DOCSLIB.ORG

TAM Daytime Meeting

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TAM Daytime Meeting Volume 40 September 2005 Number 1 http://www.cahs.ca/torontochapter This Month’s Meeting: artillery, staff and United Nations Shorty: An Aviation Pioneer appointments. He commanded 2nd Surface to Surface Missile Battery, Royal Canadian Artillery and 2nd Regiment Royal Canadian Horse Artillery. He is a graduate of the British Army Staff College, Camberley, Surrey and the United States Armed Forces Staff College, Norfolk,Virginia. He also served on the faculty of the Canadian Forces Command and Staff College, Toronto. On retiring from the Canadian Forces in 1978, he joined the news staff at CHAY FM radio in Barrie, Ontario eventually becoming the station's News Director and Operations 1:00 pm Saturday September 17 Manager. TAM Daytime Meeting From 1994 to 1999 he contributed regularly to two military publications and produced a 65 Carl Hall Rd - See Back Page for Map quarterly publication, Military Digest, which was circulated by subscription. His Weblog , Jim Henderson was born in July, 1929 in “The Crabby Canadian” has been operational Burlington, Ontario, too late to enjoy the for the past year. He is a member of the affluence of the Roaring Twenties but in plenty Canadian Aviation Historical Society, the of time to learn about the Great Depression from Canadian Institute of Strategic Studies, and the his stockbroker-turned-chicken farmer father. Royal Canadian Arillery Association. His adolescence was spent in Brantford, Shorty: An Aviation Pioneer is his second book Ontario where he joined the Militia. A Reserve to be published by Trafford. His first, The Army commission while still in school led, after Nuking of Happy Valley is a collection of employment as a broadcaster at CKPC in amusing anecdotes from his military career. Brantford, to full time military service with the Regular Army. We hope you enjoy this daytime meeting, a Early in 1950 he became editor of the Stoney frequent request of our members. Creek News, near Hamilton, but in the autumn of 1950 the far distant trumpet prevailed and he joined the Royal Canadian Horse Artillery bound for Korea. In Korea he was granted a regular commission. During his military career he served in various 1 Flypast V. 40 No. 1 Last Month’s Meeting hard copy in 2000 and received good reviews June 8, 2005 meeting in major newspapers such as the Toronto Star In for a Penny, In for a Pound and the Globe and Mail. Howard said he and Speaker: Howard Hewer his colleagues didn't speak about the war after Reporter: Gord McNulty it ended. When the book was published, his wife told him that it was about "a husband she never knew before." His son and daughter, for their part, said it was about "a father they had never known." Howard likes to tell young people to study their history, otherwise, "they won't know who they are." He jokingly recalled one woman who told Howard that after reading the book, he reminded her of Forrest Gump. "Having seen the movie, I wasn't that pleased," Howard recalled. However, the rest of the review was excellent. On reflection, considering what Howard called the situations Toronto Chapter President Howard Malone he "blundered into or stupidly volunteered for, introduced guest speaker Howard Hewer. Born like Forrest Gump," he said he could see why in Toronto, our speaker enlisted in 1940, hoping he reminded her of Forrest Gump. Howard for pilot training, but was selected for the traced "three pieces of good luck in his life." Wireless Operator course. He served as a The first was surviving the war; the second was wireless operator in RAF Bomber Command to have such a varied and rewarding career with Squadrons 218 and 148 in night operations over the RCAF. His third piece of luck was meeting Germany and North Africa. He flew 300 his wife. He met her in August, 1944 on a operational hours in Wellington Marks I and II. blind date on a Sunday picnic at Belleville, Howard enjoyed a long career with the RCAF Ontario, after he had returned from overseas in postwar, including seven years on early 1944. anti-submarine warfare out of Greenwood, N.S. Howard dreamed of piloting Spitfires or and Halifax, on Lancasters and Neptunes. He Hurricanes over Europe, but other events ended his career at the staff college in Toronto transpired --- notably the opening of a wireless and retired as a Wing Commander in 1972, after school in Calgary. Howard was among a group 32 years of air force service. He has received sent from ITS in Toronto to make up the