They joined in the spirited conversation. Don, the historian for the Military Arms Corporation from inception to the sale, now crafts a book on the MACs with renowned writer Tom Swearengen. As we talked, Chief Range Officer Homer Saylor ran the safety drill though the loud speaker. ‘Safety is the first thing, safety is the second thing, safety is the third thing, safety is the only thing!’ I knew the barrels would heat up soon. I headed back down the line to shoot with Ron and Gary Wilson, the Whittenbergers, and Ken Snyder.

Three shooting sessions later I made some notes for the readers. The unmistakable whir of a mini gun caught my ear off to the left. I went down to investigate. There I found the unmistakable craftsmanship of Rich Pugsley and the craftsman himself. Rich had mounted a mini gun on a beautiful underslung Gatling gun carriage. Rich kindly assisted the Small Arms Review with the article on his unique gun. (see S.A.R. January 1998). Closer still stood Frank Iannamico firing yet another STEN. Frank volunteered an aerial photograph of the Knob Creek Range taken during an Iroquois flying over. Frank stated that the only two people who enjoyed the flight more were Kathy Lomont and a comely young lady named Andrea

On the way back to the shooting slot, I finally met Bill Vallerand. I have known Mr. Vallerand by telephone for many years. I finally got to shake the hand of this most knowledgeable and amiable gentleman. We talked of Maxim guns, BRENs, Land Rovers, and the Vincent Black Shadow. Near us Jim Ballou fired an interesting machine pistol. Jim stated that he just had to break from BAR research to test this interesting gun. Next to us, the Great Lakes Barrett gun thundered away.

Bob Allen and John Rust deftly handled the 82A1 in all three rifle positions and then hip shot it. These men weren’t playing Rambo. They skillfully drove the storied veteran of Desert Storm in a professional and soldierly manner. Other than the marksmanship of Gary Wilson, watching these men safely and skillfully handle the big rifle provided some of the most interesting moments of the Night Shoot on Saturday night. Gary Wilson hit a number of the designated targets during the night shoot. As we say in our part of the country, ‘Gary’s shooting made his father proud!’ As those who come to the Creek know all too well, automatic weapons are a generational thing.

The Range Officers added some thrilling special effects to the designated targets. When hit, the targets threw star busts into the night sky. Between the fourth and last round of night shooting, the flame thrower contingent put on a spectacular show. First, they crossed two flames and then three. They then demonstrated different effects with several types of fuels. For their grand finale they marshaled ten flame throwers and lit up the night sky. The large assembled crowd spontaneously broke out in a thunderous applause. The fifth firing round featured tracers. Need we say more.

One of the people that I would drive to see whether guns fired or not is Mr. Ken Snyder. My valued friend Mr. Snyder stands as one of the elder statesmen of the Class 3 world. He does so not because of his age. He instructs us because of his knowledge that extends in depth to World War II. Several years ago, Mr. Snyder and I sat in the shade of the Navy Arms truck courtesy of Mr. Paul Reed. We discussed John Browning and the reliable guns that he left us. I still find it interesting that so many Class 2 professionals continue to bring at least one Browning gun when they come to the Creek. Mr. Snyder then summed up the genius of Mr. Browning. He captured John Moses Browning in two sentences. ‘Those line guns probably hold side plates from twenty different manufacturers. No two side plates are just alike, but all the guns work!’

During the down times, we gathered in small groups and talked of guns and gunman. Mr. Snyder introduced his friend Jack Riggle who journeyed from New Mexico to join us. I asked Mr. Snyder to convey my regards to Bruce McCurdy, maker of fine Pennsylvania style flintlocks in Maryland. He said that he would and promised to invite Bruce back again to the next shoot. Mr. Snyder then spoke eloquently of his departed friend Daniel Musgrave. Mr. Musgrave left this world several years ago. Daniel Musgrave wrote intelligently and well. The Class 3 community is poorer for his passing. Mr. Snyder called him a gentleman’s gentleman who did fine research and writing for George Chinn among others. He left us with his testament ‘German Machineguns’ still in print. I commented that I had obtained a copy of that book from LMO several years ago but, regrettably, had never got to meet its fine writer.

John Tibbetts of John’s Guns came by with the Black Maria. John’s gun topped the field at the suppressor trials in May. His victory attracted a lot of attention, some of it from the Navy SEALs. John stated that he just concluded an in depth interview with author Lawrence Meyers. I told Mr. Snyder that I had examined this suppressed pistol earlier in the day. I suggested that he check the balance of it. I count it as quite a rare day when I can show something new to Mr. Snyder. As I went with John back toward the exit gate I ran into two escapees from Gun Hell. I stopped to interview them.

Volker and Heiko Stibbe flew in from Cologne, Germany to enjoy the freedom at Knob Creek Range. The two brothers quickly hooked up with two savvy collectors. The brothers Stibbe had the time of their lives. They fired a number of weapons and praised them all. With little instruction, they skillfully disassembled several weapons and assisted in cleaning them. I think they even enjoyed carrying the sandbags for the belt feds. These two knowledgeable young men then explained the gun laws of their country.

No one may possess a full auto unless they possessed it before 1972. They can never fire them or take them outside their houses. Every firearm of any kind must be kept in a safe. Only police and politicians may carry guns. No one can possess replicas or even toys that resemble guns. If a person moves from one house to another, they must obtain a permit and a police escort. Absent the police, the owner must hire expensive private security to transport the weapon. On hearing all of this, one of the other gunners cracked wise, ‘Are you sure you guys aren’t from New York?’ The brothers’ reply sounded like a number between eight and ten.

They thanked us all for the kindness shown them. We invited them to come again. Heiko and Volker commented that they would like to return but the trip was very expensive. From the smiles on their faces and the looks in their eyes, they will find a way to meet the expense. This writer suspects that the brothers Stibbe plan another daring escape from Gun Hell at this very hour. Volker later wrote to this writer and asked that the following be expressed on his behalf and that of his brother Heiko. ‘We would like to use this opportunity to thank all the other people we met at this weekend for their kind assistance and help whenever we had a question.’ From half a world away, these two German brothers had learned the true meaning of the Creek in less than one day. Both I and the fine men who befriended them remain confident about the following. We shall see Volker and Heiko again.

A very respected friend joined our gathering. He told the following amusing after dinner story. This sequence of events comes from Knob Creek’s storied past. Neal Smith brought a quad 50 rig to the Creek. Terry Williams served as assistant gunner. They set it up on the main line. My friend went down to assist them with setting it up and checking the guns. Just as all the guns checked out, a news cameraman walked up. The news man asked if he could film the quad rig firing. Neal and Terry told him yes. The cameraman walked up right by the muzzle and shouldered his camera. My friend walked up behind the cameraman to offer some helpful advice. He stated that the cameraman had taken a safe position regarding the bullets. However, my friend advised him that he shouldn’t stand so close to the muzzles.

The news man became argumentative. He insisted on holding his position. My friend threw up his hands and said ‘Okay!’ My friend backed away to a less exposed position. Homer Saylor then declared the line hot. Neal Smith hit the solenoids. The staccato sound of the quad 50s filled the air. The muzzle blast knocked the cameraman flat on his derriere. The camera fell on top of him. Our friend then fought to control his laughter. He stated that it was the only time during that entire afternoon that all four guns worked together. Dazed, dusty, but unhurt, the news man learned a valuable lesson. When one of the older RKIs offers some advice, one might be wise to heed it.

Adios Amigo

We continued to shoot all day Sunday. We had enjoyed four days of 80 degrees and no rain. My Knob Creek jacket never left the front seat where I threw it Wednesday night. Don and Paul Thomas stayed an extra day and got in some extra shooting. We had all but run out of ammunition when Homer finally closed the range at 5 o’clock. We all shook hands, promising to return in springtime.

We have pulled out of the Knob Creek Range. We have now reached Shepardsville. I must cross the Salt River and you must go your own way. It is about time for you, the reader, to get off my running board. I hope that you enjoyed the ride. You have spent some quality time in our very interesting world. You have seen much and learned some things. You have met some of the people who still teach me. Before you go, I will leave you with a parting story and a valediction.

A man from California first came to Knob Creek Range in the pride of his late forties. I have seen him more than once. He stood behind the main firing line and openly wept. For the first time in his life he had seen completely free Americans. He saw America as it used to be, and in this place still is. As you are reading this magazine, you are an individual who succeeds. You have done for others. Before you leave this earth, we beseech you to do something for yourself.

Come plant your feet on the free soil of Kentucky. Come drink your fill of the river of freedom that flows beneath the cordite clouds. If you cannot come and bathe in the water, we will understand. For those of you who cannot be with us, this magazine makes a commitment to you. The stalwart staff of the Small Arms Review will kneel by the waters for you. Each and every month, our dedicated writers will fill and pass you a canteen. Upon that you may rely.

An old hand once remarked that gun knowledge is knowledge gained over time. Always remember that knowledge of automatic weapons take longer than that. Before you go, I will leave with a parting phrase known wherever the Emma Gees gather. When someone says it to you, you will know that you have become part of the good company of gunmen. In Atlanta, Bangor, Seattle, and Malibu we add this same valediction when bidding farewell to a respected friend. As we part company, you must step off my running board. You will stand by the entrance ramp to I-65 where all of this began.. I’m going to drop it in low gear and leave you now. Maybe we’ll see you in springtime. Adios amigo, and God speed you on your journey. Not to worry, I have not forgotten the valediction. We say it like this: ‘See you at the Creek!’

Hammer Time

The owner declined to be photographed shooting his Valmet RPK. At this or any other gun range, his declining presented no problem. A host of people wandered down to the short firing range to catch a glimpse of the RPK. The entire gallery volunteered to shoot it. One may admire its fine workmanship on a rainy day, but today the sun shone brightly and we did what comes naturally. First we loaded the magazines, then we put the brass on the ground.

Several first impressions come to mind. My only experience with firing RPKs comes from firing them at Knob Creek Range. I remember particularly the time when Robert Landies allowed Mike Krotz and me the opportunity of firing one of his. These guns carry a different trunion and a heavier barrel. The straight stocked RPK runs well but kicks like a mule. One finds the long barrel on the Pearl converted Valmet to be lighter on the front end. Though lighter than a true RPK, the Pearl Valmet still posesses a front end heft. The front heft and the special butt stock shifts the center of gravity to the front and downward. I found this RPK to be very pleasant to shoot.

After I finished, a number of others volunteered to shoot the Valmet RPK. All found this gun to be surprisingly smooth. Several found that the gun was almost as much fun on semi auto as it was on full automatic. All liked the throaty and slightly slower sound of the RPK. They also commented on its surprising accuracy. The fun of shooting such a fine gun would have been sufficient, but with this gun there was so much more. As the reader will learn, this particular converted gun also occupies one of the very interesting places in firearms and motion picture history.

The History

One correctly might ask ‘How could a converted gun make history?’ For the answer, read on. Pearl converted the Valmet RPK for Stembridge Gun Rentals Inc. in Glendale, California. This firm, from 1916 until 1998, provided rental guns for the motion picture industry. Sydney R. Stembridge, President and grandson of its founder, ceased the gun rental portion of the largest business of its kind in 1998, but has since reopened under the same name and provides service to television, movies, and theatres in the same tradition.

This intriguing weapon is in many scenes from the brilliant John Milius film ‘Red Dawn’. This motion picture takes a look at what might happen to an invaded and post apocalyptic America. The Valmet and a number of other Stembridge guns added greatly to film. Patrick Swayze, Charlie Sheen, Lea Thompson, C. Thomas Howell and Jennifer Grey all use the RPK and a number of other AKMs. They followed the dictum of Soviet prisoner Harry Dean Stanton to ‘Avenge me!…Avenge me!’ The brilliant actor Frank McRae took on the RPK from the business end in the hands of a Soviet paratrooper. In ‘Red Dawn’ the Valmet shone brightly. In another film, the Valmet RPK shone the brightest of all.

When Arnold Schwarzenegger made his breakthrough motion picture ‘Commando’ the RPK carried a unique stock. Supported by an excellent script and fine cast, Mr. Schwarzenegger served notice of wonderful things to come. With this film he greatly expanded his persona within the action drama. Within the action sequences Mr. Schwarzenegger inserts humor that would become his trademark. In this motion picture we first hear him utter his wonderful trade mark phrase ‘I’ll be back…’ The Valmet RPK comes back with him. He employs the RPK well to help make his point.

In the beginning Arnold Schwarzenegger, a retired special ops team leader, lives with his young daughter as a single parent. Members of his retired team begin to die violently. His former commander, a general still active, comes to Arnold Schwarzenegger’s isolated mountain home. He advises his former team leader of the coming trouble. He posts guards and departs. Almost immediately, the miscreants swoop. They kidnap the daughter and escape. Mr. Schwarzenegger pursues and gets caught. His captor, a deposed dictator, offers him a deal. He must kill the lawfully elected president of the dictator’s former country within hours and his daughter will be spared Mr. Schwarzenegger accepts the time frame. He entertains decidedly other thoughts about the deal.

In Mr. Schwarzenegger’s climatic phase of ‘Commando’ we view the Valmet in a number of scenes. The most memorable occurs when he first lands on the deposed dictator’s staging island off the coast of California. He comes in on an inflatable boat and suits up for battle. He picks up a shotgun with his left hand. With his right hand, he deftly swings the Valmet RPK across his shoulders as his last piece of armament.

