The Illustrated History of the American Soldier, His Uniform and His Equipment

Total Page:16

File Type:pdf, Size:1020Kb

The Illustrated History of the American Soldier, His Uniform and His Equipment THE ILLUSTRATED HISTORY OF THE AMERICAN SOLDIER, HIS UNIFORM AND HIS EQUIPMENT THE G.I. SERIES The War in Europe: • Fixed Bayonets: From the Kasserine Pass to Berlin, 1942-1945 The U.S. Infantry from the AmericanCivil War to the Surrender of Japan Bluecoats: The U.S. Army in the West, 1848-1897 • Grunts: U.S. Infantry in Vietnam Longknives: The U.S. Cavalry and Other Mounted Forces, • Hell on Wheels: 1845-1942 The Men of the U.S. Armored Forces, 1918 to the Present Billy Yank: The Uniform of the Union Army, 1861-1865 • The Fall of Fortress Europe: From the Battle of the Bulge to the Cross- Johnny Reb: ing of the Rhine The Uniform of the Confederate Army, 1861-1865 • Terrible Swift Sword: Union Artillery, Cavalry and Infantry, The War in the Pacific: 1861-1865 From Pearl Harbor to Okinawa, 1941-1945 • American Indians: Over There! In the U.S. Armed Forces, 1866-1945 The American Soldier in World War I • Custer and his Commands The U.S. Army Today: From West Point to Little Bighorn From the End of the Cold War to the Present Day • The Marines in World War II: The U.S. Marine Corps From Pearl Harbor to Tokyo Bay Patton's Third Army • Uncle Sam's Little Wars: The Spanish-American War, Philippine Redlegs: Insurrection and Boxer Rebellion, The U.S. Artillery from the Civil War to the Span- 1898-1902 ish-American War, 1861-1898 • Screaming Eagles: Sound the Charge: The 101st Airborne Division from D-Day The U.S. Cavalry in the American West, to Desert Storm 1866-1916 •* A tank helps members of the 44th Infantry Division cross the Danube with dry feet. The two tank crewmen are distinguish- able from the infantrymen by their winter combat jackets and wool-knit caps. The crew are carrying additional personal equipment in boxes secured to the rear of the tank. THE G.I. SERIES THE ILLUSTRATED HISTORY OF THE AMERICAN SOLDIER, HIS UNIFORM AND HIS EQUIPMENT Hell on Wheels The Men of the U.S. Armored Forces, 1918 to the Present Christopher J. Anderson AL BR UA30 • A53 2002 Chelsea House Publishers Philadelphia First Chelsea House hardback published 2002. Acknowledgements I would like to thank Dr John Langellier for his help Copyright © Lionel Leventhal Limited, 1999 in the preparation of this book. All rights reserved. No part of this publication may All the images in this book are U.S. Army pho- be reproduced, stored in a retrieval system or trans- tographs, unless credited otherwise. mitted in any form or by any means, electronic, mechanical or otherwise, without the written permis- Design and layout by David Gibbons and sion of the publisher. Anthony A. Evans, DAG Publications Ltd Edited by Proof Positive Library of Congress Cataloging-in-Publication Data Printed in China (on file) HELL ON WHEELS THE MEN OF THE U.S. ARMORED FORCES, 1918 TO THE PRESENT At 5a.m. on 12 September 1918, Lieutenant that the Americans were first equipped with Colonel George S. Patton led the attack of the would become the inheritor of the American United States Army's 344th and 345th Tank Bat- army's long mounted tradition. In describing talions during the first day of the St Mihiel offen- what he intended the role of the armored forces sive. The attack was the fruition of nine months to be, Patton wrote, 'If resistance is broken and of effort on the part of pioneering American offi- the line pierced the tank must and will assume cers like Patton and Colonel S.D. Rockenbach, the the role of pursuit cavalry and "ride the enemy to latter of whom had been named American Tank death".' The organization that Patton proposed, Corps' first commander on 26 January 1918. and the army adopted, was for tank battalions of With no precedent to guide their efforts, they laid seventy-seven tanks to support infantry the foundation for the armored forces. As Patton advances by deployment in large enough num- wrote when ordered to report on the French bers to breach enemy defensive positions. armored forces, 'The job I have tentatively pos- Patton embraced the possibilities of armor to sessed myself of is huge, for everything must be break the stalemate of trench warfare, and was created and there is nothing to start with.' determined to see the new branch succeed. While Not only was there no doctrine, there were no developing the doctrine that the American vehicles. Despite the industrial might of the armored forces would use, Patton also sought a United States, at the time of its entry into World means of instilling the esprit de corps that had War I its army was so small and inadequate to the long been a part of America's mounted tradition. task of fighting in