New Exhibit to be Built for Navy Museum’s Cold War Gallery

Lions Den Story Panel

Story Panel for "Into the Lion's Den"

Design and Production, Inc., a leading builder of large, complex museum exhibits, has been contracted to build “Into the Lion’s Den,” a new Cold War Gallery exhibit at the U.S. Navy Museum. Scheduled for completion by June 2012 as commemoration of the 50th anniversary of the war in Vietnam begins, “Into the Lion’s Den” describes the history of two events: Operation Sea Dragon, the shelling of coastal targets in North Vietnam by Navy and allied warships, and “Lion’s Den” the August 1972 night bombardment of Haiphong harbor area targets by a four ship Navy flotilla. Large caliber projectiles, photographs, and ships’ artifacts highlighting coastal engagements will provide an overview for museum visitors, who will then enter the reconstructed armored bridge area of USS Newport News (CA 148), a heavy cruiser with three triple 8-inch gun turrets. Recorded sound, simulated gun flashes, and a reverberating deck structure complete with helmsman, phone talkers, and an officer in battledress will be viewed by the visitor who sits in the captain’s chair while listening to actual recorded communications and gunfire from the main battery, experiencing a re-enactment of the engagement described below.

Under the operational command of Commander, Destroyer Squadron 25, heavy cruiser USS Newport News (CA 148), along with guided missile light cruiser Providence (CLG 6) and destroyers Robison (DDG 12) and Rowan (DD 782), was ordered to shell ammo dumps and air defense sites on the coast of North Vietnam near the major port of Haiphong. Less than an hour before midnight on 27 August 1972 the four warships moved within three miles of shore and opened up with their 8-inch, 6-inch, and 5-inch guns. Enemy shore batteries returned fire; some of the 300 shells they fired fell dangerously close to the American ships but failed to score any hits.

USS NEWPORT NEWS USN 1141898

USS NEWPORT NEWS (CA 148) fires a salvo off the coast of Vietnam in June 1972. USN 1141898

As the U.S. task group completed its mission and retired to the east, a trio of North Vietnamese P-6 torpedo boats suddenly emerged from nearby islands to ambush the Americans. The U.S. ships immediately opened fire against this new threat. Vice Admiral James L. Holloway III, the Seventh Fleet commander who was on board Newport News that night to observe the operation, then radioed for support from aircraft carrier-based A-7 Corsair II jets using his personal call sign, “Blackbeard.” USS Midway (CVA-41) based VA-93 attack aircraft soon arrived overhead, lit up the sea with flares, and along with gunfire from the surface ships, sank all three of the enemy fast craft in this dramatic nighttime battle.

“Into the Lion’s Den” will be the third exhibit constructed for the Navy Museum’s Cold War Gallery. It follows the “Covert Submarine Operations” exhibit completed in June 2011, and the Central Gallery and Ready Room Theater, completed in 2010. Remodeling of Building 70, the Navy’s original Experimental Model Basin, to house the gallery was completed in 2004, and the design for the many planned exhibits describing the Navy’s 1945 – 1991 Cold War operations was finished in 2010. Completed design and constructed exhibits can be previewed at www.usnavymuseum.org. Building 70 is co-located with the display ship USS Barry and the main Navy Museum building 76 along the Anacostia River at the historic Washington Navy Yard. Please contact the Naval Historical Foundation for information on visiting the Cold War Gallery.

Below, you can watch a short video appeal from our President, VADM Robert F. Dunn, USN (Ret). VADM Dunn explains the battle, as well as plans for the exhibit. The video also features audio recorded during the battle, including the concussion of naval gunfire.


We need your help to make this exhibit possible. Please consider making a tax-deductible donation today, through our Fundly donation page, which can be reached by clicking the “Donate” button below. And please spread the word to others who might want to help us build this exhibit to help recognize the U.S. Navy’s role during the Vietnam War.

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Civil War Journal of Acting Assistant Surgeon Ezra Pray

Ezra Pray Journal

Ezra Pray Journal

In September 1861, with the American Civil War five months old and showing signs of becoming a protracted conflict, Dr. Ezra Pray, practicing medicine in New England, applied for and was granted a naval surgeon’s appointment.  Pray had been born on 13 March 1832 in Rochester, NH, son of farmer Ezra H. Pray and mother Hannah Tebbetts. At 29, Dr. Pray was described in his enrollment record as 5 feet, 10 inches tall, light complexion, light blue eyes and brown hair.

With his appointment effective 21 October 1861, Pray was designated an “acting assistant surgeon” and ordered to report to the U.S. Bark Fernandina in New York City, where he arrived a week before that ship was commissioned on 16 November 1861. This wooden sailing vessel had started commercial life as the Florida, built in New Jersey in 1858, with an overall length 115 feet, beam 29 feet, draft 10 feet, and displacement of 297 tons. Purchased by the Navy on 29 July 1861 for $14,000 and renamed Fernandina (a town in Florida), she was refitted for naval service, sailed with a complement of 86 men, and was armed with six 32-pounder muzzle loading cannon. She was commanded by Acting Volunteer Lieutenant George W. Browne, who was coming to this assignment with limited previous naval experience in the young war.

Pray’s 154-page journal begins with his application for appointment in September and his service in Fernandina from November through 18 April 1862; however, he actually began to write his account in late January through early February 1862, using the ship’s official logbook to remind himself of the key events of his first few months on board.  Thus the journal begins retrospectively until going “live” in February.

Sailing from New York City on 27 November 1861 for duty with the North Atlantic Blockading Squadron, Pray and his ship arrived on station off Wilmington, NC on 14 December (after stopping off in Hampton Roads, Virginia briefly to receive orders from the squadron commodore). Pray described the experience of going to sea for the first time from his landlubber’s perspective, including observations about the sea, the ship, and his sea-sickness.  (See attached maps of Hampton Roads, VA and Wilmington, NC).

The first few months revealed the monotony of blockade duty, punctuated with occasional threats not so much from rebel forces but more from the rough winter weather at sea and the ever-present danger of running aground on the lee-shore and shoals of the “Graveyard of the Atlantic” coast. While Pray was a conscientious doctor who looked after his shipmates with compassion and professionalism, he was clearly hoping for the excitement of combat and the opportunity to share in prize money for capturing blockade runners.  Christmas day, 1861, brought Fernandina’s first success in this area, as she took blockade runner William H. Northrop as a prize with a cargo of drugs and coffee.

Within the first few weeks of his five month service in the bark, Pray began to clash with his commanding officer, Lieutenant Browne.  As he became more familiar with Navy life, Pray came to the conclusion that Browne was a martinet, incompetent to command, and incapable of keeping his crew safe and motivated to accomplish their wartime mission.

Matters reached a crisis when, in the late hours of 4 April 1862, Pray was awakened by a crewmember with a frantic “Doctor, get up! Captain has killed a man!” Responding to an altercation on deck, he found the captain and a crewmember slightly injured, and witnessed Browne shooting drunken sailor John Hillman in the abdomen while Hillman was being restrained by another sailor. Certain that his crew has mutinied, Browne’s actions as reported by Pray, even as Pray tried to save Hillman’s life, revealed the rapidly deteriorating discipline and respect for authority so necessary for maintaining order at sea. Dispatched first to Hampton Roads, and then to Baltimore, Maryland (because the hospital ship in Hampton Roads was filled to capacity with the sailors wounded in the previous month’s epic battles between Confederate ironclad CSS Virginia and USS Monitor and Union navy blockading ships), Fernandina’s arrival on 16 April preceded Hillman’s death by one day, and the Navy Court of Inquiry “to inquire into the circumstances of a Mutinous riot and affray…” by 5 days.

Ezra Pray Journal 4Apr1862

Entry 4 April 1862: "Dr. get up - Capt. has killed a man”

That court adjourned on 2 May 1862, finding that “There was not at the time of the shooting of John Hillman, nor had there been, anything which can properly be called a mutiny on board the ship, nor did the officers who witnessed what occurred on deck, regard the ship as in a state of mutiny, except the captain, who seems so far to have lost his self-possession as to magnify the noise and violence of three drunken men into a mutiny, and even to suspect, without reason, that some of his officers were in collusion with this imaginary mutiny.  It was this entire misapprehension by the captain of the nature of the disturbance, which alone extenuates the gravity of his fault in shooting John Hillman, which was wholly unjustified by any real existing danger to himself, or to the ship.”

Acting Lieutenant Browne was disrated to Acting Master on 14 May and reassigned ashore. He subsequently was assigned in June 1862 to command the brig Bohio.  By March 1864 he was on sick leave and his appointment was revoked the following month.

Having filled up all available pages, Pray concluded his journal by announcing his intention of sending it home for the benefit of friends and family.  Reassigned in June 1862 to the US steamer Cambridge, Dr. Pray continued his medical service in that and several other Union warships until his honorable discharge on 1 March 1866.

Pray married Martha J. Hanson of Somersworth, NH on 16 Aug 1865 and they had two sons.  Pray, having returned at some point to farming, received a pension for his military service, as did his widow some years later. Fracturing his femur in a fall on ice, Pray died 4 Apr 1918, age 86, at Rochester, NH.

Civil War Journal Donation

NHF Executive Director Captain Charles T. Creekman, USN (Ret.), at right, presents the journal to Jan Herman, Historian of the Navy Medical Department, on 15 Feb 2012

At some point the journal (which nowhere mentions its creator, Ezra Pray, by name) passed out of the custody of the Pray family.  A later owner of the journal taped a handwritten note to the inner cover, reporting: “A hand written diary of Civil War—found among Sid’s things. A Navy Dr. wrote it. Valuable, keep. A neighbor of Sid’s burned the rest of set.” No other writings of Dr. Pray have yet come to light.

Apprised of this unique naval history artifact coming available on the market during 2011, the first year of the Civil War Sesquicentennial, the nonprofit Naval Historical Foundation (NHF), itself celebrating 85 years of “preservation, education and commemoration of naval history,” determined to acquire the journal to ensure it would remain accessible to historians and the American public.  With the generous support of Board member and former Secretary of the Navy Ambassador J. William Middendorf II, former NHF vice president Vice Admiral George W. Emery, USN (Ret.) and the Foundation for the History of Navy Medicine, the NHF purchased the journal for $4,500.00 (NHF collection accession number 2011-004).  The narrative was scanned and transcribed, with the original donated to the collection of the U.S. Navy Medical Department Office of the Historian in Washington, DC.  A copy has been donated to the Naval History and Heritage Command’s Histories and Archives Division, Washington Navy Yard, DC.

A note about the transcription; Pray’s original grammar, punctuation, capitalization and spelling have been retained in nearly every instance. Several illegible words are indicated with underlined blanks in the narrative. Pray’s asides are indicated with his own (  ). Explanatory asides inserted by NHF are indicated by [   ].

Transcript of Journal of Acting Assistant Surgeon Ezra Pray

References: (which contributed to the background section and to the transcription of Pray’s narrative)

Atlas to Accompany the Official Records of Union and Confederate Armies. Plate CXXXII (Approaches to Wilmington, NC); plate CXXXIX (Entrances to Cape Fear River, NC). Washington: GPO, 1891-1895.

Barnes, Elinor and James A., eds. Naval Surgeon: Blockading the South, 1862-1866. Bloomington, IN: Indiana University Press, 1963. [the diary of Dr. Samuel P. Boyer, who followed Dr. Pray as surgeon in Fernandina from 6 July 1862-19 February 1864—but never mentions either Pray or the events of April 1862!]

Browne, George W. file, ZB files, Navy Department Library, Washington Navy Yard, DC.

Browning, Robert M. From Cape Charles to Cape Fear: The North Atlantic Blockading Squadron during the Civil War. Tuscaloosa, AL: University of Alabama Press, 1993.

Fernandina, USS file, ZC files, Navy Department Library, Washington Navy Yard, DC.

Fernandina entry, Dictionary of American Naval Fighting Ships. Naval History and Heritage Command website www.history.navy.mil, 2012.

Official Records of the Union and Confederate Navies in the War of the Rebellion (OR Navy), Series 1, Volumes 6, 7, 8. Operations of the North Atlantic Blockading Squadron from: October 29, 1861, to March 8, 1862 (vol. 6); March 8 to September 4, 1862 (vol. 7); and September 5, 1862, to May 4, 1863 (vol. 8). Washington: GPO, 1897, 1898, 1899.

Pray, Ezra file, ZB files, Navy Department Library, Washington Navy Yard, DC.

Records of the Office of the Judge Advocate General (Navy). Court of Inquiry 21 April 1862, Box 89, file no. 3111. Record Group 125, National Archives Building, Washington, DC.

