While you're waiting for me to write Home Fires Burning, here are some other books (mostly) on the same topic, whether wholly or in substantial part. This is not meant to be in any way a comprehensive list; it's merely what I have found to be most useful. I've included links to out-of-copyright/open access versions, where available....continue reading
Lady Drogheda’s Great Air Exhibition — III
The ostensible purpose of the Air Services Exhibition was to raise money for 'the FLYING SERVICES HOSPITALS' and 'VISCOUNT FRENCH'S WAR CHARITIES', as you can see in the poster above. But those laudable aims didn't mean it wasn't also propaganda (as you can also see in the poster above). And, despite the name of the exhibition, it wasn't about the RFC and RNAS generally, but about the air defence of Britain. Not only did the exhibits consist largely of Zeppelin destroyers and destroyed Zeppelins (and Gothas), but two senior members of Britain's military aviation establishment gave speeches at the opening of the exhibition on 1 November 1917, which as it happened was the morning after a Gotha raid on London, Kent and Essex. Unsurprisingly, they both spoke on the topic of air defence....continue reading
Anzac and Aviator
Michael Molkentin. Anzac and Aviator: The Remarkable Story of Sir Ross Smith and the 1919 England to Australia Air Race. Crows Nest: Allen & Unwin, 2019.
[Disclaimer: Michael is a friend of mine. But I wouldn't have agreed to review his book if I wasn't confident, based on everything else that he has published, that it was going to be excellent. And I was right.]
Anzac and Aviator is a new biography of Ross Smith, the first Australian aviation pioneer to find global fame. This fame rested largely on just one flight in 1919, but it was a truly epic one: the first flight from Britain to Australia. At around 18,000 km, it was the longest to date (albeit carried out in stages, unavoidably). Despite being accompanied by his older brother (and fellow pilot), Keith, Ross -- it's hard to avoid using first names in this review! -- was the driving force behind the flight. With the centenary of the flight this December almost upon us, this biography is timely.
AIR in the AJCP
This is the cover of a leaflet produced in 1916 by the Australian Air Squadrons Fund, the Australian arm of the Imperial Air Flotilla which raised funds around the British Empire for presentation 'battle-planes' for the Royal Flying Corps. My interest in it is not so much for its own sake, though I am struck by the slightly confusing promise that this aircraft 'will carry your name and message of sympathy and support over the heads of our troops into the enemy capitals', as well as the sadly forlorn hope that 'This is, please God, the only war in which we will be able to take part'. Rather, it's here as an example of the aviation records to be found in the Australian Joint Copying Project (AJCP), which is being digitised and made freely available through Trove.
Hendon in stereo
Above is a pair of stereo photos kindly sent to me by Tim Lees, who found them in his father's collection. There's a slight mystery as to the occasion. The label at the top reads 'Hendon - July '28', which suggests they were taken at the RAF Display at Hendon in 1928, but that year it was held in June. So there's an error somewhere: either the day (it was on the last day of June) or the year (the 1927 and 1929 Hendons were both held in July). Or perhaps it wasn't at Hendon at all, but at one of the regional displays where RAF squadrons sometimes reprised their Hendon performances? It might not have been labelled until some years after the event. There's no real way to tell.
The photos themselves show reasonably well-dressed spectators standing in amongst their motor cars, watching two vics of what look like Armstrong Whitworth Siskins, judging from the sesquiplanes (click to zoom in). There's not enough detail to say much more, but that certainly fits the period: Siskins were highly maneuverable (the RCAF even used them for an early aerobatic team) and they featured at Hendon between 1925 and 1931.
This might have been a bomb
A bit of aerial theatre from Dan Todman's (excellent) Britain's War: Into Battle, 1937-1941:
Newton Abbot, Devon, February 1941. The town is holding its War Weapons Week to promote the National Savings movement. It has been set the aim of increasing savings by £100,000 during seven days. To publicize the event, local organizers arrange a fly-over by RAF bombers from a nearby airbase. They drop 10,000 advertising leaflets, with instructions about how to take part in the savings drive. Each is headlined 'THIS MIGHT HAVE BEEN A BOMB'. Whether this is a plea or a threat, it works: Newton Abbot smashes its target, with £216,000 invested by the time the War Weapons Week ends.