first the Queen's Coronation Medal, the Malta course in Calgary. Then they went to the George Cross Fiftieth Anniversary Medal and bombing and gunnery school at Jarvis, Ontario the Canadian Special Service Medal. He is a and went overseas in March 1941 after member of the Toronto branch of the aircrew graduation as wireless operator/air gunners. At association and author of In for a Penny, In for Uxbridge, they were to be recruited to take part a Pound (paperback edition published by in a film called Target for Tonight. There Anchor Canada, $22). Howard lives with his were no actors in the cast; it was all RAF wife, Doris, in Toronto. aircrew. The people in the briefing room Howard brought copies of his outstanding book scenes were colleagues of Howard's from to the meeting for sale. It was first published in training. In fact, the pilot in the film was Flight Flypast V. 40 No. 1 2 Lieutenant Percy Charles Pickard, an per hour." Howard's crew ended up at RAF experienced and decorated veteran of Bomber Station Marham, assigned to 218 Squadron, Command operations. which was part of 3 Group in Bomber Sadly, Pickard lost his life on Feb 18, 1944, as Command. a Group Captain leading Mosquitoes on The title of Howard's book came from an Operation Jericho, one of the most daring Australian flying officer, who perched himself operations of the war: the low-level attack on on the edge of a table with his hat at a rakish Amiens prison. The raid enabled 200 French angle and a holstered revolver. He welcomed resistance fighters who were imprisoned there to the new arrivals with an unforgettable greeting: escape and remain out of German hands for the "Well chaps, your glamour period is over. You rest of the war. got in for a penny, but now you're in for a Howard, instead of participating in the film, pound." decided to go to London with a friend, Ted. Lo The new arrivals also had a stark introduction and behold, it was May 10, 1941 --- the date of from a flight lieutenant who was the medical the biggest night incendiary raid of the war. officer. In his parting words, he told them that They had a great time, at least until around 11 if they were ever trapped in a burning aircraft, pm, until the bombs started to fall. It was their "it was best to get it over with in a hurry. The first real encounter with the mayhem of war. way to get it over in a hurry is to open your Howard put his steel helmet on and seconds mouth and take a deep breath. Then you won't later, it was ripped wide open. He had been hit slowly burn." by shrapnel from a bomb. He and Ted, As for the bombing raids, Howard said the wandering around looking for a shelter, came pilot they had in OTU was replaced, as upon a horrific scene of destruction: the bomb - customary, by a new captain whom he wrecked CafΘ de Paris dance hall. The airmen described simply as Sgt. B. He had already were recruited by a policeman to take bodies done 20 bombing raids so he was a little and parts of bodies from the dance hall. A nervous. He had to be encouraged to go in 500-pound bomb had landed in the middle of right over the target. "We were green enough, the dance floor and killed 400 people, including or stupid enough I suppose, to urge him to do a lot of Canadians. Even at that stage of the this on our raids," Howard said. On their Blitz, many people were ignoring the call of the second raid, on Cologne, they were badly shot sirens to take shelter. Howard was 19 at the up. Howard looked down the fuselage just as a time. For him, the episode marked the "first shell exploded and was blinded temporarily. loss of innocence." He fixed his damaged radio set and got a From there, Howard and his colleagues went to course for home base. The heading, however, operational training on the Wellington bomber, was wrong. the famous "Wimpy" of geodetic structure The Wimpy was over water, heading for the designed by Barnes Wallis. As Howard North Sea, and dangerously low on fuel. recalled, "It was a primitive aeroplane. Over However, they managed to make corrections Europe, we never got above 10,000 feet. Later and head back to southeast England. Howard on, the Halifaxes and Lancasters hardly ever recalled that the radio operator was very busy. went below 20,000 feet." He said the Wimpy, He had to help the navigator with all of the with a tail wind and the nose slightly down, navigation aids available, such as a bubble "could reach the frightening speed of 150 miles sextant to obtain star fixes, a compass, a gyro, 3 Flypast V. 40 No. 1 a map, etc., but it was relatively primitive.