Register of the Commissioned, Warrant, and Volunteer Officers of the Navy of the United States, including Officers of the Marine Corps and Others, to January 1 1863. Washington: GPO, 1863. Page 163, Browne; page149, Pray.

Register of Volunteer (acting) officers, Navy 1861-ca.1880; Personnel Records 1803-1897; Records Collection of Office of Naval Records and Library, Volumes 1 and 2, Record Group 45, National Archives Building, Washington, DC.

Veteran’s Certificate 39424 and Widow’s Certificate 878896; Acting Assistant Surgeon Ezra Pray; Case Files of Approved Pension Applications of Veterans Who Served in the Army and Navy Mainly in the Civil War and the War with Spain (“Civil War and Later Survivors’Certificates”), 1861-1934; Civil War and Later Pension Files; Records of the Department of Veterans Affairs, Record Group 15, National Archives Building, Washington, DC.

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OpSail Announces The Star-Spangled Banner and War of 1812 Essay and Art Contest

OpSail2012ATTENTION HIGH SCHOOL STUDENTS: WIN A RIDE ON A TALL SHIP!
SAIL TRIUMPHANTLY INTO PORT WITH A FLEET OF TALL SHIPS

Operation Sail, Inc., the national non-profit organization that produces tall ship events commemorating patriotic American milestones, announced its sponsorship of an essay contest and an art contest for high school students in association with the USS Constitution Museum, the National Maritime Historical Society, the U.S. Navy and the U.S. Coast Guard. The prize, awarded in each of six ports, will be a ride on the Coast Guard tall ship Eagle. OpSail has partnered with the Navy, Coast Guard, and navies around the world to commemorate the bicentennial of the writing of The Star-Spangled Banner and the War of 1812. Some of the world’s largest sailing ships will sail into six major east coast ports from April through July, 2012. Tall ships and navy warships will form up in parades of sail to begin week-long festivities this spring and summer in six cities: New Orleans LA, New York NY, Norfolk VA, Baltimore MD, Boston MA and New London CT.

Essay contest entrants will write a 1,000-word essay on one of three topics:

• THE ROLE OF USS CONSTITUTION AND THE U.S. NAVY IN THE WAR OF 1812
• WHAT THE STAR-SPANGLED BANNER MEANS TO ME
• THE ROLE OF THE REVENUE CUTTER SERVICE IN THE WAR OF 1812

Essays must be submitted as a Microsoft Word attachment in 12 point, Times New Roman font, double spaced, with one-inch margins. The entrant’s name, email and port of interest must appear on the top right-hand corner of the front page. Essay entries should be emailed to opsail2012-essay@opsail.org.

Art contest entrants must submit a copy of their original watercolor, oil, or pencil drawing/painting, no greater than 18 inches x 18 inches depicting one of three topics:

• WHAT THE STAR-SPANGLED BANNER MEANS TO ME
• A MARITIME SCENE FROM THE WAR OF 1812
• A REVENUE CUTTER IN ACTION DURING THE WAR OF 1812

Copies of original artwork must be submitted in JPG format under 6 mb in file size. The entrant’s name, email and port of interest must appear in the body of the email. Art entries should be emailed to opsail2012-art@opsail.org. Winners must agree to submit original artwork for display.

Contestants must follow specific deadline and submission requirements. The contests are open to students enrolled in public, parochial or private high schools and who will be at least 12 years old by date of the event for which their work is submitted. The prize is passage on a tall ship for a day during OpSail 2012.

One prize will be awarded in each OpSail event city: New Orleans LA, New York NY, Norfolk VA, Baltimore MD, Boston MA, and New London CT. Entrants must name the one port for which their work is competing (see table below) and meet the deadline for that port city. Deadlines for essays and artwork:

Port Due Date (2012)
New Orleans, LA March 16th
New York, NY April 20th
Norfolk, VA May 4th
Baltimore, MD May 11th
Boston, MA May 25th
New London, CT June 1st

 

Essays will be judged by a panel of experts led by William H. White, historian and author, and members of the National Maritime Historical Society. Art will be judged by a panel of experts from the USS Constitution Museum. One winner (and one parent/guardian) will be invited to ride the U.S. Coast Guard barque Eagle or a comparable tall ship as the vessel participates in an OpSail Parade of Sail, weather permitting. Winners must arrange for their own transportation to the city where the tall ship sails. Winners may be asked to video record their essays for use by OpSail and must agree to media interviews. Winners agree that their essay or art work may be used for promotional purposes. Submissions become the property of Operation Sail, Inc. for use in print or other media as Operation Sail in its sole judgment determines.

For student/teacher questions about rules, contact:contest@opsail.org.

For more information about OpSail, please visit their website.

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Former Vietnam POW Visits Cold War Gallery

NaughtonCaptain Bob Naughton, USN (Ret), a former prisoner of war during the Vietnam War, poses for a photo with the prison camp model of the “Zoo,” where he spent time during his captivity, just a few miles outside of the city of Hanoi in North Vietnam. Captain Naughton visited the Cold War Gallery, Wednesday, 1 February, while in town for the Arlington funeral of his former VA-113 commanding officer, Captain Hank Dibble, USN.

Then-LCDR Naughton was shot down in May 1967 flying an A-4C Skyhawk from the deck of USS Enterprise, with the Stingers of VA-1113. He was released in March 1973. He later served as commanding officer VA-83, VA-174 and NAS Dallas. His awards include Silver Star, Legion of Merit (2), Distinguished Flying Cross (2), Bronze Star and Purple Heart. He and his wife Peggy now reside in Texas.

The model of the “Zoo” prison camp features labels describing the various areas of the camp, and is currently on display in the Cold War Gallery, at the Washington Navy Yard. The model was built by Midshipman Ronald Malec, United States Naval Academy Class of 1974, and presented to Commander Jack Fellowes in May 1974. Fellowes (who passed away in 2010) had a personal connection to the Cold War Gallery. He sponsored a model of the A-6E Intruder that he was shot down in over Vietnam, along with Bombardier-Navigator LTJG George Coker. The aircraft model is now on display in the Cold War Gallery. An image of the model can be seen on our Cold War Gallery website, in the “Fly Navy” section under “Aircraft Models,” with additional views available on our Flickr site.  A home made shoulder board fashioned by Coker during their imprisonment is also on display in the Gallery.

A close-up photo of the model of the “Zoo” can be seen below. We’ll have a follow-up story later this month on the model itself. Zoo POW Camp

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Battleship NORTH CAROLINA: NI4BK is On the Air!

Battleship North Carolina

Port bow view of the Battleship North Carolina with dress ship flags flying. Photo courtesy of the Battleship North Carolina.

The age of the battleship has passed into history, but along the coasts of the United States are reminders of this dramatic era in naval history. Nestled in Wilmington, NC, is the battleship ex-USS North Carolina (BB 55), moored on the Cape Fear River. Commissioned in 1941, she was awarded 15 battle stars during World War II, and was decommissioned in 1947. She was transferred to the state of North Carolina, towed to her present location on the Cape Fear River, and opened as a museum ship in October 1961, with a dedication following in April 1962. In 1986, the battleship was declared a National Historic Landmark.

North Carolina‘s visual appearance is unique amongst the remaining battleships. She seems to rise up out of the landscape of the trees and tall grass surrounding her on the Cape Fear River. Her distinctive camouflage paint scheme often surprises those who think of warships as monotone grey behemoths. Behind her steel bulkheads looms another surprise: fully functioning radio equipment. Through a partnership with the Azalea Coast Amateur Radio Club (ACARC), the ship’s original transmitters, cabling, and antennas are used to transmit ham radio signals, under the call sign NI4BK. The equipment will be in operation for the North Carolina QSO Party, scheduled for 26 February 2012, from noon to 10PM. Anyone who hopes to make contact will need a general coverage short wave receiver, with both CW and SSB (Single Sideband) capabilities in the 7 and 14 MHz frequency ranges.

Restoring this World War II era communication equipment was a labor of love, and required close collaboration between the ship’s staff, volunteers, and ACARC. In 2000, the club (which had been operating their own equipment set up for special events in the Navigator’s Sea Cabin on the Bridge Platform since the late 1990′s) was asked to move to a new location on the ship. ACARC member Carl Filipiak asked Museum Services Director Kim Robinson Sincox about restoring Radio 2 and having the club operate there. It was decided that an attempt would be made to restore the old World War II radio equipment to working condition. Volunteers from the club had previously restored the ship’s 1MC system allowing for announcements and music, as well as old style rotary telephones allowing communication between portions of the ship.

Restoring World War II Radio Transmitters

North Carolina TBM-4

TBM-4 transmitter

Carl Filipiak and Jack Jacobs from ACARC were involved in the early restoration efforts, and were joined over the years by others including Allan Pellnat, Norm Clemmons, and Bill Usher. The first step in the restoration project was to splice into existing wiring to see if the ship’s antennas could be reactivated. Maintenance Supervisor Terry Kuhn was able to splice into the battleship’s 60 year old coaxial wiring. After some cleaning and re-patching of cords, the club’s modern radio equipment was able to operate successfully through the World War II era wiring and antennas. With the success of this first stage of the restoration, the next step was to take a look at the original transmitter equipment. The TBM-4 transmitter was chosen as the first project. This large piece of equipment sits in two six-foot bays. Both the TBM-4 and TBK-7 were primarily used for “continuous wave” (C.W.) transmission – Morse Code. The TBM-4 is also equipped with a separate modulator unit for ”amplitude modulated” (AM) voice or “modulated continuous wave” (M. C.W.) transmissions. The transmitter and accompanying equipment were dirty, damaged, and inoperative, but all of the major components were still in place. The repair crew set to work in an attempt to bring it back to life.

The first step was to test all of the wiring insulation for high voltage breakdowns. Next, switches had to be cleaned, and all plug-in components such as high power resistors and fuses were also cleaned and properly re-seated. All of the connections under screwed or bolted terminals were inspected to make sure they were secure. Motor-generator bearings were lubricated, and their brushes and armatures were inspected. After a series of fits and starts lasting more than a year, they finally had the transmitter functioning in November 2001. One of the first radio operators the team connected with in early 2002 was Richard “Mac” McCullough, callsign W1SRR. McCulloch was a North Carolina plank owner, and served as a radioman in Radio 2 throughout the entire period of her commissioning. He remained in contact with NI4BK until he passed away two years ago.

North Carolina TBM-4 Generator

TBM-4 generator

Restoration work has continued almost continuously. The TBK-7 transmitter was brought online in 2009. Yet despite their many successes, the volunteers leading the restoration work always have a never-ending series of projects awaiting them. Fortunately, many of the internal components of the radio equipment are still in common use in modern high voltage, high power applications. Other than some minor corrosion problems in switches and controls, the biggest problems have been with the motor-generator sets which provide the high DC voltages that the gear requires. After being dormant for more than 60 years, the motors tend to start up and run fine for a short time, but then develop various problems requiring that they be dismounted and sent out to a motor repair shop. At present, the high voltage motor-generator sets for both the TBM-4 and TBK-7 are out of commission, awaiting removal to the repair shop. This leaves the operators with only the TDE transmitter (a slightly later vintage, installed on board BB 55 in 1944) with a lower power capability.

Callsign: NI4BK

Radio operators communicate with one another through the use of callsigns. The amateur radio callsign NI4BK is a special vanity callsign acquired from the Federal Communications Commission, and is based on the original BB 55 Navy callsign NIBK. When the transmitters on board the battleship are operating, amateur radio operators within range who hear the callsign NI4BK quickly realize that they’ve made a special connection. Whenever the ACARC volunteers put the ship on the air, they quickly acquire a “Pileup” of stations calling them. When amateur radio operators perform a successful 2-way contact, it is customory to exchange a “QSL” postcard. QSL is a radio code meaning “I confirm receipt of your transmission.” Battleship North Carolina‘s QSL card bears a photo of BB 55 underway.

Listen to TBM-4 Test Sequence Recording

Transmitting at Battleship Events

Battleship North Carolina runs tours and events throughout the year, and the Azalea Coast Amateur Radio Club is involved in several, including Hidden Battleship Tours, Museum Ships Weekend, and the North Carolina QSO Party. They remember Pearl Harbor by operating radio equipment from midnight GMT of December 6th through late afternoon of December 7th. They also host a guest HAM operator program.

