Category Archives: R. Doug Wicker

A Tribute to Mike DiMuzio and a Look at the Interarms Rossi M92 in .45 Colt


Interarms Rossi M92

Interarms Rossi M92

Many of you may remember my popular post on firearms from 1950s Television Westerns in general, and The Rifleman’s Winchester Model 1892 in particular.  You may also recall my YouTube video on spin-cocking a full size Model 1892 rifle, the “Flip Special”.

Interarms Rossi M92

Interarms Rossi M92

That very special “Flip Special” was custom made for me by Mike DiMuzio of North Carolina.  Alas, I am deeply saddened to report that Mike passed away less than a month ago.  Mike and I had exchanged emails and chatted several times over the course of the past year and a half.

Interarms Rossi M92

Interarms Rossi M92

This rifle from the late ’70s to early ’80s.  It was manufactured by Rossi of Brazil according to specifications outlined by Sam Cummings’ International Armament Corporation, otherwise known as Interarms (Sam Cummings, a very interesting character, was the basis for Sterling Heyward in my mystery novel The Globe).  This particular Rossi M92 is a fairly faithful rendition of the iconic Winchester Model 1892, a rifle used in countless television shows and movies because of its close resemblance to the Winchester Model 1873.  The Model 1892 was a favorite of the late John Wayne, and he used large loop variations of the M1892 in many films ranging from Stagecoach (1939) to True Grit (1969).

Interarms Rossi M92

Interarms Rossi M92

So, why weren’t Winchester Model 1873s used in television and movie productions?  Why instead this anachronism?  Up until fairly recently the only 1873s available were rare antiques too valuable for use in television and movies.  Now new M1873 rifles are being manufactured by Uberti of Italy and since 2013 under the Winchester name by Miroku of Japan.

Interarms Rossi M92

Interarms Rossi M92

I purchased this version of the Model 1892 with the sole intention of sending it to Mike for conversion into another Rifleman “Flip Special,” and I was rather excited to have found a .45 Colt example although a rifle in .44-40 Winchester would be more authentic.

Interarms Rossi M92

Interarms Rossi M92

I was immediately drawn to this firearm when I first laid eyes on it at my local favorite gun store Collector’s Gun Exchange.  While Rossi made M92 rifles for various U.S. importers back in the ’70s and beyond, the Interarms versions were a cut above the rest.

Interarms Rossi M92

Interarms Rossi M92

Let’s take a look at some of the reasons I was looking to acquire another converted Rossi, and how this rifle differs from the later model Rossi seen here:

Classic "Rifleman" vs. Classic Model 1892

Classic “Rifleman” vs. Classic Model 1892

Most obvious is the finish on the wood:

Classic Model 1892 vs. Classic "Rifleman"

Classic Model 1892 vs. Classic “Rifleman”

The current Rossi M92 rifles sport a matte finish while the Interarms version displays a richer, high gloss.  Mike stained the “Flip Special” pictured here to better match the finish of an original antique Winchester.

Loop Lever Conversion vs. Standard Lever

Loop Lever Conversion vs. Standard Lever

Another difference is the location of the front sight.  On the Interarms the front sight is part of the barrel band that affixes the magazine tube to the rifle barrel.  The recent Rossi has the front sight dovetailed directly into the barrel.

Front Sight Comparisons — Old (top) vs. New

Front Sight Comparisons — Old (top) vs. New

Now for the most important difference of all.  See if you can pick up on the difference in the next two photos.  Here is the Interarms Rossi:

Classic Model 1892

Classic Model 1892

And now the new “improved” version from Rossi:

New Rossi M92 with Safety

New Rossi M92 with Safety

As you can see Rossi now incorporates into the Model 1892 design a firing safety whereas the earlier Interarms Rossi stays truer to the original John Moses Browning/Winchester design.  Here the two are pictured together:

New Rossi with Safety vs. Classic Model 1892

New Rossi with Safety vs. Classic Model 1892

A safety is all fine and good . . . if you’re carrying a lever action Winchester design with a cartridge chambered, but that was never the intent of the design.  As with the Colt Single Action Army, the hammer should be resting on an empty chamber (for an explanation as to why see my look at the Uberti version of the 1873 Colt).  Alas, far too many gun owners today do not understand basic firearm operation and safety, so even later Winchesters were eventually dumbed down to compensate for careless firearms handling.