Mr. Schwarzenegger strides forward to settle his score with the dethroned dictator and to save his kidnapped daughter. He then uses the Valmet in a number of scenes. He first fires the RPK at an enemy watch tower. He then employs the Valmet RPK through the gates and all the way through the courtyard of his enemy’s estate. This and much more awaits the viewers of ‘Commando’.

Some Thoughts on the Day

Having shot the full auto Valmet RPK in live fire, the following observatioins can be made about Schwarzenegger’s performance in ‘Commando’. The previously mentioned shift by the custom stock weights the gun lower. The weight shift matters. Given that some sequences exist for dramatic effect, I find Mr. Schwarzenegger’s performance very realistic. His action sequences mirror quite consistently the workings of the Valmet RPK in live fire. His insistance on realism has earned him every one of the many fans that he has among the readers of Small Arms Review. Mr. Arnold Schwarzenegger continues his high quality work and commitment to craft at this very hour.

‘Red Dawn’ by John Milius, MGM/UA Movie Time, available at video stores

Arnold Schwarzenegger’s ‘Commando’, 20th Century Fox, available at video stores

Wanda Darsey, The Movie Gallery, 806 South Hill ST, Griffin, GA 30224, 770-228-0438

The History

Imperial Japan negotiated for the rights to build the Lewis Gun in 1931. The British Empire granted rights in early 1932. The Japanese began producing the Type 92 (1932) Lewis Gun in both aircraft and ground form at the Toyokawa and Yokosuka Naval Armories. The Special Naval Landing Forces requested a unique dual purpose tripod for both shipboard and ground use. Imperial Japan proceeded to produce these specialized tripods for the S.N.L.F. They designated them also as ‘Type 92’. The design for the tripod did not originate in the Land of the Rising Sun. The concept came from 16 years earlier and half a world away. The basic tripod design came from on and above Flanders Fields during World War I.

The Lewis Gun took the honor of being the first aircraft mounted automatic gun on July 7, 1912. On that date a Lewis mounted pusher plane did some strafing at the aerodrome outside College Park, Maryland. Air armament got off and running. When German forces invaded France in 1914, the French stopped them barely 20 miles from Paris. The French employed their then new 1914 Hotchkiss gun to help halt the German advance. The 1914 served as both a ground and air gun. The air gun sat mounted in the rear seat of a biplane. For air use Hotchkiss rotated the ground gun 90 degrees to the gunner’s right. They then fitted the gun with a 50 round drum that fed from the top.

The British shortly proved even more inventive than the French. They mounted a stripped version of the Lewis Gun in the second seat. The British also added the 97 round drum for more sustained fire. A skeletonised aircraft Lewis Gun mount soon became both the air mount and a post-mounted ground mount for the venerable Lewis Gun. Though some controversy still exists, our readers should note the following. On April 21, 1918 Baron Manfried von Richtoven fell from the sky mortally wounded. A post mounted Lewis Gun from 24th Machine Gun Battalion, Royal Horse Artillery, Australian Imperial Forces, reportedly brought The Red Baron down. Later, in 1918, a fabricated tripod base for the upper post mount came into service. These British mounts formed the basis for the Japanese S.N.L.F. tripod.

The Mount Itself

My friend picked up his tripod in Arkansas. It had come to mid America from Australia many years ago. It was and is quite rare. He pointed out that the S.N.L.F. possessed a unique military mind set. They obtained specialized weapons designed for specific tasks. The Special Naval Landing Forces then employed their specialized weaponry in their own particular way.

This S.N.L.F. tripod stood as a part of Imperial Japan’s sea and land arsenal. The owner knows no history on this particular tripod. A bullet groove in one of the legs suggests some ground use. Its excellent condition suggests no shipboard anchoring. He studied the ground use of the Type 92 tripod and came to the following conclusion. Japanese forces employed the Type 92 on both Saipan and Tinian, and in the Northern Marianas. The tripod simply stands in too nice a condition for long deployment.

Then my friend found a battle that fit the tripod — the rain soaked shores of Milne Bay in Papua New Guinea. The S.N.L.F. stormed ashore with superior manpower backed by Japanese light tanks. They overran half the airfield before the tide of battle turned. The outnumbered Australian troops rallied. The Australians beat the S.N.L.F. back into the sea in a ten-day firefight. The heavy rain bogged down the Japanese tanks. The Aussies captured a large amount of Japanese ordinance including Type 92 Lewis tripods. Though he admits to no proof, he presented interesting circumstantial evidence.

As for those Lewis tripods that he knows of, my friend gave this account. He stated that Aberdeen and the Infantry Museum at Ft. Benning display examples of the S.N.L.F. tripod. Not counting his, he knows of five tripods in private hands. Though rare, we suspect that more exist. As of this writing, Mr. Robert Naess featured a Japanese Lewis and Type 92 tripod on his web site. One of the other four tripods contains a small silver plate attached to the pivoting head. This plate contains writing in the old military kanji that, thus far, has not been translated.

The Japanese military contracted for few of these tripods. Even fewer of the Type 92 tripods survived World War II. In the early days of World War II, both Allied and Axis ships bristled with Lewis Guns. After 1941 though, Lewis slipped into obsolescence, the 1914 style gun remained in service until the end of World War II. As with some other mounts, the S.N.L.F. tripod cost more than a Lewis Gun to make. It also contains more high grade steel. One may speculate that a number of these tripods went back into foundries of the Japanese war machine. In the furnaces’ flames they became other war material. The war tide shifted at Midway in June, 1942.

First and foremost, massive does not describe this mount. A Lewis Gun manual, printed in 1917, roughly states that a stout man can fire a Lewis Gun from the shoulder. Unless the reader plays defensive tackle in the National Football League, this writer does not recommend trying it. The loaded Lewis Gun tips the scales just south of 50 pounds. The Japanese S.N.L.F. mount weighs just north of 60 pounds. One finds ‘massive’ to be an understatement. Unless you examine this rig in person, it is difficult to imagine the mass and the weight of this .30 caliber gun rig.

The mount, as seen in the photographs accompanying this article, stands about four feet high. Leg spread adjustments can drop the leveled barrel to a height of about a foot and a half. The Lewis Gun mounts one way for ground only use, another way for ground and anti-aircraft use, and a third way for strictly anti-aircraft use. The ground only use works for a soldier in any position from prone to kneeling. Reverse mounting the Lewis in anti-aircraft/ground position works for a soldier in the kneeling position. For the even taller anti-aircraft use, the wide end of the tripod head locks in the full down position. The Lewis Gun then hangs from the narrow end. This provides a comfortable stand up position for the gunner.

Other physical observations are as follows. This tripod remains in excellent condition. The tripod moves up and down, swivels, and locks as smoothly as glass. The flanges give a slight added lift to the tripod when set in its low ground mount configuration. One also instantly notices the inward pointing flanged feet on the S.N.L.F. tripod. A small hole pierces each one of the flanges. These openings serve as ship board anchors. This tripod shows no appreciable wear in the holes. From physical evidence, we believe that this tripod served on land. The bullet crease in one of the legs attests to some use in combat. Our test firing of it does not qualify as the tripod’s first rodeo. For additional information on both this tripod and the Lewis Gun, this writer recommends ‘The Belgian Rattlesnake’ by Mr. William M. Easterly, published by Collector Grade Publications, and available through Long Mountain Outfitters.

Brass On The Ground

Here in Georgia, the Emma Gees are shooters. We had viewed the tripod long enough. The time had come to lift the Lewis Gun top side and put some brass on the ground. Before dropping the hammer, several of us questioned the BSA Lewis on the Japanese tripod. Our friend stated, ‘This is not as incorrect as you might think. The Japanese captured a number of Lewis Guns from the British Colonial Troops in Southeast Asia. Before that, they had captured a large number of Lewis Guns from the Chinese Army when the Japanese drew their swords against Manchuria.’

Though several uncommon calibers exist, the Lewis Gun generally operates in 7.7 Jap, 303, or 30-06 depending on the maker and set up. The Japanese 7.7 and British .303 both function in the same Lewis. They differ only in powder charge and bullet weight. Dr. Ed Libby strongly advises against shooting any World War II Japanese ammunition. He recommends Norma 7.7.

In shooting a vintage Lewis Gun off the S.N.L.F. tripod, we followed Dr. Libby’s sage advice. Off this tripod we shot a BSA Lewis in 303. The ammunition came from SOG in Ohio and Summit Ammunition in Alabama. We used a winder obtained from Mr. Kent Lomont to facilitate loading the Lewis drums. Drums wound, we positioned them on top one by one. Each drum put 47 rounds of brass on the ground.

One easily grasps the thinking behind the S.N.L.F. tripod when shooting off it. Its combat worthiness aside, one gives high praise for accuracy to the Japanese designers. The immediate impression is how smoothly the gun fires off the Japanese tripod. One feels almost no recoil from the Lewis Gun. Shooters of older automatic guns know that the Lewis Gun ranks as one of the best .30 caliber guns to reach a distant target. This precision made and extremely stable tripod rig enhances the Lewis Gun’s ability.

The easy movement of the forty plus pound Lewis Gun atop the tripod amazed all of us. One must remember that this gun and tripod weighs in near the weight of the 1904 Maxim gun. With the elevation set, one may move the Lewis Gun through 360 degrees of trajectory with one finger. The weight provides a rock steady firing platform. On the down side, one can see from the setup that portability would present a problem. That being said, the following proved true. For old time shooting on a range, few automatics will equal or surpass the Lewis Gun on the S.N.L.F. tripod.

In this article we have tried to do justice to the size of this rig. When viewing the photographs, the reader always should bear the following in mind. The tripod allows a Lewis Gun to move as quickly as a gun one quarter its weight. The tripod rivals that of the 38/46 Chinese Dishka in size. Though both work well, the craftsmanship of the Japanese tripod rivals that of the 38 Russian Dishka. As our knowledgeable readers know, the 38 Dishka wheel mount serves as a ground and an anti-aircraft mount. The S.N.L.F. Lewis mount does the same. Though the combat worthiness of the S.N.L.F. tripod remains debatable, one cannot deny that its wonderful construction remains of the highest order.

We all enjoyed firing off this rare piece of history. The BSA Lewis Gun functioned flawlessly as did the S.N.L.F. tripod. We shot some of our friend’s ammunition and a lot of ours. Though he reloaded, our friend did not feel like hauling the empty brass across five states. He donated the spent brass to one of our number who reloads.

As he rolled out for Florida, our friend thanked us for our hospitality. We thanked him for this rare view of Imperial Japan in the 1930s. We had shot the Lewis off the Japanese S.N.L.F. Type 92 Tripod. The examination and firing yielded an interesting view of advanced Lewis technology. Today that technology seems almost forgotten.

Special thanks to Dolf Goldsmith, Dr. Ed Libby, Robert Naess, and Doug Hollberg for their fine assistance.

When one thinks of Second World War in Europe, one often thinks of the Italian Campaign, Normandy, and the Battle of the Bulge. When one goes deeper, one begins to view the enormity of the War, particularly in the East. In the East one finds Operation Barbarosa, German troops at the outskirts of Moscow, the Kirsk salient, and most of all the Siege of Stalingrad.

As her conquests and alliances grew in 1939 and 1940, Germany needed oil. Rejecting Rommel’s plan of taking the oil fields of the Middle East, Hitler chose to conquer his ally’s oil fields in the Ukraine and southern Russia. In 1941 he launched Operation Barbarosa, the invasion of Russia. By mid 1942, the German Army Group Bua stood poised before Stalingrad, the sprawling city of 500,000 on the eastern edge of the Volga River.

With the outbreak of war in 1941, the Russians possessed only two advantages — the differing gauge of their railroad tracks and the vastness of their country. That first summer the Russians stood and fought. The Russian stands resulted in slaughter or capture by the better equipped and better manned German Armies. By the next summer, the Russians fought the Germans by day and stole away by night. The farther the Russians retreated the longer the German supply lines became. German trains could not run on Russian tracks. This disparity forced the Germans to off load every supply train at the Russian border and to reload their supplies onto a Russian gauge train. The Russian gauge train then would be forced to haul the German supplies to ever lengthening destinations. The Russians had slowed the German’s advances but had not beaten them yet. Then came Stalingrad.

The Small Story Within The Big One

For those who wish the full sweep of the story, this writer strongly recommends ‘Enemy At The Gates — The Battle for Stalingrad’ by the distinguished scholar Mr. William Craig. This fine book captures the sweep and the tragedy of the turning point in the East. Within this wonderful book one also finds the accounts of Soviet sniper Vassili Zaitsev and the German sniper instructor Major Konig (or Konings). This intriguing story became the basis for the wonderful motion picture.

Vassili Zaitsev came to earth to poor parents in the Urals. When Russia needed men to fight the Germans, Zaitsev joined with millions of others. Early on, Vassili Zaitsev distinguished himself with extremely accurate long distance shooting. He became a sniper. In the looming days of the war, his battlefield work attracted the attention of propagandist and political officer Danilov. Danilov began to publicize the record of Zaitsev and increased it during the Siege of Stalingrad.