a major European conflict that It was Patton, and the other officers of the first the bulk of its heavy equipment, including tank school at Langres, France, who fostered the artillery, aircraft and tanks, was provided by its idea among America's first armored soldiers that allies. The primary tank used by the American they were members of an elite corps within the army in France was the French-built Renault army. To foster this sense of pride, Patton FT17, a light, two-man tank armed with a 37 mm instructed his officers to develop an insignia that cannon and with a road speed of 5.5 miles per the men could wear as a distinguishing feature. hour. Additional American tank units were According to Will G. Robinson, one of Patton's equipped with the British Mark V heavy tank, a officers, 'I want you officers to devote one silhouette of which was later adopted as the first evening to something constructive. I want a insignia of the American Tank Corps. While shoulder insignia. We claim to have the firepower American industry produced copies of the of artillery, the mobility of cavalry and the ability French and British tanks under license, none of to hold ground of the infantry so whatever you the American-built tanks arrived in France before come up with it must have red, yellow, and blue the armistice. The early armored officers famil- [branch of service colors for the three branches] iarized themselves with their new vehicles in it.' The design that Robinson and his room- through learning from their allies. mate Lieutenant Howard came up with was the It is no coincidence that after observing the triangular insignia worn by all armored soldiers French, Patton, a cavalry officer, wrote a doctrine to the present day, which Patton paid for out of for the Tank Corps that emphasized speed and his own pocket. mobility. Although it seemed unlikely, the pon- All the training and preparation of the early derous and lightly armored French Renault tanks pioneers paid off during the St Mihiel offensive 7 HELL ON WHEELS THE MEN OF THE U.S. ARMORED FORCES, 1918 TO THE PRESENT when the armored forces aided the advance of modern war, trained with World War I era American infantry divisions. Although unable Renault tanks and canvas-covered cars. Military to advance as rapidly as they hoped because of planners began to consider the need for a more the slowness of their tanks and the broken ter- modern, mobile army. rain, the Americans were able to score consid- After the fall of France in 1940, a shocked erable success against heavily defended American Congress began to pour money into its German positions. During the remaining two much-neglected armed forces. In July 1940, the months of the war, American armored forces War Department issued orders that called for the would continue this record of success. re-creation of an armored force; in September, While much thought had been given to the doc- Patton was appointed as commander of the 2d trine and potential of tanks during the war, the Armored Division and in October the army's innovation that had created the tank did not armor school was opened at Fort Knox, Kentucky. extend to the uniforms of the men expected to In addition to reviving the armored forces as operate them. Armored warfare was so new that an independent branch of service, the army very little consideration had been given to the finally began to replace World War I era tanks. In development of specialized clothing and equip- late 1941, the M3 medium tank began to reach ment. Although tank crewmen had a distinctive the newly created armored divisions. Although insignia by the end of the war, little else had been incapable of performing on a modern battlefield, developed that would set the armored soldier the M3 did allow armored units to train in apart from his compatriots in any other branch. armored doctrine. In 1942, the M4 Sherman tank, The American tankers of World War I wore the named in honor of the famous Union Civil War high-collared model 1912 wool coat, wool general, came into use. Often criticized for its breeches, overseas caps and puttees that were inability to go toe to toe with its more heavily standard amongst the doughboys. For added armed opponents, the M4 was nevertheless an warmth the men were issued with long Ml 91 effective and versatile weapon that became the wool overcoats, which extended well below the work horse of the Allied war effort. American knee. It was quickly realized that they were armored forces were also equipped with the M3 impractical inside the confines of the tiny Stuart light reconnaissance tank, named for the Renaults, and Patton ordered them to be cut Confederate cavalry general, which also saw ser- down to knee length with a belt added to the vice throughout the war.