For now this Interarms Rossi will remain unconverted, although I have found two other sources to do the work for me.  I’m just not convinced that anyone can do as good a job as Mike DiMuzio, who learned his craft at the hands of Moe Hunt — personal gunsmith to Chuck Connors (Lucas McCain — The Rifleman).  Mike not only modified and installed levers on his conversions, he also smithed the internal action to beef it up and smooth it out to make spin-cocking the rifle possible.  Here’s one last look at Mike’s handwork:

Loop Lever Conversion vs. Standard Lever

Loop Lever Conversion vs. Standard Lever

And finally I leave you with two videos of Mike doing his thing and making it look simple (it isn’t, trust me).  So long, Mike.  You’ll be sorely missed.

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Filed under Firearms, R. Doug Wicker

El Paso Buried in Snow — Christmas 2015


View from Front Yard

View from Front Yard

I’ll continue our journey from Chile with a stop in Paracas, Peru, beginning next week.  But first I wanted to share with you our rare El Paso snowstorm, which started the day after Christmas and didn’t end until nearly noon the following day.  Friday’s blog will feature some favorite shots taken during and after this blizzard, and on Wednesday I’m going to feature some rather fun firearms.

Franklin Mountains in Snow

Franklin Mountains in Snow

You may recall that I posted some hints on how to photograph snow in “Honey, why is the snow so gray . . . and your face so dark?”  The trick, as you’ll recall, is primarily exposure compensation, and today’s photographs are no exception.  These shots, both during the storm and later in bright sun conditions, were taken with a compensation of +1.3 stops to compensate for how snow tricks the camera’s built-in exposure metering.

Neighbors across the Arroyo

Neighbors across the Arroyo

How did I come up with that number?  Experience, mostly.  But I also photographed in raw just to give myself maximum leeway in case I guessed wrong.  I didn’t.  The only post-processing necessary for these shots were tweaks in saturation, contrast, shadow control, color balance, and some cropping.  No tweaking of exposure was needed.

View from the Backyard

View from the Backyard

Fortunately up here on the mountain we get some great views.  Here’s a shot of mountains in neighboring New Mexico:

View of New Mexico Mountains

View of New Mexico Mountains

And here is another of the Franklin Mountains that tower over us:

Franklin Mountains

Franklin Mountains

As for color balance, the camera was set to auto-balance but I found I got better results with the snowstorm photos by switching that to “Cloudy” (5,500K) in post processing.  This removed some of the bluish tint without warming the snow too much.

Ocotillo on Ice

Ocotillo on Ice

In the backyard Eve got a strong dose of snow (statue by David Pearson, “Ascension of Eve“):

Ascension of Eve in Snow

Ascension of Eve in Snow

Fortunately that melted almost immediately following the breakup of the overcast and the welcome arrival of warming sun rays:

Eve Thawing

Eve Thawing

Our neighbors’ house got quite the dusting on the parapet of their beautiful Santa Fe-style home:

Neighbors' House

Neighbors’ House

Of course our own front balconies were not immune to accumulation:

Balcony View

Balcony View

And I’m sure the desert plants will enjoy the moisture as well:

Desert Plants

Desert Plants

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Filed under Photography, R. Doug Wicker

It’s Time Again for Doug’s Christmas Specials — A Spillane Christmas


No murder mystery should go unsolved, and Monday’s A Poe Christmas is no exception to that rule.  But today we change tone, with the subsequent murder investigation being taken over by the ghost of Mickey Spillane, as it were.  See how many Dickens references you can catch, or to save time see if I missed any.