Major Konig, an instructor at the sniper school outside Berlin, did not see the humor in Danilov’s reports. He picked up his rifle and went to Stalingrad to hunt Vassili Zaitsev. Zaitsev romances fellow sniper Tania while subjecting the Germans to one shot kills. More than two million men and women fought over the turf of Stalingrad. The fight between Konig and Zaitsev came down to the sun and one shot fired by each in the late afternoon. In its way, this fight between these two men symbolizes the Siege of Stalingrad. History today questions the existence of some aspects of this battle within a battle, even to whether Major Konig existed, but the symbolism and legend lives on. In a greater sense, the fight between these two men points out the closeness of the victory at Stalingrad.

With the German armies converging on Stalingrad, Joseph Stalin drew the line. He ordered the Russian Army to hold Stalingrad at any and all costs. A semi-literate ex-coal miner turned party official named Nikita Sergeeyvich Khrushchev took up the challenge. Many citizens fled. Many others died. At the end of the siege in February of 1943, 1515 of the 500,000 pre-war citizens remained alive. The death toll on the Axis side totaled more than 800,000. Estimates of Soviet losses exceed 1,100,000. Two Panzer Armies ceased to exist. General von Paulus and more than 100,000 of his soldiers marched into Soviet prison camps. A little over 5,000 of them would survive the war. The defense of Stalingrad had stopped the German advance. From that point on the Volga in February 1943, the Russians took the offensive.

Mr. Godard and Mr. Annaud

Screenwriters get ideas from many places. The best two places prove to be either from thin air or from books. About seven years ago Alain Godard read William Craig’s wonderful book ‘Enemy At The Gates’. Within the pages, Mr. Godard became intrigued with the stories about Vassili Zaitsev. He sensed the makings of a wonderful film. Mr. Godard took his ideas and a copy of the book to the esteemed director Jean-Jacques Annaud. At their first meeting, Mr. Annuad had the same feeling about the material.

Their research lead them eastward to Germany, Moscow, and Volgagrad (Stalingrad). In Volgagrad they found Vassili Zaitsev’s rifle proudly on permanent exhibit at the Historical Museum. In Moscow they found the telescopic sight from Konings’ rifle displayed at the Armed Forces Museum. Today in Volgagrad one can find Vassili Zaitsev’s likeness standing the tallest in the enormous bas-relief of the battle.

Mr. Annaud and Mr. Godard spoke with veterans of the battle in both Russia and Germany. They examined the Russian newspaper accounts of Vassili Zaitsev. In Germany they found no record of Major Konig (more on this later). Both men viewed the lack of Konig information not as a stumbling block but as a launching pad. They would tell a classic story as best they knew it. They would tell an intimate story against the backdrop of a battle as large as Stalingrad. Mr. Annaud stated it succinctly: ‘We have taken an historical event and tried to understand what happened in the hearts of the people who lived through it.’

After months of script work, Mr. Annaud along with Production designer Wolf Kroeger (whose fine work includes ‘The Last of the Mohicans’) and producer John D. Schofield (whose work includes ‘As Good As It Gets’ and ‘Jerry McGuire’) went on a country by country search for locations throughout eastern Europe. Mr. Schofield worked closely with executive producer Ms. Alisa Tager. In eastern Germany, they found the locations for the massive shoot. Open pit mines near the Polish border, a huge dilapidated military barracks in Krampnitz, and a crumbling factory in Rudersdorf served as stand-ins for the war torn Stalingrad.

During the four months that the production crew built the sets, Mr. Annaud worked south of Brandenburg. In the town of Pritzen he supervised 300 crew and 600 extras filming the evacuation of Stalingrad. Back at the other sets, Ms. Janty Yates (whose credits include ‘Quest For Fire’ and ‘Gladiator’) moved with her customary efficiency. She created 17,000 uniforms in green and ‘mouse gray’ (see SAR Feb 00). Ms. Yates then weathered each uniform to look as if it had withstood months of combat. Ms. Janty Yates fitted every actor and stunt man with a custom fitted combat uniform.

While the uniforms reached completion, stunt coordinator Jim Dowdall began training two armies. He brought with him his experiences as armorer on The Dirty Dozen and Where Eagles Dare. His stunt work includes driving the lead tank in the climactic scenes of Saving Private Ryan (see SAR Oct 99). He trained the 17,000 volunteers to work as opposing armies. Many had no experience with weapons but all stood eager to learn. Mr. Dowdall also trained the actors. He started with drill and continued with rifle craft. After the initial training Jim Dowdall coordinated with director of photography Robert Fraisse. Mr. Fraisse’s credits include Ronin and Keys to Tulsa. Together Jim Dowdall and Robert Fraisse laid out a very rich pallet from which Mr. Annaud could work.

Lights, Camera, Action

After the screenplay is written, the motion picture becomes the director’s medium. Academy Award winning director Jean-Jacques Annaud co-wrote the screenplay. His talented staff laid out a rich pallet. The director picked a wonderful cast. Then Mr. Annaud put paint to canvass. He did so with a feeling that reminds one of the delicate stokes of Vincent Van Gogh. In this motion picture, one will view the death struggle for Stalingrad like the impressionistic views of the fields of Arles.

Mr. Annaud cast Joseph Fiennes, Jude Law, and Rachael Weisz in the roles of Danilov, Zaitzev, and Tania. Joseph Fiennes triumphed in ‘Shakespeare in Love’. When Mr. Annaud viewed Mr. Law in some early rushes of ‘The Talented Mr. Ripley’ he knew that he had his Vassili Zaitsev. Jim Dowdall taught all principals to handle the rifles in excellent fashion. Though both men took to the rifle very quickly, Rachael Weisz proved to be the quickest of all. Ms. Weisz had witnessed fine gun handling opposite Brendon Frasier in ‘The Mummy’. Ms. Weisz took the wonderful role of Tania Chernova, the comely student of Zaitzev and a fine sniper in her own right. Jim Dowdall simply said of Rachael Weisz’s gun handling, ‘She was brilliant.’

Mr. Annaud had only one actor in mind for the role of Major Konings — Academy Award nominee Ed Harris. Mr. Harris has thrilled audiences for years in films like Michael Bay’s ‘The Rock’ with Nicolas Cage and Sean Connery; Clint Eastwood’s “Absolute Power’; and his truly amazing performance opposite Sean Penn in the classic film ‘State of Grace’. Ed Harris did not need instruction in gun handling. He showed up on set ramrod straight holding his rifle like a Prussian sharpshooter. Many people on the set commented on Mr. Harris’s use of his eyes during the filming. One may view what the film talked about in a photograph that accompanies this article. This writer has viewed that look before, not in the eyes of actors, but in the eyes of a rare type of long distance shooter. Many actors instinctively know what they are looking at.

Bob Hoskins brought his special talent to the role of Nikita Krushchev. Viewed in films from his Academy Award nominated role in ‘Mona Lisa’ to his comedic brilliance in ‘Who Framed Roger Rabbit’, Mr. Hoskins seemed destined to play the top political commissar of Stalingrad. Ron Perlman won the coveted role of Nikolai Kulikov, the rifle wielding sniper and born killer of Stalingrad. Few can forget Ron Perlman’s performances in ‘Quest For Fire’ and ‘The Name of the Rose’. Mr. Perlman brings his consummate talent to the role of Vassili Zaitsev’s close friend. Also in the film one will view Gabriel Marshall-Thomson as Sacha and Eva Mattes as Mother Filipov. Matthias Habich well plays the role of the doomed General Frederich von Paulus.

Parting Thoughts

Many of our readers know of Vassili Zaitsev and Major Konig. Konig’s school existed in East Germany, outside Berlin. The story that we know comes from the Soviet perspective. Jean-Jacques Annaud found no evidence of Major Konig in Berlin. This does not say that Konig did not exist. This merely says ‘no evidence’. Mr. Annaud based this motion picture on the best evidence that he had at his disposal.

The readers of this magazine do not sleep at the wheel. Since the writing of William Craig’s book, Germany has reunited and the Soviet Union is no more. As you read this, this story carries the label ‘Soviet propoganda’. No doubt exists that Tania and Vassili were and are genuine heros of Stalingrad and The Great Patriotic War. Perhaps one of our readers in Germany or Russia has documentation on Major Konig (or Konings). If so and if this person wishes, this magazine would like to hear from you.

Against the background of the Siege of Stalingrad we view a love story and a hunt for the assassin who hunts the lovers. Mr. Annaud used 17,000 extras and five European locations to film his scenes. To tell the story of Stalingrad, Mr. Annaud enlisted a rock solid cast and a crew of consummate professionals. Those of our readers who are ‘out and about’ may wish to purchase this motion picture on VHS or CD. Don’t miss ‘Enemy At The Gates’.

Acknowledgements:

This writer offers thanks to the many people who asisted in this article, especially Ms. Carolyn Sloss of Allied Advertising in Atlanta, Georgia — press reperesentatives for ‘Enemy At The Gates’. This writer also wishes to thank Mr. Ed Harris and his agents in California. On a personal note, some years ago Mr. Harris, along with the equally gracious Mr. Dennis Hopper, made the film Parris Trout two blocks from this writer’s house. We continue to wish this most accomplished actor the best of success.

Credits:

Ms. Carolyn Sloss, Allied Advertising, 1770 Century CIR — Suite 122, Atlanta, GA 30345 404-633-1739
Mr. Meredith Brosnan, Sovfoto/Eastfoto Agency, 48 W 21st ST — 11th Fl, New York, NY 10010 212-727-8170

Next, I contacted two prominent national ammunition distributors. First and foremost, a question needed an answer. Two days after September 11, most retail stores listed their supplies of 9mm, 223, 308, and short Russian as ‘sold out’. About the ‘shortage’, both ammunition distributors said the same thing. Ammunition arrives in a constant supply. No shortage existed. September 11 caused a temporary surge in buying. With several more shipments, both the flow and price will returned to normal. One of them stated, ‘I could have sold out of 762×39 early last week. I saved some and brought it to the Creek, knowing that the shooters would need it.’ This writer picked up some 762×39 from him and a stack of Radway .303 from another. By Sunday, I had put all of the brass on the ground.

Those who have not come to the Creek might think that there would be changes. This writer observed only two. First, each day at 8 o’clock in the morning the loud speaker played The Star Spangled Banner. During the time of its playing, one literally could have heard a pin drop. Second, an impressive number of new faces showed up at Knob Creek. Some of them made serious purchases in the Pole Barn. The world may change. Knob Creek remains Knob Creek.

As additional evidence of how Knob Creek remains constant, we relate the following. Two days after the treacherous attacks on American cities, The History Channel ran an all day marathon of ‘Tales of the Gun’. This writer had the privilege of contributing to several of the programs. During the weekend at KCR, literally more than three hundred people thanked me, Lamar Cheatham, Forbes Mathews, Dr. Ed Weitzman, and Doug Hollberg for our contributions to ‘Tales of the Gun’. Upon returning home, I telephoned Greystone Productions and spoke with Producer Andrew Nock. I asked him to pass on to Executive Producer Louis Tarantino and Producer/Director Tom Jennings the many kind remarks from KCR. We have always been proud of our work. On those three days, we felt particularly proud of the work and humbled by the heartfelt response.

Pole Barn Adventures with the Usual Suspects…

Before the Pole Barn opened on Friday morning, I dropped by the Little Fat Guy’s slot for a steaming cup of coffee and some good conversation. Tom Golik, prominent Title 2 from Jacksonville, FL came by and showed off his new Stoner. He gave an open and instantly accepted invitation to come and put some brass on the ground. Meanwhile, the Little Fat Guy’s wife fitted the newest member of their family with small ear muffs and dainty eye protection. When Homer Sailor called the line hot, the Littlest Fat Person sat transfixed in the stroller as the Little Fat Guy emptied a belt for his offspring from his short barreled .50. Some shooters are made, others are born.

At 10 o’clock The Pole Barn opened and people flooded in. We all enjoyed the spectacular show. This fall, as in the recent past, the dealers went ‘all out’ to serve their customers. First and foremost to my mind comes the Breda 35.

Kent Lomont displayed a truly rare and magnificent gun. This writer test fired a Breda 35 about ten years ago at the Creek. I handled one about three years ago that went to the mid West. Both of these guns came in 6.5. Mr. Lomont displayed a beautiful example of an export model Breda 35 made for the Costa Rican Army. This gun came in 7mm. On Thursday afternoon, Mr. Lomont tore down this fine gun in order that several of us could examine the fine workmanship. Though its magazine loading makes it not a great combat weapon, one will find the Breda 35 as well crafted as any and better than most. I told several collectors about this beautiful piece that carried a comparatively modest price tag. The beautiful Breda carried a sold sign by noon on Friday.

I next went to the tables of Mr. and Mrs. Paul Anagnos, surplus dealers. Weathermen forecast much cooler temperatures on Saturday night. Mrs. Anagnos provided a warm coat from within the huge stacks of camp gear. I then broke out a couple of Tampa cigars. Paul and I smoked these fine cigars in celebration of Cuba’s first freedom fighters. Cuba Libre came to be in the cigar factories of Tampa in the 1880’s (see SAR July ’98). While we talked, Paul introduced Michael Smith of Purvis, MS. Mr. Smith displayed three pistols from his personal collection. I knew someone that all three would interest.

I took the news to an astute collector and dealer on the other side of the range. The collector immediately went into the Pole Barn. He emerged a half an hour later with a smile on his face. He stated. ‘The baby Nambu with two magazines and a holster isn’t as pretty as the one I already have, but it is a very pretty gun. The pre 357 Magnum (one of 5500 made between 1935 and 1938) appears to be almost unfired. I bought them both.’ The preceding proves one of the fine points at Knob Creek Range. Though the automatic guns predominate, one may find other unexpected treasures if one looks hard enough.

