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Flight, 30 June 1927, 431

The seventh RAF Display was held on Saturday, 3 July 1926. By now it was, as Flight noted, 'amongst the foremost of the functions of the London social season'.1 Their Majesties the King and Queen were in attendance, along with representatives of three other royal houses (including the King, Queen, Infante and Infanta of Spain, possibly drawn by the appearance of the Cierva autogyro), 'Several Indian Princes', nearly one in three of the combined Houses of Parliament, and about 150,000 less exalted guests. (The graphic above shows the growth of 'Miss Popularity Hendon' since the beginning.)2 The main feature of the day was massed formation flying: at one point, six fighter squadrons comprising fifty-four aircraft in total were in the air. The set-piece seems to have suffered by comparison. Flight's description seems rather muted when compared to previous years:

After this came the Set Piece -- during which the Royal Party made a tour of inspection of the machine park. The "Story" this year was the combined attack on a hostile aerodrome by fighters and day bombers. It commenced with a low bombing attack with light bombs by the fighters, which followed up with a machine-gun attack to silence the ground defences. Next came along, higher up, the day bombers, with the fighters above them in attendance. The bombers then very effectively finished off the aerodrome and previously-damaged aircraft.3

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  1. Flight, 8 July 1926, 399. [↩]
  2. Ibid., 30 June 1927, 431. [↩]
  3. Flight, 8 July 1926, 406. [↩]

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RAF Pageant, 1923

The fourth RAF Pageant took place on Saturday, 30 June 1923. The 'turn of the afternoon', as in the previous year, was 'another little Eastern drama, based on actual happenings during the War'.1 Once more the Wottnotts were the enemy, and once more the co-operation of air and ground forces was the theme. The main difference with 1922 was that this time the RAF was coming to the aid of a besieged garrison:

On the centre of the "stage" one saw an impressive railway bridge and sundry buildings. The small military garrison protecting this post was suddenly attacked by our old friends (or enemies?), the Wottnott Arabs. The garrison, being outnumbered, W.T.'d for help, which, before you could say "Jack Robinson," appeared in the form of three Vickers troop carriers, escorted by five Sopwith "Snipes."2

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  1. Flight, 5 July 1923, 365. [↩]
  2. Ibid. [↩]

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Flight, 8 July 1920, 703

I recently said that I've been meaning to write about the spectacular and dramatic set pieces which usually marked the climax of the RAF Pageants, held at Hendon aerodrome every summer from 1920 to 1937. So here goes! The themes chosen for these set-pieces tell us something about what ideas about airpower the RAF wished the public to absorb.1 Flight had good coverage of the pageants, and where possible I'll reference British Pathe newsreels. As there were so many I'll have to make this a series.

First, a bit of context. In 1910, Hendon (or London) aerodrome was established on the outskirts of London by Claude Grahame-White as a place where pioneer aviators could come to build, to train and to fly. But it was also the site of hugely popular aerial derbys and flying displays for the public, who came up from London in their many thousands to watch Grahame-White and others stunting over the airfield: the so-called 'Hendon Habit'. During the war, Hendon was requisitioned by the RFC for the purposes of training, test flying and occasional air defence. Grahame-White never got it back after the war, but he did manage to convince the government to allow it to be used once more for airminded propaganda: the Aerial Derby was re-established there in 1919.2
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  1. See David E. Omissi, 'The Hendon Air Pageant, 1920-1937', in John M. MacKenzie, Popular Imperialism and the Military: 1850-1950 (Manchester: Manchester University press, 1992), 198-220, for more. [↩]
  2. On Hendon generally, see David Oliver, Hendon Aerodrome: A History (Shrewsbury: Airlife, 1994). [↩]

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Der Spiegel has a lengthy article based upon a new book by historians Sönke Neitzel and Harald Welzer called Soldaten (no English version yet, unfortunately). It's based on the transcripts of secret recordings made of the conversations of German POWs captured by British and American forces in the Second World War. They would have talked about many things, but the article focuses on the war crimes which the soldiers, sailors and airmen discuss quite candidly among themselves, as perhaps they never did again in their lives. It's quite horrifying reading. But as far as the German army is concerned, the details of the war crimes committed in the East and elsewhere, while shocking, aren't all that new. It's more unusual to see evidence of the war crimes carried out by the men of the Luftwaffe. I've extracted those particular transcripts from the article.
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In lieu of a more substantial post, here are some flying aeroplanes. Clicking the above picture will take you to a British Pathé newsreel issued on 7 July 1938, showing 'Britain's latest air fighter', also known as the Supermarine Spitfire Mk I. Unfortunately the narration is missing, but I think this is the first production Spitfire, K9787 (at least, I can make out a -87 serial number in places), which first flew in May 1938. That looks like Jeffrey Quill in the cockpit about a third of the way through. A photo on page 18 of the 28 June issue of The Times shows a Spitfire in flight, noting that it was 'undergoing acceptance trials', and the newsreel footage was presumably part of the same Air Ministry propaganda exercise. Other newsreel companies produced similar items.

This was the British public's introduction to the Spitfire, at least on a large scale. The prototype, K5054, was on display at the 1936 RAF Pageant, but it took two years to get into production, and in those years biplanes still formed the air defence of Britain. I'm surprised that the British government didn't make more of their fast new fighters (the Hurricane debuted only a little earlier) in propaganda terms in late 1938. Of course, there weren't very many of them yet. But just the sight of them cavorting across cinema screens might have increased public confidence in Fighter Command, and weakened support for appeasement. On second thoughts, perhaps I shouldn't be surprised after all.