The QSO Party is an annual ham radio contest that occurs over one weekend each year in each of the 50 states. QSO is a code that means “can you communicate with?” The object of the contest is for ham operators around the world to contact as many of the counties within that state as possible. Each county contacted earns points, and contact with certain special event stations within a county earns additional bonus points. The North Carolina QSO party in late February 2012 includes the 100 counties in North Carolina, plus four Bonus Point special event stations, of which BB 55 is one. Operations from the ship typically run from early Saturday morning until late Sunday afternoon, using voice transmission from modern solid state equipment in the Radio Central area connected via original cabling to one or more of the ship’s original antennas. They concurrently operate the original equipment in Radio 2 (Third Deck, not on the public tour route) using C.W. (Morse Code) transmission. Club members stand by in the Radio Central area to explain to tourists what is happening. The radio operators typically log several hundred two way contacts throughout the US and Canada – as well as many other foreign countries – over the course of the QSO Party weekend.

In mid-summer the radio operators participate in Museum Ships Weekend. This involves 70 or more museum ships throughout the world, operating with original and modern equipment. Warships such as North Carolina are involved, but other civilian museums ships such as a Great Lakes ore carrier and lightships take part. The ships try to contact each other as well as other ham stations throughout the world.

To learn more about the Battleship North Carolina, please visit their website. And if you are on the air, keep a listen for NI4BK!

North Carolina Radio Two

Radio 2 room, showing transmitters and other equipment

BB North Carolina - Antenna on Stack

The antenna on the stack at the right side of the picture is fed by the cable seen dangling down to a co-axial duct termination that feeds directly down to the third deck Radio 2 room

Battleship North Carolina Radio 3

Jack Jacobs (sitting) tunes up the TBM-4 while Allan Pellnat (standing) listens to the signal on an RBC WWII era receiver.

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BOOK REVIEW: How History’s Greatest Pirates Pillaged, Plundered, and Got Away with It – The Stories, Techniques, and Tactics of the Most Feared Sea Rovers from 1500-1800

By Benerson Little, Fair Winds Press, Beverly, MA (2011).

Reviewed by Capt. Roger F. Jones, USN (Ret.)

From the cover, one might be forgiven for thinking that Little’s book could be an “ode to piracy,” but after reading a few pages, it is clear that the author has something very different in mind.  He has effectively created a “who’s who” among those who were the most successful in the “golden age” of pirates, but he also shows that they were nothing like the romantic or chivalrous characters in such Hollywood epics as “Captain Blood” or the comedic types in “Pirates of the Caribbean.”  Little sets out to paint a picture of those buccaneers who were at the top of the pyramid of their kind during the three centuries he covers, primarily using plunder and reputation as a yardstick – but he also shows that they were each incredibly avaricious, treacherous, brutal, and sadistic.  “Walking the plank” might well have been one of their more humane forms of execution.

The author describes the strategy and tactics used by pirates to capture, ransack, and loot towns and vessels, although sometimes they were willing to settle for the payment of tribute or ransom.  Often, the sailors of captured ships were compelled to join the pirate band or be killed.  During this period of history, it was possible for a successful pirate captain to become the ruler of a small region, or even an admiral of a nation’s fleet.  However, when the age of sail was overtaken by the age of steam, states and principalities could defend themselves far more effectively, and piracy began to fade as an occupation.  Piracy is hardly dead, however; as the author notes, Somalian pirates operate today in the waters off northeastern Africa (as do buccaneers in the Straits of Malacca).

Little has assembled a large and impressive body of references on piratical activities in the historical era covered in this book, and he analyzes their reliability.  A large number of excellent, detailed historical maps and drawings are included, many in full color.  He begins with the most successful of the Barbary corsairs, Kheir-ed-Din Barbarossa (1470s-1546), who conquered Algiers and “became the government who authorized the pirate.”  Next is Grace O’Malley (1530s-1603), who terrorized the coasts of Ireland, in the Celtic tradition of female warriors.  Francis Drake, Henry Morgan, Blackbeard, Jean LaFitte and others – a veritable “Who’s Who” – of the Spanish Main’s buccaneers are described, as well as famous pirates of the Indian Ocean and the South China Sea.  Tactics and weapons are described in detail – in this, Little is able to make good use of his expertise as a fencer and a former Navy SEAL.

Overall, I found this to be an interesting and very readable book.  His writing skills and command of language are top-notch.  Little clearly knows his subject well and makes a compelling case for his choice of who were the most successful pirates of the past and what made them so.

Captain Jones served 3 years on active duty and 30 in the active reserve as a cryptologist. He also served many years as a paper reviewer in the American Chemical Society and the Society of Plastics Engineers and contributes reviews to Amazon.com.

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Call for Papers: Britain and the Sea

Britain and the Sea: The Maritime Sphere and the Past, Present and Future of the UK

This conference will examine the relationship between Great Britain and the Sea.  It is increasingly said that Britain is in danger of losing its self-identity as a maritime nation at the point when the sea becomes the focus for a new era of economic exploitation, sustainable transportation and inter-state rivalry.   How did we arrive at this point, where are we now and where should we go from here to ensure the maritime future of the UK?

The conference will be held 4-5 September 2012 in the Roland Levinsky Building at Plymouth University, Plymouth, United Kingdom. The full line up and programme for the conference will be announced after Easter, but it will consist of three elements: 1. Keynote speeches; 2. Plenary discussion; 3. Invited papers.

In line with item 3, short academic papers (20 minutes in duration) are invited to illustrate and explore the following issues/areas of concern.

How did we arrive at this point? - British Culture and the Sea

- How has Britain’s maritime identity been shaped by artists, writers, historians and others?

How did we arrive at this point? – Government Policy Towards the Sea?

- Where have Governments got it right/got it wrong with regard to UK fishing industry/boat and ship building/shipping industry/the Royal Navy/offshore extraction/marine conservation and environment/maritime heritage?

- How have external bodies such as the EU, IMO and others complicated UK

Government policy towards the Sea?

Where are we now? – Threats and Opportunities

- What threats and opportunities face the UK in terms of our economic, environmental and cultural relationships with the sea?

Where should we go from here?

- How is Britain’s Maritime Future to be secured?

- What kind of diplomatic and defence policies do we need to pursue?

Please send a short abstract of your paper (no more than 500 words) and a current CV to conference organiser Dr G.H. Bennett (h1bennett@plymouth.ac.uk) to arrive no later than 15 April, 2012.  Selections will be made on the basis of balance and significance.  Conference fees including catering, but excluding accommodation, will be £75 per person for the two days.

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The War of 1812: A New Look

The following speech was delivered by RADM Joseph F. Callo, USNR (Ret), to the Society of the War of 1812 in the State of New Jersey and Jamestowne Society at the Nassau Club of Princeton, New Jersey on 29 October 2011. It also appears in the Fall 2011/Winter 2012 issue of “Pull Together.”

The bicentennial of the War of 1812 is approaching, and after 200 years it’s time to change how we think about that war.  To support that proposal, I’m going to explore what I believe the narrative of that war has been and how we might change it to make it more accurate and more relevant to our own lives and times.

Lake Erie NH 43575-KN

Battle of Lake Erie (Mural in U.S. Naval Academy, NH 43575-KN)

In the past there have been heated—and mostly partisan—arguments about who won.  Then in recent years, it became fashionable to claim that the war was a stalemate, with the further claim that it was simply a horribly stupid waste of life.

Those two latter conclusions are easy to slide into if one simply concentrates on the war’s military actions. For example, of 25 noteworthy naval actions, the U.S. Navy won thirteen and the Royal Navy won twelve.  And along the Canadian borders there were bloody battles won and lost but no major change in the border.  Then on the one hand the U.S. Navy won the critically important fleet actions on Lake Erie and Lake Champlain and American privateers had a significant effect on Britain’s vital sea lines of communication.  But on the other hand, the Royal Navy was able to apply a punishing blockade and a series of successful expeditionary warfare raids against America’s Atlantic coast.

And so the discussions have rolled on. But while it’s true that there was no unconditional surrender by either side, and in a compilation of the results of individual actions there was no clear winner, there were indeed some very important, bottom line gains and losses for each side.  And those gains and losses had long term, geopolitical implications for both the United States and Great Britain—and in fact for the world.  But I’ll come back to that particular point towards the end of my remarks.

One of the biggest problems with the current narrative of the War of 1812 is, I believe, that there has been a tendency to focus on the main events as if they were free standing, rather than parts of a stream of interconnected campaigns, battles, policies, and decisions.  And the corollary of seeing the War of 1812 as a series of free-standing events is that tactical matters inevitably overshadow strategic matters.

There is a very interesting new book out.  Some of you may have read it already. The book’s title is 1812—The Navy’s War, written by George Daughan.  Towards the end of the book there is, for me, a particularly enlightening passage. The passage quotes from a letter from the Duke of Wellington to the British prime minister at the time, Lord Liverpool.  The prime minister had suggested that Wellington go to Canada and take over leadership of the land war along the Canada-U.S. border. At that point Wellington had a deserved reputation as a successful field commander in the Peninsula Campaign against Napoleons’ army.  Wellington’s response focused on an important point.  This is what he said:

“That which appears to me to be wanting in America is not a general, or a general officer and troops, but a naval superiority on the Lakes….The question is, whether we can obtain this naval superiority….If we cannot, I shall do you but little good in America.”[i]

Wellington understood the continuing strategic issues of the War of 1812, in this case the question of whether or not the British could take control of the communication and supply routes represented by the Great Lakes and Lake Champlain.  Wellington wasn’t thinking tactically.  He was confident that he could dominate in the field in most situations with his experienced troops.  He was instead emphasizing the kind of strategic issue that gives context to individual actions and decisions.

And the importance of context is nowhere more important than when trying to establish the true causes of the War of 1812.  The American declaration of war in June 1812 is generally attributed to America’s need to assure “free trade and sailors’ rights.”

In the book Sea Power—A Naval History edited by E.B. Potter and Admiral Chester Nimitz, the circumstances behind that battle cry are spelled out succinctly:

“In the post-Trafalgar period the intensifying commerce warfare between Britain and France left the United States the only major neutral trader on the high seas. American merchant shippers enjoyed unprecedented prosperity both in the general carrying trade and as exporters of American wheat, tobacco, and cotton.  At the same time American merchantmen and even naval vessels, caught between Britain’s Orders in Council and Napoleon’s retaliatory Decrees were subjected to increasing interference that eventually grew intolerable.”[ii]

That’s fine as far as it goes, but in reality there was more—much more—to the story than a simple desire for free trade and sailors’ rights.

As the war approached, there were also strong, emotionally- laden political and diplomatic cross currents that shaped the decisions of President Madison and then-British Prime Minister Spencer Perceval.  And politics, as we know, is often a force unto itself.

James Madison KN-10921

President James Madison (by Asher Durand after Gilbert Stuart, KN-10921)

While Madison was the leader in the House of Representatives, he steadfastly resisted the pressure of those in Congress who were inclined towards war with Great Britain.  Those advocating war were mostly from the South, along with expansionists from the then-western states of Kentucky, Tennessee, and Ohio, who were anxious to push the United States’ borders to the west.

Notwithstanding the pressures coming from those inclined towards war with Great Britain, Madison acted on his belief that he could avoid armed conflict by convincing Prime Minister Perceval that a major clash was inevitable, unless Britain dealt with the issues of free trade and impressment.  Madison was further convinced that Great Britain’s preoccupation in Europe with Napoleon would make Britain reluctant to open up a new global warfront.

Madison was wrong on all of the above.  In fact Perceval believed that the regional political divisions within the United States, along with America’s obvious military weakness would force America to accommodate Britain’s maritime policies, no matter how onerous or economically damaging.  In addition Perceval and many around him believed that U.S. complaints could be quieted with a limited application of military pressure.   All of the foregoing created perceptions on the part of the British leadership that were as important as the actual circumstances involved.

There was another important psychological factor among much of the British leadership.  As a result Prime Minister Perceval and his successor, Lord Liverpool, who became Prime Minister in May 1812, had a desire to settle scores with the United States.  In the first chapter of his book, Daughan is blunt:

“The Treaty of Paris…hardly reconciled the king or his people to colonial liberty.  Bitter about their humiliating defeat, the British watched with satisfaction as the thirteen states floundered without a central government….Many in London expected the American experiment in republican government to fail.”[iii]

The Evening Star in London put things in more colorful terms:

“England shall not be driven from the proud pre-eminence, which the blood and treasure of her sons have attained for her among nations, by a piece of red, white, and blue striped bunting flying at the mastheads of a few fir-built frigates manned by a handful of bastards and outlaws.”[iv]

As we know the feelings were mutual, and it’s difficult to overemphasize the importance of sentiments such as those when discussing the reasons for the War.  Yet they usually get little emphasis, if any.