While viewing some movie use machine guns at the LMO tables, an interesting encounter took place. Byron Farmer of Milledgeville, GA recognized my North Atlanta accent. When he introduced himself, I recognized his accent from the Fall Line. Mr. Farmer had acquired an Amnesty registered MP-3008 many years ago. The Class 3 dealer brought his early acquisition to Knob Creek Range to find out what it was now worth. I suggested that we wait until Dan Shea could talk with Mr. Farmer. When Dan got free, he examined the weapon. Dan stated, ‘ The stock looks like it is incorrect, but it is not. The Germans made several stock variations and this is one of them. I have handled three of these in the last two years or so. The last two I sold for $8500 and $9500. This Type 1 MP3008 looks like the one that went for $9500.’

Mr. Farmer and I then went to The Rifleman tables run by Dave and Mark Mann of Macon, GA. Mark enthusiastically showed us part of the large acquisition that they had just made of transferable Title 2s. Then Mark went under the table and brought out their brand new PKM. Now, they hunted ammunition and belts at Knob Creek. Mark manned the tables while Dave took the PKM out for a photograph. He stepped around his DSHK 38/46 and stood for a photograph with their newest acquisition. The preceding offers additional proof to an old adage. At KCR, one never fails to meet new friends and view new things.

Meanwhile, some unloading took place at the front of the Pole Barn. Brian Koskey displayed two cannons that he had restored for Kent Lomont. First off the truck came a Swiss 50mm that looked new. Second came a wonderful piece of history, an American 37mm from World War I. The long barreled cannon sat on a narrower and higher mount than the mounts one is used to viewing on the World War II 37s. Brian pointed out the Bethlehem Steel imprint near the breech. Across at Robert Landies’ Ohio Ordnance tables we viewed another unusual piece of heavy ordnance. Mr. Landies proudly showed off the 1918 Maxim 13mm anti tank gun correctly mounted on a Maxim 08/15 bipod. This massive gun looks like an 1898 Mauser that abused a lot of steroids. After the Great War, John Browning would use the 13mm cartridge to invent the American .50 round. He then designed an automatic gun to fire it. Scott McNish, armorer with Ohio Ordnance, set up the photograph that accompanies this article. In the snapshot, Scott holds the 13mm anti tank crossed with a ’98 Mauser to give the reader an idea of scale.

Ready On The Firing Line

Before going to the line, I dropped by Jonathan Arthur Ciener’s tables. There Jon displayed his much anticipated ‘Project X’. This project allows all Thompson owners to shoot .22 rounds. The kit comes with a barrel insert, magazine, and bolt works. Jon makes these kits for the 1921, 28, and M-1/M1-A1s. This writer became one of many who signed up for ‘Project X’. Out on the firing line, author James Ballou took ‘Project X’ for a test drive. Mr. Ballou knows considerably more about the BAR. Jim reported flawless function for ‘Project X’.

More than one invention took a test by fire on Friday. Joe Gaddini of SWR Suppressors introduced Scott Prince of R & D on their new Omega 9mm suppressor. Scott reported that much talk arose from the Friday suppressor competition. First, Scott reported that the Omega demonstrated a 40db reduction dry. Second, the Neilson recoil booster device enabled the Glock weapons to function flawlessly with the Omega suppressor. The CNC aluminum constructed suppressor functioned 12db quieter than any other leading suppressor. As often reported in this magazine, the suppressor wars continue in earnest.

Stuart Rueben received the transfer on his cannon and immediately took it to the line. Many counted themselves fortunate to view this historic gun. Mr. Rueben showed off the French cannon, serial number 200, on Knob Creek’s main line. America bought these 40mm cannon dated 1892 and converted them from fusee fire to center fire. Mr. Rueben showed off the unusual side breech assembly. He took pleasure in the remarkable condition of this fine gun. Milton Barnes, drum inventor of Metall Werkes and cannoneer of The Bowler Battery, gave some cogent comments about the 40mm. Mr. Barnes stated the gun originally entered service as a true 10lb Parrot. The original shells came as pointed rifle projectiles. Milton then stated the 40mm was, ‘…a flat shooting, exceptionally nasty piece of ordnance if you happened to be on the receiving end.’

Saturday afternoon I ran into Valerie with Valkyrie Arms. Valerie brought her production De Lisles to Knob Creek Range and took a number of orders. Her company produces these guns twenty at a time. We went to the firing line to test drive the weapons. The beautifully crafted weapon functions extremely well. A Georgia Emma Gee recently placed an order for one having never seen even a picture of a De Lisle. Suffice it to say that this carbine fires as quiet as a whisper and hits like a Mack truck. Look for a comprehensive article on the De Lisle Carbine in a later issue of SAR.

Upon arrival at the Black Mariah on Saturday afternoon I found the occupants extremely happy with an acquisition made that morning. Forbes Mathews and Doug Hollberg told of acquiring the final piece of ‘Project 99’. Of the six known kits, a seventh had surfaced. As to whose and where, don’t ask. This kit contains the Chinese converted 7.7 barrel that now fires 762 x 39 and the Chinese made tail piece. Another group in the Midwest independently figured out the tail piece. Back in Georgia, Mike Thacker already has received his 762 x 39 converted 99 barrel. As you read this, two versions of the Chinese conversion already are putting brass on the ground.

I then went down to visit some Vickers shooters and put my 1600 rounds of Radway on the ground. (It was a dirty job, but someone had to do it.) When Homer Sailor called a cease fire, I ran into Troy Sellars of In Range out of Kodak, TN. The talented Class 2 does a full range of AK to Krinkov conversions and AK SBRs. He showed off his beautifully crafted AK-74 Krink variant. Troy stated that he really like the AK design and the Krinkov innovation. He chose to specialize in these particular weapons. The fine Krinkov underscored his point.

When Saturday night rolled around, everyone headed toward the main line. Kenny Sumner had added additional viewing stands to give the crowd an even better view of the Night Shoot. Tracer stood as the order of the day. The gunners took the order to heart. The show opened with a helicopter fly over with tracer put down range from an M-60. Then came a tracer burst from the mini-gun. Homer Sailor then called the line hot and the thunder rolled. After each session the crowd broke out in enthusiastic applause. Many viewers moved closer to guns that they wished to view in action. Throughout the evening everything from Gatling guns to a mini-guns poured tracer down range. We all enjoyed a spectacular Saturday night.

Throughout the weekend, I looked for some particular faces. All had gone to serve our country, save one. I ran into him at the Title 2 crossroads of the world, between the Range House and the Pole Barn at Knob Creek Range. I stated, ‘I didn’t expect to see you here.’ He said, ‘The got my buddy on Friday. They will call me up when I get back on Monday.’ We never said good-bye. We said, ‘Until we meet again.’ This man has assisted this writer and some others with deep background on armaments. To him, to those that were missing, and to all of the men and women who now put their lives on the line for our country, we dedicate the following.

Seven Spanish Angels

As we write this in late October, we cannot know the events of the coming months. We do know this. When daylight broke on September 11, 2001, our country moved as it had the day before. The events just before 9 o’clock on that day changed everything. The talking heads of network news proclaimed that America had changed forever and entered a new age. As usual they were half correct. In less than a day we threw away 55 years of liberalism. We went back to the generations of those who came before us. We went back to the time of Theodore Roosevelt. The forces of evil mistakenly awakened what Isoroku Yamamoto later called ‘…the sleeping giant.’ We still walk softly but we now carry an awfully large stick. Perhaps the distinguished actor James Woods put it best. On Jay Leno’s Tonight Show the actor stated, ‘…forget political correctness, we are at war!’ In that light we offer this, especially for our readers at Campbell, Lejeune, and Bragg.

Early in his Presidency, Theodore Roosevelt returned the captured battle flags to the Confederate States. Now the descendants of those states and all of the other states answer our country’s call. Our men and women in the military now go to war for us, and for all of the civilized world. Our soldiers who go into the night must know the following above all else. Our fervent prayers go with you. Some, and perhaps a good many, of you will not return. For you, the best and brightest among us, we offer these last few words. May seven Spanish Angels forever comfort you, and always light your path. Your cause always shall remain undeminished. Your honor shall always be bright.

By Rick Cartledge

Many of SAR’s readers use their firearms during interesting events. Here is a story of the making of one part of the movie “Pearl Harbor”, and the effect that some of SAR’s readers and contributors had on ensuring authenticity in the film.

The telephone rang on a Thursday evening. When answered, the other end of the line yielded the distinctive voice of Kevin Brittingham. Kevin telephoned to discuss a shoot on Saturday, November 11, 2000. I said, ‘The 11th will be Armistice Day. You have a great sense of timing.’

Kevin, Vince Mueller, and Harold Shinn had done the shooting for the sound recording of the landmark film ‘Saving Private Ryan’ (see SAR Oct 99). Christopher Boyes, one of the Academy Award winners for ‘Saving Private Ryan’, again had contacted him at Advanced Armament Corporation.. Kevin had assembled a crew to do the firearms sound effects for a new motion picture. Kevin also stated the he already had contacted his brother Greg to open his large private gun range for motion picture use. Kevin invited me to come and put some brass on the ground for the new motion picture ‘Pearl Harbor’.

Advanced Armament possessed nearly all of the automatic guns required. Kevin knew that, in our area, a number of Title II owners shot Japanese weapons. Kevin wanted specific vintage weapons to capture not similar sounds but the exact sounds of early World War II. We had the rest of what he required. We also had a surprise.

After Kevin hung up, I telephoned Forbes Mathews and told him of the project. Forbes responded enthusiastically. He stated that he would bring a Japanese Type 96, a Japanese Type 99, and Japanese Type 11 (see SAR Dec 00). I then asked Forbes to bring the first gun that he ever bought — an immaculate Colt Commercial .50 caliber water-cooled gun made in 1922. Though we will do a later article on this particular gun, the short story follows. This gun contains an adjustable buffer. With a few flicks of the wrist, the gunner may set the RPM from 550 to nearly 1200. A weapon such as this sat in the later named Tora Tora Tora rigs at Pearl Harbor on December 7, 1941.

After hanging up, I thought about the Saturday to come. I remembered a particular story from the U.S.S. Nevada. On that fateful morning, her band and Marine Guard assembled on her deck to raise the colors. About half way through the ceremony, a Japanese dive bomber swooped across her decks. The tail gunner sprayed the assembled band and Honor Guard. He hit no one. The assembled men said ‘To Hell with them’ and finished raising our flag and playing the Star Spangled Banner. They then went to their battle stations and galantly defended their ship. We would go on Saturday to pay tribute to these men and the many others who stood for us so long ago. No one could not have kept any of us away.

Advanced Armament

Forbes came by before sunrise on Saturday morning. We loaded up and rode northward toward Advanced Armament Corporation in Lawrenceville, Georgia and rolled up at the front entrance about 9 o’clock. In front of us sat two large trucks. Vince Mueller completed the loading of cased guns into the front truck. Vince then loaded some extra crates of ammunition into the rear truck Kevin came out the front entrance and offered coffee. We gratefully accepted. As we finished the coffee, Chris Boyes and the Skywalker Sound crew arrived.

We motored northward through several counties to Greg Brittingham’s farm. There we rolled up in front of the gun range. A pickup truck (read that “target”) sat parked at the far end near the high berm. We unloaded equipment and talked guns as the Skywalker crew set microphones and recording consoles. The conversation as well as the efficiency of the crew proved nothing short of amazing.

A few words about Advanced Armament Corporation. Over a number of years Kevin Brittingham has built a prosperous and nationally respected business. In addition to the well-stocked inventory of regular firearms, Advanced Armament carries a fine selection of Title 2. At their indoor gun range next door, they rent Title 2 for practice and test firing. Advanced Armament also manufactures suppressors for commercial sales. During this weekend, Advanced Armament suppressors would assist Skywalker Sound. These suppressors would help the Skywalker technicians capture bullets in flight. The skilled technicians of Skywalker would then deliver those recordings to the soundtrack of ‘Pearl Harbor’.

Armistice Day

Motion picture shooting differs from group shooting. The recording engineers seek pure sound on the track. They mix the sound in their studios to fit the action on screen. In studio they may combine, abbreviate, or round off shots. Thus the shooting done rates as pure sound. With this understanding, we set up the guns. The men of Skywalker Sound set up their recorders and microphones to capture it all.

We finished the safety meeting about 10:45 in the morning. The technicians of Skywalker Sound finished the preliminary set-ups down range about 10:55. I noted that we had gathered on Armistice Day. We should fire the first shot at 11:00am, the traditional time to remember the Armistice- the eleventh hour, of the eleventh day, of the eleventh month. In so doing we would put some brass on the ground to honor the Men and Women of 1918. Michael Mathews, the youngest member of the shooting team, took his position at the line. At 11:00 he let off a burst and we let out a cheer. The Skywalker crew went through their final sound checks. Then we got down to business.

Michael Mathews fired all of the Japanese light machine guns that one will hear in ‘Pearl Harbor’. He first fired the Japanese Type 11 previously written up in SAR. The Type 11 takes 6.5 Norma loads. The supply of ammunition stood as adequate but not large. Aren Downey gave the call ‘Type 11 light machine gun!’. A pause followed. Michael then let off a short burst. Another pause followed. Aren yelled ‘Cut!’. We all applauded. Chris then asked Michael to do a medium burst in the same fashion. Michael did. Then came a long burst. Afterwards came varying bursts of varying lengths. Just as Michael loaded in his last set of stripper clips, John Fasal announced that they had enough. Chris Boyes smiled at the coordination between Michael Mathews and the Skywalker crew.