Load more

Recommended publications
  • RAF Wings Over Florida: Memories of World War II British Air Cadets
    Purdue University Purdue e-Pubs Purdue University Press Books Purdue University Press Fall 9-15-2000 RAF Wings Over Florida: Memories of World War II British Air Cadets Willard Largent Follow this and additional works at: https://docs.lib.purdue.edu/purduepress_ebooks Part of the European History Commons, and the Military History Commons Recommended Citation Largent, Willard, "RAF Wings Over Florida: Memories of World War II British Air Cadets" (2000). Purdue University Press Books. 9. https://docs.lib.purdue.edu/purduepress_ebooks/9 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. RAF Wings over Florida RAF Wings over Florida Memories of World War II British Air Cadets DE Will Largent Edited by Tod Roberts Purdue University Press West Lafayette, Indiana Copyright q 2000 by Purdue University. First printing in paperback, 2020. All rights reserved. Printed in the United States of America Paperback ISBN: 978-1-55753-992-2 Epub ISBN: 978-1-55753-993-9 Epdf ISBN: 978-1-61249-138-7 The Library of Congress has cataloged the earlier hardcover edition as follows: Largent, Willard. RAF wings over Florida : memories of World War II British air cadets / Will Largent. p. cm. Includes bibliographical references and index. ISBN 1-55753-203-6 (cloth : alk. paper) 1. Largent, Willard. 2. World War, 1939±1945ÐAerial operations, British. 3. World War, 1939±1945ÐAerial operations, American. 4. Riddle Field (Fla.) 5. Carlstrom Field (Fla.) 6. World War, 1939±1945ÐPersonal narratives, British. 7. Great Britain. Royal Air ForceÐBiography. I.
    [Show full text]
  • Download Target for Tonight Rules (English)
    RULES OF PLAY TARGET FOR TONIGHT 1 TABLE OF CONTENTS 1.0 Introduction 5.12 Heat Out and Frostbite 1.1 Game Rules 5.13 Oxygen Fires 1.2 Game Equipment 5.14 Loss of Oxygen and its Effects 1.3 Dice 1.4 Counter Identification 6.0. In the Target Zone 1.5 Game Forms and Boards 6.1 Bombing the Target 1.6 The Operational Tour of Duty 6.2 Low Altitude Bombing 1.7 Designer’s Note: The Anatomy of A Bombing Mission 6.3 (Optional Rule) Thermal Turbulence - Fire Bombing and Firestorms 2.0 Pre-Mission Steps 6.4 Pathfinders and the “Master Bomber” 2.1 Set-Up 6.5 The Turn Around - Heading Home 2.2 How to Win 2.3 The Twelve Campaigns Offered in Target for Tonight 7.0. Ending the Mission 2.4 Target Selection 7.1 Landing at Your Base 2.5 Selecting Your Bomber Type 7.2 Ditching (Landing) In Water 2.6 The Bomber Command Flight Log Gazetteer 7.3 Landing in Europe 2.7 The Electronics War 7.4 Bailing Out 2.8 The Bomber’s Crew Members 7.5 (Optional Rule) Awards 2.9 Crew Placement Board and Battle Board 7.6 (Optional Rule) Confirmation of German Fighters 2.10 Determine the Phase of The Moon Claimed Shot down By Your Gunners. 3.0 Starting the Mission 8.0 Post Mission Debriefing 3.1 Take-Off Procedure 9.0. Additional German Aircraft Rules 4.0 The Zones 9.1 (Optional Rule) The Vickers Wellington Bomber 4.1 Movement Defined 9.2 (Optional Rule) German Me-262 Jet Night Fighter 4.2 Weather in the Zone 9.3 (Optional Rule) Ta-154 A-0 Night Fighter.
    [Show full text]
  • 1 "Documentary Films" an Entry in the Encylcopedia of International Media
    1 "Documentary Films" An entry in the Encylcopedia of International Media and Communication, published by the Academic Press, San Diego, California, 2003 2 DOCUMENTARY FILMS Jeremy Murray-Brown, Boston University, USA I. Introduction II. Origins of the documentary III. The silent film era IV. The sound film V. The arrival of television VI. Deregulation: the 1980s and 1990s VII. Conclusion: Art and Facts GLOSSARY Camcorders Portable electronic cameras capable of recording video images. Film loop A short length of film running continuously with the action repeated every few seconds. Kinetoscope Box-like machine in which moving images could be viewed by one person at a time through a view-finder. Music track A musical score added to a film and projected synchronously with it. In the first sound films, often lasting for the entire film; later blended more subtly with dialogue and sound effects. Nickelodeon The first movie houses specializing in regular film programs, with an admission charge of five cents. On camera A person filmed standing in front of the camera and often looking and speaking into it. Silent film Film not accompanied by spoken dialogue or sound effects. Music and sound effects could be added live in the theater at each performance of the film. Sound film Film for which sound is recorded synchronously with the picture or added later to give this effect and projected synchronously with the picture. Video Magnetized tape capable of holding electronic images which can be scanned electronically and viewed on a television monitor or projected onto a screen. Work print The first print of a film taken from its original negative used for editing and thus not fit for public screening.
