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The RAF Museum Avro Anson Identity Mix-Up AVRO ANSON Mk.1 VH-ASM
Last updated 5.8.16 The RAF Museum Avro Anson identity mix-up This Anson Mk.1 fuselage is displayed at the RAF Museum at Hendon mounted on a RAF Queen Mary transporter. It is painted in RAF wartime camouflage as W2068. The museum’s signage and listings quote this Anson as W2068 ex VH-ASM. However it is in fact a different Anson LT773 ex VH-AZU. Despite the error being brought to the museum’s attention for some years, it has not been corrected. This paper presents the histories of both Ansons. AVRO ANSON Mk.1 VH-ASM .41 Built by A.V.Roe & Company Ltd at Manchester. Two 350hp Armstrong Siddeley Cheetah IX engines. Built to British Air Ministry order for 1,000 Anson 1s for RAF, serial range W1505 to W2665 with black-out blocks. The main deliveries of this order were shipped direct to Australia and Canada under the Empire Air Training Scheme Allocated RAF serial W2068 Shipped in wooden packing crates to Australia 10.5.41 Taken on RAAF charge as W2068. 12.5.41 Received No.1 Aircraft Depot, Laverton ex UK awaiting erection 17.5.41 Serviceable in 14 days at 1D 27.5.41 Issued to No.4 Service Flying Traning School, Geraldton WA ex 1AD 12.6.41 Forced landing at 4SFTS, undercarriage and under surfaces of fuselage damaged 19.12.41 4SFTS report: W2068 is fitted with gun turret 4.6.42 Taxying accident at 4SFTS, port side of tailpane damaged 4.3.43 Forced landing at 4SFTS, on cross-country flight, damage not stated 18.10.43 Issued to Australian National Airways, Maylands ex 4SFTS for complete overhaul 5.6.44 Issued to 4SFTS Geraldton ex ANA 22.1.45 Transferred to 4SFTS Storage, Geraldton ex 4SFTS unit strength. -
Royal Air Force Historical Society Journal 29
ROYAL AIR FORCE HISTORICAL SOCIETY JOURNAL 29 2 The opinions expressed in this publication are those of the contributors concerned and are not necessarily those held by the Royal Air Force Historical Society. Copyright 2003: Royal Air Force Historical Society First published in the UK in 2003 by the Royal Air Force Historical Society All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or by any information storage and retrieval system, without permission from the Publisher in writing. ISSN 1361-4231 Typeset by Creative Associates 115 Magdalen Road Oxford OX4 1RS Printed by Advance Book Printing Unit 9 Northmoor Park Church Road Northmoor OX29 5UH 3 CONTENTS BATTLE OF BRITAIN DAY. Address by Dr Alfred Price at the 5 AGM held on 12th June 2002 WHAT WAS THE IMPACT OF THE LUFTWAFFE’S ‘TIP 24 AND RUN’ BOMBING ATTACKS, MARCH 1942-JUNE 1943? A winning British Two Air Forces Award paper by Sqn Ldr Chris Goss SUMMARY OF THE MINUTES OF THE SIXTEENTH 52 ANNUAL GENERAL MEETING HELD IN THE ROYAL AIR FORCE CLUB ON 12th JUNE 2002 ON THE GROUND BUT ON THE AIR by Charles Mitchell 55 ST-OMER APPEAL UPDATE by Air Cdre Peter Dye 59 LIFE IN THE SHADOWS by Sqn Ldr Stanley Booker 62 THE MUNICIPAL LIAISON SCHEME by Wg Cdr C G Jefford 76 BOOK REVIEWS. 80 4 ROYAL AIR FORCE HISTORICAL SOCIETY President Marshal of the Royal Air Force Sir Michael Beetham GCB CBE DFC AFC Vice-President Air Marshal Sir Frederick Sowrey KCB CBE AFC Committee Chairman Air Vice-Marshal -
LESSON 3 Significant Aircraft of World War II
