I recently learned that Adelaide has a suburb called Hendon. Naturally, I wondered if there was a connection to the Hendon, the most important site for aerial theatre in Britain both before and after the First World War. And the answer is: yes! ...continue reading →
Walter Nessler called this painting Premonition. A premonition of what? It's clearly London, judging from St Paul's, the double deckers, and so on, but it's an unsettling version. Everything is jumbled together and smothered by blood-red clouds. But apart perhaps from the ominous sky, the only direct evidence of what's wrong with this picture is the surreal image of the giant gas mask on top of the building being constructed (or deconstructed). Nessler was a refugee from Nazi Germany, and painted Premonition in 1937, the same year that his former countrymen bombed Guernica, a known inspiration for artistic protests against aerial bombardment. Clearly we may take this as his certainty -- a premonition suggests a supernatural inevitability -- that his new home was going to suffer a similar fate to the cities of Spain. (Although back in 2005 there was some journalistic silliness over the fact that two of the buses display the numbers 77 -- 7/7 -- and 30 -- the route of the bus blown up in Tavistock Square.) ...continue reading →
What could be more American than football, cheerleaders, and country music? According to Hank Williams Jr in 1989 [edit: more like 1996 -- thanks, Robert Farley], only football, cheerleaders, country music, and air strikes on US national monuments (which magically transform them into symbols associated with football):
In the rather enjoyable Falling Upwards, Richard Holmes spends most of his time discussing the history of ballooning in Britain, France, and the United States. However, he does briefly talk about the first balloon flights in Australia:
In 1858 the British balloon the Australian made some startling flights over Melbourne and Sydney. There was a late-summer ascent in March from Cremorne Gardens, Melbourne, in which a basketful of local dignitaries sailed over the Botanical Gardens in bright moonlight, with a magical sight of the festival fireworks far below. But, attempting to land at Battam's Swamp, they found themselves in a working-class district, and the balloon basket was seized by a violent crowd. Amid vocal democratic objections to such 'superior' transport, the distinguished guests were forced to escape by jettisoning champagne bottles, picnic hampers, several bags of sand ballast, and finally throwing off a few hardy objectors still clinging to the sides of the basket.1
I'd never heard about this 19th century aerial riot, or near-riot, in my home town. However, Holmes doesn't cite any sources; and while something like this did happen, when compared with contemporary press reports his account appears to be deficient in several respects. ...continue reading →
Richard Holmes, Falling Upwards: How We Took to the Air (London: William Collins, 2013), 94-5. ↩
The latest issue of the British Journal for Military Historyis out, and with it my peer-reviewed article 'Constructing the enemy within: rumours of secret gun platforms and Zeppelin bases in Britain, August-October 1914':
This article explores the false rumours of secret German gun platforms and Zeppelin bases which swept Britain in the early months of the First World War and climaxed with the fall of Antwerp in October 1914, so persistently that they were repeatedly investigated by both the police and the military. They were the latest manifestation of a long-standing myth-complex around the threatening figure of an enemy within. They also represent an important moment in the British people's imaginative transition between the cautious optimism of the early months and the increasingly obvious likelihood of a long, total war.
As I've explained previously, BJMH is an open access journal, meaning that anyone and everyone can read my article for free, and even reuse it (CC BY-NC-ND). Not that I imagine it's going to have much of an impact at all, but in an age when many people are busy constructing a Muslim enemy within out of sharia, halal, and their own shadows, it's better than nothing.
A drawing by an Australian, John T. Collins, perhaps as a student exercise. Unlike in Britain, there was no dominant 'aerial pageant' here but rather many local ones, so it seems like a generic advertisement. It's dated to 1932 or 1933, but assuming the context is Australian then those would be Hawker Demons and it would be more like 1935 or 1936, when they entered RAAF service and represented the latest thing in aerial warfare down under.
2016 has been a terrible year in many respects, but finally there is some good news for everyone! Well, for everyone who wants to buy a copy of my book, anyway; because in January 2017 The Next War in the Air will be republished in a much cheaper (if not quite cheap) paperpack edition.
To backtrack a bit, in July 2015 Ashgate, my publisher, was acquired by Taylor & Francis. This caused a bit of angst at the time, not least because some good publishing people were going to lose their jobs, but also because nobody was sure what was going to happen to the various books and series published by Ashgate, now and in the future.
The dust has cleared a bit since then. Ashgate seems to no longer exist, even as an imprint. Some people did lose their jobs, though, happily, the ones I worked most closely with did not. My book was republished (I suspect just in ebook format) earlier this year by Routledge, the main humanities imprint of Taylor & Francis, which was nice (I've always liked Routledge). On the other hand, the price of the hardcover was put up to a whopping £100. Compare that with Ashgate's original price of £70, which was not exactly cheap either. As Ashgate rarely seemed to do paperback editions for their history monographs, and as The Next War in the Air was hardly a publishing sensation (ha!) I didn't think one was going happen (which was why I put the PhD thesis that formed the basis of the book online for free).
So I was pleasantly surprised when for some reason one day I clicked onto the Routledge page for my book and noticed a forthcoming paperback edition, scheduled for publication on 9 January 2017. Even better, the list price is only £34.99, just over a third the cost of the hardback and almost affordable. If you hunt around the usual sources (Booko is good for this), you might be able to find it for even less.1 Maybe this edition will even make it into real live physical bookshops? A boy can dream...
In fact, as I write Routledge is selling it for only £26.24, though I don't know how long that will last. ↩
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? ...continue reading →
In a final post, I will discuss what [Alban] Roberts called his airship, and what it might mean.
That was over two months ago! I think it's time to finally reveal the answer to this question.
According to Errol Martyn, who has written what must be the fullest account of Roberts' career, says that around the time of the airship's tethered test, it was 'patriotically named Australia 1'.1 He gives no source for this name and I couldn't find a reference to it in Trove or elsewhere. In fact, most of the press accounts don't call it anything other than 'the airship' or 'the dirigible'. But not all:
Mr A. J. Roberts's airship, the White Australia, left the Show Ground yesterday under its own gas [...]2
The trial flight of Mr A. J. Roberts' airship, White Australia, from the Sydney Showground, ended abruptly on Sunday afternoon.3