Michael then turned to the Japanese Type 96 Nambu LMG. Michael went through the same procedure with the Type 96. This Nambu light gave a different speed and sound to the 6.5 cartridge. We also pointed out that this gun still enjoyed manufacture during the time frame of the motion picture. Though discontinued in 1943, the Type 96 remained a favorite with the Japanese troops throughout the War. The Type 96 fired loads crafted from 35 Remington cases. Herman Lysle and Doug Hollberg crafted the loads for both the Type 11 and the Type 96. They used lower pressure loads. For both of these guns we repeat the caveat from Ed Libby. “DO NOT USE ANY WORLD WAR II OR CHINESE AMMUNITION IN THESE GUNS.”

The next gun brought a price break in the cost of ammunition. Michael got down behind a Japanese Type 99 chambered in .308. The .308 cartridge provides the same sound as the 7.7. It does so at considerably less expense than the Japanese 7.7 round. Skywalker Sound put Michael through the same paces as with the other two guns. The 99’s throatier, different speed sound boomed out as Michael pulled the trigger. With a pause after the final blast, Aren said ‘Cut!’. That signaled Michael’s final round in the soundtrack of ‘Pearl Harbor’.

Heavy Hitters

Forbes Mathews rolled out his heavy .50 rig. Chris Boyes came over to examine the unique rig capped by the historic .50 caliber gun. This commercial water-cooled gun dates from 1922, carrying the Colt serial number C18xx. I explained to Chris that this gun exhibited the identical characteristics as those fired from the later named Tora Tora Tora rigs at Pearl Harbor. Forbes then showed Chris the adjustable buffer. This buffer varies the RPM from 550 to 1200. Without hesitation, Mr. Boyes asked for the high speed sound.

Ethan Van Der Ryn rolled the tapes and Aren gave the name of the gun. A pause followed. Forbes dropped the hammer. After another pause, Aren yelled ‘Cut!’. Chris Boyes stood in amazement. ‘That’s the damnedest gun sound I’ve ever heard.’ Forbes laughed and stated, ‘This gun has been banned on gun ranges in two states.’ After the first firing, the Skywalker crew set a steel plate. They also added two additional microphones to capture the shells that fell from the Commercial .50. In the motion picture the distinguished actor Cuba Gooding Jr. fires a .50 caliber gun. One may listen for the unique sound and the tumbling shells of this fine gun as one views ‘Pearl Harbor’. Those who come to the Knob Creek Show and Shoot may view this same fine gun. They will find it next to the deuce and a half on KCR’s main line.

Henning Brown then rolled out the two field guns, a 25 Hotchkiss and a Pak 35. Curtis Hawkins, well-known specialist in Title 2, came down from the Georgia mountains to put these guns through their paces. Curtis checked the guns and flipped down the shield on the Pak 35. Curtis then swung the breeches open and yelled, ‘The line is clear’. With that Scott Gitteau and John Fasal went down range to arranged the microphones. When Scott and John came back past the guns, Curtis yelled, ‘The line is hot’. Mr. Van Der Ryn got the recorders up to speed. Aren said the name ’25 Hotchkiss’ and paused. Mr. Hawkins put a round through the pickup truck hunkered down at the end of the range. ‘Cut’ followed another pause. Curtis repeated the procedure a number of times with the 25 Hotchkiss and the Pak 35.

Henning Brown and Kevin Brittingham then moved to the far side of the line. They took up positions behind two .50 caliber M2 guns. They flipped up the covers and swung the barrels safely away from the firing line. They stepped back from the guns and signaled Chris Boyes that all was clear. Chris sent Scott Gitteau and John Fasal down the line to check the extant microphones and set up several additional microphones. When Scott and John came back across the line, Henning and Kevin approached the M2s. They loaded the guns and stood at the ready.

One found the firing of these guns to be particularly interesting. Henning and Kevin fired these guns together and separately in both short and long bursts. The steel impact plate employed on Forbes Mathews’ water-cooled .50 also saw service here. Together Henning and Kevin’s guns produced a distinctly different 1100 RPM sound. When fired separately the two guns produced a completely different 550 RPM sound. As stated before, the magic rests in the recording. When we view the motion picture we shall listen for the .50’s with great interest.

Drew Wolfe and Tracy Moore helped Chris Neufeld haul out a matched pair of heavy hitters. These hitters consisted of a brace of German 81 aircraft guns. These guns give a high speed sound that is as distinctive as it is awesome. Aren gave the name of the guns and a pause followed. Drew, Tracy, and Chris took turns putting massive amounts of brass on the ground. These guns fire in very similar fashion to the Japanese aircraft guns. Their sounds will add greatly to the sound track.

Kevin Brittingham then brought out a veteran of ‘Saving Private Ryan’ — the 20MM S-1000 Solothurn gun. This magnificent gun came to be in the 1930s as an anti-tank weapon. Though a great step forward, the evolution of ever stronger tank armor throughout the 1930s soon rendered this beautifully crafted gun obsolescent. The Afrika Corps later employed the Solothurn as a brutally efficient sniper weapon from Tunisia to Egypt. The survivability of anyone hit with a 20MM round rated at about zero. In ‘Ryan’ Kevin skillfully employed the Solothurn. In his hands the Solothurn yielded the authentic sound for the German Flak gun. In ‘Pearl Harbor’ the Solothurn takes on the guise of other appropriate weaponry.

Viewing this weapon is one thing. Firing the Solothurn is something else. The gun balances well and the sights line up easily. The chain driven cocking takes some getting used to. The trigger pull stands as unlike anything else. Several remarked that the trigger pull seemed to be measured in pounds rather than ounces. When the firing pin strikes the primer, one does not mistake it. The flat shooter pushes as much as it kicks. The projectile hits whatever lines up in the sights. The gun fires the standard 20 x 108B round. This effective round still enjoys world wide acceptance. One finds this round in production at this very hour. Though all who fired the Solothurn did well with it, Mr. Brittingham possesses a particular affinity with this gun. With this gun, as with many others, we await the magic worked by the men of Skywalker Sound.

‘It Ain’t Over Until It’s Over’

With respect to Yogi Berra, we must state the following. Motion pictures consist of an assemblage of many parts. The screen writer, the actors, the cameras, and many other elements contribute. The director oversees all. Michael Bay directed this motion picture. Jerry Bruckheimer produced it. Randall Wallace wrote the sceenplay. The Touchstone Picture stars Ben Affleck, Josh Hartnett, Kate Beckinsale, and the afore mentioned Cuba Gooding Jr. The shooting in Georgia gave a small but significant part of the whole.

As we got ready to leave, Chris Boyes came over to the truck and spoke with me. He asked specific questions that would aid him in his studio work. We gave answers. I also gave him a copy of December 2000 SAR to assist him in his work.. Chris thanked us for coming and for giving input to the motion picture. We told him how much we respected his work and that of Shannon Mills in ‘Saving Private Ryan’. We hoped that ‘Pearl Harbor’ would be received at least as well. With that, we said our good byes and rode off as dusk blended softly into night.

As we rode southward we spoke of the day done. Forbes talked of how much he enjoyed the shoot and the good friends that we had seen once again. Michael Mathews echoed the words that his father had spoken. He then stated that he would tell all of his friends about it. Then I said something to Michael. These words spanned more than 100 years.

‘We will see the movie ‘Pearl Harbor’ on Memorial Day. We will know the part that we played in it. Four sets of days determined the freedom in which we now live — Pearl Harbor, Guadalcanal, Midway, and Normandy. Those days happened more than 50 years ago. What I am talking about at present is a day some 50 years from now. On that day, you will be a grandfather. Your father and I probably will be gone. You should sit with your grandchildren and view this motion picture. Tell your grandchildren about that day long ago when you, your father, and I went to north Georgia. Tell them about how the free men of Georgia met with the talented men from California. Together they crafted the shooting sound tract for this motion picture. Tell your grandchildren of the part that you played in ‘Pearl Harbor’. More importantly, tell them of the freedom that this motion picture represents.’ Michael said, ‘I will.’

We all smiled as we motored into the night, southward toward hearth and home.

Credits:

Kevin Brittingham, Advanced Armament Corporation, 221 West Crogan ST, Lawrenceville, GA 30045, 770-277-4946

Ms. Kristine Krueger, Academy of Motion Picture Arts and Sciences, 8949 Wilshire BLVD, Beverly Hills, CA 90211, 310-247-3000

Henning Brown, The Firing Line, 115 Mill Center BLVD, Bogart, GA 30622, 706-546-6111

The Jap 11 served as an incredibly well made and well thought out gun. Its solid feel and beautiful workmanship belie its weight of 22 and 1/2 pounds. The Japanese chose the 6.5 (0.256 inch) cartridge to conform the gun to their already extant Arisaka rifle cartridge. Unlike its successor, the Jap 96, the Jap 11 takes the standard 6.5 rifle round. The ‘11’ boasts a muzzle velocity of 2,440 feet per second. Its sight gradates from 300 to 1500 meters with no windage adjustment. The Jap 11 pounds out 500 rounds per minute in full auto only fire. All parts of the gun show excellent craftsmanship and attention to detail. The Japanese even made some heavy tripods for these guns.

The Type 11 possesses two interesting features, one of which is unique to the gun. On examining the gun, one immediately notices the short off-set stock. This feature later appeared on the Japanese Type 97 tank gun, a 7.7mm gun freely adopted from the ZB-26. One suspects that the 97’s off-set stock comes from the Type 91, a tank mounted version of the Type 11. The Type 91 distinguishes itself from the Type 11 by carrying a long focal length telescopic sight. The Type 91’s sight resembles the Type 97’s long focal length except that it necks down just before the front clamp and front optic.

The Type 11 contains one unique feature, the feed hopper. This hopper supplies the bullets to the chamber by way of five round 6.5 Arisaka rifle stripper clips. The hopper feed serves as a magazine for six stripper clips. The king size hopper feed first appeared on the modified Type 11 designated in 1931 as the Type 91 tank machine gun. The Type 91 also boasted the previously mentioned long focal length scope. Some guns registered as Type 11s may actually be Type 91 tank guns sans scope.

Some criticism of the Type 11 comes from its somewhat complicated internal parts. This criticism stems mostly from point of view, whether Japanese or American. The internals of the Type 11, though more complicated than American design, do work well. The reader shall learn this from the last Japanese soldier who fired this particular gun. He sat deep in the jungles of Burma finding no problem with his gun. The soldier’s bullets traveled straight and true. He found his problem to be the American bullets that were coming back. From the American bullets he did not escape.

Dolf Goldsmith, Ed Libby, and Kent Lomont

Two years ago, Forbes Mathews acquired the Type 11 and a Type 96 from a collector in other climes. Just after these two guns cleared to Forbes, Dolf Goldsmith came to Marietta to research his Browning book and witness the birth of his new grandson. As explained in greater depth in another article, Mr. Goldsmith met Mr. Mathews at a private shooting range in north Georgia. The newly acquired Type 11 became a major player in both of their meetings.

Inside the well-equipped machine shop, Forbes and Dolf examined the newly acquired Type 11. Mr. Goldsmith first examined the exterior and mechanics of the ‘11’. He found the weapon to be in excellent shape. Mr. Goldsmith then tore down the Type 11. He found the interior parts to be well oiled and in excellent condition. Dolf found the hopper to be another matter. Though the hopper appeared to be in the same condition as the rest of the gun, Dolf found a piece missing.

Prior to Mr. Goldsmith’s arrival, Forbes had consulted with Doug Hollberg and Herman Lisle about the ammunition. Mr. Lisle, a long time shooter and reloader, came up with a formula for making the 6.5 reloads. Then, as they say, it got down to cases. For the Type 11, Doug found that the Norma Japanese 6.5 cases work in the stripper clips. For the Type 96 he employed a different solution. Doug took a tip on the 96 cases from the shooters of the Banzai Society. He fabricated the 96 6.5 cases from 35 Remington. The 35 Remington cases neck down to 6.5 X 48. The Japanese and reloadable Norma 6.5 cases calculate to 6.5 X 50. Mr. Lisle calculated the load. Mr. Lisle’s load works well in either gun. .

Before assembling the ammunition, Doug placed a telephone call to Ed Libby. Ed complimented Mr. Lisle on his calculations. Mr. Libby explained that their 6.5 load would work in both the Type 11 and the Type 96, and also advised Doug of the previously mentioned different cases used in the Type 11 and Type 96. Mr. Libby then added this caution. DO NOT USE ANY WORLD WAR II JAPANESE AMMO IN JAPANESE LMG’s. Because the powder deterioration after more than 50 years can produce very hot loads. These hot loads not only can damage a prized war relic but also may do harm to the shooter.

Dolf Goldsmith reassembled the Type 11. He then took it to the firing range. Though the gun fired accurately, the missing part made it a single shot. Afterward, Forbes Mathews placed a telephone call to Kent Lomont. Mr. Lomont sent Forbes the needed part to fix the Type 11 hopper. Forbes, a master machinist, duplicated the part and sent the original back to Kent Lomont. Forbes Mathews later showed us the part and correctly remarked, ‘Don’t try this at home.’ With the gun fixed, Forbes and his son have spent many an afternoon ‘putting brass on the ground.’ In the following the reader will learn the history of this particular gun.