LESSON 3 Significant Aircraft of World War II ORREST LEE “WOODY” VOSLER of Lyndonville, Quick Write New York, was a radio operator and gunner during F World War ll. He was the second enlisted member of the Army Air Forces to receive the Medal of Honor. Staff Sergeant Vosler was assigned to a bomb group Time and time again we read about heroic acts based in England. On 20 December 1943, fl ying on his accomplished by military fourth combat mission over Bremen, Germany, Vosler’s servicemen and women B-17 was hit by anti-aircraft fi re, severely damaging it during wartime. After reading the story about and forcing it out of formation. Staff Sergeant Vosler, name Vosler was severely wounded in his legs and thighs three things he did to help his crew survive, which by a mortar shell exploding in the radio compartment. earned him the Medal With the tail end of the aircraft destroyed and the tail of Honor. gunner wounded in critical condition, Vosler stepped up and manned the guns. Without a man on the rear guns, the aircraft would have been defenseless against German fi ghters attacking from that direction. Learn About While providing cover fi re from the tail gun, Vosler was • the development of struck in the chest and face. Metal shrapnel was lodged bombers during the war into both of his eyes, impairing his vision. Able only to • the development of see indistinct shapes and blurs, Vosler never left his post fi ghters during the war and continued to fi re. -
How the Luftwaffe Lost the Battle of Britain British Courage and Capability Might Not Have Been Enough to Win; German Mistakes Were Also Key
How the Luftwaffe Lost the Battle of Britain British courage and capability might not have been enough to win; German mistakes were also key. By John T. Correll n July 1940, the situation looked “We shall fight on the beaches, we shall can do more than delay the result.” Gen. dire for Great Britain. It had taken fight on the landing grounds, we shall Maxime Weygand, commander in chief Germany less than two months to fight in the fields and in the streets, we of French military forces until France’s invade and conquer most of Western shall fight in the hills; we shall never surrender, predicted, “In three weeks, IEurope. The fast-moving German Army, surrender.” England will have her neck wrung like supported by panzers and Stuka dive Not everyone agreed with Churchill. a chicken.” bombers, overwhelmed the Netherlands Appeasement and defeatism were rife in Thus it was that the events of July 10 and Belgium in a matter of days. France, the British Foreign Office. The Foreign through Oct. 31—known to history as the which had 114 divisions and outnumbered Secretary, Lord Halifax, believed that Battle of Britain—came as a surprise to the Germany in tanks and artillery, held out a Britain had lost already. To Churchill’s prophets of doom. Britain won. The RAF little longer but surrendered on June 22. fury, the undersecretary of state for for- proved to be a better combat force than Britain was fortunate to have extracted its eign affairs, Richard A. “Rab” Butler, told the Luftwaffe in almost every respect. -
Aviation Classics Magazine
Avro Vulcan B2 XH558 taxies towards the camera in impressive style with a haze of hot exhaust fumes trailing behind it. Luigino Caliaro Contents 6 Delta delight! 8 Vulcan – the Roman god of fire and destruction! 10 Delta Design 12 Delta Aerodynamics 20 Virtues of the Avro Vulcan 62 Virtues of the Avro Vulcan No.6 Nos.1 and 2 64 RAF Scampton – The Vulcan Years 22 The ‘Baby Vulcans’ 70 Delta over the Ocean 26 The True Delta Ladies 72 Rolling! 