Recommended publications
  • Chapter One - Sledgehammer
    Chapter One - Sledgehammer. Davin Grey picked his way along a crowded footpath into a mild autumn breeze that ruffled the hair of morning commuters. The thump of a tram crunching along the tracks down Collins Street was one of those deliciously iconic sounds that reminded Davin why he had moved to Melbourne. It spoke of industry and commerce, movement and energy, urgency and connection. Here, people had purpose and direction. Here, you weren’t judged. You could blend in and get on with your life. Make your own future. A far cry, Davin thought, from the malaise of the country town he grew up in. It was a relief to escape that myopic environment and the small mindedness of the people he’d grown up with. That seemed a lifetime ago. Back then, he wasn’t Grey, he was Gaye - a family name of which his father was fiercely proud. It was, as he would remind Davin often in his formative years, of ancient Gallic lineage stretching back to the Norman Conquests in 1066. ‘It’s from an Old French word: gai’, his dad would say. ‘Means full of joy.’ And so would begin a recurrent sermon Davin would endure many times over the years. ‘There are Gayes in our family who we should never forget, Davin, Gayes who have made the ultimate sacrifice,’ he would add, nodding to a hallway lined with sepia photographs of men in uniform. ‘Your name – our name – is etched in headstones at Flanders Fields and Vietnam.’ On occasion, Mr Gaye would bring out his musty collection of Motown records.
    [Show full text]
  • Obessions and Promiscuities
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2003 Obessions and Promiscuities Azita Osanloo The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Osanloo, Azita, "Obessions and Promiscuities" (2003). Graduate Student Theses, Dissertations, & Professional Papers. 3112. https://scholarworks.umt.edu/etd/3112 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY The University of Montana Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. **Please check "Yes" or "No" and provide signature / Yes, I grant permission " No, I do not grant permission Author's Signature: / A Date: 3 Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. 8/98 OBSESSIONS AND PROMISCUITIES By Azita Osanloo B.A. Oberlin College, 2000 presented in partial fulfillment of the requirements for the degree of Master of Fine Arts The University of Montana August 2 003 Approved by; c: rperson Dean, Graduate School • 3f, Date I ' UMI Number: EP35142 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted.
    [Show full text]
  • A Short History of the Wearing of Clerical Collars in the Presbyterian Tradition
    A Short History of the Wearing of Clerical Collars in the Presbyterian Tradition Introduction There does not seem to have been any distinctive everyday dress for Christian pastors up until the 6th century or so. Clergy simply wore what was common, yet muted, modest, and tasteful, in keeping with their office. In time, however, the dress of pastors remained rather conservative, as it is want to do, while the dress of lay people changed more rapidly. The result was that the dress of Christian pastors became distinct from the laity and thus that clothing began to be invested (no pun intended) with meaning. Skipping ahead, due to the increasing acceptance of lay scholars in the new universities, the Fourth Lateran council (1215) mandated a distinctive dress for clergy so that they could be distinguished when about town. This attire became known as the vestis talaris or the cassock. Lay academics would wear an open front robe with a lirripium or hood. It is interesting to note that both modern day academic and clerical garb stems from the same Medieval origin. Councils of the Roman Catholic church after the time of the Reformation stipulated that the common everyday attire for priests should be the cassock. Up until the middle of the 20th century, this was the common street clothes attire for Roman Catholic priests. The origin of the clerical collar does not stem from the attire of Roman priests. It’s genesis is of protestant origin. The Origin of Reformed Clerical Dress In the time of the Reformation, many of the Reformed wanted to distance themselves from what was perceived as Roman clerical attire.
    [Show full text]
  • Poppies by Jane Weir and One Other Poem of Your Choice
    English Year 11 Preparation Pack The work that you need to complete will depend on what grade you achieved in your end of Year 10 exam. English Language If you achieved a grade 6-9 please complete both questions on page 2. If you achieved a grade 1-5 please complete pages 3, 4 and 5. You must aim for 500 words for one piece of creative writing. English Literature If you achieved a grade 6 -9 please complete both questions on page 6. If you achieved a grade 1 -5 please complete pages 7 and 8. Each question should take no less than 45 minutes and no longer than 1 hour. 1 Paper 1 Question 5 Write a description suggested by this picture. (24 marks – content) (16 marks – skills) AND Paper 1 Question 5 Write a description suggested by this picture. (24 marks – content) (16 marks – skills) 2 Paper 1 Question 5 Write a description suggested by this picture. (24 marks – content) (16 marks – skills) Self/Peer Marking: Language Paper 1, Question 5 CREATIVE WRITING - BEFORE YOU BEGIN: Read the task carefully and highlight your focus words. These are the words that will help you to stay on track, such as the genre, audience or purpose. Decide the genre that you are being asked to write in. Which conventions will you have to consider in order to write in this style? Choose your narrative perspective carefully. For descriptive tasks, first person narrative often limits students whereas third person narrative encourages a greater depth of description. Choose an appropriate tense to write in.