The miscalculations on both sides that contributed to the U.S. declaration of war continued into the armed conflict.  For example the British leadership failed to recognize the importance of the U.S. Navy’s early, morale-boosting, tactical victories in the early single-ship actions.

Those stunning single-ship actions were shrugged off at the Admiralty and Whitehall as embarrassing but basically non-determinants in the war, when they were in fact hugely important in sustaining a fighting spirit in the U.S. Navy.  And of greater importance, those early naval victories sustained the will of the American political leadership and the public to fight on in the war.

The British were not alone in this pattern of miscalculations.  For example the U.S. political leadership constantly misjudged the determination of most Canadians to remain part of the British Empire.  A month into the war, then-former-president Jefferson, famously opined: “[T]he acquisition of Canada this year, as far as the neighborhood of Quebec, will be a mere matter of marching.”[v]

The serious misjudgments were still evident—not surprisingly at this point—during the peace negotiations that began at Ghent in August 1814.  In the early phases of those deliberations, for example Madison doggedly believed that the British were anxious for a negotiated peace.  When in truth Prime Minister Liverpool was convinced that with the pressures of Britain’s blockade and expeditionary warfare raids—particularly the presumably devastating psychological impact of the burning of Washington—the United States would not, could not, sustain the war for much longer.

So we see that the War of 1812 was launched and sustained to a significant degree by one false impression after another and a high degree of emotion on both sides.  It wasn’t until the connected Battles of Lake Champlain and Plattsburg that the direction of the negotiations at Ghent finally changed.  And at that point they changed radically.

With Commodore Macdonough’s victory over a British fleet on Lake Champlain on 11September 1814 and U.S. Brigadier General Alexander Macomb’s  accompanying repulse of British General Prevost at Plattsburgh—along with  the subsequent withdrawal of Prevost’s army to the north—the strategic nature of the War of 1812 was suddenly altered.

Lake Champlain NH 51480-KN

Battle of Lake Champlain (Edward Tufnell, Navy Art Collection NH 51480-KN)

The Battle of Lake Champlain became the main tipping point by stopping a British thrust down Lake Champlain and the Hudson Valley and into the commercial heart of America.  Such a campaign, if successful, would in all probability have shattered the United States geographically and ended the nation then and there.  The coincidental repulse of the British attack on Baltimore was the exclamation point on the new strategic equation.

Let’s shift focus now to assess the outcome of the war.  On the positive side for Britain, the period of relative peace that followed the war allowed Britain to benefit economically from her foreign trade and to firmly establish her de facto dominance of the seas.  The latter would prove to be an unchallenged and immeasurable geostrategic benefit to Britain for a century.  The end of the war also helped Britain to focus on the Industrial Revolution’s early stages and to quickly become the world’s largest economy.  These were obviously important and very positive outcomes of the War of 1812 for Great Britain.  It should be noted, however, that notwithstanding those positives, there were many in Britain who felt that their nation had conceded too much at Ghent.

On the positive side for the United States, the dominant position of America in Florida and Louisiana was confirmed and the possibility of a massive buffer Indian nation in the territories that would become Ohio, Indiana, and Michigan was eliminated.  And U.S. foreign trade was once again able to contribute to America’s burgeoning economic might.

In addition and arguably most important of all, the United States gained international stature that did not exist before the war.  The companion to that new stature was the recognition in the United States that a strong, standing military was an essential component of national security, and both the U.S. Army and U.S. Navy emerged from the War of 1812 as more professional military services.

Many—perhaps most—would  agree that at the center of that new American global stature was the U.S. Navy, a force that had established emphatically that it not only would fight against the best, but it also could win decisively at that level. And it could win not only in a tactical context but in a strategic context as well.

Frequently the War of 1812 is referred to as America’s second war of independence, and it was that.  It was also the validation of the implausible vision of John Paul Jones who wrote in 1778:

“Our Marine (Navy) will rise as if by enchantment and become, within the memory of persons now living, the wonder and envy of the world.” [vi]

Representative of the new U.S. Navy that was shaped during the War of 1812 was a group of officers referred to as “Preble’s Boys.”  They were named for Commodore Edward Preble, who noted the youth of his officers when he was in command of a squadron in the Mediterranean during the Barbary Wars.  All his captains were less than 30 years old—some were in their early 20s.  After a few months of action in the Mediterranean, however, “Preble’s Boys” established themselves as exceptional warfighters, officers who were forward-leaning if not downright aggressive in their combat doctrines.

Among the “Preble’s Boy’s” who went on to distinguish themselves in the War of 1812 were William Bainbridge, victor in the action between USS Constitution and HMS Java; Stephen Decatur, who defeated HMS Macedonian while in command of USS United States; Isaac Hull, victor over HMS Guerriere while captain of USS Constitution; Thomas Macdonough, victor at the Battle of Lake Champlain; David Porter, who, as captain of USS Essex captured HMS Alert, the first British ship captured in the War of 1812; and Charles Stewart, who captured HMS Cyane and HMS Levant in a single extended action.

“Preble’s Boys” were part of the new breed of professionals who bridged the gap between the inward-looking and basically defensive attitudes that followed the American Revolution and the global sea power concepts that came to maturity at the beginning of the twentieth century with President Teddy Roosevelt and Admiral A. T. Mahan.  In a book by Allan Westcott titled Mahan on Naval Warfare—Selections from the Writings of Rear Admiral Alfred T. Mahan, the Introduction includes the following:

“[T]he historian of sea power (Mahan) had much to do with the emergence of the United States in 1898 as a world power, with possessions and new interests in distant seas.  And no one believed more sincerely than he that this would be good for the United States and the rest of the world.”[vii]

It was “Preble’s Boys,” along with those who fought with them and paid a heavy price in blood, who connected ideas of liberty with the steady progress of globalization that continues up to our own times.

In his book On Seas of Glory, former Secretary of the Navy John Lehman wrote at the beginning of his chapter on the War of 1812:

“Before the War of 1812 the young republic did not have an organized naval service in the truest sense.  Gradually, the need to defend the commerce of the fragile new nation against warring European powers, Barbary pashas and pirates created the foundation of the U.S. Navy in fits and starts.”[viii]

At the end of the chapter Lehman’s focus is far reaching:

“The early efforts of Adams, Jones and Barry to establish institutional permanence were now accomplished, complete with a rich store of custom and tradition, borrowed liberally from the British and French navies, but very distinctly American….The new republic now had a formidable instrument to build a global commerce, enforce a Monroe Doctrine, and when the test came, to preserve the Union from rebellion.”[ix]

At the beginning of my remarks, I said there were a lot more than tactical victories and defeats during the War of 1812 and that there were very important gains and losses at the end of the war that had long term implications for both the United States and Great Britain—and in fact for the world.

To that point and in closing, I suggest that what the victories and defeats, mistakes on both sides, and the good and bad luck of the War of 1812 all added up to was a happening that is still playing out.  That happening was the emergence of the United States as a global—eventually preeminent—naval power.

Our security and prosperity, as well as that of much of the world, is to a significant extent based on U.S. naval power, a global force that came forth in a brilliant flash of history between 1812 and 1814.  It was a marriage of democratic political concepts to sea power.  It was a phenomenon that harks back to Themistocles and the triremes of the Athenian empire of the fifth century BC.

The conjunction of American theories of liberty with global sea power in 1814 is, in my opinion, the single most important outcome of the War of 1812.  And it was an enormously important—and mostly positive—outcome that has born heavily on world history.  We ignore that message from history at great risk.


[i] 1812—The Navy’s War, George C. Daughan (New York, Basic Books, 2011), 356

[ii] Seapower—A Naval History, edited by E.B. Potter and Admiral Chester Nimitz (Englewood Cliffs, NJ, Prentice-Hall, Inc., 1960), 207

[iii] 1812—The Navy’s War, George C. Daughan (New York, Basic Books, 2011), 1, 2

[iv] The Perfect Wreck—“Old Ironsides and HMS Java—A Story of 1812 , Steven Maffeo (Tuscon, Fireship Press LLC, 2011), iii

[v] Perilous Fight—America’s Intrepid War with Britain on the High Seas, 1812-1815, Stephen Buduansky (New York and Toronto, Alfred A. Knoff, 2010), x

[vi] John Paul Jones: America’s First Sea Warrior, Joseph Callo (Annapolis, Naval Institute Press, 2006), 62

[vii] Mahan on Naval Warfare, Alan Westcott (Mineola, NY, Dover Publications, 1999), xviii, xix

[viii] On Seas of Glory, John Lehman (New York, The Free Press, 2010), 103

[ix] Ibid., 140, 141

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Volunteers Needed: Naval History and Heritage Command, Photo Section

NH 81543-KN

World War I Navy Recruiting Poster by artist Howard Chandler Christy, 1917 NH 81543-KN (Color)

The Photograph Section at the Naval History & Heritage Command is announcing a call for volunteers in and out of the DC Metro area. A list of potential duties can be found below. If interested in any of the volunteer positions, please contact the Photograph Section at NHHC by email at nhhcfacebook@gmail.com.

Work to be done at NHHC

L-File: To inventory and add government photographs into a filing series that is alphabetically broken down. (2 volunteers needed).

Visual-Aid Cards: To inventory and fix any filing problems in the 3” x 5” reference card system in which researchers use to view the replicas of original photographs. These cards save wear and tear on the original photographs. (1 volunteer needed).

Inspection of the U-System: To inventory and fix any filing errors in the donation “wait tank”. Review the images and report to Photograph Section staff when pertinent historic images are found. (2 volunteers needed).

Scanning Photographs for NHHC Website: To scan NH System photographs in high-resolution for eventual presentation on the Naval History and Heritage Command website. Training will involve the art of caption writing. (2 volunteers needed)

Conversion of vinyl records to digital files: These lateral conversions of vinyl records have “voice histories” of Change of Commands and other military events. The conversions will be done using a USB Turntable and will be used for future posting on the Naval History & Heritage Command website. (1 volunteer needed)

Off-site work to be done for NHHC

Use of Photo Shop for NHHC Website: To adapt the scanned images above and produce the thumbnails and regular size jpgs presented on the Naval History and Heritage Command website. (2 volunteers needed).

Reformatting of Web Pages: To adapt the prior NHHC Photograph Section into the new NHHC website format. This work would require experience in html programming. If one has the basic skills, the Photograph Section could train in the process of reformatting the pages. (3 volunteers needed).

National Archives Searches: To travel to the Still Picture and Moving Image Branches at College Park, Maryland, and find pertinent images related to Naval History that could be scanned and brought to the Naval History and Heritage Command (2 volunteers needed)

To read more about the Photograph Section, visit their website.

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BOOK REVIEW: Such Men as These – The Story of the Navy Pilots who Flew the Deadly Skies over Korea


By David Sears, Da Capo Press, New York, 2010.

Reviewed by Col. Curt Marsh, USMC (Ret.)

The author, David Sears who is a former U.S. Navy officer and Vietnam War veteran with service aboard destroyers, has presented a well researched book that chronicles the important contribution of naval aviation to the Korean War effort.  Sears’ research relied heavily on the notes that James Michener wrote in 1951 while imbedded with the Navy carriers to research for the classic novel/movie The Bridges at Toko-Ri. Fortunately he took his research much further in seeking out the actual men behind the characters in the novel to tell the actual story of their exploits and bravery.

The book traces the journey of several men from their youth, through their training to be naval aviators and onto their service in combat launching off aircraft carriers in the cold waters of Sea of Japan to strike targets in North Korea.  By following these individuals the history of naval aviation is illuminated from the close of World War II through combat in Korea.

America’s military was not very well prepared for war in June 1950 when the North Koreans invaded the South.  After a significant demobilization following World War II, the Navy struggled to maintain a quality pipeline of new officers and pilots.  The “Holloway Plan” named for Adm. James L. Holloway Jr., then Chief of Navy Personnel, was instituted along with the NROTC program to provide both active and reserve officers in addition to the Naval Academy.  (Adm. Holloway was also the father of Adm. James L. Holloway III, former CNO and Chairman of the Naval Historical Foundation.)  Most of the pilots in the book were products of “The Holloway” including Jessie Brown the first black Naval Aviator, future astronaut Neil Armstrong, and Joe Akagi whose father was Japanese-American.  Most ended up in Reserve Squadrons that were mobilized for the Korean War flying World War II era Corsairs.