Unfortunately, I haven't been able to find a picture of one of these leaflets, or evidence of their use elsewhere in Britain, but the same phrase was used in other leaflets dropped on Hamilton in Ontario, Canada, in the very same month, by a member of the local aero club as publicity for War Savings Certificates:
The leaflets dropped on Newton Abbot may have been something similar, though the message here is obviously slightly different ('help destroy Hitler's murderous bombers ON THE OTHER SIDE OF THE ATLANTIC') -- and would be different again when dropped on Reedsburg, Wisconsin, in January 1944 by the Civil Air Patrol ('Join the Womens' Army Corps') and when dropped on Los Angeles in December 1951, again by the Civil Air Patrol ('These could have been REAL BOMBS! EVEN A-BOMBS!') A little bit of aerial theatre travelling a long way.
Australia and the airship — IV
The previous post in this series was supposed to be the last. But in the course of taking two months to write it, I managed to forget about another, earlier association between a White Australia and an Australian airship. This one wasn't a real airship; it was a fictional one which appeared in Randolph Bedford's 1909 play, White Australia; or the Empty North -- effectively an Australian version of Guy du Maurier's An Englishman's Home. Does this shed any light on Alban Roberts' 1914 airship, White Australia?
The story behind the terror behind Keep Calm And Carry On
Earlier this week I had my first article published in The Conversation, on the actual original context for the Keep Calm And Carry On poster, as opposed to the assumed original context. The Conversation is a great platform for academics to get their work and ideas out to the public, and to provide expert analysis of what is happening in the world. It's largely funded by universities and only academics, researchers or PhD students can write for it; it has a slick writing and reading interface and even actual editors who will commission articles and actively work with authors to improve them, particularly in terms of accessibility to a general audience. (There's no payment for writing, but academics are used to that.) The Conversation started out in Australia, but it has since branched out to the UK, the US, France and Africa. Here in Australia, at least, it feeds into other forms of media: everything is Creative Commons licensed, to encourage wide republication on other news sites, and three radio stations lined up interviews: I spoke to Genevieve Jacobs on 666 ABC Canberra on Wednesday (for a few days, you should be able to listen on the replay at about 1:28:44), Ali Clarke on 891 ABC Adelaide (ditto at about 37:07), and I will be speaking to Sean Britten on 2SER (Sydney) next Wednesday.
I won't go into any detail about the article itself, in part because it's a reworking of a post I wrote here at Airminded earlier this year. But I will post a bigger version of a graphic I stitched together to show Keep Calm alongside the other two posters designed by the Ministry of Information at the same time, and (unlike Keep Calm) actually displayed to the public on a large scale. It was inspired by a similar comparison which for some reason had green and blue posters as well as red. I couldn't find unambiguous evidence that these colours were used, whereas red definitely was, so I put together this version which might be of use to somebody.
The Conversation is not your usual media website, so if you're an academic and you've got something to say, why not pitch an idea?
Preparing for take-off
Apropos of nothing, here's a (somewhat cropped) c. 1943 painting by a Japanese artist named Shori Arai. (Sometimes called Maintenance Work aboard Aircraft Carrier II, though clearly it's not maintenance that's going on there.) The original is held by the National Museum of Modern Art, Tokyo. It was also issued as a postcard by the Japanese Navy Ministry.
1939 vs. 1940
The Guardian has published a very interesting piece by Owen Hatherley on the 'Keep Calm and Carry On' phenomenon, an extract from his new book, The Ministry of Nostalgia: Consuming Austerity. He persuasively locates the poster within the context of an 'austerity nostalgia [...] a yearning for the kind of public modernism that, rightly or wrongly, was seen to have characterised the period from the 1930s to the early 1970s; it could just as easily exemplify a more straightforwardly conservative longing for security and stability in hard times'. I'm not British, but from the outside this seems like a plausible explanation for the renewed interest in the Blitz spirit in recent times.