    [Show full text]
  • UK Postal Delivery Workers' Occupational
    International Journal of Environmental Research and Public Health Article UK Postal Delivery Workers’ Occupational Sun Safety: Using Behavior Change Theories to Identify Intervention Pathways Jonathan Houdmont 1,* , Raymond Randall 2 , Alistair Cheyne 3 , Shaun Davis 4, Hannah Evans 2 and Joanne Faichney 1 1 Centre for Organizational Health and Development, School of Medicine, University of Nottingham, B Floor, Yang Fujia Building, Jubilee Campus, Wollaton Road, Nottingham NG8 1BB, UK; [email protected] 2 Management School, University of Sheffield and Loughborough University, Sheffield, S10 1FL, UK; r.randall@sheffield.ac.uk (R.R.); hannah.evans@sheffield.ac.uk (H.E.) 3 ESSCA School of Management and School of Business and Economics, Loughborough University, Loughborough, LE11 3TU, UK; [email protected] 4 Royal Mail Group, Slough, SL3 8AQ, UK; [email protected] * Correspondence: [email protected] Received: 11 September 2019; Accepted: 28 September 2019; Published: 2 October 2019 Abstract: Postal delivery workers have substantial sun exposure. In the United Kingdom (UK) a high proportion of workers possesses a sun sensitive skin type. This population is at elevated risk for skin cancer, yet uptake of sun safety practices is low. Studies are needed to identify the underlying factors that contribute to the uptake of occupational sun safety practices that may be targeted during behavior change interventions. This study integrated the Theory of Planned Behavior (TPB) and the Transtheoretical Model’s stages of change (SoC) as guiding frameworks to identify underlying beliefs that influence UK postal delivery workers’ uptake of occupational sun safety practices. Thirty-four workers participated in semi-structured interviews that used the SoC to establish current receptiveness to and adoption of two sun safety practices (using sunscreen of at least sun protection factor (SPF) 30 on exposed skin and wearing a wide-brimmed hat when working outdoors in the summer).
    [Show full text]
  • Poppies - Jane Weir ​
    AQA English GCSE Poetry: Power and Conflict Poppies - Jane Weir ​ www.pmt.education POPPIES Jane Weir Brief Summary A mother recalls caring for her son and reminisces about his childhood before it is revealed that he is no longer there and it is implied that he has died in conflict. Synopsis ● The poem opens “three days before ​ ​ ​ armistice Sunday” to establish the theme ​ of remembrance ● The narrator places a poppy on her son’s ​ ​ blazer ● She recounts memories of her son- Using ​ ​ Sellotape to remove cat hairs from his clothes, smoothing down his collar ● She remembers trying to stop her emotion ​ ​ and resist smothering him ● After he leaves the house she goes to his room ​ ​ ● She then climbs a hill to lean on the war memorial and watch a dove ​ ​ ● The narrator wishes she could hear her son’s voice still ​ ​ Context Jane Weir (1963-) Weir was born in 1963 and lived in Northern Ireland during the troubles in the 1980’s. She has two sons which may have influenced her desire to explore what caused young boys to go to war and fight. Weir was also a textile designer which explains her use of related imagery. Poppies The poem comes from the collection commissioned by Carol Ann Duffy called “exit wounds”. Poppies grew in battlefields and became a symbol of remembrance in 1921, armistice Sunday also became a way to remember World War Two. Weir uses these symbols to ​ ​ establish from the outset that the poem is an act of remembrance. www.pmt.education Poppies This use of temporal Three days before Armistice Sunday ​ deixis establishes and poppies had already been placed the theme of remembrance from on individual war graves.
