The Swedish motorcycle maker Husqvarna has a history filled with controversy, success and massive failures to its present-day position in the motorcycle world. It was sold out, bought out and nearly ground out, time and again. From an American perspective, Husqvarna essentially bred off-road motorcycling in the US and changed the entire industry.

Like many old European brands, Husqvarna’s history is steeped in military armament. Originally founded in 1689 in the town of Huskvarna, the company produced muskets and weapons for the Swedish king, but once the conflict was over, idle wartime production equipment was left seeking a new use, and that’s how Husky transgressed into the motorcycle world. First it was hunting guns, then household appliances, white goods like stoves and sewing machines, and finally motorcycles and power equipment. Its first bike was produced in 1903 sourcing engines from other manufacturers. Thirty years later the company started road racing with its own V-Twins under the guidance of renowned engine-builder, Folke Mannerstedt. Like most brands at the time, off-road machines were nothing more than modified street bikes. This, combined with age restrictions, eventually led to unexpected success in the dirt.

Motorcyclists had to be 18-years-old to ride, but bikes under 75 kgs were deemed appropriate for riders aged 16 and up. Husqvarna first targeted the lightweight motorcycle realm with a 98cc moped, inadvertently starting down a path that would change off-road racing. In 1955, the “Silverpilen,” or “Silver Arrow” was introduced in Sweden with a 175cc motor and three-speed transmission. Consumers immediately began modifying the 2-stroke for off-road use, and by 1959 the factory produced five special machines for its racers which featured an enlarged 250cc engine and 4-speed transmission. Rolf Tibblin claimed the European 250 Motocross Championship that year and Husky began toying with a 500cc 4-stroke. But, for all intents and purposes, it was the 2-stroke design that launched Husky to fame. Husqvarna produced 100 replicas in 1963 which instantly sold out, and production began virtually doubling for the next several years.

Fighting other European brands like Triumph, Bultaco, Maico, Greeves and CZ, Husky’s critical advantage was the difference in weight. Success on the World Motocross GP circuit made for an easy transition into the American market where the sport of motocross was lagging. In January of 1966, Edison Dye imported two Husky 250 machines and gave them to Malcolm Smith and John Penton. In the fall of that same year, Dye brought over someone who could fully demonstrate the potential using the proper style and technique. Torsten Hallman won every race he entered in what came to be known as the 23-Moto Streak – an exhibition of superiority that ignited Americans’ imaginations and put Husqvarna on the map in the US.

In the early 1970s, Steve McQueen was the highest-paid movie star in Hollywood, a major sex symbol and an obsessed biker with a staggering collection of sports cars, four-wheelers and of course - motorcycles. So when McQueen dropped his trusty Triumph in favour of the new Husqvarna 400 Cross - overnight Husky became the only off-road bike that seemed to matter. The Husky also got a starring role alongside Steve McQueen (as well as riding legends Mert Lawwill and Malcolm Smith) in Director Bruce Brown’s classic movie - “On Any Sunday”.

A veteran surf documentary director, Bruce Brown's interest was initially triggered after going to Ascot Park and watching the dirt track races. Brown said. “I met a few of the racers and was struck by how approachable and how nice most of these guys were. It wasn’t at all like the image a lot of people had about motorcycle riders in those days. I just thought it would be neat to do a movie about motorcycle racing and the people involved.” Even though Brown already had a successful movie to his credit (Endless Summer), he found that financing a film on motorcycling wasn’t going to be easy, until McQueen step in and told him he would back it, the rest is history and together they created an iconic and aspirational motorcycle movie that would be a catalyst for increasing the popularity of off road bikes.

As demand increased Penton took the role of East Coast distributor while Dye handled things on the Pacific side until 1974 when Husky took over. With sales and racing success in the States and abroad, Husqvarna’s management was content to rest on its laurels, refusing to make a 125cc machine despite Penton and Dye’s feverish requests for a small-bore.

Husqvarna began constructing a new plant for its motorcycle production, called M73, but the vision was never realised. Swedish white goods powerhouse, Electrolux, purchased Husqvarna in 1977. Acquired for its line of appliances, Electrolux took on the motorcycles simply as part of the deal. After realising the profit available in chainsaws, it headquartered that effort at M73. Motorcycles were split off into their own division, Husqvarna Motorcycles AB, and transferred nearly 50 miles away to a separate factory in Odeshog. After this Husqvarna changed ownership again and unfortunately took another step further away from their glory days.

Husqvarna’s influence has reached countless riders. The list of heroes who rode Huskies at some point in their career is a Who’s Who of motocross, enduro and desert racing legends. Edison Dye is widely considered the grandfather of motocross, but Torsten Hallman was the man responsible for demonstrating Husqvarna’s motocross prowess. His fluid, aggressive riding style was unimaginable for Americans at the time. Husqvarna's history is a first-hand account of the greatness, demise and resurgence of America’s off-road racing heritage.

American aviator Leslie Irvin is predominantly known for designing the iconic RAF sheepskin flying jacket in the early 1930s, a jacket that would go on to later become synonymous with his name, however his this wasn't his first claim to fame, he was also the inventor of the parachute “rip-cord” system.

Irvin was born in Los Angeles in 1895. He became a stunt-man for the fledgling Californian film industry, for which he had to perform acrobatics on trapezes from balloons and then make descents using a parachute. Irvin made his first parachute jump when he was fourteen and jumped from an airplane for the first time in 1914, sailing 1,000 feet to the ground in a stunt for the movie Sky High. He later joined the Army Air Service's parachute research team at McCook Field near Dayton, Ohio. After World War 1, Major E. L. Hoffman of the Army Air Service led an effort to develop an improved parachute for exiting airplanes by bringing together the best elements of multiple parachute designs. Participants included Irvin and James Floyd Smith. The team eventually created the Airplane Parachute Type-A. In 1919, Irvin successfully tested the parachute by jumping from an airplane. The Type-A parachute was put into production and over time saved a number of lives. This was the first premeditated freefall parachute descent. With Smith flying the plane and Irvin making the jump, the new chute performed flawlessly, though Irvin broke his ankle on landing.

Less than two months later, The Irving Air Chute Company was formed in Buffalo, New York, the world’s first parachute designer and manufacturer, Legend has it that 'Irvin' was inadvertently changed to 'Irving' by a secretary who mistakenly tacked a 'g' on the end of the name. An early brochure of the Irving Air Chute Company credits William O'Connor 24 August 1920 at McCook Field as the first person to be saved by an Irving parachute. Two years later, Irvin's company instituted the Caterpillar Club awarding a gold pin to pilots who successfully bailed out of disabled aircraft using an Irving parachute. In 1926 he opened a factory in the UK, at Letchworth and by the end of the 1930s Irvin parachutes were in use worldwide.

As aviation advanced so did the altitudes to which pilots could fly. Suddenly aircrew were flying to thousands of feet where temperatures would easily be sub-zero, not a good thing when aircraft construction still provided basic, un-insulated cockpits. It was this situation that drove Irvin to create The Irvin Flying Jacket.

The design was approved by the Air Ministry in 1932, and although often referred to as the 'Irvin' its production was contracted out to many manufacturers in order to meet demand. Irvin’s jacket was made from heavyweight sheepskin, its thick natural wool provided incredible insulation. And, while the sheepskin was considered heavyweight the jacket itself was comparatively light and remarkably comfortable. Irvin insisted on the most supple sheepskin: in a cramped cockpit movement was already restricted and no pilot or crew would want to be constrained further still. The Irvin jacket was a masterpiece of design, maximum warmth and comfort combined with maximum mobility. The jackets had long sleeves zipped to enable gauntlets to be worn. The wide collar could be raised to provide excellent insulation around the neck and lower part of the head and face while a belt at the waist to ensure draughts couldn’t drop the pilot’s body temperature and reduce his level of alertness. The original jackets didn’t have pockets as these were not needed. The pre and early war jackets were manufactured with undivided one-piece body and sleeve panels. This produced a fantastic looking jacket, but proved to consume an extravagant amount of material. With the coming of war and the demand for greater quantities of jackets a more efficient use of the material was devised. The full piece panels were divided and subdivided into small pieces, resulting in a design made up of more seams.

In the Summer of 1940 the most famous air battle of the war took place over Southern England and the channel - The Battle of Britain. Although only just around the corner, the multi-panel jackets had not yet come into being, so the full-panel garments were all that were being worn during this time and hence are often referred to as the Battle of Britain pattern Irvin. After the war demand fell away and Irvin stopped producing jackets. Fans maintained a buoyant second-hand market, but eventually supplies dwindled away and the jackets became very hard to find.