    [Show full text]
  • The Battle of Britain, 1945–1965 : the Air Ministry and the Few / Garry Campion
    Copyrighted material – 978–0–230–28454–8 © Garry Campion 2015 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–0–230–28454–8 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library.
    [Show full text]
  • Guide to Film Movements
    This was originally published by Empire ( here is their Best of 2020 list) but no longer available. A Guide to Film Movements . FRENCH IMPRESSIONISM (1918-1930) Key filmmakers: Abel Gance, Louis Delluc, Germaine Dulac, Marcel L'Herbier, Jean Epstein What is it? The French Impressionist filmmakers took their name from their painterly compatriots and applied it to a 1920s boom in silent film that jolted cinema in thrilling new directions. The devastation of World War I parlayed into films that delved into the darker corners of the human psyche and had a good rummage about while they were there. New techniques in non-linear editing, point-of-view storytelling and camera work abounded. Abel Gance’s Napoleon introduced the widescreen camera and even stuck a camera operator on rollerskates to get a shot, while Marcel L'Herbier experimented with stark new lighting styles. Directors like Gance, Germaine Dulac and Jean Epstein found valuable support from Pathé Fréres and Leon Gaumont, France’s main production houses, in a reaction to the stifling influx of American films. As Empire writer and cineguru David Parkinson points out in 100 Ideas That Changed Film, the group’s figurehead, Louis Delluc, was instrumental in the still-new art form being embraced as something apart, artistically and geographically. “French cinema must be cinema,” he stressed. “French cinema must be French.” And being French, it wasn’t afraid to get a little sexy if the circumstances demanded. Germaine Dulac’s The Seashell And The Clergyman, an early step towards surrealism, gets into the head of a lascivious priest gingering after a general’s wife in a way usually frowned on in religious circles.
    [Show full text]
  • Pdf/ Mow/Nomination Forms United Kingdom Battle of the Somme (Accessed 18.04.2014)
    Notes Introduction: Critical and Historical Perspectives on British Documentary 1. Forsyth Hardy, ‘The British Documentary Film’, in Michael Balcon, Ernest Lindgren, Forsyth Hardy and Roger Manvell, Twenty Years of British Film 1925–1945 (London, 1947), p.45. 2. Arts Enquiry, The Factual Film: A Survey sponsored by the Dartington Hall Trustees (London, 1947), p.11. 3. Paul Rotha, Documentary Film (London, 4th edn 1968 [1936]), p.97. 4. Roger Manvell, Film (Harmondsworth, rev. edn 1946 [1944]), p.133. 5. Paul Rotha, with Richard Griffith, The Film Till Now: A Survey of World Cinema (London, rev. edn 1967 [1930; 1949]), pp.555–6. 6. Michael Balcon, Michael Balcon presents ...A Lifetime of Films (London, 1969), p.130. 7. André Bazin, What Is Cinema? Volume II, trans. Hugh Gray (Berkeley, 1971), pp.48–9. 8. Ephraim Katz, The Macmillan International Film Encyclopedia (London, 1994), p.374. 9. Kristin Thompson and David Bordwell, Film History: An Introduction (New York, 1994), p.352. 10. John Grierson, ‘First Principles of Documentary’, in Forsyth Hardy (ed.), Grierson on Documentary (London, 1946), pp.79–80. 11. Ibid., p.78. 12. Ibid., p.79. 13. This phrase – sometimes quoted as ‘the creative interpretation of actual- ity’ – is universally credited to Grierson but the source has proved elusive. It is sometimes misquoted with ‘reality’ substituted for ‘actuality’. In the early 1940s, for example, the journal Documentary News Letter, published by Film Centre, which Grierson founded, carried the banner ‘the creative interpretation of reality’. 14. Rudolf Arnheim, Film as Art, trans. L. M. Sieveking and Ian F. D. Morrow (London, 1958 [1932]), p.55.
