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This post relates to my trip to England and Wales in September 2009.

National Space Centre, Leicester

Some Britons I’ve spoken to claim to be unaware that their country has a National Space Centre. Well, it does and it’s in Leicester. I know this because Chris Williams took me there.
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Twitter wordle

Last August I took up Twitter. I’ve just reached a thousand tweets (or will have, when this post is auto-tweeted), so it seems like an appropriate time to reflect on how useful the whole thing is.

I was initially sceptical, but I find that Twitter does complement blogging very well. It’s a good place to post links to useful or interesting links which I think are worth sharing, but aren’t worth a blog post (I don’t like just posting links: I feel I should say something insightful to go along with it, but I don’t always have something insightful to say!) Ditto for things I come across in my reading. It’s not quite as good as having somebody sitting next to you who to say ‘hey, look at this!’ to, but then again that sort of behaviour is usually frowned upon in libraries anyway. As the wordle above shows, most of my tweets are military history-related, and still often aviation-related, but a bit more broadly construed than here on the blog. (‘rt’ is short for ‘retweet’, which reposting the tweets of other users.) I also talk about other interests or pop culture from time to time. Of course, I could do that here if I wanted, but I don’t want to change the focus of the blog. The informality of Twitter makes it easier to play around.

Even more than blogging, Twitter is about who is following you and who you are following. (In round numbers, about 140 and about 100 people, respectively.) While there are a few regular Airminded commenters who are on Twitter (@thrustvector, @AirPowerHistory, @jondresner, @lifeasdaddy), I generally interact with a different set of people there. I get the sense that most of them don’t read Airminded, at least not habitually — even outside of the SEO consultants (who LOVE using the web, but only seem to actually use the web to tell other people how they can get more readers). On the other hand, there are people I’ve interacted with in the Twitterverse who do read Airminded, but wouldn’t comment here. Informality wins again. The abbreviated and fleeting nature of tweeting makes it more liberating, in a sense, than blogging: there’s only so much you can say in 140 characters, so you don’t need to say something brilliant, and if you say something strikingly unbrilliant, well, it’s soon lost in the stream. (On the other hand, it’s surprising just how clever some people can be with so little to work with.)

My proudest Twitter moment did relate to Airminded. @ukwarcabinet is tweeting the British Cabinet’s view of the Second World War, day by day (currently it’s up to 4 February 1940). It’s run by the National Archives (@UkNatArchives), and includes a link to the relevant Cabinet papers, which can be downloaded for free. And according to Jo Pugh (@mentionthewar), who works on it, I was partly to blame:

@Airminded I hope the @ukwarcabinet thing seems like a good idea. It was largely inspired by your post-blogging the Sudeten Crisis.

Which is very cool indeed.

Twitter promises to be even better than a bunch of RSS feeds for keeping tabs on conferences, jobs and general academic gossip. I say ‘promises’ because academia is, as usual, slow to cotton on to new media, and the critical mass of #twitterstorians isn’t quite there yet for Twitter to be an essential way to keep up to date with your own field. Which is one reason why I’m writing this post: sign up, follow @Airminded, and tweet! If you choose not to, you can still get an idea of what I’m tweeting by looking at the bottom of the sidebar on Airminded’s home page.

[Cross-posted at Cliopatria.]

The Trumpet Calls

Airminded is hosting the next edition of the Military History Carnival on 15 February. Please send me suggestions for the best military history blogging since 17 January, either by email (bholman at airminded dot org), by web (here or here) or by twitter (@Airminded or tagged #mhc21). Thanks!

Image source: Wikipedia.

This post relates to my trip to England and Wales in September 2009.

Caernarfon Castle
Another day, another castle. But first …
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This post relates to my trip to England and Wales in September 2009.

Conwy
This is Conwy from the vantage point of its town walls, on a drizzly morning in early autumn. It has a population of 14000, which doesn’t really qualify it as small, but the area inside the walls is quite compact, so it feels much smaller than it should.
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Freedom has a new sound!