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This is a BBC interview with Group Captain Robert Lister, recorded in 1980, about his experiences as a junior officer in 20 Squadron on the North-West Frontier. He transferred there in 1935, and flew Audaxes in air control operations against Waziri tribespeople, sometimes in support of the Army, sometimes independently. He candidly notes that the 250-lb bombs were the ones which would be used against villages, but also that leaflets were invariably dropped beforehand, warning of an imminent attack.

But the clip isn't just Lister talking; it's Lister talking over his own cinefilm footage from 1935! Both from the ground and from the air, bombing and strafing Waziri villages. Also to be seen are the detonation of an improvised explosive device planted in the landing strip by the rebels, and one of the goolie chits affixed to the side of every Audax, to be used in the event of a forced landing. Fascinating stuff.

Thanks to Marc Wiggam for the lead.

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Harry Houdini is still famous as a magician and escapologist, but he was also a pioneer aviator. One hundred years ago today, on 18 March 1910, he carried out the first powered, controlled flight in Australia, at Diggers Rest, near Melbourne. This testimonial from witnesses appeared in the Melbourne Argus, 19 March 1910, 18:

To Whom It May Concern.

Diggers' Rest,
near Melbourne,
18/3/1910.

We, the undersigned, do hereby testify to the fact that on the above date, about 8 o'clock a.m., we witnessed Harry Houdini in a Voisin biplane (a French heavier than air machine) make three successful flights of from 1min. to 3½min., the last flight being of the lastmentioned duration. In his various flights he reached an altitude of 100ft., and in his longest flight traversed a distance of more than two miles.

(Signed)
HAROLD J. JAGELMAN, Kogarah, N.S.W.
ROBERT HOWIE, Diggers' Rest.
A. BRASSAC, Paris.
WALTER P. SMITH, 4 Blackwood-street, North Melbourne.
F. ENFIELD SMITHELLS, care of Union Bank, Melbourne.
RALPH C. BANKS, Melbourne, motor garage.
FRANZ KUKOL, Vienna.
V. L. VICKERY, Highgate, England.
JOHN H. JORDAN, 11 Francis-street, Ascot-vale.

Houdini was on a tour of Australia, and the flight was undertaken to generate publicity for him. But it wasn't undertaken on a whim: he bought and flew the Voisin in Germany the previous year, and had it crated up and shipped out to Australia.

This film shows Houdini on a later flight over Sydney, probably from Rosehill Racecourse. (My first YouTube upload; I took it from Hargrave.) After leaving Australia, he never flew again.

As with any aviation first, there are other claimants for the title of first to fly in Australia. Colin Defries, for example, demonstrated powered flight, but not controlled flight, in Sydney on 9 December 1909: he got up into the air but crashed it. Defries was British; the first Australian to fly (and in an Australian-built aeroplane too) was John Robertson Duigan, later in 1910. David Crotty, a curator at Museum Victoria, discusses some of these issues here; Scienceworks has just opened a new exhibition featuring some artifacts from Defries' aeroplane (its engine was dumped into Port Phillip Bay to avoid import duty!)

I tend to favour Houdini's claims, but that may be because Diggers Rest was my first hometown :) Celebrations are being held there this week -- the Festival of Flight -- including flying displays and (appropriately) magic shows.

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German vs Anglo-American bomb delivery, 1940-1945

It must be time for some plots. The data here is taken from Richard Overy, The Air War 1939-1945 (Washington: Potomac Books, 2005 [1980]), 120, and represents the bomb tonnage delivered between 1940 and 1945 by Germany on Britain (including V-weapons) in blue, and by Britain and the United States on Europe as a whole (meaning Germany, mostly, but also France, Italy, the Netherlands, etc) in red. The first two years cover the Battle of Britain and the Blitz; the last four the Combined Bomber Offensive. Germany dealt out more aerial punishment than it (or its allies and conquests) received only in 1940; from 1943 Britain and the United States dropped vastly more bombs than the Luftwaffe could ever dream of doing. And here is part of the reason why:
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[Cross-posted at Cliopatria.]

Guernica

A couple of years ago I outed myself as something of a philistine by admitting that I didn't 'get' Guernica, and thought that direct representations -- photographs -- of the ruined city were more powerful, more affecting than Picasso's masterpiece. My incomprehension generated a fair degree of discussion, which was useful, but it was having to teach Guernica this week in tutorials which finally helped me make my peace with it. More specifically, learning something of Picasso's process of design and composition, and the politics of his commission from the Republican government, led me to a better appreciation of its symbolism. Although it depicts -- or rather is inspired by -- the bombing of a city, it seems to be set inside as much as outside, somehow. The woman holding a lantern could be leaning out of a window, one who survived the destruction but suffers from what she has seen. Or she could be leaning in, perhaps symbolising the inaction of the international community after seeing what had happened to Guernica. Creative ambiguity, indeed.

But the other source the students looked at this week was the 1959 French-Japanese film Hiroshima mon amour. And while I've come to understand something of Guernica's power, figurative and non-literal though it may be, I now have a problem with Hiroshima mon amour. In the most simplistic terms, it is a love story between a French woman and a Japanese man, who have a doomed affair in Hiroshima, ca. 1957. But the romance is not the point. Marguerite Duras, author of the screenplay, later wrote that:

Nothing is 'given' at Hiroshima. Every gesture, every word, takes on an aura of meaning that transcends its literal meaning. And this is one of the principal goals of the film: to have done with the description of horror by horror, for that has been done by the Japanese themselves, but make this horror rise again from its ashes by incorporating it in a love that will necessarily be special and 'wonderful', one that will be more credible than if it had occurred any where else in the world a place that death had not preserved.

But if she wanted 'to have done with the description of horror by horror', then why did she and director Alain Resnais include -- at times harrowing -- documentary footage of the ruined city and the victims of the atomic bomb? (Starting from 7.53, continued in the second clip.)
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