    [Show full text]
  • Persuading the People
    4 Persuading the people ANY OFFICIAL and semi-official words and images were devoted to sustaining civilian morale during the Second MWorld War. The attempt to explain the state of mind of the British people in this period might begin, therefore, with a consid- eration of the nature of these words and images, the thinking that lay behind them and what effect, if any, they had on the targeted audience. As discussed in Chapter 1, the importance of modern mass communications to the state of public morale in time of war was recognized by the Government of the day in 1935 in its initia- tive to create, at least in ‘shadow’ form, a Ministry of Information, charged with the task of maintaining morale. And we saw how, when war came, the duly established Ministry entirely failed to fulfil its brief, instead incurring public ridicule and earning for itself the unflattering sobriquet of ‘Ministry of Disinformation’.1 Over the course of the war, however, the Government learned from expe- rience. The simplistic notions about communications and popular morale with which it began the war, symbolized by the closure of cinemas and Chamberlain’s contemplated shutting down of the BBC, were gradually replaced by a more sophisticated understanding of the nature of the relationship between what people were told and how they felt and behaved. The Head of the Home Intelligence Division at the Ministry of Information, Stephen Taylor, believed that the factors determining morale could be divided into the ‘ma- terial’ and the ‘mental’. The material factors were: food, warmth, work, leisure, rest and sleep, a secure base, and safety and secu- rity for dependants.
    [Show full text]
  • “The Sort of Man”
    “The sort of man” Politics, Clothing and Characteristics in British Propaganda Depictions of Royal Air Force Aviators, 1939-1945 By Liam Barnsdale A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in History Victoria University of Wellington 2019 Abstract Throughout the Second World War, the Royal Air Force saw widespread promotion by Britain’s propagandists. RAF personnel, primarily aviators, and their work made frequent appearances across multiple propaganda media, being utilised for a wide range of purposes from recruitment to entertainment. This thesis investigates the depictions of RAF aviators in British propaganda material produced during the Second World War. The chronological changes these depictions underwent throughout the conflict are analysed and compared to broader strategic and propaganda trends. Additionally, it examines the repeated use of clothing and characteristics as identifying symbols in these representations, alongside their appearances in commercial advertisements, cartoons and personal testimony. Material produced or influenced by the Ministry of Information, Air Ministry and other parties within Britain’s propaganda machine across multiple media are examined using close textual analysis. Through this examination, these parties’ influences on RAF aviators’ propaganda depictions are revealed, and these representations are compared to reality as described by real aviators in post- war accounts. While comparing reality to propaganda, the traits unique to, or excessively promoted in, propaganda are identified, and condensed into a specific set of visual symbols and characteristics used repeatedly in propaganda depictions of RAF aviators. Examples of these traits from across multiple media are identified and analysed, revealing their systematic use as aids for audience recognition and appreciation.
    [Show full text]
  • Pat Jackson's White Corridors
    The national health: Pat Jackson’s White Corridors charles barr W C, a hospital drama first shown in June 1951, belongs to the small class of fictional films that deny themselves a musical score. Even the brief passages that top and tail the film, heard over the initial credits and the final image, were added against the wish of its director, Pat Jackson. Jackson had spent the first ten years of his career in documentary, joining the GPO Unit in the mid-1930s and staying on throughout the war after its rebranding as Crown, and the denial of music is clearly part of a strategy for giving a sense of documentary-like reality to the fictional material of White Corridors. There is a certain paradox here, in that actual documentaries, like news- reels, normally slap on music liberally. To take two submarine-centred features, released almost simultaneously in 1943, Gainsborough’s fictional We Dive at Dawn, in which Anthony Asquith directs a cast of familiar pro- fessionals headed by John Mills and Eric Portman, has virtually no music, while Crown’s ‘story-documentary’, Close Quarters, whose cast are all acting out their real-life naval roles, has a full-scale score by Gordon Jacob. Other films in this celebrated wartime genre have even more prominent and powerful scores, by Vaughan Williams for Coastal Command (1942), by William Alwyn for Fires were Started (1943) and by Clifton Parker for Jack- son’s own Western Approaches (1945). One can rationalise this by saying that documentary has enough markers of authenticity already at the level of dramatic and visual construction, and a corresponding need for the bonus of I had the not untypical experience of being taken to a lot of worthy British films by parents and teachers in the 1950s, and then reacting against them when the riches of non-British cinema were opened up, notably by Movie magazine, in the 1960s.