Merrill’s Marauders

The war went badly for the allies in Southeast Asia. Gen. Frank Dow Merrill had had enough of backing up. He vowed to take the fight to the enemy’s heart in Burma. Merrill’s Marauders, along with a unit called Mars Task Force, marched into Burma to take the fight to the Japanese. Both units on separate missions were aided by the Kachin. Even today, no matter what flag flies above them, the mighty Kachin walk free.

Capt. John K. Benfield Jr. joined Merrill’s Marauders early on. The Marauders arrived outside their main objective of Myitkyina Airfield on the night turning July 28, 1944. Capt. Benfield, Sgt. Patton, and Cpl. Wooten took bayonets to well dug in soldiers from the Japanese 18th Division. A night fight, both fierce and terrible, ensued. At battle’s end, only Capt.Benfield remained wounded but standing. His two incredibly brave friends and more than 30 of the Japanese soldiers had perished in the fight. The rest of the Marauders went through the gap to take the airfield. Capt. Benfield brought the Type 11 gun out of the fight. A piece of the Japanese defender’s shirt still remains embedded in the stock at this very hour. Just before his death several years ago, a photographer snapped a picture of Capt. Benfield holding the Jap 11. This photograph ran in Capt. John Benfield’s obituary. A copy of the article and a number of other authenticating documents came with the gun.

On a personal note, I found firing this particular Jap 11 to be extremely interesting. My uncle Will Howard served with Merrill’s Marauders. He knew Capt. Benfield. He very well may have seen this gun in the jungles of Burma so many years ago. Uncle Will did not come out of the jungle until 1946. Until the day he died Uncle Will had nothing but the highest praise for Gen. Frank Merrill and everyone who served with him. The United States Army agrees with Uncle Will. The Army Ranger School outside Dahlonega, Georgia proudly carries the name of Major General Frank Dow Merrill.

In the fullness of time, Forbes Mathews intends to pass this historic weapon to his son. This historic weapon fought battles long ago and half a world away. In time the old gun shall pass from one generation to the next. In the meantime, father and son will continue to shoot together. They have at their disposal a gun in wonderful condition that also embodies an almost incredible history.

By Rick Cartledge

Steven Spielberg and Tom Hanks film the 101st Airborne in Europe during World War II

As you read this, Mr. Steven Spielberg and Mr. Tom Hanks begin work on a new series for HBO. They film the Airborne in Europe during World War II. Their motion picture will serve as a thirteen part series for the 2001 television season. We await their efforts with great interest. Meanwhile, as a behind the scenes look, we shall write of the preparation and will view some of the armament used in the production.
As they did with ‘Saving Private Ryan’ (see SAR Oct 99), Mr. Spielberg and Mr. Hanks have sought authenticity. Steven Spielberg’s legendary attention to the most minute detail again will be viewed in the upcoming HBO production. In ‘Saving Private Ryan’ Mr. Spielberg used Advanced Armament Corporation for the live gun sounds (see SAR Oct ’99). In ‘Saving Private Ryan’ he turned to International Military Antiques (IMA) for the on camera firearms and soldiers’ uniforms. For this production, Steven Spielberg turned again to IMA. For our story, we turn to IMA’s Christian Cranmer for an up to date report.

Mr. Cranmer returned from England in late January with facts in hand. He reports that Mr. Spielberg selected a four jet transport hanger at Hatfield Aerodrome in the United Kingdom as his base for logistical supplies. The logistical supplies and armament poured in from IMA. The massive hanger contained a mammoth selection of ordnance, both real and dummies. Mr. Cranmer commented on the dummies as being particularly impressive. Items from firearms to tanks appeared real from ten feet away. The real firearms to be used in the motion picture will interest our readers even more. Christian stated that each of them stood as first quality examples for close-ups and blank firing sequences.
In war the SS and the German parachutists kept their weaponry simple. They did not keep it quite as simple as the Airborne did. The Germans carried the Mauser rifle, the MP-40 as a sub gun, and the MG-42 as their LMG. Additionally the SS carried the MP-35 Bergman and the ZB-26. The ZB-26 stood as the only gun produced outside Germany adopted by the SS.

The Fallschirmjager also carried the innovative FG-42 parachute gun in small numbers. This rare weapon contained a number of innovations that continue to influence modern firearms development. Its night time muzzle blast proved to be an almost fatal flaw. Writer and Airborne historian Mark Bando reports examining an FG-42 G model some years ago. A trooper with the 101st captured the gun during the early fighting in Normandy at La Barkette. For the upcoming motion picture, Christain Cranmer states that IMA dropped the tailgate and loaded the wagon.

Almost unknown today, the Airborne acted as a secret operation during World War II. Airborne Commanders did not allow photographs of their troopers in any other than dress uniforms. They planned to meeet the German on the battlefield and tear him up. After the battle ended, the German would lick his wounds and never know what hit him. In truth, the Airborne kept it very simple. At least one M-2 Carbine found the unique role of a portable mortar (see SAR Feb 00). The M-1 Garand and the Thompson proved their worth. For their LMG, the 101st adopted the 1919A-6 after Normandy. The large steady bipod gave it more than 500 yards on the MG-42. More importantly, the Airborne A-6 fought as a one man gun. The MG-34 and 42 took two men. When the right mortar shell hit, the German gun lost two. The Airborne A-6 lost but one.
Mr. Cranmer stated that Mr. Steven Spielberg asked for a vast array of vintage firearms for use in his motion picture. As of this writing, we cannot tell you that all of the requested weapons will see service in the film. What we can do is to give the reader an overview of the guns assembled for the motion picture. In the accompanying photographs, our knowledgeable readers may view for themselves the depth of Steven Spielberg’s preparation.

Mr. Spielberg bases his film on the book ‘Band of Brothers’. This excellent work by Dr. Stephen Ambrose documents the story of Easy Company, 506th Parachute Regiment, 101st Airborne. Mr. Tom Hanks’ great success with ‘Apollo 13’ led to the HBO mini series ‘From Earth to the Moon’. Our readers already know of Mr. Spielberg and Mr. Hank’s work in ‘Saving Private Ryan’. That wonderful film work led both men to the current project. As you read this, the guiding hands of both men craft the filming of ‘Band of Brothers’.

In this report, written two months before a foot of film is shot, I remain confident of two things. First, Mr. Steven Spielberg and Mr. Tom Hanks will produce a film well worth viewing. Second, and more importantly, on HBO in 2001 all of us may view something of our heritage. In ‘Band of Brothers’ we shall catch in celluloid the following two things. Importantly, in a motion picture we shall view some of the fine men who contributed to the Airborne legend. Most importantly, we shall ‘…hear the Eagle scream.’

Ms. Tobe Becker
HBO Media Relations
1100 Avenue of the Americas
New York, NY 10036
212-512-1000

Christopher Cranmer
International Military Antiques (IMA)
P.O. Box 256
Millington, NJ 07946
908-903-1200

Fall ’98 gave us a rainless weekend. We enjoyed four dry days. Were we always so lucky, we would be playing the lottery. That being said, KCR gave us some winning numbers. In the following the reader will learn winning numbers like ’18, 75, ’99, and the ever popular ’98.

Before I blew Northward on I-75 still grieving for my beloved Atlanta Braves, author William Smedlund gave me two winning numbers. Bill pointed to I-24 west of Chattanooga stating that the Battle of Hoover’s Gap occurred between mile posts 99 and 100. At Hoover’s Gap the Spencer rifle first saw combat. I viewed the Gap in moonlight just as the soldiers did so many years ago. Traveling through the towering bluffs one senses the bravery on both sides.

The Doctor Operates

I crossed the Salt River rolling into Shepardsville by dawn’s light. As is his custom, Tom Bodet had kept the light on for me. Near KCR’s ticket booth old friends had staked out camping spots and deployed their colorful awnings. We threw up hands in greetings, “It looks like a great weekend!”

I motored to the Range House and backed into a parking space thanks to Kenny Sumner and Mr. Biff’s hospitality. The KCR T-shirts arrived shortly after I did. Georgians sent orders for six. That half dozen went to my vehicle. I had forgotten a photograph picked up in Gibsland, Louisiana and would mail it later. Ms Marie Barrow had autographed to Kenny a 1934 8 x 10. In it a well dressed man stood beside her. Should anyone wish to know who Ms. Marie Barrow was, the other one was Clyde.

Outside the Range House I ran into Dr. Ed Weitzman. I congratulated him on his fine Vickers article (see SAR July ’98). Dr. Ed explained that he had brought some historic weapons to the shoot. We agreed to meet Friday morning. I then headed to the spot between the Range House and the Pole Barn. Twice a year this spot becomes the Class 3 crossroads of America.

I saw the Michigan shooters gathered near the Ohio Ordnance tables. Forbes Mathews rounded the Range House and joined us. Kent Lomont, Karl Krotz, and Robert Landies came over to say hello. I told Bob Landies about the Bonnie and Clyde Festival in Gibsland on May 23, 1998. Jimmy Gillman of Reenactors Early Thirties Crime had obtained a prototype of the Ohio Ordnance 1918 Classic BAR. I told Bob that Jimmy used the gun in three reenactments at the Festival. The ’18 was the hit of the show.

Thursday night we spent late at El Rio. Sleep could wait until Monday. On Friday morning I joined Dr. Ed and his brass Maxim. We had participated in different episodes of Greystone’s ‘Tales Of The Gun’. During ‘Dueling Pistols’ Dr. Ed made one of the show’s finest on air comments. On English duelers, he stated that a craftsman worked six months to make a gun. Greystone then showed the back side of an English dueler’s lock. The incredible workmanship would have pleased any craftsman at Boss or Purdey.

Dr. Weitzman then showed me around the brass gun that puts brass on the ground. We examined the 98’s craftsmanship. When spectators came onto the main line, Serial #96 drew a crowd. Dr. Ed gave lessons on the scope before the next shooting session. With the Zeiss scope, I picked out a plastic bottle and moved it around. This fine weapon crafted during the twilight of the Guilded Age made even me look good. I thanked Dr. Weitzman and headed for the Gun Show.

Pole Barn Adventures

Just in front of the Pole Barn I encountered Mr. Neal Smith and the comely Andrea standing beside a Pack 75. Andrea commented on how easily Neal had reassembled the gun after transport. I knew of the Pack 75 from my father’s description of its use by the 101st Airborne in World War II. I thanked Neal for the fine exhibit. Those who viewed Neal’s gun at KCR will find it useful in future SAR articles.

This writer’s father and I now crafted a series of articles on WWII 101st gun work. We were relating the series, where applicable, to ‘Saving Private Ryan’. We center around ‘Ryan’s’ Regiment, Col. Howard Johnson’s 501. The man upon whom ‘Ryan’ is based loosely served in H Company, 3rd Battalion. My father lead Col. Johnson’s 1st Regimental Recon and Intelligence Team for 501. Author Mark Bando loaned SAR exclusive photos for the ‘Johnson’s Boys’ series. In the second article, this writer’s father discusses the Pack 75s as tank killers at Bastogne.

Thanking Neal and Andrea, I then moved into the Pole Barn for some history. A nice BAR and a brace of machine pistols sat on LMO’s tables. Stan Andrewski pulled out a Star with stock and a transferable 45 auto machine pistol. Stan really knows his business. While examining the BAR someone asked, ‘You know anything about that gun?’ I turned to view the trademark snap brim of Jim Ballou. The reply stated, ‘About the gangsters and lawmen who used it — yes. Otherwise I usually ask some guy named Ballou. How are you Jim?’ Jim declared himself more than fine. He announced that Collector Grade Publications would publish ‘The BAR’ in the Winter of 1999. I then told Jim about Greystone Communications.

‘The Tommy Gun’ debuted as the 4th episode of the History Channel’s ‘Tales Of The Gun’. After episode 5, Andrew Nock telephoned. I took it as an omen that Andrew carried the surname of one of Dr. Weitzman’s favorite duelist gunsmiths. Mr. Nock asked for more material to propose new episodes. One week later a package landed on Mr. Nock’s desk. I thoughtfully included issues of SAR. Mr. Nock telephoned to thank me for the package and commented favorably on SAR. I told him that if he was telling gun history, he might as well read what the intelligent readers read.

I then told Andrew — ‘If you decide to drop the hammer, this gun’s for hire.’ Mr. Nock telephoned again two weeks later. The History Channel had approved 13 additional episodes. Andrew asked for names of other writers. The first name that Andrew got was that of Jim Ballou. I then pointed him toward writing compadres in Reenactors Early Thirties Crime.

I said to Andrew Nock that we should speak well of men like Frank Hamer of Texas and Melvin Purvis, head of the Chicago Office of what would become the FBI. I considered Mr. Purvis to be arguably the finest Federal agent who ever pinned on a badge. We should do honor to him and the other lawmen. ‘We’re not doing a show that praises criminals.or the irresponsible use of firearms.’ Mr. Nock fired back, ‘I agree.’ Greystone’s Tom Jennings filmed the Georgia part on December 6, 1998 (see SAR April ’99). He filmed in Texas in January 1999.