Eastman offer three different models of this iconic flight jacket - the 1940, 1942 and 1944 patterns, each reproduction replicates the specific RAF jacket meticulously. One feature of some of the later war jackets was that they were produced from a breed of sheep (Devons) that had a unique curly character to the fleece. We are the only manufacturer to offer this model reproduction. The Devon breed is an extremely rare breed now, and accordingly the sheepskin industry yields very low quantities of skins that can be acquired. We offer this model whenever we can procure the skins, so it's only available for limited periods of time.

You can find these products in the Eastman British flight jacket section HERE

As many of you will know, the ELMC brand takes inspiration from, and centres around, west coast, road and motorcycle counter-culture of the mid 20th century. For many years, we have had an appreciation for garments and articles from the civilian genre of heritage clothing, particularly those of the motorcycle club and road culture, not least the amazing jewellery and trinkets worn by bikers during that era.

As with any Eastman product, the materials and components we produce are to the highest degree of quality and authenticity possible. As such, when we decided to offer some Southwestern biker inspired jewellery within the ELMC line there was only one brand we had in mind to work alongside - The Peyote Bird. Gem, owner and creator of the line has been immersed in Southwestern and Native American culture for many years, collecting and curating antique pieces from this bygone age, she also has a keen appreciation for biker style and historical detail, painstakingly sourcing each antique component direct from the US,

Original antique Native American Navajo or Zuni made pieces from the turn of the 20th century onwards are cleverly reworked alongside Mexican and Military trinkets from that period, various styles of vintage chain and handcast brass and silver connectors are utilised to make necklaces that hark back to those worn by the mid century motorcycle riders seeking freedom and exploring the vast expanses of the US and Mexico.

The age of the antique pieces used varies from early sandcast silver to Fred Harvey era coin silver, their respective age imbuing them with unique qualities and character. Antique coins are also often used from Indian Head nickels to Liberty pennies, some dating back to the 1860's. No expense has been spared in the sourcing of materials. Each necklace is benchmade by Gem herself from start to finish.

Every Peyote Bird necklace is one of a kind, no two are the same ensuring complete individuality and style. Each piece is presented in a handmade pouch constructed from vintage Navajo or Saltillo blanket and comes complete in a Peyote Bird gift box. Exclusive products, for exclusive taste.

You can view our current range of The Peyote Bird for ELMC necklaces in the Treasures section HERE

One of the lesser known photojournalists in Vietnam was actually the son of Hollywood royalty. Sean Flynn was the only child of the marriage of Errol Flynn and Lili Damita. After studying briefly at Duke University, Flynn abandoned a lukewarm film career to join a band of intrepid journalists documenting the civil wars in Vietnam and Cambodia. At first, Flynn drew international attention merely by virtue of being the even-more-handsome son of his movie-star father entering a combat zone. He and his colleagues' brazen lifestyle and daring work in the field became the stuff of legend and inspired a cast of colourful characters in war films and literature. More significant, their photos, shot within the frenzied theatre of combat, became pivotal in exposing Americans at home to the brutality and ambiguous profit of their military's involvement in the region.

In March 1966, Flynn was wounded in the knee while in the field. In mid-1966, he left Vietnam long enough to star in his last movie. He returned to Vietnam and made a parachute jump with the 1st Brigade, 101st Airborne in December 1966. In 1967, he went to Israel to cover the Arab Isreali War. He returned to Vietnam in 1968, after the Tet Offensive, with plans to make a documentary about the war. He went to Cambodia in early 1970, when news broke of North Vietnamese advances into that country.

The 1970-75 conflict in Cambodia, a spillover of America's war against the North Vietnamese, pitched the US-backed government headed by Lon Nol against Khmer Rouge insurgents supported by the government in Hanoi. The war was eventually won by the Maoist-influenced Khmer Rouge forces, which then put in place a murderous four-year regime that caused the death of up to 2 million people.

On April 6, 1970, Flynn and a group of journalists left the city of Phnom Pehn to attend a government sponsored press conference in Saigon. Flynn and fellow photojournalist Dana Stone (who was on assignment for CBS news) chose to travel on motorcycles instead of the limousines that the majority of the other journalists were traveling in (the limousines had been previously used by tourists before the journalists took them over). Reporter Steve Bell, who was one of the last Westerners to see the two alive, later said that after the press conference, Flynn and Stone had gotten word that there was a checkpoint on Highway 1 manned by members of the Viet Cong. Eager to get a photograph of the Viet Cong, Flynn and Stone decided to set out on Highway 1 alone. Before they left, Bell snapped the last photo ever taken of Flynn and Stone. They were never seen or heard from again and their remains have never been found.

"Afterwards we all headed back to Phnom Penh, but they said they wanted to go forward. They had heard there was a checkpoint that was manned by the Viet Cong. It was thought that you could see the Viet Cong there," said Mr Bell, who took a photograph of the two men as they set off on what would be a final journey. "We headed back to Phnom Penh and no one ever saw them again... I think they were among the first to go missing. It had not reached the point where we knew quite how dangerous it was."

Although it is known that Flynn and Stone were captured at a checkpoint on Highway 1, their true fate is unclear. It has been suggested that they died in the hands of "hostile" forces. Citing various government sources, the current consensus is that Flynn and Stone were held captive for over a year before they were killed by Kymer Rouge in June 1971.

Flynn's mother spent an enormous amount of money searching for her son, with no success. In 1984 she had him declared legally dead. In March 2010, a British team searching for Flynn's body thought they had found it, when they uncovered the remains of a Western hostage allegedly executed by the Khmer Rouge.Tests results on the human remains found at the grave site in eastern Kampong Cham province, Cambodia, were released on June 30, 2010, and they were found not to be the remains of Sean Flynn. Lt. Col. Wayne Perry of the Joint POW / MIA Accounting Command said there was no match between DNA from the recovered remains and DNA samples they had on file from the Flynn family.

The story of Sean Flynn was immortalised by The Clash in the song "Sean Flynn" from the album Combat Rock. He also has a prominent role in Michael Herr's book about his experiences as a war correspondent, Dispatches.

Combat photographers and correspondents played a vital role during this time, changing public opinion and creating a groundswell of anti war sentiment. But their contribution was not without cost: at least 37 journalists were killed or went missing in Cambodia during the 1970-1975 war between the U.S.-backed military government and the North Vietnamese

Motorcycle’s and black leather jackets are synonymous today, but it wasn’t always that way. The majority of the early leather motorcycle jackets were adapted from aviation and military gear following World War I. During this time, leather jackets were associated with speed and adventure. Interestingly, it was Hollywood and the movies that gave the motorcycle jacket its enduring mystique.

‘‘The Wild One’’ shaped a creed of cool that has never really aged and it's iconography of the motorcycle jacket still resonates today. Brando’s 1950 Triumph Thunderbird 6T riding 'Johnny' instigated this social revolution — until then most notable as the protective gear of highway patrolmen — the motorcycle jacket became an institution on the strength of the way he wore it. Together they made the ultimate Sign — where the signified and signifier were equal in power. A look swiftly mimicked, cloned, spoofed, appropriated by fashion and silk-­screened by Andy Warhol in a series of works that constituted its sanctification. In ‘‘Four Marlons,’’ Warhol printed one still in quadruplicate on a raw linen canvas evocative of gold. Here was a personality to build a cult around.

Two years later, “Rebel Without a Cause” staring James Dean, was released. The film and Dean’s subsequent death in an auto accident, sealed the connection, in the public mind, between speed, danger, rebellion, and the black leather motorcycle jacket. The movie’s success ushered in an era where the motorcycle and the leather jacket began to be identified with the rebellious youth, especially in America.

Just as actual 1930s gangsters aped the style of characters played by the actor George Raft, real-life delinquents turned to black leather. You didn’t need a motorcycle to be in a ‘‘motorcycle gang,’’ according to the moral-­panic logic of the day. What is more, you didn’t even need a gang to enjoy the aura of a gangster, a fact attested by the many teenage rebels whose acquisition of a motorcycle jacket constituted the full extent of their rebellion. But for the fashion subcultures — that is, for rock bands and teen cliques devoted to them — the motorcycle jacket is an international uniform impervious to becoming obsolete. It is a garb for all tribes: from goths in Iceland to rockabillies in Japan.

Writing about the Ramones, the critic Tom Carson once sketched the dynamics of the masquerade: ‘‘Their leather jackets and strung-out, streetwise pose weren’t so much an imitation of Brando in ‘The Wild One’ as a very self-­conscious parody — they knew how phoney it was for them to take on those tough-guy trappings, and that incongruousness was exactly what made the pose so funny and true.’’ The Ramones’ imitators did not necessarily get this, and instead, reading the self-­parody as an uncomplicated statement of force, copied that.