It is officially too darn hot today: 43° C. So naturally my thoughts turn to a colder time: the 1950s. The above image (which I found as part of x-ray delta one’s wonderful Flickr stream; he also has a suitably breathless blog, ATOMIC-ANNIHILATION) would seem to be part of a public relations exercise from Convair, relating to its interceptor, the F-102A Delta Dagger. I’m not sure what year it’s from exactly, but the Dagger entered service in 1956, so probably then or the following year. (So it could be an early effort from Don Draper.) Evidently there were a lot of complaints from the public about sonic booms from the Dagger, the USAF’s first supersonic interceptor. The text is really something else; it almost circles right through brazen propaganda to become an honest argument that sonic booms really are good for you. Almost:

Freedom Has a New Sound!

ALL OVER AMERICA these days the blast of supersonic flight is shattering the old familiar sounds of city and countryside.

At U. S. Air Force bases strategically located near key cities our Airmen maintain their round the clock vigil, ready to take off on a moment’s notice in jet aircraft like Convair’s F-102A all-weather interceptor. Every flight has only one purpose — your personal protection!

The next time jets thunder overhead, remember that the pilots who fly them are not willful disturbers of your peace; they are patriotic young Americans affirming your New Sound of Freedom!

Presumably the next panel would show the milkman clutching his ears and screaming in pain, and the one after that the homeowners sweeping up the bits of broken glass. That new sound of freedom wasn’t free.

This post relates to my trip to England and Wales in September 2009.

Conwy

After Cardiff, my next base of operations was to be Conwy (above), a small town on the north coast of Wales. But getting from south Wales to north Wales by rail is surprisingly difficult: there’s no mainline route which doesn’t spend most of its time in England, and I wanted to see some of the Welsh countryside rolling past my window! Luckily, Chris suggested a workable alternative: take a main line train to Porthmadog, take a tourist steam train from there to Blaenau Ffestiniog, and from there another mainline train to Conwy (or rather Llandudno Junction, which is walking distance from Conwy). This would take all day, but since I probably would done one of the tourist trains anyway, I didn’t lose much in the way of holidaying time. And the rail trip was worth it!
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Kamiri Searchlight (1945) by Eric Thake

The war artist is Eric Thake (1904-1982), and the family is mine, although only in the extended sense: Thake’s grandparents, John and Sarah (née Prentice) Thake, were my great-great-grandparents. It was only a couple of weeks ago that my mother found this out. My paternal grandmother (who was born a Thake) did maintain that he was related, but how exactly was unclear, and his middle-class life in suburban Melbourne seemed a long way from her family on the Murray. But she was right!

Thake is a moderately important Australian artist: as one indicator of this, the Art Gallery of New South Wales holds 131 of his works in its collection. He worked in a number of different media: watercolours, photography, sketches, linocuts. In later years he even designed stamps, including a series to mark the anniversary of the first flight from Britain to Australia. He started out as a commercial artist in the 1920s, but also began to make a name for himself in less practical forms of art, including surrealism: in 1940, the director of the National Gallery of Victoria denounced Thake for being ‘too modern’! Perhaps his modernity was why the Royal Australian Air Force selected him in 1944 to be an official war artist. He had already shown some interest in the technology of flight, for example in this surrealist work entitled Archaeopteryx (1941):
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Which People's War
I recently read Sonya O. Rose’s Which People’s War? National Identity and Citizenship in Wartime Britain, 1939-1945 (Oxford: Oxford University Press, 2003), which is interesting on such subjects as anti-Semitism during the Blitz. But I kept being drawn back to the front cover, for a completely trivial reason. The illustration is from a 1941 poster designed by Philip Zec (the Daily Mirror’s political cartoonist), ‘Women of Britain, come into the factories’. The bombers in flying in the stream over the woman’s head are clearly highly stylised, and nearly all identical. But one of them is different, the one above her right arm. In the following close-up, it’s the one on the far left:
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Swansea

This post relates to my trip to England and Wales in September 2009.

National Waterfront Museum, Swansea

After my day of fortifications I felt it was time for a change of pace, so I headed east for Swansea. The main attraction here (other than the Driver and Vehicle Licensing Agency, of course) is the National Waterfront Museum, which explores the industrial history and technological of Wales. Of which there is quite a lot!
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