The Korean War witnessed numerous technological changes for naval aviation from the employment of helicopters for search and rescue (SAR) to the introduction of jet aircraft on carriers.  The exploits of these pilots reveal the special difficulties of fighting a war from carriers.  Most missions involved critical airstrikes against Communist supply lines or supporting the Marines as they fought their way out of the Chosin Reservoir.  The book points out how several key individuals instituted significant innovations in SAR helicopter operations that dramatically improved the safety of diver and pilots in the freezing cold waters.  Aircraft improved from the World War II era Corsair to the A4D (A-1) Skyraider, which was the pinnacle of propeller driving attack aircraft, and then to the Grumman F9F Panther jet.  The book also provides the chilling details of several men who became Prisoners of War and how they survived their brutal treatment.

Part of the story is about how James Michener observed the war and the men fighting it while on the carriers Essex and Valley Forge.  The book which was developed into the movie The Bridges at Toko-Ri staring William Holden, Grace Kelly and Mickey Rooney was commended by the CNO Adm. Arleigh Burke “as a meticulously accurate depiction of the naval air war and the best Navy war film ever.”  Then Commander James L. Holloway III also led the Navy “stunt pilots” during the filming of the movie flying the F9F Panther jet.  He also who wrote the Forward to the book noting his two combat tours in Korea and his support for the film.

Overall this is a good read that tells an important story of the contribution of naval airpower in the Korean War.  The life stories and combat service of the individual pilots are presented in a clear manner.  The high quality of the research by the author is evident in the notes and appendixes at the end of the book to include chapter notes, a glossary, post war biographies of those who survived, and a detailed listing of all the ships and squadrons in the carrier air groups along with their respective Commanding Officers.

It is interesting to consider the changes in tactics over time, but what is clear was the dedication of the pilots to accomplish their missions as best they could under the circumstances.  Michener’s fictional Admiral provides the title for the book when he exclaims, “Where does America get such men?”  Indeed.  This is a book worth reading by any student of naval history.

Curt Marsh is a retired Marine Corps officer and Naval Aviator who flew the A-4M Skyhawk.  He is now a contractor supporting the FAA.

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Call for Papers: Conference on Small Navies

NUI MayntoothConference to be held at the National University of Ireland Maynooth, Co. Kildare, Ireland on 20th and 21st October 2012.

The conference will be hosted by the Centre for Military History and Strategic Studies at the National University of Ireland Maynooth (NUIM) and is held in partnership with the Corbett Centre for Maritime Policy Studies at King’s College London, the Centre for Applied Research in Security Innovation (CASI) at Liverpool Hope University and with the Irish Naval Service.

This conference will address the role and activities of small navies in the past and the present at the national, regional and inter-national level. It will focus, in particular, on the different ways in which such navies identify and address national and international security challenges and the way in which they interact with other navies and security agencies. In addition to examining traditional ‘hard security’ roles such as coastal defence, guerre de course, sea control, sea denial and power projection the conference will also explore the relationship of such navies with non-military organisations, institutions and bodies in pursuit of goals relating to broader maritime security concerns including governance, surveillance, environmental protection, economic wellbeing, seaport security etc. It is intended to include panels focusing on current and future concerns in addition to others that address the history of small navies in peace and in war.

It is not intended to be prescriptive about what constitutes a ‘small navy’ beyond acknowledging that the term implies some limitation in size, role, reach, and/or capability vis-à-vis large (i.e. the US) and medium sized (i.e. the British, French and Indian) navies. One of the aims of the conference will be to identify areas of commonality in the experience and activities of smaller navies and also to establish the main differences between themselves and also between small navies and their ‘larger’ counterparts. An examination of the existence of distinct ‘small navies’ within large navies is another area that may be explored. We invite submissions for papers and/or panels devoted to any aspect of the subject area and with either a historical or a contemporary focus. Special consideration will be given to proposals that address the following topics: maritime security operations; anti-piracy operations; civil security; bilateral and multi-lateral engagement; the role of small navies within evolving regional security structures; the inter-action of small navies with other agencies (including larger navies) for military and also non-military purposes such as knowledge and/or wealth creation; the impact of the EU’s Integrated Maritime Policy and the focus on ‘blue-growth’; and, the extent to which traditional and current naval strategy and doctrine is appropriate for smaller navies.

Applicants are asked to submit a 500 word proposal/abstract and a CV to the address below. Any queries relating to the conference should be directed to the same address. Papers should be no more than 30 minutes long. The closing date for the submission of proposals is 30 April 2012.

The historic town of Maynooth is located 20km west of Dublin and has good road, rail and bus links to the city centre. It is 30km by road from Dublin airport.

Accommodation is available on-campus, in Maynooth town or close-by in Dublin. The university has approximately 8,800 students and 29 academic departments in three faculties (Arts, Celtic Studies and Philosophy; Engineering and Science; Social Science) and is located on a pleasant university campus in Ireland’s only university town. The spacious campus is laid out in its own extensive grounds in rural surroundings, and is divided between an older complex of fine nineteenth century buildings (adjacent to a thirteenth-century castle) and a modern complex of teaching, research, and support facilities.

For further information please contact
Dr Ian Speller
Centre for Military History and Strategic Studies
Department of History, NUI Maynooth, Maynooth, Co. Kildare, Ireland.
Tel +353 (0)17083652
Email: mhss@nuim.ie
Website: http://history.nuim.ie/

Please visit the conference website for more information.

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Navy Photographer Tells the Story of Apollo 11 Recovery

By PHC Milt Putnam, USN (Ret)

June 27, 1969 – Naval Air Station, Imperial Beach, California

Apollo 10-11  Milt Putnam

Photographer Milt Putnam standing alongside a Sikorsky Sea King helicopter on the deck of aircraft carrier USS Princeton, May 1969, for Apollo 10 recovery mission (Photo by Ralph Howard)

A banging on my door at Naval Air Station, Imperial Beach, California, shook me out of a deep sleep. It was 4 AM. Bill Case, a Senior Chief Journalist, from Pacific Fleet Headquarters Hawaii, was there with a big smile on his face. He asked, “Is your bag packed? We’re leaving for the Apollo 11 recovery this morning.” I replied “Take off time for USS Hornet is 10 hundred hours.” We talked for about an hour and finally he crawled into an empty bunk in my room so we could get a couple hours sleep. Bill and I had become friends during the Apollo 8 recovery, December 1968 on USS Yorktown, and Apollo 10 recovery, May 1969 on USS Princeton. Apollo 8 and 10 were the first manned flights to orbit the moon.

In late June, eight HS-4 helicopters with “Black Knight” flight crews landed on USS Hornet (CVS-12) seventy-five miles off the California coast. At Pearl Harbor the ship was loaded with additional recovery equipment, and US Navy Underwater Demolition Team 11 (UDT-11). Also boarding were civilian television crews, magazine, newspaper photographers and writers, including my photography friends Walter Green and Berry Sweet of The Associated Press and Pete Cosgrove with United Press International. Lee Jones, a NASA motion picture photographer, also joined us. Lee would fly the Apollo 11 recovery mission with me as he had during the Apollo 8 and 10 recoveries.

Apollo 11-1 Practice recovery

During practice recovery July 11, 1969, Navy UDT swimmers (wearing orange and standing on flotation collar) finish attaching the flotation collar around a dummy capsule, with USS Hornet in background. (Photo by Milt Putnam, HS-4)

For the first two weeks of July, off the Hawaiian Coast, Hornet, the helicopter crews, and UDT-11 got down to business training for the recovery of Apollo 11. It was practice, practice, practice in preparation for the real thing on July 24. During simulated recovery exercises UDT-11 swimmers jumped from helicopters into the Pacific Ocean and swam to the nearby training capsule (called a boilerplate) where they attached flotation collars to the dummy spacecraft, and playing the part of astronauts, were hoisted into helicopters time after time.

I flew in the Photo Helicopter shooting pictures for Navy and NASA archives. Several of my practice photos were released via the Associated Press and United Press International. Those images were published in newspapers and magazines throughout the country. Determined to study how rapid the Pacific light would change during the actual recovery, I began taking light exposure readings with a hand held lightmeter every minute or two on early morning practice flights.This taught me how often the exposure settings on my cameras would need to be changed. Those readings were recorded in a small notebook that has since been lost. (All of my Nikon cameras did not have built in light meters.)

Liftoff

On July 16, Apollo 11 launched from Florida. At that time, Hornet was about 1600 miles southwest of Hawaii at the Primary Launch Abort Area. If the astronauts had to make an emergency landing in the Pacific before leaving earths atmosphere this was the location. We heard the Apollo 11 launch broadcast over the ship’s radio and knew the astronauts were underway. Within three-hours of takeoff from Florida and over the Pacific Ocean the spacecraft blasted out of earth orbit toward the moon. (Hornet being so far from land, we were not able to see the launch on television). USS Hornet then sailed north to the Primary Recovery Site, 1200 miles southwest of Hawaii. For the next week, practice recoveries continued, each day starting before dawn and lasting through early evening in all kinds of weather. During this time frame, 16 or 17 training recoveries were completed.

The lunar module piloted by Neil Armstrong touched down on the moon on July 20 – “Houston, Tranquility Base here, The Eagle has landed.” As Armstrong spoke those words, everyone listened closely through crackling static air waves on the ships radio. Two and one half hours later we heard, “That’s one small leap for man, one giant step for mankind.” Armstrong was the first man to step onto the moon. Hornet was on station (splashdown recovery site), practicing and awaiting the astronauts return to earth.

Deteriorating weather with rain, high winds and rough seas approached the Primary Recovery Area and caused much concern on July 22. The Navy and NASA decided it was best to move the splashdown site to another location 250 miles from the storm. USS Hornet steamed at full speed to the new location 950 miles southwest of Hawaii. A few of the crew wondered if we’d be late for splashdown.

Meanwhile, we continued to test out cameras and equipment. Walter Green and I mounted two motorized Nikon cameras (fitted with a 28 mm lens and a 35 mm lens) about 12-15 feet high on the Hangar Bay bulkhead (wall). We would fire the cameras by electronic remote when the astronauts walked from helicopter #66 to the Mobile Quarantine Facility. The MQF was a silver Airstream trailer that would house up to six people. Walter and I shot test film to ensure the exposure, focus and area covered by the lenses were correct. In 1969, cameras did not have automatic focus and exposure control, everything was done by hand and eye. Satisfied with the test, the cameras were reloaded with Kodak black and white and color film and left on the bulkhead overnight awaiting the next day’s arrival of the astronauts.

A group of photographers, including myself, were sitting around shooting the bull when “Taps” played over the ship’s speakers at 10 PM, indicating bedtime. No one was sleepy – to tell the truth, we were a little nervous knowing that within a few hours we all would be photographing the first men to land and walk on the moon. It was near 12:30 AM when I went to bed, and still I could not sleep.

Three hundred hours (3 AM civilian time) on July 24, Apollo 11 Recovery Day, all hands involved with the recovery were up moving around and having breakfast. After breakfast, helicopter crews reported to the flight ready room. We received the latest weather reports, nearest distance to land, and last minute instructions about splashdown times and location. One helicopter would be on station a few miles behind USS Hornet, another the same distance in front. The primary recovery helicopter and the photo helicopter would circle the ship a mile or two out.

Preflighting the helicopters (making sure everything was operating OK) went fast and we lifted off the carrier in the dark. The sea air was balmy as it whipped through the open hatches. Rotor blades beating the air sent vibrations through everything and everyone inside. On board the photo helicopter, I had eight Nikon cameras. Only two had motors, the other six would have to be cocked by thumb. Lenses ranged from a 35 mm up to a 300 mm (no zoom lenses). Also in the camera bag were 60 rolls of Kodak Tri-X film and 15 rolls of Kodak color.

My primary duty was to shoot black & white for immediate release through the Associated Press (AP) and United Press International (UPI) wire services. By using the AP and UPI, my recovery images would be transmitted to magazines and newspapers throughout the world.

In 1969 civilian press photographers were not allowed to fly in military helicopters. It was my job to photograph the splashdown, the UDT-11 swimmers attaching the flotation collar around spaceship Columbia to secure it in the tossing seas, the astronauts leaving Columbia and crawling into the life raft, and Columbia being hoisted out of the sea by the helicopter. And then back aboard Hornet to photograph the President talking with the astronauts.

Splashdown and Recovery

It seemed like hours sitting high above Hornet waiting for Apollo 11 to arrive. Everyone was watching the dark morning sky, even though we all knew she would not arrive early. Word came from Hornet a few minutes before 6 PM (Hawaiian time), that Apollo 11 had been picked up on radar and would splashdown twelve miles downwind from the ship. I lowered the port hatch (door on the left side) on the photo helicopter. Lee Jones and I would sit side by side on the hatch steps shooting pictures of the recovery. While lowering the hatch my lightmeter cord became tangled and broke. The meter dropped into the sea and sank.