At the Omega Weapons Systems tables I contacted Don Bell. A friend wanted BREN parts. Forbes Mathews and two Midwest friends walked up. They engaged Dolf Goldsmith in Vickers conversation. Kent Lomont joined us. Forbes asked me to accompany his friends to look at M-16s. Kent offered to take the BREN parts to his table and departed. We went to the tables of Mark Mann to examine three 16s. I found all to be in good shape. I went through the transfer drill, advising the brothers to take their time. The brothers gave thanks and departed to view other guns.

Before the Creek, I had encountered a shooter from Marietta. ‘You know John Ross don’t you?’ He stated that he wanted an autographed copy of ‘Unintended Consequences’. I stated that I knew within about six feet of where to contact Mr. Ross twice a year. ‘Give me a pair of twenties and your business card. I’ll drop off the book and change on the way back.’ At the Lomont tables, I joined John’s fans.

As Kathy, Tom, and Brian looked on, John regaled us with ‘The Best Third World Hotel in Las Vegas’. John’s well-crafted descriptions of the off beat staff and the hotel’s human occupants and lower life forms kept us in stitches. Forbes and Michael Mathews rolled up in their golf cart, arguably the ultimate Creek vehicle. As Forbes packed the BREN parts amongst the Summit and Navy ammunition, the Midwest brothers appeared. They delivered an apocraphyl line about the gun purchases — ‘We just bought a car!’

Brass On The Ground

I ran into a valued friend from Minnesota who invited me to the line for some shooting. As we moved, he talked of John Hunt Morgan’s Raid into Ohio. When asked if I knew of Morgan, the reply came as a rough quote from lines delivered by Levon Helm in Steven Seagal’s ‘Fire Down Below’. ‘..lot of history. Folks down here don’t forget about history.’

On the line, my friend produced a Jap ’99 kit almost as rare as Morgan’s holsters — one of the Chinese 762×39 conversions imported by Don Bell. Don once talked of the time before the recent shutdown. He had developed solid business connections along the Chang Jiang. Mr. Bell stated that during his first China visit he was ‘green as grass’. The Chinese could have taken advantage of him. Don found the Chinese officials to be knowledgeable, honorable, and extremely helpful. More than once, they went the extra mile to assist him. As for the conversions, don’t call Omega Arms. Like Morgan in Ohio, they vanished long ago. Look for a later article on this particular ’99.

Paul Mahoney of KRINKS hailed me. Pauly announced that he had crafted a gun using material that I had sent him from Tom Swearengen. He unwrapped his replica of Clyde Barrow’s ‘scattergun’ for a test drive. At shooting’s end I told Pauly of Greystone. SAR writer Steve Hyde had signed up to bring a Stan Andrewski crafted Barrow replica. Pauly’s BAR would give us two Barrow customs in commentary and live fire never before seen on film. I told Pauly that we wished to represent the Title 2 community well, especially those who come to KCR. In December, Mr. Mahoney took his welcomed place amongst The Usual Suspects and RKIs.

At cease fire I moved down to Dr. Ed’s shooting slot. Forbes had broken a Vickers pin and asked for help. Dr. Ed put on a clinic (see SAR July ’98). We gathered around as they sat down on a blanket. Dr. Ed conducted this clinic with the same attention to detail that he gives his patients and employs in his articles. New pin installed, Forbes stood up and said, ‘Thank you Dr. Weitzman.’ The reply came, ‘You are most welcome sir.’

Epilogue

Fall ’98 ended as it began, with good conversation and lessons from Dr. Weitzman. We all shook hands on Sunday promising to return in Springtime. As I once again crossed the Salt River, I made a mental note to send Marie Barrow’s picture to Kenny Sumner. At three places near the Chattahoochee, I dropped off parts, T-shirts, and the John Ross book.

As I rolled past Braves Stadium I nodded and said, ‘We’ll get them next year’. I continued motoring Southward remaining confident of two things. First, I knew that I would return to KCR. There I would see old friends and probably make some new ones. Second, something would happen for me in Kentucky twice next year, twice the year after that, and on into the next millennium. That second something remains as solid as a handshake from a Knob Creek friend. I remain confident that, twice a year in Kentucky, Tom Bodet will leave the light on for me. He will do so until I die.

Thanks to Don Bell, Dolf Goldsmith, Navy Arms, and Don Thomas for their kind assistance. Those who rent ‘Fire Down Below’ should not rewind as the credits roll. Steven Seagal crafted this film in Kentucky. Mr. Seagal pays deserved tribute to Kentucky’s proud people within the overlay for John Prine’s ‘Paradise’.

Intellect and diverse interests remain two of the great strengths of the Title 2 community. Our readers will appreciate, in the best sense of the word, the following dedications. First, KCR vendor William Davis of Westville, Florida has passed away. He will be missed. Second, a great man in another arena also left us — namely The Mongoose, the legendary Archie Moore.

This writer’s father and this writer recently began a series of articles for SAR. The series focuses on the World War II gun work by the Apache Regiment of the 101st Airborne. I immediately contacted writer and researcher Mark Bando. Mark informed this writer of the then new film ‘Saving Private Ryan’ from Dream Works/Paramount directed by Steven Spielberg. This writer’s father and the soldier on whom the film is loosely based served in the same regiment. They both jumped into Normandy with the 101st’s Apache Regiment — the 501 of Col. Howard Johnson.

I contacted Dream Works for additional information. The Dream Works/Paramount staff, provided very professional and enthusiastic assistance. Ms. Stephanie Watson, Mr. Spielberg’s Atlanta representative, kindly extended an invitation to my father and I to attend the sneak preview of ‘Saving Private Ryan’. On the appointed day we picked up Mike Thacker and motored to Phipps Plaza in Buckhead.

My father, Mike Thacker, and I thoroughly enjoyed the movie. During our homeward drive, I asked my father if he thought that the film accurately and faithfully portrayed the men with whom he served. He commented that it did credit to both the Airborne troopers and the Rangers, although he did not expect the actors to be in the same physical condition as Johnson’s Boys. My father felt that all of the actors had given very credible performances. He stated, ‘Though it may difficult to watch, I recommend viewing ‘Saving Private Ryan’ to all Americans over age 18. It is probably as close as Hollywood will come to war. War is not a parlor game. This film shows as well as Hollywood can what our generation did to insure the freedoms that we all enjoy today.’

As we motored southward, Mike commented that a prominent belt of 30 cal didn’t have primers. I laughed and said that we were probably the only three people in the theater that caught that. Mike’s statement brought us to the subject of the guns. Though very loud for a theater, we all knew that the real guns sound much louder than what we had heard. I then said that whoever drove those guns was very good. The steel sounded real. The motion picture soundtrack sounded as if someone had placed a microphone about 300 yards down the Knob Creek Range. The sounds reminded me of the old days when we had open lines on Thursday. You stepped to a position and, to use a 60’s drag race phrase, ‘run what you brung’.

The armed citizen and his history played an important off camera roll in this magnificent film. Mr. Steven Spielberg operates under the First Ammendment. For some elements of ‘Saving Private Ryan’ Mr. Spielberg requested assistance from those who operate under the Second Ammendment. For some of the history and the story of this, read on. In the fullness of time, I would learn just how close I was to the truth about the soundtrack to ‘Saving Private Ryan’.

Not Just A Southern Tradition

To better understand what will follow, a bit of family and unrevised American history presents itself. The Spaniards first brought gun craft to an eastern American settlement with the founding of St. Augustine. The Spaniards later withdrew leaving an extant settlement. Christopher Burroughs, ancestor of this writer, joined the Jamestown Colony in 1608. The Saints occupied half the Mayflower when it wandered onto Plymouth rock at a later date. Shooting for sport, food, and self defense started in the South and became a Southern tradition. The shooting tradition spread. Shooting and an armed citizenry became two hallmarks of colonial America.

In 1861, George Rockingham Gilmer Cartledge ran away from Boiling Springs Plantation at age 13 and joined the Confederate Army. His little brother Joe, age 11, tagged along. Both finished The War of The Sixties as sergeants. George Cartledge gave his son, my grandfather, a .22 rifle at age six. He gave him a gauge for ever year at twelve. Grandfather did the same for my father. My father did the same for me.

Grandfather and his friend Walraven carried their rifles to school, shooting at targets along the way. Walraven became a legendary shot in Madison County. For years he served in law enforcement around Danielsville, Georgia. Stories recount crooks surrendering in armed conflict when they knew that they faced the guns of Walraven. Grandfather, father, and Walraven continued the tradition of generations. As proof, this writer’s father relates the following boyhood story from the year 1930. Its generational history leads from Old Bob Lee to ‘Saving Private Ryan’.

My father ran out of ammunition on a Saturday morning. To replenish his rifle, he walked from the farm to the general store in Ila, Georgia. Just outside town, he stopped at the blacksmith shop. There, for a while, he watched a distant cousin and his son doing what came naturally on a Saturday afternoon. The son’s years numbered nearly seventy. The old Confederate counted more than ninety summers. These two men engaged in spirited conversation as they sat on a pair of wooden crates outside the forge. They talked as fathers and sons have done in this land since before the Revolution.

Across the narrow road, a saw cut board leaned against an old oak tree. Into the board, the men had tapped a number of forged flat nails. They sunk the nails into the wood just deeply enough to hold them straight. They left the nails’ square heads and most of their shafts exposed. My father stood and watched as the two old men speedily and skillfully loaded four Confederate Colts. They then took turns driving the nails. A penny bet rested on each shot. The son shot magnificently. The old Cavalier gave his son a run for his money. About three cents changed hands.

The father and son had shot in the same rythmic double handed style that John Singleton Mosby raised to an art form at a place called Milford Farm. Those of other climes first viewed this shooting style at a place called Manassas. The two men then reloaded their black powder guns after the white smoke cleared. My father left and went for shells at the general store. As he walked away my father remarked to himself that he would not have wanted to have met that old Cavalier and his friends at that place they called Cold Harbor. In the fullness of time, other men would say the same of my father and his friends at that place that they called Bastogne.

I think of this story whenever I hear the phrase, ‘Form us up again!’. I know what would have happened had Old Bob Lee been able to ride by that blacksmith, stop and say, ‘Men, they need us again in Virginia.’ The old Cavalier would have tuned his pistols plainsman style and stuffed them into his belt. Without a second thought, he would have fallen in behind Traveler. His son wouldn’t have been far behind. Men such as these not only inhabit the South but every other part of this nation. They have answered their country’s call for generations. They will do so again. Mr. Steven Spielberg crafted ‘Saving Private Ryan’ to honor such men. They answered the call in Normandy.

Far from Madison County there exists another relic of Confederate shooting. Last Sunday I held in my hands a very unusual rifle. Made in the Jaegeresque style, it is a heavy barreled yet graceful flintlock conversion — a Kings Mountain type of gun that Stephen Vincent Benet once described in a War Between The States poem. The barrel starts as an octagon and ends round. It mikes to .58 caliber. Fine open sights grace its top. Double set triggers nestle in the brass trigger guard of the cheek plated and brass mounted stock. The lock plate reads ‘Harpers Ferry 1818’. The hammer and percussion cap base give the look of a Richmond conversion. With this rifle on April 12, 1863, Confederate sniper Johnny Lane shot one of James J. Andrews’ spies aboard ‘The General’ during ‘The Great Locomotive Chase’. As to where the rifle is, don’t ask.

1871 — The Defense Of Freedom

Throughout the history of America we, as America’s citizens, have answered her call to defender her. American shooting, not words or pieces of paper, has defended this nation. Shooting is a skill gained over time, the more practice the better. In every war but one, the Federal Army outshot its enemy. After the War between The States, one Union General said publicly what they all said privately. He stated that a smaller and poorer equipped army had outshot them. That General help found and served as first President of the National Rifle Association. His name was Ambrose Burnside. As a Union General he met members of this writer’s family across battlefields in Virginia. Ulysses Simpson Grant soon followed Gen. Burnside into the Presidency of the NRA. These men helped found America’s oldest civil rights organization to encourage American civilian shooting. Unlike in most other countries, America’s is a civilian army in waiting. The Generals encouraged civilian shooting so that the Federal Army would never be outshot again. They had seen with their own eyes what being outshot costs on a battlefield. Ambrose Burnside remembered Confederate distance shooters to the end of his days. Only 400 such men held off his army and got a bridge named after him in Maryland. One of those shooters was a member of this writer’s family.

The esteemed author Tom Swearengen once remarked, ‘The generation that learned to shoot before 1945 shot better than the generation of today. They knew their guns better and were just better at it.’ Some of us younger ones listened to and learned from that magnificent generation. Those who did found themselves in better stead when they too answered the call. They carried with them the civilian shooting tradition passed to them by each generation from 1871. On June 6, 1944 that pre ’45 generation landed in Normandy in defense of our freedom. They brought with them America’s most valuable hidden resource in time of peril — American civilian shooting. From the beaches named Omaha and Utah, they shot their way to Berlin.

On the morning of June 6, 1944, the German coastal defenders on Utah and Omaha awoke to face the greatest armada ever assembled by mankind. Not withstanding the armada, the Germans on Utah found another considerable problem behind them, the Apache Regiment. Among those troopers stood blood kin to the Army of Northern Virginia. Col. Julian Ewell, 3rd Battalion Commander, was grandson of Gen. Ewell and nephew to JEB Stuart. Frederick ‘Fritz’ Niland, the man on whom Steven Spielberg in part would base his movie, served in Julian Ewell’s Company H. As for this writer’s father, he missed Drop Zone C and landed at Chef du Tont. From there, his Thompson carried on the tradition of the Enfields of Grandfather George and Great Uncle Joe.