While Brando's motorcycle jacket was eventually appropriated by fashion and taken down some terrible avenues (especially during the 1980's), other motorcycle jacket silhouettes fared better. As style conscious 50's teens embraced the classic Brando jacket, actual motorcycle riding apparel manufacturers including Langlitz, Buco and Beck among others, pushed forward during this time creating new innovative styles based around real functionality and protection. One of these styles was the now classic J-100 by the Joseph Buegeleisen company in Detroit Michigan, a sleek and less bulky jacket, the form and cut is one of the most flattering of all cafe racer designs ever produced. Made specifically for racing, the full-piece panels and tubular sleeves make the garment appear very aerodynamic. The extra body length, with high mounted zip allows the rider to sit down without stressing the garment around the hips, but still keeping the lower back covered when riding.

These futuristic jacket silhouettes ushered in a new era of motorcycle style and continued in popularity through the 1960's into the 70's with the Cafe Racer being immortalised by Peter Fonda in the movie Easy Rider.

Click HERE to view the new ELMC J-100 Cafe Racer reproduction

The last US Navy propeller attack aircraft to disappear from the decks of the flat tops was the Douglas AD Skyraider. This aeroplane had a unique capability: even when it carried its full internal fuel of 2,280 pounds, a 2,200 lb torpedo, two 2,000 lb bombs, 12.5 inch rockets, two 20 mm guns and 240 pounds of ammunition, the Skyraider was still under its maximum gross weight of 25,000 pounds.

Entered in service just in time to take part in the Korean War, the Skyraiders in the improved A-1H version were quite slow; nevertheless in spite of performance not even comparable to those of the other assets in the Air Wing’s strike group, the propeller-driven attack aircraft managed to shoot down two MiG-17s during the early part of the Vietnam War.

In fact, some of the most unusual kills of the conflict did not come from the F-4s, F-105s, or F-8s but from the Korean War era piston-engine Skyraiders, thanks to the four M3 20 mm fixed forward-firing cannons capable of firing 800 rounds per minute, that fitted the A-1Hs.

The first of these victorious engagements took place on Jun. 20, 1965, when a flight of Skyraiders from the Strike Squadron 25 (VA-25) Fist of the Fleet, took off from the USS Midway (CVA-41) supporting the rescue of a downed USAF pilot in the northwest corner of North Vietnam were attacked by a flight of MiG-17s. The two enemy jets launched missiles and fired with their cannons against the two A-1Hs, but both Skyraiders’ pilots, Lt. Charles W. Hartman III, flying A-1H BuNo 137523, radio callsign “Canasta 573,” and Lt. Clinton B. Johnson, flying A-1H BuNo 139768, callsign “Canasta 577,” evaded them and manoeuvred to shoot down one of the MiGs with their 20 mm cannons.

Lt. Johnson described this engagement in Donald J. McCarthy, Jr. book 'MiG Killers' as follows: “I fired a short burst at the MiG and missed, but got the MiG pilot’s attention. He turned into us, making a head-on pass. Charlie and I fired simultaneously as he passed so close that Charlie thought I had hit his vertical stabiliser with the tip of my tail hook. Both of us fired all four guns. Charlie’s rounds appeared to go down the intake and into the wing root, and mine along the top of the fuselage and through the canopy. He never returned our fire, rolled, inverted, and hit a small hill, exploding and burning in a farm field.” The subsequent MiG kill of this engagement was shared by both Hartmann III and Johnson.

The second victory of the propeller-driven Skyraider against a North Vietnamese MiG-17 jet fighter, took place on Oct. 9, 1966 and involved four A-1Hs launched from the deck of the USS Intrepid (CV-11) in the Gulf of Tonkin flying as “Papoose flight.”

The flight was from the Strike Squadron 176 (VA-176) Thunderbolts and it was led by Lt. Cdr. Leo Cook, with Lt. Wiley as wingman, while the second section was led by Lt. Peter Russell with Lt. William T. Patton as wingman. It was during the RESCAP (the REScue Combat Air Patrol, a mission flown to protect the downed pilots from ground threats) flight, that the “Spads” (as the Skyraiders were dubbed by their pilots) were attacked by four MiG-17s. This engagement ended with one Fresco confirmed as being shot down, a second as probably shot down and a third heavily damaged.

According to McCarthy, the MiG-17 kill was awarded to “Papoose 409,” the A-1H BuNo 137543, flown by Lt. Patton who, after having gained a position of advantage on one of the MiGs, opened fire with his four guns, hitting the tail section of the enemy jet. Patton followed the MiG which descended through the cloud deck and when Papoose 409 emerged from the clouds he spotted the enemy pilot’s parachute.

The U.S. Navy Skyraiders last combat tour took place from July 1967 to 1968 onboard USS Coral Sea (CV-43), but this versatile propeller aircraft continued to fly with the U.S. Air Force and with the Vietnamese Air Force until the end of the conflict thanks to its unparalleled capabilities in close air support.

It is widely regarded that The Graduate marked the beginning of countercultural consciousness in American movies. In the fading memory of that moment, now layered with so many ironic reversals, retrenchments, and disappointments, it is less the film that is recalled than the potent effect it produced. Shorn of its contemporary context, Nichols’s film is a nicely executed comedy of romantic embarrassment spruced up with Felliniesque close-ups.

The movie that finally breached the already crumbling fortress of old Hollywood was Dennis Hopper’s 1969 bombshell, Easy Rider. In Easy Rider, the fabled ‘road' equals freedom, befouled by ugly Americana. But in Monte Hellman’s 1971 classic, Two-Lane Blacktop, it becomes something altogether different and far more interesting: a repository of dreams and fantasies, for squares, hipsters, and obsessives alike. Where Hopper’s film is set in the Great American Dreamscape, Hellman’s vision of the American West is far less pretentious, parcelled out in nicely measured, seemingly offhand portraits. Where Hopper wears his hipster credentials on his sleeve, Hellman obscures his and even tones down his well-made soundtrack choices in the mix. Where Hopper and Fonda “play” disenchantment and disaffection (offset by Nicholson’s authoritative charm), James Taylor, Dennis Wilson, and Laurie Bird are three non actors who embody a sense of youthful restlessness (offset by Warren Oates’s heartbreakingly eloquent woundedness). And where Easy Rider is finally a series of choices and strategies and inventions clustered around a big concept, Two-Lane Blacktop is a movie about loneliness, and the attempts made by people to connect with one another and maintain their solitude at the same time—an impossible task, an elusive dream.

The rough cut of Two-Lane Blacktop was three and a half hours long. “We were contractually obligated to deliver a two-hour movie, so we lost half the script,” said Hellman. “We lost some good scenes, for sure, that I fell in love with.” Gone are the flavour and colour of street-racing life and the road, evoked so beautifully in Wurlitzer’s script. What is gained is a trancelike absorption in movement and ritual. Hellman’s film is composed of many of the in-between moments that most filmmakers would cut. In the process, a strange terrain of tenderness and disconnection inhabited by the four principal characters is mapped out: their shared remoteness is exactly what makes it safe for them to venture into one another’s company. This movie about a cross-country race between a car freak in a lovingly souped-up ’55 Chevy and a fantasist in a store-bought GTO moves at an even, gliding pace, and it’s all about stopping to gas up, eat, make some bread in local quarter-mile drag races, pick up hitchhikers, let the engine breathe, share a drink.

Though he visually reads ‘hippie’, Taylor is the classic introvert, for whom everything is swallowed up and contained by the road. Oates is the smiling extrovert-dreamer, for whom everything becomes a part of the Playboy dream he’s spinning on his drive across America. Wilson provides the authenticity of a genuine drag racer and car fanatic who oozes the Californian dream. Taylor’s aquiline face may be the visual center of the movie, buoyed by Bird’s pout and Wilson’s West Coast stoned softness, but Oates is its emotional core. Oates’s nameless would-be hipster is perfect in every way: V-neck sweaters (they keep changing colour), driving gloves, a wet bar in the trunk, music for every mood, a cocky grin that looks like it’s been practiced in the mirror. The actor imbues his character with a strong sense of physical uneasiness—he can’t even lean against a building comfortably.

Unlike Oates’s GTO, who projects his desperate longing out onto the open spaces, for Taylor’s Driver the road is a refuge. Or perhaps a cocoon. The nihilistic tone achieves grandeur in itself, up to the controversial and bravura finale. “It was really the most intellectual, conscious manipulation of the audience that I’ve ever done,” said Hellman. “I thought it was a movie about speed, and I wanted to bring the audience back out of the movie and into the theatre, and to relate them to the experience of watching a film. I also wanted to relate them to, not consciously but unconsciously, the idea of film going through a camera, which is related to speed as well. I think it came to me out of a similar kind of thing that Bergman did with Persona.” Hellman is literally arresting his character’s fantasy of dissolving into pure speed and limitless road (the burn of the image begins in Taylor’s head), a fantasy shared by countless movies, then and now. Including Easy Rider.