32 Fifty years of ’558 74 Inside the Vulcan 40 Virtues of the Avro Vulcan No.3 78 XM594 delivery diary 42 Vulcan display 86 National Cold War Exhibition 49 Virtues of the Avro Vulcan No.4 88 Virtues of the Avro Vulcan No.7 52 Virtues of the Avro Vulcan No.5 90 The Council Skip! 53 Skybolt 94 Vulcan Furnace 54 From wood and fabric to the V-bomber 98 Virtues of the Avro Vulcan No.8 4 aviationclassics.co.uk Left: Avro Vulcan B2 XH558 caught in some atmospheric lighting. Cover: XH558 banked to starboard above the clouds. Both John M Dibbs/Plane Picture Company Editor: Jarrod Cotter [email protected] Publisher: Dan Savage Contributors: Gary R Brown, Rick Coney, Luigino Caliaro, Martyn Chorlton, Juanita Franzi, Howard Heeley, Robert Owen, François Prins, JA ‘Robby’ Robinson, Clive Rowley. Designers: Charlotte Pearson, Justin Blackamore Reprographics: Michael Baumber Production manager: Craig Lamb [email protected] Divisional advertising manager: Tracey Glover-Brown [email protected] Advertising sales executive: Jamie Moulson [email protected] 01507 529465 Magazine sales manager: -
Axis Blitzkrieg: Warsaw and Battle of Britain
Axis Blitzkrieg: Warsaw and Battle of Britain By Skyla Gabriel and Hannah Seidl Background on Axis Blitzkrieg ● A military strategy specifically designed to create disorganization in enemy forces by logical firepower and mobility of forces ● Limits civilian casualty and waste of fire power ● Developed in Germany 1918-1939 as a result of WW1 ● Used in Warsaw, Poland in 1939, then with eventually used in Belgium, the Netherlands, North Africa, and even against the Soviet Union Hitler’s Plan and “The Night Before” ● Due to the non-aggression pact with the Soviet Union, once the Polish state was divided up, Hitler would colonize the territory and only allow the “superior race” to live there and would enslave the natives. ● On August 31, 1939 Hitler ordered Nazi S.S. troops,wearing Polish officer uniforms, to sneak into Poland. ● The troops did minor damage to buildings and equipment. ● Left dead concentration camp prisoners in Polish uniforms ● This was meant to mar the start of the Polish Invasion when the bodies were found in the morning by Polish officers Initial stages ● Initially, one of Hitler’s first acts after coming to power was to sign a nonaggression pact (January 1934) with Poland in order to avoid a French- Polish alliance before Germany could rearm. ● Through 1935- March 1939 Germany slowly gained more power through rearmament (agreed to by both France and Britain), Germany then gained back the Rhineland through militarization, annexation of Austria, and finally at the Munich Conference they were given the Sudetenland. ● Once Czechoslovakia was dismembered Britain and France responded by essentially backing Poland and Hitler responded by signing a non-aggression with the Soviet Union in the summer of 1939 ● The German-Soviet pact agreed Poland be split between the two powers, the new pact allowed Germany to attack Poland without fear of Soviet intervention The Attack ● On September 1st, 1939 Germany invaded Warsaw, Poland ● Schleswig-Holstein, a German Battleship at 4:45am began to fire on the Polish garrison in Westerplatte Fort, Danzig. -
Military Aircraft Crash Sites in South-West Wales