A Spillane Interpretation
Of A Dickens Christmas

It was the best of times, Christmas.  It was the worst of crimes, murder.  She was a store clerk at the Old Curiosity Shoppe.  Her name was Lenore and she lay dead upon the floor, strangled with a ribbon of rain checks by an irate Christmas shopper.  The suspect’s name was Ollie, and I knew then that this murder had a twist.

It was time for the “bad cop” routine so I slipped into the role, not that it required much acting on my part.  “Okay, Ollie, what’s your last name?”

“Co . . . Co . . . Copperfield.”

“This your first offense, Copperfield?  Murder goes down easier if it’s a first offense.  You’ll probably be looking at two to ten.”

“Years?”

“Weeks.  Probation.  This is California, you know.  Now spill it.”

“I’ve never been in trouble before today.  Well, except for those two incidents, one in London and the other in Paris.”

“Just what I don’t need right now, a tale of two cities.  Let’s keep it simple, Copperfield.  Why’d you do it?  Passion?  Robbery?  Lust?”

I secretly hoped it was lust.  I’m kind of partial to lust.  Passion comes in a close second.

“No,” Copperfield whined.  “It wasn’t any of that.”

Rats, I thought.  Another long story with, like, no gratuitous . . . well, you get the picture.  “Start from the beginning,” I prodded.

Copperfield yelled in anguish.  I turned off the prod.  “Come on, spill it.”

“It was my son, Quasimodo.”

“Wrong author.  Save Dumas for next year’s contest.”

“Actually, that was Victor Hugo,” Copperfield corrected.

I shook my head impatiently.  “Never mind that.  Go on.”  I’d had enough of this.  I started to prod Copperfield for more information.

“Wait,” he yelled in anguish.  “I’ll talk.”

I put the prod back under my coat.  I yelled in anguish, then reached inside and turned it off.  It was a shocking miscalculation on my part and now I was really burned.  “No more stalling, Copperfield.”

“Quasimodo wanted this year’s hot toy.”

“You mean the Super Fly-A-Saur?”

“You know it?”

“Know it.  Been trying to lay my hands on one of those damned, cursed, hellish things for three weeks.  I got a nephew in Newark who wants one.”

Copperfield’s face twisted in horror.  “Newark.  How awful.  Tough break.”

“Precisely.  Poor kid would’ve been better off as an orphan in London.  He should get whatever he wants.”

“Well,” Copperfield continued, “I didn’t even start looking for one until yesterday afternoon.”

I was incredulous.  “Let me get this straight … .  You didn’t start looking for the most popular toy of the year until Christmas Eve?”  I gave him a suspicion-filled glance.  “You settin’ up for an insanity plea?”

“No.  It’s true.  I swear.”

“Quasimodo.  He got any brothers or sisters?”

Copperfield nodded.  “He has a tiny brother named—“

“Let me guess.  Tim, right?”

“No.  Pickwick.  Pickwick Chuzzlewit Copperfield.  We call him ‘Boz’ for short.”

“Of course you do.”  I was duly impressed.  A four-fer.  Very good.  Tim would’ve been too easy.

It was then that my partner, Nick Nickleby, entered the crime scene.  Nick was the consummate “good cop.”  He never prodded the suspect.  He immediately grabbed Copperfield by the lapels and propelled him into the nearest wall.  “Sing weasel, or you’ll be looking at hard times.”

I grabbed Nick’s arm.  “He’s singing already.  Relax, would you?”

Copperfield massaged his head.  “The chimes.  I’m hearing chimes.”

Nick laughed.  “You idiot.  You hit the wall of the cuckoo clock section.  Of course you hear chimes.”

“Oh, yeah.”  Copperfield straightened.  “Silly me.”  He brushed the cuckoo bird from his mouth, removed the chain from around his neck, the weight from his left nostril, and spit out a feather.  “I was in the middle of my confession.”

“Ah HA,” Nick crowed.  “Then you confess.”