Apollo 11-3  Navy Seal gets set to help astronauts leave cap

Standing in the helicopter’s hatch, Navy UDT swimmer LT Clancy Hatleberg gets set to jump into the water. (Photo byMilt Putnam,HS-4)

Helicopter #66, the primary recovery helicopter, and the photo helicopter #53, approached the splashdown site in predawn darkness to find Columbia upside down and bobbing in fairly calm seas. The astronauts sitting upside down in Columbia pushed a button to inflate three large flotation balloons to upright their craft. My helicopter moved to the right 100 feet and hovered at 40 feet. We would stay at that spot until all three astronauts were hoisted into the recovery helicopter. Commander Don Jones, flying helicopter #66, slowly moved in and dropped a marine location marker (green smoke bomb). At the break of dawn, one of the helicopters with the UDT-11 swimmers hovered near Columbia and three swimmers jumped into the ocean. A second helicopter following closely dropped life rafts and the flotation collar that would be used to help prevent Columbia from sinking. It took only a few minutes for the swimmers to attach the flotation collar and position the life rafts. It was getting lighter by the second and I was already firing the Nikons, shooting whole 36 exposure rolls of film before changing to another camera and lens. Lee Jones, the NASA photographer seated to my right, had his 16 mm motion picture camera rolling as well.

The primary recovery helicopter made a slow pass near Columbia. Navy Lt. Clancy Hatleberg, the senior UDT-11 swimmer, jumped ten feet or so into the water and swam to the command module. The next helicopter used its rescue basket to lower a bag containing four uniforms never worn by space travelers before. The uniforms, biological isolation garments, were worn by the astronauts and Hatleberg during recovery because it was unknown if the astronauts would return to earth from the moon carrying some kind of germ or virus that would cause harm. Hatleberg slipped into one of the biological isolation garments while the other swimmers in a raft moved 100 feet upwind from Columbia.

Apollo 11-4  Navy Seal closes hatch to Apollo 11 capsule

Looking on as Navy UDT swimmer LT Clancy Hatleberg closes the capsule’s hatch, astronauts Michael Collins, Neil Armstrong (center) and “Buzz” Aldrin, sit in their life raft. (Photo by Milt Putnam)

At 6:20 AM, Hatleberg quickly open the command module hatch and tossed in three remaining uniforms and closed the hatch just as quickly. After a short wait, Hatleberg opened the hatch again and out came three moon adventurers covered head to toe wearing biological isolation garments. Michael Collins and Buzz Aldrin settled at each end of the life raft. Neil Armstrong sat in the middle and watched Clancy Hatleberg closely as he closed Columbia‘s hatch and locked it down. Hatleberg sprayed a decontaminate over the module and around the hatch. He then wiped down each of the astronauts with a sodium hypochlorite solution to kill any moon germs that may have gotten on their BIG suits before they exited the command module

The primary helicopter #66 moved over the spaceship and astronauts, lowering her rescue net to hoist each astronaut one at a time into the helicopter. If I had jitters they were gone – the job at hand was foremost on my mind and I was shooting pictures as fast as possible. My mind was on automatic – shoot a few pictures, change the f/stop a little, ensure the next camera was still set on 1/250 of a second shutter speed, check the f/stop. Remember that the shutter speed would soon have to be reset at 1/500 of a second because the light was getting brighter. Shoot another roll of film, load film, etc. The light exposure readings recorded in a notebook during practice recoveries never came out of my pocket. In fact, I didn’t even think about it.

Apollo 11-8  Neil Armstrong is hoisted to helicopter

HS-4 helicopter 66 hoists astronaut Neil Armstrong aboard. (Photo by AWHC Norvel Wood, HS-4)

When the last astronaut was lifted from their life raft into the recovery helicopter the photo helicopter raced back to Hornet. It was also Lee Jones and my job to photograph the astronauts as they stepped from the recovery helicopter and walked into the Mobile Quarantine Facility where they were to spend the next three days. On the way back to the carrier, I stuffed 52 rolls of exposed film into the zippered pockets of my flight suit and 8 or 10 rolls of unexposed film into another pocket. I loaded three cameras to use in the hangar bay for when the astronauts arrived. I left five Nikons and the remaining unexposed film on the helicopter for pickup later.

The photo helicopter was the first chopper back aboard Hornet. I jumped from the helicopter to the flight deck (about four feet) without realizing I was still wearing my safety belt. It was still connected to the inside of the helicopter. Toes barely touching the deck and cameras swinging from my neck and shoulders, I almost fell over before setting a speed record in getting out of a safety belt. If anyone noticed or saw my predicament no one said a word.

President Richard M. Nixon

Walking across the flight deck, I noticed the President of the United States, Richard M. Nixon, watching the incoming helicopters. I stopped and shot a few pictures for the naval archives and then proceeded on to the hangar bay. President Nixon and several of his staff had arrived thirty minutes before splashdown. The Presidential secret service were on Hornet a day or two before the President arrived ensuring it was safe for his visit. As a safety factor, the flight crews were ordered to turn in all weapons. We were allowed to fly with our very sharp six inch blade survival knives. The knives were needed in case a helicopter went into sea with sharks present, or it could be used to cut and saw through thick Plexiglas windows to get out of a sinking helicopter. Lee Jones and I worked our way through hundreds of sailor (who were trying to see the astronauts and President) to our assigned spots in the hangar bay. Our location was right in front of the MQF where everything would take place. We joined dozens of news photographers and writers who were also covering the recovery and the President.

Apollo 11-10  President Nixon jokes with astronauts

President Nixon welcomes the astronauts home on board USS Hornet. (Photo by Milt Putnam, HS-4)

The Apollo 11 astronauts landed on Hornet, thirty-seven minutes after Clancy Hatleberg had opened Columbia‘s hatch the first time. Helicopter #66 was towed to an elevator and lowered to hangar bay level where the Mobile Quarantine Facility awaited. As the astronauts walked to the MQF, I remembered to fire the bulkhead mounted Nikon electrically. Those pictures really helped to tell the story of Apollo 11′s recovery.

One of my best photos of the day was taken in the hangar bay of President Nixon speaking to Neil Armstrong, Michael Collins, and Buzz Aldrin through the MQF glass window. The President was telling a joke about astronaut Frank Borman. (Borman was Command pilot of Apollo 8, first flight to orbit the moon.) The picture shows Armstrong leaning down and looking to his right trying to see Frank Borman. Buzz Aldrin and Mike Collins are laughing. The president is shown pointing toward Borman and laughing at the joke.

Apollo 11-12  President Nixon requests recovery photos

President Richard Nixon asks Photographer Milt Putnam to send him photos of the recovery (Photo by Unknown)

Knowing the President would be leaving the ship shortly after talking with the astronauts, I ran to the flight deck to get pictures of him shaking hands and speaking with some of the sailors. On the flight deck, a long line of men were waiting for the President. As I came alongside the sailors, President Nixon appeared through an open hatch and stepped onto the flight deck. Immediately a secret service man stepped behind me and placed a hand on my left shoulder. Walking backwards taking pictures of the President shaking hands, the secret service guy stayed with me step for step. Suddenly I bumped into him and instantly both his hands were on my shoulders and he said “This is as far as we go, bub.” We were near the Presidential helicopter. Later I realized the Navy survival knife was still attached to my flight suit. President Nixon stopped in front of me. We shook hands and he ask if I would send him pictures of the recovery. He then boarded Marine ONE and lifted off for Johnston Island 250 miles away.

Developing Film and Making Prints

Walter Green (Associated Press) developed all my film. Upon seeing how many rolls of black and white film I had, he said, “Bet you didn’t miss much,” and I said, “Walter, If I did miss something, I couldn’t ask Neil to do it again.”

As Walter finished developing several rolls of film at a time and it dried, Barry Sweet (Associated Press) edited the first run of film and chose five of my images shot from the photo helicopter, and four he and Walter had shot on the ship. I started printing and drying the pictures at a rapid pace. This completed, Barry typed captions for the photos and I stuck the captions on the prints. Each photo was transmitted singly over the wire service transmitter. Transmitting a single print was about a fifteen minute process.

Barry and Walter’s orders were to transmit the recovery pictures directly to Associated Press Headquarters in New York. There the AP editors would do a second edit and release everything to magazines and newspapers. We had been transmitting for about an hour when someone came running in with a message (telegram) from AP New York.
It read, “Stop transmitting to NY, receiving double images. Retransmit everything through San Francisco.” Here we were sitting in the middle of the Pacific Ocean transmitting pictures that were going both ways east and west around the globe creating a double image in New York. It took thirty minutes to connect with San Francisco.

Walter continued developing film. When it dried he and Barry selected more images for me to print and make ready for transmitting. I have no idea how many pictures we placed on the AP wire that day, July 24, 1969, but it must have been 25 – 30 prints. It was midday when Pete Cosgrove (United Press International) came by the AP transmitting room and asked if he could use a few of my recovery photos. He selected the astronauts seated in a raft with Clancy Hatleberg at Columbia‘s hatch and the three astronauts being hoisted into the helicopter. Also selected was one picture taken with the bulkhead mounted camera of the astronauts walking to the MQF.

Recovery Day Comes to an End

At the end of a very long day, I gathered up all my film, put it in envelopes and safely stored it in a locker with my cameras. This film would be captioned on the way back to Hawaii and later mailed to the Naval Photographic Center, Washington, DC. Lee Jones (NASA) had already collected the color film, which would be developed by NASA. I had not eaten since breakfast, but I was so tired by 8 PM that I laid down on my bunk still wearing boots and flight suit to rest for a couple of minutes before hitting the shower. I awoke at 6 AM the next morning still dressed.

The next day, Walter Green found me in the mess hall. He had a telegram from AP New York that read newspapers around the world had used more pictures that I had taken from the photo helicopter than any others. Years later a computer check showed that my photography took up nearly two-thirds of the front page of the Chicago Tribune and nearly half of the front page of The Washington Post. Newspapers in Los Angles, St. Petersburg, London and Japan also carried my pictures.

On July 26, the Mobile Quarantine Facility (with astronauts inside) was lifted off Hornet and transported on a flatbed trailer to Hickam Air Force Base and flown to Houston aboard a USAF C-141. Lee Jones was also departing the ship, but before leaving he gave me a piece of Mylar from the command module Columbia. This mylar had orbited the moon while Neil Armstrong and Buzz Aldrin were walking on the moon’s surface. It also was part of the spaceship’s shielding against radiation while in space.

Everyone involved with the recovery had the next day off. A couple of friends and I went to Waikiki Beach, walked around awhile, and then saw the movie, 2001: A Space Odyssey.

USS Hornet sailed for Long Beach, California on July 28, following a very successful and historic mission. We were two days away from the California coast when I received a telegram informing me that my grandfather Andrew Brown Carver (he was known as Dude Carver.) had died at age 73. Commander Don Jones (Commanding Officer HS-4) offered to fly me off the ship but knowing I could not arrive in South Carolina in time for the funeral, I chose to remain on the ship and remember him as he looked the last time we met. A couple days before leaving Imperial Beach for the Apollo 11 recovery in June, I had called my Grandfather at the hospital, and we spoke for about 15-minutes. When Orville Wright made the first airplane flight December 17, 1903 at Kitty Hawk, North Carolina, my grandfather was seven-years old. During his life he had seen aviation grow from that first flight, to watching the first men to walk on the moon via television in his hospital room.

It was mid-morning August 1 when Helicopter Squadron Four’s helos lifted from Hornet‘s flight deck for the three-hour flight to Naval Air Station, Imperial Beach.

Thinking Back

In a lifetime of taking pictures, I can safely say, I’ve never had a more exciting photographic assignment than the Apollo 11 recovery, over 40 years ago. Some of the memories from that day seem like yesterday. I can still hear the wop-wop-wop noise from the photo helicopter rotor blades and feel the vibration throughout my whole body. I can still feel the warm humid air from the rotor blades washing over me and throughout the helicopter.

I can still hear the photo helicopter pilot and co-pilot talking through the ear-phones in my helmet. Pilot – “Hatleberg is about to jump.” (Meaning the UDT-11 swimmer is about to jump into the ocean). Co-pilot – “He’s jumping close”. (Meaning close to the command module). The pilot asks me-”is the wing high enough.” (Meaning, is the rotor blade out of the pictures.) I answer, “Yes Sir, we are doing good.” Pilot -”Recovery-one is hoisting Armstrong”.