MILITARY AIRCRAFT CRASH SITES IN SOUTH-WEST WALES Aircraft crashed on Borth beach, shown on RAF aerial photograph 1940 Prepared by Dyfed Archaeological Trust For Cadw DYFED ARCHAEOLOGICAL TRUST RHIF YR ADRODDIAD / REPORT NO. 2012/5 RHIF Y PROSIECT / PROJECT RECORD NO. 105344 DAT 115C Mawrth 2013 March 2013 MILITARY AIRCRAFT CRASH SITES IN SOUTH- WEST WALES Gan / By Felicity Sage, Marion Page & Alice Pyper Paratowyd yr adroddiad yma at ddefnydd y cwsmer yn unig. Ni dderbynnir cyfrifoldeb gan Ymddiriedolaeth Archaeolegol Dyfed Cyf am ei ddefnyddio gan unrhyw berson na phersonau eraill a fydd yn ei ddarllen neu ddibynnu ar y gwybodaeth y mae’n ei gynnwys The report has been prepared for the specific use of the client. Dyfed Archaeological Trust Limited can accept no responsibility for its use by any other person or persons who may read it or rely on the information it contains. Ymddiriedolaeth Archaeolegol Dyfed Cyf Dyfed Archaeological Trust Limited Neuadd y Sir, Stryd Caerfyrddin, Llandeilo, Sir The Shire Hall, Carmarthen Street, Llandeilo, Gaerfyrddin SA19 6AF Carmarthenshire SA19 6AF Ffon: Ymholiadau Cyffredinol 01558 823121 Tel: General Enquiries 01558 823121 Adran Rheoli Treftadaeth 01558 823131 Heritage Management Section 01558 823131 Ffacs: 01558 823133 Fax: 01558 823133 Ebost: [email protected] Email: [email protected] Gwefan: www.archaeolegdyfed.org.uk Website: www.dyfedarchaeology.org.uk Cwmni cyfyngedig (1198990) ynghyd ag elusen gofrestredig (504616) yw’r Ymddiriedolaeth. The Trust is both a Limited Company (No. 1198990) and a Registered Charity (No. 504616) CADEIRYDD CHAIRMAN: Prof. B C Burnham. CYFARWYDDWR DIRECTOR: K MURPHY BA MIFA SUMMARY Discussions amongst the 20th century military structures working group identified a lack of information on military aircraft crash sites in Wales, and various threats had been identified to what is a vulnerable and significant body of evidence which affect all parts of Wales. -
Royal Canadian Air Force Serial Numbers Second Series- Since 1944 (10000-91426)
Royal Canadian Air Force Serial Numbers Second Series- since 1944 (10000-91426) Updated: 2020 ************************************************************************************************************* C-5 10000 Canadair CL-11 (C-5) Hybrid DC-4/6 One only. VIP transport in service 1950 *Bolingbroke 10001-10256 Bristol Bolingbroke/BlenheimMk VT (Fairchild Built) 0001 Battle of Britain Museum Hendon 1987 0038 Restored Duxford(12yr) crashed Denham UK. 1987 0040 CWHM to be restored 1989 0054 As Target tug Fairchild Longueuil PQ.1944 0073 Military Aircraft Restoration Group Chino CA. 1972 0076 Military Aircraft Restoration Group Chino CA. 1972 0117 CWHM to be restored 1989 0120 Reynolds AV Museum Wetaskiwin ALTA 1988 0121 Canadian Museum of Flight Vancouver BC. 1988 0184 Canadian Warplane Heritage Museum to be restored 1989 0201 Duxford UK.1988 *Hercules 10301-10305 CC130B Lockheed Hercules (C-130) 10301 was USAF 60-5450 10302 was USAF 60-5451 10303 was USAF 60-5452 10304 was USAF 60-5453 10305 CC130E Hercules delivered in 1965 10307 CC130E Hercules(Lockheed C-130) 10312-10314 CC130B Hercules(Lockheed C-130) 10316-10318 CC130B Hercules(Lockheed C-130) 10320-10321 CC130B Hercules(Lockheed C-130) 10327 CC130B Hercules(Lockheed C-130) *Labrador 10410 CH113 Labrador (Boeing Built) *Cornell 10500-10907 Fairchild PT-26A/26B Cornell FH642 Cornell. British registered aircraft flown by LAC Michael Timco RCAF in Jul 1943 FH674 Cornell. British registered aircraft flown by LAC M. Timco RCAF in 1943 FH691 Cornell. British registered aircraft flown by LAC M. Timco RCAF in 1943 FH692 Cornell. British registered aircraft flown by LAC M. Timco RCAF in 1943 FH697 Cornell. British registered aircraft flown by LAC M. -
Pioneers to Partners, British Aircraft Since 1945