For The First Two Ammendments

Director Steven Spielberg decided to pay tribute to that pre ’45 generation. He chose the script ‘Saving Private Ryan’ and worked with its author in a collaborative effort. After the establishing scenes, the script opens with scenes from the most pivotal day in the 20th century — June 6, 1944. The soldiers coming off the LCI’s weren’t a debating society. They were shooters. In defense of freedom they had come to kill or capture the men who were shooting at them.

As an accomplished director, Steven Spielberg knew how to film ‘Saving Private Ryan’. After much consultation and many ideas, Mr. Spielberg knew the look that he wanted for ‘Saving Private Ryan’. He also knew the sound that he wanted for ‘Ryan’. Sonically, ‘Ryan’ might have suffered in lesser hands. Cheesy stock recordings of Title 2 weapons could have found their way onto the soundtrack. They have done so in many other films.

Recording the sounds presented Steven Spielberg with no problem. He knew the sounds that he wanted. Mr. Spielberg would use a Hollywood sound crew of the same high caliber that he always had. The difficulty arose in finding someone who could generate those sounds. This proved to require a little more effort than just a trip across town. To generate the sounds that Mr. Spielberg wanted, the sound crew turned to three men who had learned shooting from the World War II generation. These three men carried on the American civilian shooting tradition passed down to them through the generations form 1871. These three also carried on another tradition. They carried on the tradition of Title 2 weapons. However, men such as these couldn’t be found on the outskirts of Hollywood. They lived on the outskirts of Atlanta.

The Title 2 tradition began with two civilian who bought guns in 1898. Theodore Roosevelt accepted the Tiffany family’s generous donation. The first automatic weapons in American ground combat debuted in The War with Spain. Lt. William Tiffany’s family bought two 1895 Colt Automatic Guns for his regiment. The Rough Riders carried them up San Juan Heights (see SAR July 98). For ‘Saving Private Ryan’ only real sounds from real guns would do. For those sounds, Mr. Spielberg’s men came to the Title 2 community. In so doing, Steven Spielberg and his men may have learned something new — not just about us, but about themselves as well.

Check Your Chains at LAX

One of the finest Title 2 scholars in America lives in California. Though not universally known (and I would hasten to add ‘yet’), his attention to detail enhances the depth of many Title 2 writers. I am but one. Occasionally, he yearns for the type of freedom that in California qualifies as but a faded memory. He buys a ticket at LAX, mounts some silver wings, and flies eastward or southward. When he lands, he spools C and L drums. He then empties them until his heart is content. With his heart replenished he then returns to California and the day job that he loves.

When he began the background work to film ‘Saving Private Ryan’ Steven Spielberg knew the following. Mr. Spielberg knew that many veterans who ‘were by God there’ would view his film. These veterans would know real from unreal. Men and women who came to Normandy by ship or parachute might suspend belief while viewing a comedy. These soldiers would not suspend belief while viewing a motion picture that dealt with them. Steven Spielberg applied his legendary craftsmanship to this film, with attention to the smallest detail. For the veterans who would view ‘Saving Private Ryan’ he wanted it not only to look like Normandy but to sound like Normandy. He wanted scenes that looked not staged but real. He wanted sounds not foley but real.

Mr. Spielberg immediately set out to find real guns and real sounds for ‘Saving Private Ryan’. Telephone calls quickly brought home to Dream Works the Title 2 reality. In some things, Californians are not as free as other Americans. Blank firing antiques and replica Title 2s live in California. Real guns don’t.

The Thunder of Bethlehem

To solve his problem, Steven Spielberg turned to his friend George Lucas. Mr. Lucas operates, among other things, Skywalker Sound. Mr. Lucas assigned the Title 2 problem to Shannon Mills. Mr. Mills teamed with Christopher Boyes. Mr. Boyes has not a bad last name when one thinks of Class 3 in World War II. These two consummate professionals list ‘Terminator 2’ and ‘Titanic’ among their many credits. With the roster set, Skywalker Sound evaluated the problem. Then they tackled it.

Shannon Mills concluded that the men that Skywalker sought lived free. These men drove the old guns in the old ways. Mr. Mills reasoned that he could best find free men on Freedom’s Highway — the Internet. Though he did not know which off ramp to take, he knew how to erect a billboard. Shannon Mills booted up his vehicle, shot down the Liberty on ramp, and merged with the traffic. Picking out a likely mile post, he erected his billboard —’Wanted — Real Guns and Gunmen for World War II Motion Picture Soundtrack’ Mr. Mills posted his shopping list of hardware required and left his E-mail address. A friend of Kevin Brittingham passed the info on to him.

Shannon Mills telephoned Kevin Brittingham. They worked out the arrangements for the shoot. Two days later Shannon Mills and Chris Boyes rolled to a stop on West Crogan Street just past the Courthouse in Lawrenceville, Georgia. The way they had packed their Suburu Outback with sound equipment would have made Paul Hogan proud. Kevin, Harold, and Vince met Shannon and Chris at the front door of Advanced Armament. Kevin pointed to the loaded Advance Armament trucks and told them to fall in behind. The convoy motored to the large farm of Kevin’s brother Greg outside Bethlehem, Georgia. Once on the farm, the trucks made their way to Greg Brittingham’s 500 yard gun range.

Both crews unloaded their separate gear. Before they set up, they discussed shots and held a safety meeting. Neither crew counted this as their first rodeo. Kevin, Harold, and Vince brought up the crew served guns and stationed the small arms at the ready. They then brought up the ammunition. Shannon Mills and Chris Boyes spent about an hour and a half carefully placing microphones at strategic spots. In addition to wiring everything from the firing position to the back of the berm, they employed hand held sound recorders. After Skywalker Sound finished final sound checks and cleared the range, the Advanced Armament crew went through their gun checks.

Kevin and Harold set up the MG 42 on a Lafette tripod. Vince brought up the belted 8mm ammunition. Kevin and Harold took turns letting the gun rip and piling up brass. Chris Boyes and Shannon Mills took turns operating the switchboard to the well-placed microphones and working the hand helds. They had rigged various mikes with kill switches to capture the gun sounds from different positions. With the switchboard they captured impact sounds in grass, dirt, wood, water, and steel. Harold Shinn then brought up the Solothurn S18/1000 20mm anti-tank rifle. Kevin cranked the chain and shook the ground. Skywalker Sound captured the thunder.

The Advanced Armament crew then switched to other guns. They fired the A-4 Browning, the ’03 Springfield, the BAR, and the M1A1 Thompson. Skywalker Sound captured these guns in single shots, short bursts, and extended bursts. As with the ’42 and Solothurn, they captured the sounds of shooting mud, water, wood, metal, and trees. They then recorded sounds past trees, through trees, and bullet impacts into sand. Skywalker also captured the sounds of loading magazines and loading each of the weapons.

Both crews then set up to capture some of the eeriest sounds used in ‘Saving Private Ryan’. A friend, now a retired Army officer, commented specifically on these particular sounds after viewing ‘Saving Private Ryan’. He did multiple tours in Vietnam with both Special Forces and the Rangers. He knows of what he speaks. He stated that,’…those sounds of bullets going past their heads made the hair on the back of my neck stand up!’ Advanced Armament and Skywalker Sound devised an ingenious and completely safe way to capture those sounds.

Using the microphone kill switches Skywalker captured the bullets in flight as the gun crew fired suppressed weapons. Advanced Armament fired at or past designated targets. The appropriate mike picked up the desired sounds. Kevin, Harold, and Vince used modern subguns for this part of the recording session. Kevin first hauled out an MP45SD. He then followed with a Beretta M12S with can. Vince Mueller wielded a Colt 635 with can. Harold Shinn finished off the first part of the session with a canned Uzi. The Advanced Armament crew then took turns firing. As they fired, Chris Boyes and Shannon Mills recorded both bullet flights and impacts from the suppressed weapons.

At days end, the last piece of brass hit the ground. Both crews were exhausted. The men of Advanced Armament and Skywalker Sound had brought their considerable skills to bear. They had pooled their considerable talents to create the firearms sounds for ‘Saving Private Ryan’. Their hard work and professionalism created something special for a very special movie. Kevin Brittingham stated that all of the guns sounds in ‘Saving Private Ryan’ came from the guns of Advanced Armament Corporation. Kevin, Harold Shinn, and Vince Mueller had the satisfaction of being half of the ‘Saving Private Ryan’ sound effects team. A couple of days later, the postman dropped off a letter. In it Kevin found a check and a thank you note from the other half of the team — Chris Boyes and Shannon Mills of Skywalker Sound.

Epilogue —’The Director Speaks’

In writing, most works contain an element in which the writer does not describe but speaks directly to the reader. Writers generally ascribe the phrase ‘the writer speaks’ to this element. One finds this in short stories, novels, and magazine articles. Motion pictures dictate a different kind of writing and a different element.

In film, first there is the script, or the word. The word answers the questions ‘Is it visual?’ and ‘Does it move?’. Dialogue and visuals drive films. These drivers make films the director’s medium, not the writer’s medium. Because movies also consist of collaborative effort, one very rarely finds the element of ‘the director speaks’. In ‘Saving Private Ryan’ Mr. Spielberg gives the viewer not only something wonderful but something quite rare.

In each and every detail, Steven Spielberg sought to honor those of that magnificent generation that secured freedom for all of us. He hired Dale Dye (see SAR July 98) as military advisor. He consulted with Dr. Stephen Ambrose and Mark Bando. He met with numerous reenactors, many historians, and visited actual locations to craft his film. When he looked for old guns driven the old ways, Steven Spielberg came to one of us. The Title 2 community legally owns and fires the old guns. In so doing we help preserve their places in history, both of uses and of gun craft. In the doing we honor those who came before us. When Mr. Spielberg asked for help from one of us, he paid the same honor to the D-Day soldiers that we do as a matter of course.

In short, Mr. Steven Spielberg wanted not only the sight but the sound of what so many had confronted. He wished for us to experience the most pivotal day of the 20th century — June 6, 1944. The veterans could point to ‘Saving Private Ryan’ and say to their grandchildren, ‘If you wish to know of the Second World War, see this picture!’. In so doing, Mr. Spielberg paid tribute to his father, to mine, and to so many other men and women of the magnificent generation that came before us. The readers and writers of the Small Arms Review now know the following. To get the correct sounds, Mr. Steven Spielberg did not go to Hollywood. He came to one of us.

In short, Steven Spielberg needed correct gun work. He asked.the Title 2 community for assistance. We delivered. Kevin Brittingham’s company generated the gun sounds for ‘Saving Private Ryan’. With those sounds, Mr. Spielberg added yet another component to the collaborative effort that is his magnificent film. Perhaps Herbert Biberman said it best. Mr. Biberman once remarked, ‘You must resist the tyranny of the Right and the Left. Your art must be free.’ In the making of ‘Saving Private Ryan’ Mr. Spielberg kept his art free. In the way he chose to keep his art free, he also kept it true.

‘Saving Private Ryan’ captured The Golden Globe Award for ‘Best Picture’. As for the Academy Awards, many honors awaited. In addition to other honors accorded the film on March 21, 1999, The Academy of Motion Picture Arts and Sciences bestowed its highest honors for sound to Dream Works’ Skywalker Sound. The Academy honored ‘Saving Private Ryan’ with Academy Awards for ‘Achievement In Sound Editing’ and ‘Achievement In Sound’.

Though many more accolades will continue to come to this magnificent motion picture, the following says it for this writer. My father’s perspective on this picture comes from standing upright in Normandy with a Thompson submachine gun at 30 minutes after midnight on June 6, 1944. He landed as part of the Apache Regiment of the 101st, the regiment of ‘Ryan’. Thanks to Dream Works, I had the privilege of viewing this motion picture with him. Afterward, we talked about Normandy and the gallant men with whom he served. Some of that discussion rests in this article. Simply put, in ‘Saving Private Ryan’ Dream Works filmed the Defense of Freedom. In so doing, they employed the Sounds of Bethlehem. Well done, Steven Spielberg. Well done, Chris Boyes and Shannon Mills. Very well done.

This writer wishes to thank Ms. Stephanie Watson and the publicity staff at Dream Works/Paramount for their splendid asistance. Special thanks also goes to Phil Parker, ever alert and an all around good guy. I would like to thank Mr. Edward J. Land Jr. and The National Rifles Association of America for their kindness and splendid assistance. On a personal note, this writer would also like to thank Mr. Steven Spielberg, on behalf of his father and mine. — Rick Cartledge

Sources:

Kevin Brittingham,
Advanced Armament Corporation,
221 West Crogan ST,
Lawrenceville, GA 30045
770-277-4946 phone,
770-963-6556

Edward J. Land, JR.
National Secretary
National Rifle Association of America
11250 Waples Mill RD
Faifax, VA 22030
702-267-1055

The 101st in Normandy and The 101st From Holland to Hitler’s Eagle’s Nest by Mark Bando,
9025 West parkway,
Detroit, MI 48239
$23 each, $42 both PPD
Note: Readers will find Mr. Bando in the credits of Saving Private Ryan

The Academy of Motion
Picture Arts and Sciences,
8949 Wilshire BLVD,
Beverly Hills, CA 90211
310-247-3000

‘Panther’
by Melvin and Mario Van Peebles
available at rental stores

‘Saving Private Ryan’
by Steven Spielberg
now playing, need we say more.