Two-Lane Blacktop is the least romantic road movie imaginable. Nonetheless, Hellman saw it as a romance. In finished form, it is ultimately a great film about loneliness and self-delusion. Warren Oates’s GTO (as he’s credited) is every pontificating drunk, every reformed junkie, every guy who moves to another town to begin again. “We’re gonna go to Florida,” he tells Bird in the film’s most acutely poignant moment. “And we’re gonna lie around that beach, and we’re just gonna get healthy. Let all the scars heal. Maybe we’ll run over to Arizona. The nights are warm . . . and the roads are straight. And we’ll build a house. Yeah, we’ll build a house. ’Cause if I’m not grounded pretty soon . . . I’m gonna go into orbit.” Meanwhile, she’s ready to doze off in the passenger seat. Like all dreamers, he’s just talking to himself.

Post WWII thousands of A-2 jackets still remained in air depots and other bases. In order that these garments would give the best continued service they were treated with a reconditioning process which involved the re painting of the outer surface of the shell. Reissue A-2s are jackets that went back to the quartermasters inventory after active service and subsequently went through a refurbishment process. This included a re-coating of the leather shell with a very dark brown lacquer. After years of wear these garments would accrue a distinctive beaten-up vintage patina due to the way the lacquer would wear off. It was a beaten-up re-issue A-2 such as this (and Rough Wear model 16159) that was worn by Steve McQueen in the iconic movie The Great Escape, and is why so may have admired its vintage appeal ever since.

The last contracts for A-2 jackets were placed in 1943 and by the 27th April 1943 it was relegated to 'Limited Standard Use'. When the war ended thousands of servicemen returned home and rejoined civilian life meaning there was an abundance of military equipment and material that had to be sorted and re-inventoried. Countless millions of dollars had been spent producing it, so careful consideration was given as to what was to be kept for continued use, stored or discarded.

As you would expect, tons of it had gone overseas to various theatres of operation, so much thought was given as to what was worth bringing home and what should be left. In those few years of war, military technology had accelerated to a point where some equipment was being made obsolete almost as soon as it was put into service, such was the impetus behind a raging war machine that was totally committed to defeating the enemy. For example, 'flight' went from plodding bi-planes to supersonic jets in less than 10 years. Accordingly, this same degree of improvement took place in all other fields of military design including flight gear. However, the A-2, although being a design from the beginning of the 1930's, was considered a valuable piece of military equipment, even by 1943 it was still deemed worthy of a place in the Quartermaster's wardrobe.

The A-2 was then put in line for 're-issue'. Experience had taught that the darker a garment was the more serviceable it would be, not showing oil stains and soiling. Because the jackets were made from aniline finished hides which tend to absorb rather than repel they were re painted with a dark brown poly-acrylate dye, which provided an altogether tougher barrier. Characteristics of this re-coating process would be that certain hard-to-get-at areas, such as down inside the pockets, back of the windflap etc, were not reached. The finish was often unevenly applied, giving rise to mottled shading and varied texture.

However it transpired that this over painting method whilst initially achieving its aim, very soon started to look shabby. The over paint would crisp and flake off. Not only this, but it would take a lot of the original under-finish with it (effectively skinning the hide), leaving just the pale, buff, skin tone of the dye-base). This left an extreme contrast between the surviving dark painted areas, and the paler skinned ones - not a good look for a military garment. This disastrous technique effectively sealed the fate of the A-2 as unsightly jackets were quickly plucked from service. The finish would wear off in irregular patterns bearing the lighter shade of the nap beneath giving a distinct contrast between those areas, and where the coating remained. All of this however is what has given these garments their latter-day vintage appeal. Nevertheless, the A-2 continued to see service well into the late 40's and can even be seen on occasion in archive images from the Korean War.

Nowhere was this look more immortalised than the jacket worn by Steve McQueen as Capt. Virgil Hilts in the movie The Great Escape. McQueen’s jacket was one such original re-issue A-2. After careful analysis of many original stills from the movie we have been able to confidently identify the jacket he wore as one made by the Rough Wear® Clothing Company, under contract number 16159. So our re-issue A-2 is made as this model. As part of the reissue process that his jacket underwent, it can be seen that the original zip, which would have most certainly been a Talon M-39 (with rectangular puller), has been replaced with a Talon M-42 with bell-shaped puller - a detail replicated on our product.

We have recreated this model in the most discerning method possible, by literally repeating the steps of production right through to the reissue finish, to bring you a garment of stunning vintage authenticity. First we produce the garment as a factory fresh original maker Rough Wear® 16159, which is made in an aniline dyed, Havana shade, veg-tanned horsehide. We then re-coat the garment with the correct shade of dark brown lacquer (just as they did at the quartermasters - by hand, with a brush), after which the garment is put through an extensive and specialised TimeWorn® process to positively re-create the high-contrast distressed wear affect of a classic vintage original. This all requires a tremendous amount of hand-done work, but is the only way this standard of authenticity can be achieved.

In accordance with AAF regulations of that time, re-issue A-2s had a mandatory Army Air Forces decal applied to the shoulder, as well as a stamp to the lining. These stamps were generally randomly positioned somewhere on the back panel no doubt due to haste, not clinically centred and perfect, so our recreation is done exactly the same way.

This garment is presented first and foremost as a plain re-issue A-2, so it comes in standard form without any insignia (apart from the mandatory shoulder decal). However, one can order the jacket with whatever extra insignia one likes from our inventory, and of course in ‘V. HILTS spec’. Click HERE to view the Eastman Re-Issue and 'Escape' A-2.

The star was a drunken hippy. One of the writers was an acid-fried biker. And the director was a paranoid control freak. But the really bad news was that all three of them were Dennis Hopper.

Hopper's subversive road movie burst onto the cinema screens of a confused America in 1969, the title was in itself a double entendre, the term Easy Rider was slang for a hooker's old man - 'not a pimp, but the dude who lives with her, because he's got the easy ride'. But it was also a telling and powerful reference to what was happening to America in the late Sixties, in the words of Hopper - 'Liberty had became a whore and the whole country took an easy ride.'

However, it isn't the sex, music or huge drug intake - both on and off-screen - that links Easy Rider inextricably to the late Sixties. What really marks the film out as a product of that fractured, uncertain age was that it got made at all. And, in particular, that it got made by Dennis Hopper and Peter Fonda.

Certainly, when the pair announced their intention of making the ultimate biker movie, few sane people would have wagered on them finding the finance - let alone producing a film that not only became one of the biggest box-office hits of 1969 but also completely changed the way major studios treated their burgeoning baby-boomer generation. If the film's proposed subject matter - two doped-up philosophising hippies (Hopper and Fonda) use the proceeds from a drug deal to ride across America in search of 'freedom' - wasn't enough to put off potential investors then Hopper and Fonda's Hollywood reputations undoubtedly were.

Hopper was a Dean generation character actor who had been blacklisted following a bust-up with director Henry Hathaway. Kicked out of mainstream pictures, he was reduced to working with underground filmmakers like Roger Corman. It was while shooting Corman's The Trip that Hopper got to know Peter Fonda. The son of Hollywood legend Henry, Peter had thrown away a promising career in respectable cinema to appear in zero-budget exploitation movies like The Wild Angels.

Starring roles in The Trip did little to improve either man's standing. Far more helpful was their decision to hook up with satirical author and screenwriter Terry Southern. Southern's involvement provided them with a title, Easy Rider, and a backer in the shape of Bert Schneider. The latter was a fledgling film producer who had just hit the big time courtesy of his kit-form boy band The Monkees and was happy not only to provide money but to let Hopper and Fonda become director and producer respectively.

As it turned out, any problems the production may have had over finance were as nothing compared with the trauma of the Easy Rider shoot. During most productions, on-set drug-taking and a leading man breaking his ribs would constitute major concerns. In the case of Easy Rider, these seemed minor inconveniences when weighed against the bizarre antics of Hopper himself. A heavy drinker, famed for his to-the-edge performances and confrontational manner, the director's instability and paranoia resulted in clashes with everyone from Fonda downwards. When he wasn't picking fights, Hopper would fill his time forcing Fonda to relive memories of his mother's suicide and dragging actress Karen Black through the streets of New Orleans in search of inspiration.

Hopper justified his behaviour on the grounds that he wanted to make a special film. And he did. The massive commercial success of Easy Rider ensured that for a couple of years major studios were happy to throw money at any wild-eyed auteur capable of capturing some of that youth buck - a period that Hopper himself brought to the close with 1971's The Last Movie.