    [Show full text]
  • Warhol Mapplethorpe Labels.Pdf
    Warhol & Mapplethorpe GUISE & DOLLS The portraits created by New York artists Andy Warhol (1928–1987) and Robert Mapplethorpe (1946–1989) challenge our notions of gender and sexuality. The title Guise & Dolls refers to the ways in which identity— including gender— is a performance. Both Warhol and Mapplethorpe were masters of this performance, and these portraits were their stage. This exhibition, the first to consider the two artists together, examines specific groups of portraits made in the 1970s and 1980s. This is the period that began with the Stonewall Riots and the launch of the gay rights movement, and ended with the AIDS crisis. Both Warhol and Mapplethorpe took part in the sexual freedom and gender fluidity of the new social climate. And both were affected by the first wave of the AIDS epidemic, as the sense of personal and creative freedom changed to one of mounting anxiety. In this exhibition you will see images of cross-dressing, gender ambiguity, disguise, alter-egos, drag queens, and sadomasochistic personas. Portraits of Warhol and Mapplethorpe are presented alongside other paintings, photographs, prints, films, and ephemera. Together, these works demonstrate the artists’ engagement with gender, identity, sexuality, beauty, and performance. Robert Mapplethorpe Untitled, 1973 Six dye diffusion transfer prints (Polaroid) in painted plastic mounts and acrylic frame Solomon R. Guggenheim Museum, N.Y. Gift, The Robert Mapplethorpe Foundation, 1993; 93.4276 This grid of Polaroids combines self-portraits of Mapplethorpe along the bottom, images of his lover David Croland on the top, and photos of a marble sculpture, The Oath of Spartacus. The work is framed in plastic storage cases painted by Mapplethorpe.
    [Show full text]
  • Modesty and Other Provocations by Amy Roost
    bioStories sharing the extraordinary in ordinary lives Modesty and Other Provocations by Amy Roost Frustrated, yet disciplined, I throw back the covers and rise from the warmth of my bed. I make coffee, feed my confused cats their treats, open my laptop at the dining room table and begin taking dictation on the intrusive thoughts that have kept me tossing and turning all night. Although I’m a night owl by nature, early morning is my favorite time of day to write. The apartment is peaceful, interruptions are few, and there’s the reward of the soft light at dawn that makes anything seem possible. I chose writing as my second career because I wanted to ‘be the change’ by shining a light on social injustice. The hours are long and the pay sucks, but it feels like I’m finally making a difference in the world instead of merely collecting a paycheck. I spend three hours getting good work done before reluctantly heeding the “time to stand” notification my iWatch keeps sending me. Thinking of Einstein’s advice on the importance of doing nothing as a way to generate creative ideas, I go out for a walk. It’s a crisp October day and I head toward the harbor. A gentle onshore breeze combs my skin and I feel the burden of multiple deadlines begin to lift. At the two-mile mark I stand before the rippling sails of The Star of India, an old clipper ship that graces San Diego’s bayfront. I take in several deep breaths of briny air before turning around and heading for home, and more work.
    [Show full text]
  • A Caracole in Paris Max Steele
    New Mexico Quarterly Volume 37 | Issue 2 Article 6 1967 A Caracole in Paris Max Steele Follow this and additional works at: https://digitalrepository.unm.edu/nmq Recommended Citation Steele, Max. "A Caracole in Paris." New Mexico Quarterly 37, 2 (1967). https://digitalrepository.unm.edu/nmq/vol37/iss2/6 This Contents is brought to you for free and open access by the University of New Mexico Press at UNM Digital Repository. It has been accepted for inclusion in New Mexico Quarterly by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. I. Steele: A Caracole in Paris il ) ~ 157 ~" j: 1 i' r ~ I, , ~,, ~! A Caracole in Paris " BY MAX STEELE ~ j ~ t f LATER, after the blood had been properly shed, I realized what I had ~ I always known: all it takes for melodrama is two Southerners. 'f The Embassy estimated there were ten thousand Americans living '~ :~ that year on -the Left Bank. But Mary David Clark was' the only rJ, Southern woman I met in Paris; and so far as anyone seemed to know, I was the only man there from the Deep South. I had had, a few weeks' before meeting Mary David, a final and spectacular fight with a rather beat and bustless French girl named Claudia who lived at Montparnasse. To avoid seeing her, I had found a cafe on the Place St. Sulpice, near the Cathedral itself. It is there one morning that I first hear Mary David Clark. She is speaking English in the most wonderful of Delta accents.