It was a tingling thrill to see the astronauts crawling out the command module into a life raft. I thought, these men just returned from the moon. My adrenaline was pumping, faster than the Nikon camera motors could shoot.

I’m very proud to have been chosen to photograph history.

I always stand a little taller when I see one of my recovery pictures in a library book, a magazine, newspaper or anywhere. I think – wow, those pictures will be seen forever.

Milt Putnam retired from the Navy in 1979 as a Chief Photographer’s Mate. In addition to covering the recovery of Apollo 8, 10, and 11 for the Navy, he photographed the Queen of England’s visit to Boston, a three-month expedition to Antarctica with The National Science Foundation, the return of POW’s from Vietnam, and earthquake relief in Peru. He later worked for several newspapers, and as Director of Photography for the University of Florida Institute of Food and Agriculture. Sciences. In November 2011, Putnam, along with others from the Apollo 11 Navy recovery team, was invited to attend the ceremony awarding Congressional Gold Medals to astronauts John Glenn, Neil Armstrong, Michael Collins, and Buzz Aldrin, see photo below. Footage of the ceremony can be found on C-SPAN, including specific mention of USS Hornet and the recovery crew at about 1:30 in to the video.

CGM - Neil and Milt

Neil Armstrong greets Milt Putnam in November 2011. Putnam was the primary military photographer covering Apollo 11 from its splashdown in the Pacific until President Nixon joked with the astronauts in their Mobile Quarantine Facility (MQF) aboard USS Hornet. (Photo by Capt. Bruce Johnson, USN, Retired)

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New Magazine: “The Civil War Monitor”

Civil War MonitorLast fall we learned about an exciting new publication about the American Civil War. This brand new quarterly magazine is called the Civil War Monitor, and it looks to bridge the gulf between academic and popular history. According to the magazine, it is “devoted to the belief that popular history need not be superficial or sentimental.” It features richly illustrated and originally researched articles written from a variety of angles—military, political, social, and economic—by the country’s leading historians and authors. The first issue was published in September, and is available online to read for free. The second issue hit newstands in December, with the digital version online and available to subscribers. Issue 3 will be out in February.

The good news for those who love naval history is that this publication will feature frequent coverage of the naval aspects of the war. While many books and magazines about the Civil War seem to focus exclusively on activity ashore, the Civil War Monitor will not overlook action on the oceans and rivers. One recent story on their website addresses that very issue. “Bolting on the Civil War Navy” considers some of the reasons why the importance of naval action during the Civil War is often overshadowed by events ashore in both popular memory, and historical study.

In addition to their print publication, the Civil War Monitor offers a robust website featuring a blog and photo essays. These online tools allow them to expand on the content of the print magazine, and explore other aspects of the war. The website features photographs and artwork from the Civil War, and frequently these are items with a naval slant. A good example is a transcription of this letter from Rear Admiral Samuel Francis Du Pont, USN, recounting the successful 1861 Union assault on Port Royal. Their blog also features book reviews on The Bookshelf, updated regularly.

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Students: Become A Shipwreck Investigator

ShipwreckInvestigatorPoster

The Marine Forensics Committee (MFC) of the Society of Naval Architects and Marine Engineers (SNAME) invites students in grades 7 thru college, to the Students day program in Marine Forensics Investigations.

The International Marine Forensics Symposium
Gaylord National Hotel and Convention Center, Washington, DC
Student Day Thursday April 5th 2012 8AM-4PM

Email questions and requests for information to MarineForensicStudents@gmail.com

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Interview with Cold War Gallery Aircraft Model Builder

We recently asked the aircraft model builder for the Cold War Gallery, Lieutenant Commander Michael “PYSCHO” McLeod, USN (Ret.), to share with us the process he uses to build the incredible models on display in the Gallery. Below are his responses to our questions.

To see a gallery of the models he has built, visit the “Fly Navy” page of www.usnavymuseum.org, and click on “Aircraft Models.”

Would you tell us a bit about your career as a Naval Aviator and Airline pilot?

PSYCHO AND AJ 404My flying career began officially in May 1981 when I was commissioned at VMI and provided orders to flight school in Pensacola…via six months “stash” at the Naval Air Rework Facility, Alameda, CA. That summer I was able to secure much flying in A-6E, EA-6B, S-3B, A-3D, and P-3C aircraft while teaching myself to fly the A-7E by using a 2F-84 simulator at the reserve unit during the week. Upon arrival in Pensacola in January 1982, I began the standard progression of many Naval Aviators that included T-34C (NAS Whiting), T-2C and TA-4J (NAS Chase Field). Upon receiving Wings of Gold, I was off to my first choice of orders at the A-7 Replacement Air Group NAS Cecil Field. My first fleet tour was with VA-46 CLANSMEN flying the A-7E and included the 1986 MED Cruise aboard USS America, CV-66. Following the sea duty came three years of shore duty as an Operational Test & Evaluation pilot at VX-5, located in the high desert 60 miles north of Edwards AFB, at Naval Air Weapons Station China Lake, CA. After three years of exciting test and evaluation work, flying multiple types of jets and civil aircraft, the career path dictated another sea tour. With most squadrons fully wound up and deployed for the imminent Gulf War, I arrived back as NAS Cecil in January 1991 and checked into the FA-18 Replacement Squadron for a year. Following hostilities in the Gulf, I joined VFA-87 GOLDEN WARRIORS the day they returned from the combat cruise. While with VFA-87 as a Department Head, we deployed to the Mediterranean and Middle East in 1993 aboard the USS Theodore Roosevelt, CN-71. In an expected manner, the end of my department head tour in Hornets meant the inevitable assignment to Washington, DC. I was able to secure duty as a Flight Test Manager for Tomahawk Cruise Missiles. I spent the next three years conducting Operational Test Launches (OTLs) and Nuclear Quality Assurance Tests (QUAST) missile shots at Point Mugu, CA and Eglin AFB, FL. With nearly 18 years of active duty completed, the airlines were hiring and the Navy was not able to keep me in the cockpit, so off to Delta Air Lines I went. The next few years were spent drilling in the USN Reserves until retirement eligibility while flying 737’s based in Orlando, FL. In 2002, the Orlando pilot base for Delta closed and I switched to the 737-800 based in Atlanta, GA. Since that time, I upgraded to my current jet and currently fly the 757/767 on domestic US routes.

How did you get into modeling?

I can actually remember my first model, as many avid modelers can. When I was 4, and my brother 5, my family lived with my Grandparents in a very small house in Pawling, NY and my Dad commuted to NYC where he worked as an IBM technician. One night he brought home two Revell models of Mickey Thompson’s CHALLENGER I, a Bonneville racecar. (For the aficionados; Revell kit H-1281:200 1962, 1/25th scale “Mickey Thompson’s CHALLENGER I Speed Record Holder 406.6 MPH Bonneville Salt Flats, Utah) We were thrilled to say the least, but had no idea how to build them. My dad spent the next few nights at the dining room table teaching us how to separate the parts from the sprue, sand the excess flash and tree plastic (with emery boards we stole from my mom!), and paint small parts before assembly. He emphasized carefully reading the instructions, knowing what we were doing, taking time to do a proper job, and working neatly in an organized fashion. Little did we know how important these skills would be later in our life! During this time, my family had noticed that on birthdays and Christmas I would not play with any toys I received unless they were rockets, airplanes, or military related things…my orientations were apparently set. I was lucky that my mother’s oldest brother Gerry (in an Italian family with 10 kids) had been a B-17 pilot in WWII, owned a Beech Bonanza, and was an R/C (remote control) airplane modeler. We often visited my grandmother’s on weekends where my Uncle Gerry would stop in for lunch then take me out to fly the R/C planes…I was in heaven! I was very oriented towards anything that had to do with aircraft, flying, and models by the time I was eight or nine. My main pursuit when not in school was building any plastic model, Guillow’s balsa and tissue planes, or selling greeting cards to “earn points” for a Cox .049 control line model. I am sure that many people can also relate to these adolescent activities. As I grew the modeling just kept getting more advanced and complex. I worked my way from control-line gas models into R/C planes. I can remember buying my first Paasche airbrush and marveling at how cool it was to be able to spray paint any color any time! By High School I had begun to dabble in more aggressive projects such as “scratch building” a Spitfire with a built up balsa frame, sheeted with balsa, and hand-made detail bits…I still have this model today interestingly enough. As with most people, the adventure of college (at VMI) and my early years in Naval service did not allow much time at all for modeling, although the love of all things aviation did introduce an additional pastime: skydiving.

All those years of modeling, and the important skills and disciplines taught by my dad and uncle, helped me to succeed in my Electrical Engineering degree and achieve high enough grades in flight school for jets: A-7 CORSAIRS, and eventually FA-18 HORNETS. While people often comment that I must have lots of patience to build such models, I think it is not so much “patience” but a “focus” on an objective. I see a “project” then decide in my mind what it should end up like…and determine the necessary and logical steps to get there. When you think about it, a given modeling project is not much different from many other endeavors we face on a daily basis in our work or home environments; we are faced with a desired outcome then attempt to achieve it. The skills that a modeler develops over time can include: understanding materials and their properties, woodworking, adhesives, various paints and their compatibilities (enamels, lacquers, oils, acrylics, and epoxy based), electronics, wiring and soldering, metalworking, drafting, sequential instructions, plastics, fuels (gasoline and ethanol/nitro), engines, aerodynamics, structures, propeller technology, pneumatic systems, and a few others. Therefore, it is understandable that modelers get a bit quiet when someone comments, “Oh, look at that toy airplane.” We do not build toys (you get toys from Fisher Price)!  We build MODELSreplicas of real world machines, scale representations of things that inventors and pioneers struggled to design and make work. Our quiet hobby is, in a unique way, a tribute to the people who made new machines and invented technologies that serve mankind; be it aircraft, ships, tanks, trucks, cars, or spacecraft. With an affinity for aircraft and spacecraft, modeling was my springboard to learn more, to develop skills, to refine my disciplines, and eventually succeed in the career path I chose as a Naval Aviator and Airline Pilot. Now I find myself with more time to build models again – and delve into more advanced and challenging projects.

AD-6 Skyraider model

AD-6 Skyraider model built for the Cold War Gallery by Michael McLeod, a replica of the actual aircraft flown by Naval Historical Foundation President VADM Robert F. Dunn in 1955

 

How do you research your models?

Researching a particular model project can employ several different resources. Some of the discrete factors that set the vector of a model-building project address different levels of concern, and have varied degrees of impact upon the research phase when preparing to build.

  • The scale of the model will determine just how much fine detail will be visible.
  • The purpose of the build: just for fun, a club group-build, a serious competition model for a contest, a gift, or an archival quality museum piece.
  • Relative availability of documentation: sometimes the obscure subjects are very challenging because you cannot find much about them.
  • Kit quality: an old “rare” kit may have tragically poor quality and will take much work to make respectable, but may be the only kit of that subject available.  On the other hand, a new-tool modern plastic or resin kit may have exquisite detail and available after-market “super details” available in resin and photo-etched brass.
  • Corroborating information: it is better to have several corroborating sources than one out-lying scrap of data that implies information and is not verifiable.
  • Multiple photographs: Clearly, photos are better than descriptive text but can present some problems for full documentation. Some subject’s photos only show “one side,” color pictures fade and present false information, and the “shades of gray” in black and white pictures cannot be relied upon for colors, only markings and patterns.
  • Certified colors: it is wise to only use colors from researched color chips (and hand mix the paint yourself) or use paints specifically formulated by the manufacturer to replicate a given color.
  • The operational environment affects most machines: use, wear, tear, fading, dirt, and grime. Use of good documentation will allow accurate replication of this…it is what modelers call “weathering.” However, it would be quite appropriate to have a shiny, spotlessly clean model if you were building a Funny Car, classic restored automobile, or Reno race plane.

The point here is to do your homework and exactly replicate the final “look” of the real item. This is a good place to point out the 1st Law of Scale Modeling: You never finish a model; you just stop working on it. The issue is you could go on forever getting finer and finer details, adjusting, and correcting.  Alas, at a certain point it is good enough.