“He just said that.  We’re way past that, Nick.  We’ve already established intent and opportunity.  We’re working on motive.  Now, go sit down before I prod you to do so.”

Nick’s eyes grew like saucers.  He quickly stepped back.  “Don’t mind me.  Just pretend I’m not even here.  I’ll just listen while you question our mutual friend.”

I nodded approval.  An obscure reference, but well placed by a relative novice.  I turned back to Copperfield.  “You were saying?”

“Well, this store clerk, Lenore Dorrit, led me to believe she had some Fly-A-Saurs in stock.  I mean, just look at the window.  They’ve got ads for it hanging all over the place.  I’d been to twenty-seven stores before this and I was desperate, even though their advertised price is 1,200% above the manufacturer’s suggested retail price.”

“So, you entered the store with great expectations.”

“Precisely.  Only to have those expectations dashed upon the rocks like some sixteenth-century galleon caught in a South Pacific cyclone.”

“You’re losing focus again.  We did Robert Louis Stevens last year.”

“Defoe.  That was a Daniel Defoe reference.”

I started to prod, but Copperfield hastily continued.  “Anyway, she led me on.  She enticed me upstairs in the worst way.”

“In the worst way?”

“Yeah.  I mistakenly got on the down escalator.  Took me half an hour to make the trip.”

“Wow.  You were desperate.  Then what happened?”

Copperfield pointed to the raven-haired beauty.  “See those coupons?”

I nodded.  “Rain checks.”

“That’s what she had.”  He broke down sobbing.  “I went through hell, and all she had to offer was a rain check.  Can you imagine little Boz playing with a rain check on Christmas morning?”

Suddenly there was a commotion at the doorway.  A little, gray-haired old man burst through the tape and brushed past Nick.  Actually, the little squirt picked Nick up by the lapels and smashed him into the nearest wall.

“Get out of my way,” the old man yelled.

Nick rubbed his eyes.  “I’m seeing stars.”

I shook my head in disgust.  “Of course you are, you idiot.  You’re in the autographed celebrity pictures section.”

“I thought I was having a religious experience.”

“Get out from under that Madonna poster.”  I turned to the intruder.  “And you are . . . ?”

“Barnaby Rudge.  I got over here from Bleak House as soon as I heard.”

I nodded my approval.  I was wondering how in the world I was going to get those obscure works into this.  “What’s your connection to all this?”

He pointed to the body.  “My automated sales clerk.  She’s been destroyed.  Who did this?”

My jaw clenched.  I shook.  My knees went weak.  I reached inside my coat and switched off the prod again.  Damned faulty switch.  Someone was going to pay for this.  “You mean to tell me that thing’s a robot?”

“Yep.  Made for me by Dombey and Son.”

This guy was good.  Really good.  I’d have been lost without him.  I walked over to the body.  “Yeah.  Now it all makes sense.”

Nick rushed over.  “What?  What makes sense?”

I pointed to that irritating service smile locked on her lips, the one that just drives you nuts.  “She’s still smiling.  She looks like a damned Barbie doll.  I should have known.  And look at what she was ‘strangled’ with.  That roll of rain checks should’ve broken before she even started to turn pink.”  I turned back to Mr. Rudge.  “I’ve never seen one of these.”

“They’re brand new, different models for different occasions.  The ‘off/on’ switch is in the throat.  This one is the Carol model, specifically made for the holiday season.”

“Ah . . . .” I nodded knowingly.  “A Christmas Carol.  Tell me, why did you name her Lenore?”

“Why, that’s easy.  It’s the raven hair.”

I slapped my forehead.  “It’s so . . .  so . . .  obvious.”

I turned to Copperfield.  “You’re free to go, sir.  I won’t be prodding you for anymore answers tonight.”

“Thank God.”  He hurried off, lest I change my mind.

Nick clasped my shoulder.  “Come on, partner.  Let me buy you a drink.  Martini, right?”

“Yep.”

“Olive or twist?”

My eyes narrowed.  “Been there.  Done that.  Let’s go.”

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