Peter Fonda later recalled, 'Easy Rider really was a trip. Back when I was making studio pictures like Tammy And The Doctor, I got a lot of fan mail - thousands of letters a week asking for my autography and my picture. When I did Easy Rider, I got letters from people saying, "What do I do?", "How do I speak to my father?", "How do I keep myself from committing suicide?", "How do I live?" Nobody was asking me for my picture and my autograph any more.'

Most importantly, the film represented a crossroads in the film industry, one where the old Hollywood system had become stagnant while young filmmakers were revitalising the medium with fresh, creative ideas that were having a real impact on the culture and their generation. The movie was responsible for launching Jack Nicholson's career at a time when he was about to give up acting for producing. And it certainly enabled Fonda and Hopper to pursue their own separate visions on film while maintaining creative control.

Unfortunately, the tensions that arose between Fonda and Hopper during the film's making erupted into an ongoing dispute over the "authorship" of the movie with Hopper claiming solo credit for the story idea and script in a lawsuit. Hopper, in turn, was later sued by Rip Torn for spreading lies about a physical confrontation the two had in a public restaurant, which may have been the reason Torn was replaced by Jack Nicholson in the film. To it's fans though, none of this matters much, the movie stands alone for its iconic soundtrack featuring songs by Steppenwolf, The Byrds, Jimi Hendrix and others, the innovative, freewheeling cinematography by Laszlo Kovacs, Nicholson's scene-stealing performance and the its fresh take on two young nonconformists looking for the real America.

False flag operations have changed the course of World history on countless occasions for hundreds of years. The contemporary term false flag describes government led covert operations designed to deceive the general populous, of its own country, in such a way that the operations appear as though they are being carried out by other entities, groups, or nations. Historically, the term "false flag" has its origins in naval warfare where the use of a flag other than the belligerent's true battle flag is displayed as a deception, or, ruse de guerre, before engaging the enemy.

If one follows the money in any false flag operation, you will see that the people with the most to gain have always occupied the key military and civilian positions, not only to ensure the success of the mission, but also to cover up the crime and reap the most reward. Such is the hallmark of false flag operations throughout history. Leading Nazi Hermann Göring once stated: "Naturally the common people don't want war; neither in Russia, England, America, or Germany. That is understood. But after all, it is the leaders of the country who determine policy, and it is always a simple matter to drag the people along, whether it is a democracy, a fascist dictatorship, a parliament, or a communist dictatorship. Voice or no voice, the people can always be brought to the bidding of the leaders. That is easy. All you have to do is to tell them they are being attacked, and denounce the pacifists for lack of patriotism and exposing the country to danger. It works the same in any country."

The most common false flag operations consist of a government agency staging a terror attack, upon its own people, to then falsely blame the uninvolved entity (country/organization etc). The resulting carnage brings about a groundswell of public indignation and opinion in favour of the government and whatever policy they put forward. At least two millennia have proven that false flag operations, with healthy doses of propaganda and ignorance, provide a great recipe for endless war. During the 20th century they were as numerous as they were insidious. From The Manchurian Incident in China, the Reichstag Fire in Berlin, the myth of the 'surprise' attack on Pearl Harbour, to the Tonkin Gulf incident that facilitated the Vietnam war.

One operation in particular (which thankfully was never implemented) could have easily precipitated a nuclear World War III - Operation Northwoods.

In 1962, the U.S. Joint Chiefs of Staff, headed by General Lyman Lemnitzer, unanimously proposed state-sponsored acts of terrorism on American soil, against its own citizens. The head of every branch of the US Armed Forces gave written approval to sink US ships, shoot down hijacked American planes, and gun down and bomb civilians on the streets of Washington, D.C., and Miami. The plan was only overturned when President Kennedy refused to endorse it. The concept of Operation Northwoods was to engineer a situation where the blame for the (self-inflicted) terrorism would fall on Cuba's leader, Fidel Castro, after which the American public would beg and scream for the Marines to storm Havana. Among other heinous acts, Operation Northwoods proposed faking the crash of an American commercial airliner. The disaster was to be accomplished by faking a commercial flight from the US to South America, the plane would be boarded at a public airport by CIA agents disguised as college students with aliases going on vacation. An empty, remote-controlled, clone of the commercial jet would then swap places for it at a given rendezvous point in flight, as it left Florida, and the real airliner would then land at a secure area in Eglin Air Force base. A May-Day transmission pertaining to come from the commercial jet would then be sent out stating that they had been attacked by a Cuban MIG fighter. The empty remote-controlled clone would then be blown up and the public would be told that all of the US citizens aboard were killed.

The document also suggested numerous other acts of domestic terrorism including using a possible NASA disaster (astronaut John Glenn's death) as a pretext to launch the war. The plan called for "manufacturing various pieces of evidence which would prove electronic interference on the part of the Cubans if something went wrong with NASA's third manned space launch. Further to this buildings in Washington and Miami would be rigged with explosives and blown up. Cuban agents (undercover CIA agents) would be arrested and confess to the bombings. In addition, false documents proving Castro's involvement in the attacks would be "found" and given to the press. Another element of the plan suggested attacking an American military base in Guantanamo with CIA recruits posing as Cuban mercenaries. This involved blowing up the ammunition depot and would obviously result in material damages and many dead American troops. As a last resort, the Pentagon even considered using public taxes to bribe another country's military to attack their own troops in order to instigate a full-scale war, the plan specifically mentioned bribing one of Castro's commanders to initiate the Guantanamo attack. Below are some of the actual declassified Northwoods documents

Operation Northwoods was only one of several plans under the umbrella of Operation Mongoose. Shortly after the Joint Chiefs signed and presented the plan in March, 1962, President Kennedy, still smarting from the Bay of Pigs fiasco, declared that he would never authorise a military invasion of Cuba and refused to endorse the Northwoods project. In September, Kennedy denied the Chairman of the Joint Chiefs, General Lyman Lemnitzer, a second term as the nation's highest ranking military officer, and by the winter of 1963, Kennedy was assasinated, apparently by Lee Harvey Oswald, a communist sympathiser, in Dallas Texas.

The public would only learn about Northwoods 35 years later, when the Top Secret document was declassified by the John F. Kennedy Assassination Records Review Board.

Nearly 40 years later a very similar event would actually take place on American soil bearing all the hallmarks of Operation Northwoods - the destruction of the World Trade Centre on the 11th September 2001.

Military footwear can be traced back over thousands of years, even as far back as the Roman Empire, and just like humans, the combat boot has evolved through generations of change and adaptation. Arguably one of the most important pieces of equipment or gear anyone in a combat situation may possess, the combat boot has come a long way from its humble beginnings.

Several important military traditions were given birth to during the historic break from England in 1770's. The U.S. was still young, and its military was tiny compared to England’s oppressive command. Smaller militias lent aid to the cause from all across the original colonies, most of which had their own distinct colours and apparel, alluding to the different military divisions we know today. The typical dress worn would be - a hunting shirt, breeches, leggings, wool jacket, hat, and whatever footwear was available. Since raw materials were expensive, and taxes high, many soldiers, and even civilians, were forced to improvise with their footwear. In the colder colonies, where shoes were necessary to fight against frostbite and hypothermia, ground troops used whatever materials they had on hand. Scraps of cloth or raw animal hide were popular choices, but on occasion blankets tied to the feet would prove better than going barefoot into battle.

Cavalry, ranking officers, and those that could afford them typically wore Hessian boots. Hessian boots originated in Germany, and were knee high with a short heel, tailored for riding on horseback. The boots typically had tassels on the front, and were later cut lower in the back to help with manoeuvrability white still offering protection for the knee. The boots were styled for a close fit and worn with knee high breeches. Due to the tightness of this boot, a boot hook was often necessary to properly put the boots on, which proved a lengthy process.

Standardised boots were hard to come by during the 19th century, and much of the military still wore whatever shoes they were able to afford. Infantry units wore calf high riding boots in a style similar to the Hessian Boot. Trooper boots that went up past the thigh offered the most protection, but were expensive and impractical for ground units on long marches. The beginning of government issued boots came about in the War of 1812. The War Department ordered as many pairs of ankle high boots that were available to the at the time, and outfitted the soldiers that would need them the most. The boots were typically sewn on straight lasts, a type of shoe mold that made each shoe completely symmetrical. Until they were properly broken in the boots proved uncomfortable, often leaving blisters. Sometimes called Brogan boots, they were usually made of calfskin or patent leather.