Pioneers to Partners British Aircraft since 1945 Christopher Foyle & Leo Marriott Foreword by Marshal of the Royal Air Force, HRH The Prince Philip, Duke of Edinburgh, KG, KT spsfojd |EuoiiEUJ9iu| JO(EW snojauunu in jguiJEd |Eiiu9ss9 PUE lUEiJodum UE s\ Xjisnpm UOjlEjAE IjSjljjg 31)1 9J9l|M UOjlEnijS UJ9pOLJU 91)1 01 iinds puE s9|i!)Euosj9d §uu99iioid uo iijnq Xjisnpui UE LJUOJJ 9§UEip ss9|iu9|9J inq 9|iqns 91)1 SUElp >|00q 91)1 '9)111 9lfl. Uj p91E|nsdEDU9 sy 'sdjijSJiB U9A9 puE sj9p||2 'si|mq-9uuoq p S||E19p j9Uq §U|A!§ S9D|pU9ddE l)l|M S|Enp!Alpll! plIE S9!UEdlUOD J9||EUUS 91)1 3-1 H U9HO§JOj 1O[\J uojinquiuoD JofEiu E 9pEUJ SEIJ /Jisnpin qsjiug 9J9qM s9iuuuEj2ojd |Euo!iEUJ9iui jo spnpojd 9SOLJ1 SE ||9M SE pOU3d IBljl UlljljM l^EJDJjE l|mq l)SI!Ug /J9A9JO 'J9pJO )ED!§0|OUOJl)D Uj 'S|jB13p SujpjAOjd Xq A'JOIS ai)i SujiEJisn)!! '/Ep iu9S9jd 91)1 01 c^6|, iiiojj AJisnpu! ^EJDJJE ijsiiug 91)1 Uj 9§UEl)D 91)1 SlJEljD SJ9UJJDJ OJ SJ33L/0/J 'lU9JEddE X||pE9J S/EM|E 10 u sj Xijiuspi qsjiug 3i|i q§noqi|E p9iu9S9jd9j ||9M 9J9M S1SJ1U9DS pUE SJ99U|§U9 'SgjUEduUOD l)SjlUg tpjljM Ul EI1JOSUOD IEUOJ1EUJ91UI Ol p9| S9UUlUEJ§Ojd lU9LJUdO|9A9p l^EJDJIE JOfEUU JO 1SOD pUE 9|EDS J991JS 91)1 X||EniU9Ag S9iEJ9uuo|§uoD lEUisnpuj J9§JE| oiui pgqjosqE X||EnpEJ§ 9J9M pUE||!AE|-) 9p pUE (OlSjjg 'OJA\/ SE ipns S9UUEU snouiiEj PUE Xjisnpui IJEJDJJE 3i)i UjqijM SUOHESJIEJUOIIEJ JOfElU Ol p9| XiqEUEAUj S9pED9p JEMlSOd 31)1 JO Xll|E9J 3l)_|_ 'SS9DDnS LjljM p9UMOJD SXEM|E 1OU 9J9M SIJOJ-P 9S91J1 E qi|M s|i)i uo p|inq 01 iqSnos PUE uo|S|ndojd 13 [ Uj J9pE9| p|JOM 91)1 -
Department of Political Science Chair of Gender Politics Wonder Woman
Department of Political Science Chair of Gender Politics Wonder Woman and Captain Marvel as Representation of Women in Media Sara Mecatti Prof. Emiliana De Blasio Matr. 082252 SUPERVISOR CANDIDATE Academic Year 2018/2019 1 Index 1. History of Comic Books and Feminism 1.1 The Golden Age and the First Feminist Wave………………………………………………...…...3 1.2 The Early Feminist Second Wave and the Silver Age of Comic Books…………………………....5 1.3 Late Feminist Second Wave and the Bronze Age of Comic Books….……………………………. 9 1.4 The Third and Fourth Feminist Waves and the Modern Age of Comic Books…………...………11 2. Analysis of the Changes in Women’s Representation throughout the Ages of Comic Books…..........................................................................................................................................................15 2.1. Main Measures of Women’s Representation in Media………………………………………….15 2.2. Changing Gender Roles in Marvel Comic Books and Society from the Silver Age to the Modern Age……………………………………………………………………………………………………17 2.3. Letter Columns in DC Comics as a Measure of Female Representation………………………..23 2.3.1 DC Comics Letter Columns from 1960 to 1969………………………………………...26 2.3.2. Letter Columns from 1979 to 1979 ……………………………………………………27 2.3.3. Letter Columns from 1980 to 1989…………………………………………………….28 2.3.4. Letter Columns from 19090 to 1999…………………………………………………...29 2.4 Final Data Regarding Levels of Gender Equality in Comic Books………………………………31 3. Analyzing and Comparing Wonder Woman (2017) and Captain Marvel (2019) in a Framework of Media Representation of Female Superheroes…………………………………….33 3.1 Introduction…………………………….…………………………………………………………33 3.2. Wonder Woman…………………………………………………………………………………..34 3.2.1. Movie Summary………………………………………………………………………...34 3.2.2.Analysis of the Movie Based on the Seven Categories by Katherine J. -