All that said; when I begin to research a model, I dig into my stash of books or acquire the necessary books that cover the subject. Great sources are the Squadron-Signal series of “IN ACTION” or “WALKAROUND” books with many high quality photos and key descriptions of specific variations and modifications. Subject-specific books by publishers such as Ginter Books, Osprey Publishing, Warbird Tech, and many others are available from libraries, book stores, and of course on-line also provide high quality photo documentation and textual descriptive information. Then I hit the internet where a wealth of information resides. Sometimes I find pictures of the exact subject, other times pictures of similar subjects from the same unit or theater of operations can provide critical information. On a few occasions I took pictures of the full-scale aircraft myself and prepared a “photo sweep” of the subject for my documentation package. The final and best source of information I seek is personal contact with someone who flew that aircraft. Lately I have been building “for fun” when I meet a person who flew some time ago, such as my Uncle Gerry (B-17’s), Clyde Good (test pilot at Edwards in the 50’s and F-107 project pilot), or Warren Lewis (7 missions in a P-51 with the 55th FG before being shot down over Germany). When I meet these people, I learn all about their exploits, and then I find a model of the plane they flew and build as accurate a replica as I can of their specific plane…THEN I GIVE IT TO THEM! Not only do I love to look on their face, I sure do not end up with a house full of models my wife has to dust (and break)! The main reason is that I can research vicariously through them, learn their personal stories, gather detail, and in the end present them with “their airplane”…and it means a lot to them since they have real ties to that machine. This brings us to the 2nd Law of Scale Modeling: The day after you finish a project, documentation will arrive that proves conclusively what you did is incorrect! Sometimes you get all the data up front and it is easy. Other times the factual documentation is elusive and some leads go cold. Therefore, you do the best you can with what you can find, and hope that you have it all and it is correct…but sometimes a little bit of info shows up annoyingly late just after you have stopped working on it (see 1st Law of Scale Modeling). If the correction is not too severe, the model can be re-worked a bit.  Unfortunately, sometimes you cannot incorporate the late arriving data to the finished model without ruining it. Oh well!

FA-18C comparison

Comparison photo of model and a real aircraft, F/A-18C Hornet model built for the Cold War Gallery by Michael McLeod, sponsored by RADM W. W. Pickavance, Jr., VFA-113, 1983

 

What is your process for building models?

There is not really “one process” for building a model. Each modeler takes a slightly different approach because of personal preference, specific abilities, particular medium being used, project requirements, etc. Likewise, I have taken various approaches to building models based on the above issues. However, I mostly build aircraft and tend to use a similar methodology for most projects. After completing the research phase as described above, I clear, clean, and organize the workbench, paint booth, and tools. I open the kit and any after-market parts and inspect everything. I study the instructions, learn about the assembly sequence, and look for specific areas that may indicate structural problems (that I can engineer a fix for) or assembly sequences that I want to change. I rarely, if ever, follow the instructions as printed. I use them as a guide to verify part orientation and identify parts that depend on other “already attached” parts. I make a plan to have certain subassemblies built and not attached so that I can work more detail into the part or to facilitate painting and decal application.

Next, I begin to explore the available after-market resin upgrades or photo-etch details that will be used. I make notes on the instructions about desired assembly sequences and color schemes. Often, the model must have some plastic parts ground down to be thinner to allow after-market detail parts to fit and the resulting loss of material creates a strength problem to fix prior to continuing. Then I begin taking some of the larger parts off the sprues and trial fitting them to learn about the quality of the mold and accuracy of parts fit.

Initial construction begins with macroscopic modifications to large parts and refitting them to assure alignment. Then small parts are cleaned up, prepared for painting, and organized into small plastic cups (from Jell-o pudding – Yum!) to keep track of them. This is a lengthy process and involves much close in detailing of parts and pre-assembly / painting. Also during this phase, I go through all parts and apply improved surface detailing where able. This step is quite important as it can transform an older kit with low quality molding into a much better looking subject with crisp, accurate details. A good example is the usual aileron or elevator that is not a separate piece rather it is molded into the wing or stab. The control surface is not a separate part and a molded groove (shallow and rounded) surrounds it. Many modelers will take this as-is and apply a wash of dark paint to “highlight” the interface between the control surface and the airframe.  This always ends up looking like a small trench filled with dark paint – for that is what it is! I use scribing tools to scrape and etch the groove deeper into the plastic and cut a “3-D” interface. I will round the leading edge of the control surface and use #11 scalpel blades to cut a sharp, deep, recess under the airframe side of the interface.  Then, using micro saws, I will cut very thin separations at each side of the control surface. When complete, the parts are still attached, but they have the appearance of being two parts that have been joined. Now, when final finishing is done, I will not have to add a colored wash to highlight the gap since it now looks “3-D” and has the proper scale appearance. This type of part modification is performed on any part where it can increase the local detailing and provide a better-looking finished product.

As subassemblies are being built and detailed, overall details are being added and required scratch-built parts are explored. Often there can be a specific pod, antenna, or structural part that is not on the kit but is required for the variant of the model so the builder must fashion said parts from scratch. This can be a real test of your abilities!  Often there must be some pre-assembly of parts with tape and rubber bands so that the scratch built part can be sized correctly while fit and alignment can be built in to the part. About this time, the clear plastic parts are cleaned while still on the sprue and processed for crystal clarity by dipping in FUTURE floor polish, a tough acrylic emulsion.

At this point, a lot of time has been spent working on the model and not much has even been put together!

Now we move to the spray booth and the first thing we do is make sure there is plenty of lighting and put on the respirator! Very small parts are quickly brush painted, but most parts are airbrushed to give the best, most consistent high quality finish. Most painting is with “flat” or “non-specular” paints since they cover better in thin coats. Glossy paints are much more thick, do not always cover as well, and take much longer to dry, fully out-gas, and harden. A cool trick for an area that needs to be glossy is to prime it with a very thin coat of the same color in “flat”, then when dry give it a coat of well thinned paint of the same color in “gloss”. This will provide the proper color, a nice glossy finish, minimal overall paint thickness, and most preservation of surface details. In addition, the well-thinned gloss dries much quicker too.

A critical and difficult step now is to rework any propeller or rotor assemblies, assuming we are not building a jet. I always make rotating parts and others such as refuel probes, removable and out of stronger materials. This allows the parts to be painted separately and improves finish of both the part and the overall model surfaces. It also makes the parts much stronger and resistant to damage from bumps in transit or cleaning, while allowing disassembly for transport if needed. Each prop or rotor assembly is hand drilled with a pin vise to make a perfectly centered hole into which a steel or brass music wire or small carbon fiber rod/tube is CA’d. The trick is to work carefully and when the shaft is locked in the blades turn in a single plane and “track” straight. Then, on the airframe side of the model, modify the engine or nacelle where the shaft will mount with a piece of brass tube that provides a very snug fitting bushing that will allow the part to turn freely without any wobble. This step ends up being quite iterative, but the results yield perfectly fitting, highly detailed props and helo rotors that turn freely on metal shaft/bearings that will not wear out or bind. Now, how cool is that?

Psycho building A-7EWow! All this work so far and we are now just about ready to “start building”! At this point, we have substantially reworked the kit and have much improved details on all parts, improved structures, ready to use subassemblies, and necessary scratch built items ready. Now the building begins and it progresses quite rapidly compared to the earlier processes. The types of adhesives used in modern modeling vary. Regular plastic (styrene) can be bonded with liquid cement or CA type glue. CA stands for cyanoacrylate (super glue) which is a self-polymerizing acrylic emulsion. CA is also required anywhere resin parts are bonded, either resin-to-resin or resin-to-styrene. On some specialty kits that are completely made of cast resin parts and metal, CA is the only adhesive used at all. All parts are pre-painted where necessary, and then construction proceeds. Where major parts are bonded with liquid cement, a day or two cure-time is required before any more work can be done because the joint can be corrupted or mis-aligned. Any joints bonded with CA are fully cured in minutes and construction can proceed. As everything comes together and care is taken to keep everything aligned and true, seams and glue joints must be cleaned up and blended into the surface as you go. Often this will require some re-scribing of panel line and rivet details.

With major assembly done, and subassemblies ready, we can pull out the high quality modelers grade fiber masking tape. This is special tape that has some stretch and seals against paint bleed through very well. First mask off any glass areas, then shoot flat black onto any canopy or window frames (so they look black from the inside). Then go about laying down all the colors and panels for the model. The painting stage always seems to be the most fun because for the first time you see the final product emerging from the amalgam of plastic, resin, and photo-etch. However, this step also drags a bit because the base coats and overall colors must fully cure before you can mask over them to lay down trim colors and things like de-ice boots and wing walks. Just take your time because painting defects are murder to fix…if they can be fixed at all!

At this point, I like to pre-weather the model using chalk pastels and light airbrush work. Since I generally use “flat” paint, the rough surface is great for blending in the colored dust from chalk pastels to make it look dirty, a bit grimy, and add things like exhaust streaking and foot prints. Gloves must be worn for this task because the pastel dust will make all sorts of fingerprints in the paint that are nearly impossible to get out. Once the pre-weathering is complete, it must be “locked in” with a clear coat.

When all the major painting / weathering is done, and cured, the entire model gets an overcoat of clear gloss to prepare for decal application. Decals cannot bond to any “flat” paint so this step is critical. Clear enamel is the best “shiny surface”, but clear enamel can yellow over time and that is not usually acceptable unless the model is overall black or Dark Sea Blue like a Korean War plane. Therefore it is better to use a clear acrylic (water based) overcoat that will take several coats, but will never yellow and can stand up to some weathering techniques if you use enamel thinner based washes as acrylic is resistant to those types of solvents. With an overall gloss finish, apply the decals using a decal setting solution to position and lay down, then decals solvent to dissolve / melt the decal into the surface and capture any underlying details. Once all the decals are dry, go over them with some of the chalk pastels to match them to the surrounding areas. It looks weird when a very weathered model has dirt and grime everywhere yet the markings are pristine and clean. When the decals are weathered, give everything another generous coat of clear gloss to lock down the pastels, put a protective coating on the decals, and blend the decals into the surface so they look “painted on”. At this point, the model may be too glossy, so some gradual mist coats of a clear dull-coat lacquer or acrylic will knock off the shine. Work slowly and take the finish where it needs to be – semi gloss or dead flat – whatever it takes.

Now we tackle the final steps to put on some of the final micro details that help bring the model to life. Perform any final adjustments in weathering on the dull-coat by using more chalk pastel or light airbrush work as needed, and then lock it in with a light dull-coat layer. Unmask any navigation lights and anti-collision lights and colorize were needed with clear acrylic color like red and blue-green. If some areas have a shiny look because of streaking oil on the surface, give them a light airbrushing with clear gloss and they will take on a bit of a “wet look”. Give everything a good inspection and QA. When satisfied that nothing else will be painted, remove the masking on the windows and the model is complete!

F-14A Tomcat model built for the Cold War Gallery by Michael McLeod, sponsored by RADM Frederick Lewis, VF-142, 1976.

 

Have you faced any special challenges in the Cold War Gallery project?

The CWG project is unique in that a significant collection of models have been assembled and they each replicate the specific real world aircraft of a famous Naval Aviator as it was when they flew the machine. This has created a very detailed process that requires much direct contact with the actual person who flew the aircraft, those that were in the squadron at the same time, and verifiable historical archives research. Since each one of these subjects is a “one off” there must be some level of custom markings and decals made for each model. In some cases, there are kit or aftermarket decals from the same unit at the same period that provides the major markings and stencils. If this is the case, small changes such as MODEX numbers and the personal names on the side of the aircraft must be made with homemade decals.

Making custom decals can be a lengthy and drawn out process. The graphics may begin with a poor quality scan of a squadron patch that must be processed into a detailed vector file for sizing and manipulation. The colors that we see on our computer monitors are often not the same colors that a printer will produce.  Colors must be manipulated from a choice of “pallets” such as red-green-blue (RGB) or cyan-yellow-magenta-key (black) (CYMK). With graphics complete, tests-shots are printed, snipped, tested for shape and size, and corrected until everything is perfect. There are myriad complications related to the actual printing of the decals onto appropriate decal stock and the necessary shade adjustments that are beyond the scope of this article. Suffice to say, making custom decals is time consuming but can provide incredible accuracy and detail for a “one off” subject.

Since the full complement of CWG models will be on display together, a unified mounting system was developed to allow proper display and provide adequate protection. As the concept for each model was to show the machine that a person flew, there are no pilot or crew figures in the models and all interior cockpit details are visible. Also, since these are flying machines each is configured with the gear up, flaps up, as if cruising through the air and loaded with the appropriate, representative ordnance specified by the person who flew it. The solution to these many issues were solved by designing a custom display case with a slat-wall back that holds each model on its own mounting bar with many levels for each slat row, and infinite side-to-side adjustments. The models can be displayed for optimum visual impact, view of details / ordnance, grouped for similarity of mission / chronology, and theater of operation.

CWG aircraft model case

Aircraft model case on display at the Cold War Gallery

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