One of the first revolutions in military footwear came about in 1837 when a 'pegging' machine was invented, this made for the faster production of cheap boots and booties. The pegs, usually small pieces of wood or metal, were used to hold the shape of the boot, but deteriorated much faster than the hand-sewn method. By the time the American Civil War came, the government reverted back to the original design of hand sewn boots. The price for pegged boots decreased to just over $1.25, while hand sewn Cavalry boots were often purchased at three times that price. The idea of soles became more popular during this time, and most were hand sewn. The Hessian boot was replaced by a Wellington style M1851 Artillery Driver’s boot, which were outfitted to cavalry and artillery drivers. The heel was slightly shorter than the Hessian boot, and the toe was more squared. In an effort to improve durability, brass tacks were inserted in the sole.

Union soldiers had access to better quality materials, while their Confederate counterparts suffered with boots of sub-par quality. The soldiers fighting for the North were first issued hand-sewn boots, and pegged boots only as a last resort. Most boots worn by the Confederate Army were pegged, nailed, or riveted, and fashioned in a style similar to that of the British Military at the time. Some of the greedier manufacturers used poor materials in an effort to take advantage of the civil turmoil. Rumours of cardboard being used circulated, and some even sharpened the pegs or brass tacks in the soles to make them wear out more quickly.

With the evolution of explosives and artillery like grenades and machine guns, trench-style warfare became more common during the early and mid-1900’s. Given the wet, cold, and unsanitary nature of the trenches, military gear and equipment, boots in particular, had to hold up against extreme conditions.

The modern combat boot we know today began to take shape in WWI. Most boots made in the early 1900’s had a distinct left and right, as opposed to previous versions with each shoe being virtually interchangeable. In the early years of WWI, the Russet Marching shoe was the most widely accepted boot worn in the military. It was highly polishable and made of machine-sewn calfskin. The inner lining was made from feathers. While this boot proved far more advanced than previous issue boots, it did not hold up well on French terrain. A later version, modelled with specifications from France and Belgium, was made from vegetable retanned cow hide, and featured both a full and half-sole. Rows of hobnails and iron plates were affixed to the heel of every boot. The heel and sole were attached with screws, nails, and stitching, and despite their superior construction, still did not hold up against the rough conditions.

In 1917 the Trench Boot was born, offering vast improvements from the Russet Marching Shoe. While it offered better protection against the wet conditions, it was not waterproof, which lead to various diseases like trench foot. The look and styling was similar to the marching shoe, but the insole was composed of new materials like; canvas, cork, and cement. Due to the rigid nature of the soles, the boots were highly uncomfortable until broken in and the natural movement of the foot caused excessive damage. The Trench Boot offered little in the way of insulation, and many soldiers complained of cold feet. It became common practice to wear multiple pairs of socks, and order boots a few sizes above what one would normally wear. Several different variations were produced in an attempt to fix the early issues of waterproofing.

A year later, the 1918 Trench Boot, or “Perishing Boot” was released, offering improvements over earlier versions. Better quality materials, such as heavier leather and stronger canvas were used in an attempt to improve the longevity of use. The boot’s soles were attached in a similar fashion with screws and nails, but held three soles in total, as opposed to the previous issue’s one and a half. The metals used in hobnailing conducted the cold, and the thicker sole helped eliminate that problem. Iron toe cleats were added to the toe of each boot, offering extra protection, but making the boots bulkier.

During the initial stages of WWII, the standard issue US military boot was the M-42 'Service Shoe', an all leather toe cap boot with a two piece stitched sole, this style was eventually replaced by the rough-out boot, probably the most recognisable boot of the war. After the Normandy invasion the American military started updating their equipment, one of the items they replaced was the canvas gaiters and rough out ankle boot. They did this by basically making the rough out boot higher by adding a double buckle leather gaiter onto the top of the boot. The M-43 buckle boots where in general issue by the winter of 1944/45 and where worn by all branches of service including the Paratroopers, Armoured and Infantry in the Battle of the Bulge. They were titled 'Boots, Combat Service', and nicknamed “Double Buckle Boots.” While previous military boots like the Trench Boots only had laces, these boots went back to the older buckle style. These boots were made from synthesised rubber and other recycled materials, and had a leather fold-over cuff with two buckles. With only a single sole, they proved uncomfortable, but much easier to move around in than the Trench Boot. In times of shortage, some units, particularly Rangers, were issued Paratrooper Jump boots, which were quite distinct from all other boots at the time. The Paratrooper boots were highly sought after by regular troops who often purloined or "acquired" via alternative means.

Previous issue boots with minimal variation were used during the Korean War, but were not fit for purpose in Vietnam. Vastly different climates and temperatures rapidly deteriorated the soles and integrity of the Combat Service Boot, which was eventually replaced by the Jungle Boot.

The general idea behind Jungle Boots first came about in Panama and the latter part of WWII for Soldiers serving in the Pacific. While these boots consisted mainly of rubber and nylon, they did not hold up well. The government issued boot was typically the traditional all leather combat boot, or the Jungle Boot. The U.S. Department of War tasked the company Wellco with solving the troops various issues with moisture, insects, and sand. Wellco created and sold a prototype which held up better than their previous counterparts. The boot was composed of a black leather sole and canvas upper with an attached tongue, which helped to keep out insects and debris. It built upon earlier generations by using rubber and a canvas with a cotton blend, but added in the durability of leather. Water drains were added to help keep the feet dry and prevent bacteria from growing.

After in-combat testing and feedback, the Jungle Boot was adapted to better suit the soldiers’ needs. The canvas blend was replaced with a nylon canvas that dried faster. Steel plates were affixed to the soles of the boot, to protect the feet against punji stakes used to pierce the foot. Additional nylon webbing reinforced the boots’ uppers, increasing the durability. While these boots did not last as long as all leather combat boots, they did offer a vast improvement over the earlier versions. Soldiers were known to carry multiple sets of boots, and often wore their jungle boots only when absolutely necessary. These high tech jungle boots signalled the dawn of a new era, over the next 20 years combat boots would evolve into the lightweight protective boots worn today.

While impossible to predict the future, it’s a safe bet that combat boots will continue to grow and evolve alongside those that wear them. From the Roman Empire to the sands of present day Iraq, it’s easy to forget that something we see regularly can have such a rich history. With huge leaps in all aspects of technology, who’s to say which direction the design and features of future boots will take.

World War Two conjured up many extraordinary characters. But even among the most exalted company William Ash - the model for the Vergil Hilts character played by Steve McQueen in The Great Escape - stands out. Ash was an American who, while his country was still reluctant to enter the war, crossed into Canada to train as a pilot with the Royal Canadian Air Force. He was posted to Britain and flew Spitfires with RAF 411 Squadron.

In March 1942 he was shot down over northern France but escaped from the wreckage of his plane and was given shelter by a number of courageous French women and men. He was captured in Paris by the Gestapo and condemned to death. His life was saved by the Luftwaffe who argued that as an airman, Ash was their prisoner. He spent the rest of the war in various Prisoner of War camps. But instead of being grateful for his salvation he became an obsessive "escapologist" - seeking to break free by whatever means came his way.

Ash always modestly denied the claim he was based on McQueen's character. For one thing he didn't ride a motorbike, he said. For another, he did not take part in the breakout from the Stalag Luft III camp, on which the movie is based. The reason he did not participate in that particular breakout was that he was locked up in the "cooler" - as the camp jail was called - as punishment for a previous escape attempt. In actuality, Ash was every bit as charismatic as the fictional Hilts with whom he shared many characteristics. Apart from being American, he was good looking, dashing and more than a bit of a rebel. He was also delightfully self-deprecating. He described some of his exploits in his writings, though he often underplayed his sufferings and achievements.

He had a tough upbringing in Depression-hit Texas where his father struggled to bring up a family on what he made from his job as a travelling salesman. Young Bill worked his way through university but could find no job at the end of it and spent months riding the rails as a hobo, seeking whatever work he could get. His experiences shaped his political views. He was too young to join the idealistic Americans fighting Franco's nationalists in the Spanish Civil War. But when World War Two broke out, he was determined to do his bit to combat fascism.

William Ash

It rankled with him that he did not do more fighting. He only managed to shoot down one German aircraft for certain before he was downed himself. He decided to use his incarceration to wage war on the enemy by other means. Most of his fellow inmates had little interest in escaping. Having survived the trauma of being shot down, the majority decided they had used up their store of luck and tried to pass the time behind the wire as best they could, often studying and acquiring new skills, while they waited for the war to end.

Bill Ash belonged to a hard core devoted to overcoming every obstacle the Germans put in their way to returning home and carrying on the fight. They often found it hard to analyse precisely their motivations. Some felt it was their duty. For others, focusing on a project was a way of combating the stultifying boredom. In Bill's case it boiled down, he said, to "an unwillingness to crawl in the face of oppression".