SEA8 Techrep Mar Arch.Pdf
SEA8 Technical Report – Marine Archaeological Heritage ______________________________________________________________ Report prepared by: Maritime Archaeology Ltd Room W1/95 National Oceanography Centre Empress Dock Southampton SO14 3ZH © Maritime Archaeology Ltd In conjunction with: Dr Nic Flemming Sheets Heath, Benwell Road Brookwood, Surrey GU23 OEN This document was produced as part of the UK Department of Trade and Industry's offshore energy Strategic Environmental Assessment programme. The SEA programme is funded and managed by the DTI and coordinated on their behalf by Geotek Ltd and Hartley Anderson Ltd. © Crown Copyright, all rights reserved Document Authorisation Name Position Details Signature/ Initial Date J. Jansen van Project Officer Checked Final Copy J.J.V.R 16 April 07 Rensburg G. Momber Project Specialist Checked Final Copy GM 18 April 07 J. Satchell Project Manager Authorised final J.S 23 April 07 Copy Maritime Archaeology Ltd Project No 1770 2 Room W1/95, National Oceanography Centre, Empress Dock, Southampton. SO14 3ZH. www.maritimearchaeology.co.uk SEA8 Technical Report – Marine Archaeological Heritage ______________________________________________________________ Contents I LIST OF FIGURES ......................................................................................................5 II ACKNOWLEDGEMENTS .............................................................................................7 1. NON TECHNICAL SUMMARY................................................................................8 1.1 -
(“Spider-Man”) Cr
PRIVILEGED ATTORNEY-CLIENT COMMUNICATION EXECUTIVE SUMMARY SECOND AMENDED AND RESTATED LICENSE AGREEMENT (“SPIDER-MAN”) CREATIVE ISSUES This memo summarizes certain terms of the Second Amended and Restated License Agreement (“Spider-Man”) between SPE and Marvel, effective September 15, 2011 (the “Agreement”). 1. CHARACTERS AND OTHER CREATIVE ELEMENTS: a. Exclusive to SPE: . The “Spider-Man” character, “Peter Parker” and essentially all existing and future alternate versions, iterations, and alter egos of the “Spider- Man” character. All fictional characters, places structures, businesses, groups, or other entities or elements (collectively, “Creative Elements”) that are listed on the attached Schedule 6. All existing (as of 9/15/11) characters and other Creative Elements that are “Primarily Associated With” Spider-Man but were “Inadvertently Omitted” from Schedule 6. The Agreement contains detailed definitions of these terms, but they basically conform to common-sense meanings. If SPE and Marvel cannot agree as to whether a character or other creative element is Primarily Associated With Spider-Man and/or were Inadvertently Omitted, the matter will be determined by expedited arbitration. All newly created (after 9/15/11) characters and other Creative Elements that first appear in a work that is titled or branded with “Spider-Man” or in which “Spider-Man” is the main protagonist (but not including any team- up work featuring both Spider-Man and another major Marvel character that isn’t part of the Spider-Man Property). The origin story, secret identities, alter egos, powers, costumes, equipment, and other elements of, or associated with, Spider-Man and the other Creative Elements covered above. The story lines of individual Marvel comic books and other works in which Spider-Man or other characters granted to SPE appear, subject to Marvel confirming ownership.