    [Show full text]
  • Poppies Knowledge Organiser
    Context – Poppies was written by Jane Weir, and was published in The Guardian in 2009. Line-by-Line Analysis Jane Weir – Jane Weir was born in 1963, to a Poppies – Poppies are a type of flowering plant STANZA LINE POEM ANALYSIS British mother and an Italian father. She spent her that have become known as a symbol of The poem starts with the speaker’s close relative childhood growing up in both Italy and northern remembrance for military personnel killed serving 1 Three days before Armistice Sunday (assumed to be a son) leaving. Armistice Sunday is England. She also lived in Northern Ireland during the the UK, Canada, Australia and New Zealand in war. Small 2 and poppies had already been placed associated with remembrance, so the mention of this troubled 1980s, which allowed her to continue to take in artificial poppies are traditionally worn in these countries in in the first line sets the tone of the poem. The 1 3 on individual war graves. Before you left, description of the poppy provides a powerful piece different cultures and traditions. Poppies was written after the lead up to Remembrance/Armistice Day. The poppy as a Carol Ann Duffy asked Jane Weir (and other poets) to 4 I pinned one onto your lapel, crimped petals, of imagery – the ‘spasms of red’ on a ‘blockade’ symbol of remembrance was first inspired by the WWI poem could just as easily symbolise a soldier who has been compose poems to raise awareness of the mistreatment and ‘In Flanders Fields’, which describes how poppies were the first 5 spasms of paper red, disrupting a blockade brutally shot dead in action.
    [Show full text]
  • Smart Casual Dress Code Page 11 Black Tie Dress Code This Dress Code, Combining Sportiness with Page 23 Easy Elegance, Offers Plenty of Scope for Choice
    Impeccable style for your day-to-day life BLACKSOCKS explains the most important dress codes. Not Just a Question of Taste Dress codes are a science all of their own. Categories range from casual to informal, formal, very formal and even highly official and ceremonial. It is important to choose the right clothing for your event, circumstances, age and shape. Contrasts (black and white) generally have a more professional look than tone-in-tone combinations. It is always worth avoiding style slip-ups, whether in your pro- fessional or private life. Ties with cartoon characters, childish ba- tik patterns, and oversized company logos have no place in the business world. Cloth- ing should not be too tight, too baggy, or too old-fashioned. Other taboos include visible bare calves, white socks, brown shoes with a black suit, or braces at an evening gala. 2 Fine underwear for first-class men. www.blacksocks.com 3 Casual Dress Code Business Attire Dress Code Page 7 Page 19 Casual means leisure wear – not to be con- Business environments demand a serious fused with the well-known ‘baggy’ look. and elegant appearance. Put on a dark Outfits might include a shirt or polo shirt single-breasted or double-breasted suit, with jeans or chinos. You can definitely a plain shirt, a tie and socks in a matching leave your tie in the wardrobe. color. Only take your jacket off if it gets hot. Bare skin showing between your socks and the bottom of your trousers when you sit down is also a definite faux pas.
    [Show full text]
  • Family Tradition" Was Published in the Vampire Fiction Journal Night to Dawn, Issue 17, April 2010
    For Your 2011 Prix Aurora Award Consideration in the Category of Best Short Fiction in English See www.prixaurorawards.ca "Family Tradition" was published in the vampire fiction journal Night to Dawn, issue 17, April 2010. Family Tradition By Derwin Mak “...and Chelsea is the new Miss Hooters of Cocoa Beach!” said Maria, the restaurant manager. Amidst the cheers and hoots of the audience, Chelsea Van Helsing received the aluminum tiara from last year’s winner, Sara. Seconds later, Sara and Maria threw the “Miss Hooters of Cocoa Beach” sash over her shoulder and handed her a bouquet of red roses. As she clutched the tiara to keep it from wobbling, Chelsea posed and smiled for the photographers. Chelsea hugged and kissed the runner-up and the other contestants. “This is way cool!” she cried. “I actually won a bikini pageant! This is way cool!” Hooters, the restaurant chain with waitresses who wore white tank tops and tight orange shorts, had a series of beauty pageants for its waitresses. Now she was Miss Hooters of Cocoa Beach. To what heights would she strut next? Maria grabbed the microphone again. “Chelsea will represent Cocoa Beach at the Miss Hooters International Pageant in Las Vegas. In addition, she’ll receive a hundred-dollar gift certificate from the Econo-Mall.” The gift certificate wasn’t the university scholarship that the Miss America Pageant gave its winner, but Chelsea didn’t complain. She needed all the money she could get for college. On her way out of the crowded restaurant, Chelsea stopped to autograph a poster of the contestants, which showed her in the red bikini.
    [Show full text]