He lost count of his escape attempts, or the number of times he was condemned to a spell in the 'cooler', which meant solitary confinement and a bread and water diet. Some of the escape bids were opportunistic efforts like the time he wangled his way on to a work detail tasked with unloading a train then made a run for it when the guards' backs were turned.nOthers were complex, long-term schemes that required a huge amount of organisation, ingenuity and endurance. A little-known but extraordinarily ambitious project was the Latrine Tunnel Escape which took place in Oflag XXIB, a camp near the Polish town of Szubin.

Bill had a hand in devising the plan, which was not for the faint-hearted. It involved digging a tunnel more than 100 yards long from a starting point beneath a large lavatory block. Every day for three months teams of diggers would lower themselves through a trap door set into a toilet seat trying to avoid falling into the lake of raw sewage beneath. An entrance set into wall of the latrine pit led into a chamber where the tunnel began. Day after day they would scrape away at the sandy soil working by the light of margarine lamps. They lived in fear of cave-ins and asphyxiation and panic attacks brought on by claustrophobia. Tunnelling was in some ways the easy part. To stand any chance of making it out of Nazi-controlled territory they needed civilian-style clothing, money, and documents. Here they were helped by other prisoners who brought a wide variety of skills either acquired in peacetime or learned in the camp.

Eventually, one night early in March 1943, 35 men dressed in outfits fashioned from Air Force uniform and blankets and armed with convincingly forged identity cards crawled through the narrow tunnel and under the perimeter fence to freedom. One managed to get as far as the Swiss border before being recaptured. Two made it to the Baltic and were on their way in a rowing boat to neutral Sweden when they disappeared, presumed drowned. All the rest were recaptured within a few days. It was a bitter disappointment, but almost all carried on trying to escape. Bill finally succeeded a few days before the war ended, breaking out of a camp near Bremen just as the British Army arrived.

His experiences as a prisoner had a profound effect on his political outlook. After the war he stayed on in Britain and seemed set to follow some of his camp comrades - like Conservative Chancellor of the Exchequer Tony Barber and TV presenter and historian Robert Kee - into a successful conventional career. He went to Oxford University and joined the BBC, which gave him a top administrative job in India. His increasingly radical views made it hard for him to conform, however. He rejected the Communist Party of Great Britain as being too compromised and helped found a breakaway group. He also lost his full-time job with the BBC, though he continued to do some work for the drama department.

Ash was a happy and gregarious man who never lost a touch of his boyhood innocence. His career as an escapologist showed him that in wartime people were capable of extraordinary selflessness. Why was it, he wondered, that this spirit could not be carried on into peacetime?

World War II changed the world and laid the foundation for the American car-crazy phenomenon that exploded in the 1950s - Hot Rodding. Once the hostilities in Europe and Asia had ceased, those lucky enough to make it back wanted to enjoy living the way they couldn't while serving Uncle Sam. Finally home, ex-GIs couldn't get enough of cool cars, all-American burgers and fries, and the girl next door who had grown up since they left. Building a hot rod or custom car was a method of self-expression, and for many, the cars provided the means for the social life they desired.

Many GIs also found it hard to let go of the adrenaline rush of enemy action. Something inside them yearned for a little bit of that thrill, but without the potential wartime consequences. Getting behind the wheel of a cool hot rod or custom car fulfilled those conscious and unconscious desires. And with many coming back from the war with some money saved and a job waiting, they had the means to acquire what they wanted.

The timeline for hot rods and custom cars starts before World War II. Teens itching to tinker with cars and go fast were racing cheap Ford Model T's on Southern California's dry lakes and street racing in Los Angeles even in the 1920s. The Harper, Muroc, and El Mirage dry lakes -- all 50 or so miles north of Los Angeles -- saw racing activity from the '20s up to World War II. Racing at El Mirage continues today.

Speed junkies could jump in their hopped-up, chopped-down Model Ts and be at one of the dry lakes in less than three hours. Or, if the need was urgent, they could find a deserted back road or open field. At the lakes, the cars were timed with handheld stopwatches and placed in a class determined by the resultant time. The vast majority of the cars being run were four-cylinder Ford Model Ts or their successor, the four-cylinder Model A. The cars were cheap, plentiful, lightweight, and easy to work on. They responded to simple "hop ups" like higher compression, ignition and timing adjustments, additional carburettors and more radical cam grinds.

The drill was fairly simple: Buy the nicest roadster you could find (because roadsters were the lightest); strip off everything not needed to go fast, like the fenders, headlights, hood, and top; find some cheap used tires to replace your bald ones or to mount over your existing tires for a little extra tread; and go racing. Paul Chappel's Speed Shop on San Fernando Road in Los Angeles and Bell Auto Supply in neighbouring Bell were the first stores in the country devoted exclusively to supplying speed parts for those who wanted to run with the fast pack. Performance parts included high-compression heads, exotic overhead-cam conversions, and radical cams (also called "sticks").

The Ford flathead V-8 was born in 1932 and with it a new opportunity to go fast. Though slow to be accepted by hot rodders, more 65- and 85- horsepower flathead V-8s found their way into junkyards as the '30s progressed and thus began the transformation from four-bangers to flatheads. Also released in 1932 were the lightweight '32 Ford or "Deuce" frame and roadster body. The combination was unbeatable in terms of performance potential and looks. To this day, a flathead-powered Deuce roadster is the quintessential hot rod. That engine and frame combination would also provide an excellent foundation for many types of bodies, or sometimes hardly any body at all.

As interest in racing grew, kids began to try out their "gow jobs" more often on public streets. What was mostly good, clean fun could get ugly -- and it often did. "Speed contests," as the police called them, were occurring with greater frequency and more dire consequences. Casualties were described in detail in local newspapers, branding the hot rodder as a social menace requiring increasing control or, better yet, elimination. More hot rodders were finding the dry lakes a safer, less public alternative to racing on the streets. But this "detour" was having its own problems. Multiple casualties were reportedly occurring during the middle of the night on the dark racing courses of the dry lakes. Hot rodders ran unmonitored, without thinking that a like-minded racer could be coming from the other direction. The result was sometimes catastrophic.

Help was on the way, though. In 1937, the Southern California Timing Association was formed. The SCTA formalised classes, developed more sophisticated timing systems, and made racing safer and more organised. Then, in 1941, a monthly publication called Throttle Magazine was created to track racing results, feature some of the better cars, and report on new safety and speed issues. The scene was starting to gel, but after Pearl Harbor was bombed on December 7, 1941, and the U.S. became involved in World War II, hot rodding would have to wait.

As the 1940s began, the hot rod and custom car fad continued to trickle down to car enthusiasts throughout the Los Angeles area. Now it involved older used cars that were transformed into "mystery cars" through sometimes minor, sometimes major body modifications. But it remained a relatively small and localised fad before many of the participants in this trend were called into service in WWII. Two things happened to spread the gospel of hot rods and custom cars during World War II. First, many servicemen were filtered through California on their journey to the Pacific. There, they witnessed firsthand America's car-culture capital, with its unique customs and stripped down hot rods ripping through the streets. It must have left quite an impression on many.

Second, many GIs from Southern California spread information and pictures of hot cars to any soldier with time to spare. The racing and cruising activities must have seemed cool and exciting to any young soldier. Simple exposure must have been enough to spark the interest of young soldiers. So once the seed was planted, it had to be nurtured, and for that we can thank Robert "Pete" Petersen and Hot Rod magazine, which came on to the scene in 1948. After the war, the economy boomed. Young veterans had a bulletproof attitude after facing the horrors of combat, and they now found themselves with excesses of time and money, along with mechanical skills learned in the service. The postwar energy helped hot rodding grow more than it ever had in Southern California, and Hot Rod spread the word nationwide.

Hot Rod picked up where Throttle left off, the latter never returning after its one-year run in 1941. The fledgling magazine touched on all aspects of the car-enthusiast arena, covering hot rods, custom cars, drag racing, and even circle-track racing. Hot Rod also informed readers about the latest speed equipment, and taught them how to perform engine and body modifications. Hot Rod was in a good position to promote safety, and to help organise early drag racing and car shows, all of which helped promote and organise hot rodding itself. Speed-parts manufacturers and custom and performance shops had a place to advertise. It was a win-win situation for all involved.

As the end of the 1940s approached, hot rods and custom cars were poised to become not just a trend but a lifestyle. Postwar adolescents were discovering the freedom and social significance of driving a unique automobile on the streets of Downtown, USA. Picture this - It's a summertime Saturday night in the 1950s, and the Southern California suburbs are hopping with hot rods. In the San Fernando Valley just north of L.A., ex-GIs are bent over their crude roadsters doing last-minute checks before heading out at midnight to one of the dry lake beds east of Los Angeles.