    [Show full text]
  • A Brief History of Raf Mildenhall
    A BRIEF HISTORY OF RAF MILDENHALL I am indebted to Mr. H Dring for allowing me to use material from his father’s (Mr. C. Dring) book entitled ‘A History of RAF Mildenhall’ in this account. RAF Mildenhall was established in 1934, however people living in the area had long been accustomed to the sight of aircraft in the skies overhead. The Army had, for many years, made use of the extensive Breckland area to the north east of Mildenhall for its military training. In 1929 it became known locally that Mildenhall had been selected to be the site of the first of the new-style bomber bases. The town was suffering from the effects of the agricultural depression and the local people welcomed the thought of some much needed employment. Work began in earnest in October, 1930 when the first building, a large office for the construction staff, was erected. The Ministry Of Transport laid down concrete access roads and in 1931 a London based building firm took the main contract. The first phase of construction lasted for some 3 years; most of the buildings from this period are still in existence, although now with different uses. The original hangers, Numbers 1 and 5, were designed to such a high specification that they are in use today with the United States Air Force. The first control tower, a small bungalow type building between hangers 2 and 3, has long since disappeared. The airfield when finished had 3 grass runways, the longest being the NE-SW runway at 1300 yards.
    [Show full text]
  • University of California
    UC Riverside UC Riverside Electronic Theses and Dissertations Title “Doing His Bit”: Ralph Vaughan Williams’s Music for British Wartime Propaganda Films Permalink https://escholarship.org/uc/item/1ft1h11j Author Howerton, Jaclyn Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE “Doing His Bit”: Ralph Vaughan Williams’s Music for British Wartime Propaganda Films A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Jaclyn Howerton September 2019 Dissertation Committee: Dr. Byron Adams, Chairperson Dr. Walter Clark Dr. Rogerio Budasz Dr. Leonora Saavedra Copyright by Jaclyn Howerton 2019 The Dissertation of Jaclyn Howerton is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGMENTS This dissertation would not have been completed without the generous help and support of: The University of California The University of California, Riverside Music Department and Media and Cultural Studies Department The British Library The British Film Institute The British National Archives and Public Records Office The Victoria and Albert Blythe House The John Rylands Library The Royal College of Music Library The Ralph Vaughan Williams Charitable Trust American Musicological Society Harold Powers World Travel Fund Grant Ernest Propes Endowed Graduate Fellowship from the University of California, Riverside Gluck Fellowship for the Arts Award from the University of California, Riverside Humanities Graduate Studies Research Fellowship from the University of California, Riverside Graduate Dean’s Dissertation Research Grant from the University of California, Riverside Hugh Cobbe OBE Dr. Joyce Kennedy Dr. Byron Adams Dr. Water Clark Dr.
    [Show full text]
  • Downloaded from Manchesterhive.Com at 10/02/2021 03:43:15AM Via Free Access
    4 Persuading the people ANY OFFICIAL and semi-official words and images were devoted to sustaining civilian morale during the Second MWorld War. The attempt to explain the state of mind of the British people in this period might begin, therefore, with a consid- eration of the nature of these words and images, the thinking that lay behind them and what effect, if any, they had on the targeted audience. As discussed in Chapter 1, the importance of modern mass communications to the state of public morale in time of war was recognized by the Government of the day in 1935 in its initia- tive to create, at least in ‘shadow’ form, a Ministry of Information, charged with the task of maintaining morale. And we saw how, when war came, the duly established Ministry entirely failed to fulfil its brief, instead incurring public ridicule and earning for itself the unflattering sobriquet of ‘Ministry of Disinformation’.1 Over the course of the war, however, the Government learned from expe- rience. The simplistic notions about communications and popular morale with which it began the war, symbolized by the closure of cinemas and Chamberlain’s contemplated shutting down of the BBC, were gradually replaced by a more sophisticated understanding of the nature of the relationship between what people were told and how they felt and behaved. The Head of the Home Intelligence Division at the Ministry of Information, Stephen Taylor, believed that the factors determining morale could be divided into the ‘ma- terial’ and the ‘mental’. The material factors were: food, warmth, work, leisure, rest and sleep, a secure base, and safety and secu- rity for dependants.
    [Show full text]