Their goal is to be first in line for the heads-up racing that starts at dawn. Soon they'll aim their headlights for the excitement of speed and the camaraderie that goes with running the straight, dusty courses. But first, a few of them conduct impromptu light-to-light races down San Fernando Road to check out the clutch and size up the competition. Over in the bedroom communities of Lakewood, Lynwood, and Compton a few miles west of L.A., cruisers in their late teens and early 20s are "drive-in hopping." It's a ritual that takes off from The Clock drive-in in Bellflower, then heads down Pacific Coast Highway to The Clock on Sepulveda in Culver City, over to Tiny Naylor's in Hollywood, onto the freeway to Toluca Lake and Bob's Big Boy, over to Bob's in Pasadena, a straight shot west to Nixon's on Whittier Boulevard, and finally back to The Clock in Bellflower.

Occasionally, street racing accidents end up on the front page of the Orange County Register in grisly detail. There is safer, organised racing in Orange County, too. It's the abandoned airstrip, which is considered the first organised drag racing venue in the country -- Santa Ana Dragstrip.

It's the golden age of the hot rod and custom car, and Southern California is the place to be. Decades from now, these scenes will be relived and recreated thousands of times. Hot rods and customs from this period will be revered, copied, and restored to preserve for all time this magical era in automotive history.

The 1930's fatigue uniform of the US Army consisted of blue denim pants, shirt and 'Daisy Mae' - a floppy brimmed hat nicknamed after a character in the popular hillbilly cartoon strip 'L'il Abner'. In 1938 this was changed to medium weight sage green cotton cloth woven in a herringbone twill (HBT) pattern. The blue denim remained the fatigue issue until 1941 however. The green of the original HBTs was found to fade quickly in use to an unsuitably light shade. In the Pacific this problem was sometimes remedied by vat-dyeing them en masse to a darker, even blackish colour. In 1943 the HBT manufacture colour was changed to the darker green OD7 shade.

Most GI's felt that the HBTs were hot and rather slow to dry, but generally pretty good. In North Africa and Europe HBT's were commonly worn as combat clothing alone and over brown woollen uniform for extra protection , camouflage and warmth. One 32nd Division Pacific veteran summed up the question of uniforms with the pithy and convincing comment, 'I don't believe there is any clothing or equipment adequate for jungle fighting'.

The HBT shirts all featured flapped breast pockets and exposed blackened steel '13 star' (or sometimes plain plastic) buttons. The M1942, the first of four patterns, had a two button waistband with buttoning cuffs and rear 'take up' straps; the pleated breast pockets had clip cornered flaps. The more common M1943 HBT shirt had larger breast pockets but lost the buttoning cuffs and two button waistband; it was made in a darker green than the first pattern,. The first version of the M1943 shirt had unpleated pockets, while the next had a pinched sort of pleat. The rarely seen last pattern HBT shirt (M1945) was made with smaller pockets with clipped bottom corners and squared flaps. At the end of the war a new thinner cotton poplin fabric was just beginning to be issued.

Rank was rarely displayed on fatigues, though NCO stripes were sometimes inked onto HBT sleeves. According to Capt Edmund G Love, a 27th Division historian, this formation at one time had a coded unit and rank symbols stencilled on the rear of the HBT combat uniform in black - a system copied from the US Marines. The division was identified by an outline parallelogram, enclosing unit symbols - eg a T, a 'bar sinister' and a Irish harp shape for the 105th, 106th and 165th Infantry Regiments respectively. Left of this, numbers indicated some ranks (8 for sergeant, 15 for captain) and right of it company letters were stencilled. Given the actual conditions of combat and the frequency with which HBTs had to be replaced, it is doubtful this complex system was maintained for long. Even in the six Marine divisions, which in 1943-45 seem to have had a throughly worked out system of back stencils, it is comparatively rare to see them in combat photographs.

An HBT one piece jumpsuit work uniform had been designed in 1938 based on the B1 Air Corps Mechanics coveralls. In 1941, the M1938 was produced in HBT and featured a full buttoning front, an integral belt and a bi swing gusseted back; it had two breast pockets and rear and sideseam pockets. It was intended to be worn loose over other clothing, and the sideseam pockets opened to allow the wearer to reach inside. It was commonly worn by tank crewmen and mechanics but sometimes by other front line troops. It could be cumbersome to take off and proved incomfortably hot. A 1943 version was simplified and made in the darker OD colour.

Both HBTs and issue wool shirts commonly featured an extra length of material inside the buttoned closure, intended to be folded across to protect the skin against chemical agents; this 'gas flap' was sometimes cut out by the user. Trouser flys were also made with an extra interior flap of material for the same reason. In the Normandy landings of 1944 chemically impregnated HBTs and woollens were worn by landing troops as a precaution against chemical warfare.

The first pattern HBT trousers had a sideseam and two rear pockets of a very civilian style. The second pattern (M1943) had thigh cargo pockets and sideseam pockets but no rear pockets. The last pattern of the M1943 trousers had pleated thigh cargo pockets.

HBT fabric was also used for the first widespread use of camouflage by American military forces in 1942. Prior to this point, the US Army Corps of Engineers had been applying themselves to developing camouflage for military applications as early as 1940. Nevertheless, the process of its introduction into the US supply system was rushed, brought about by an urgent request General D. MacArthur in July of 1942 for production of 150,000 jungle camouflage uniforms for use in the Pacific Theatre. The pattern chosen was actually designed by civilian Norvell Gillespie (horticulturist and garden editor of Sunset, Better House and Gardens, and the San Francisco Chronicle). The green dapple or spot design, reversing to a tan/brown variation, began distribution to US military forces beginning in August of that year. Nicknamed 'frogskin' by many GIs, the pattern consists of a five colour green dominant 'jungle' camouflage pattern printed on one side, with a three colour brown dominant “beach” pattern printed on the opposite side. Produced in a variety of uniform styles as well as some articles of field equipment, the pattern was most widely utilised and made famous by the US Marine Corps in the Pacific Theatre.

'Frogskin' fatigues were also issued to a limited number of Army units in the European Theatre of Operations, most notably the 2nd Armored Division. The Germans already had a highly evolved set of different camouflage uniforms which resulted in some confusion and friendly fire incidents in the ETO. The frogskin camouflage garments were withdrawn from use in the ETO because of these incidents. Consequently, the production of frogskin uniforms and field gear was limited.

The first style of frogskin combat camouflage uniform was issued as a one-piece jungle jumpsuit. It had built in suspenders to help keep the suit up under load. It is rare to find these specimens with the suspenders intact as many were cut off in the field as they were felt to be a nuisance and very warm. The one-piece jungle jumpsuit fell rapidly out of favour by Marines as it was way too hot to wear in the Pacific and made evacuating bodily functions a major operation, leaving the Marine quite vulnerable.

Note that step number one in authenticating frogskin camouflage is the presence of Herringbone Twill in the Army pattern, not in the USMC pattern. The USMC pattern of Herringbone Twill is HBT in a true chevron pattern. The material repeats rows of chevrons. This type of HBT was used on the green USMC utilities from WWII. The Army pattern of which all frogskin uniforms were made has a non-slanting row interfering alternately with the chevrons.

R & D went back to the drawing board following the failure of the one piece suit and then issued the P42 combat shirt and pants. The design was simple. The shirt and pants featured frogskin Herringbone Twill. The shirt had a front bottom right top opening pocket with brown button closure. The right chest featured a patch pocket with USMC Eagle Globe Anchor stamp and no button closure. It had midline snap closures and was reversible frogskin with a green pattern opposite a beach brown pattern. The pants were also reversible and had domed snap pockets or metal buttons. The pocket configuration was front right slash and rear left patch. Once broken in, the camo uniform wore like a comfortable pair of pajamas.

Because P42s were used in all the legendary campaigns such as Tarawa, Bougainville, Peleliu and New Guinea among others, they are the most sought after of the basic frogskin uniforms. The P42s are associated with all the early victorious battles that were publicised in the newsreels.

Late in the war, P44 combat shirts and pants were issued. They were quite different than the P42s. P44 shirts had large buttoned vertical slash pockets just to the side of the midline button closures. The trousers had large three or four button side snap flaps. One pocket connected to the other pocket in the seat of the trouser, creating a pouch in which garments like a poncho could be carried. Drawstrings on the ankle cuffs were found in the 1st pattern P44s. Because these P44s arrived late in the war, it is much more common to find mint unissued specimens than the P42s. Frogskin camouflage is representative of some of the most celebrated battles in US history. Consequently, artifacts are heavily sought after and command high prices.

At sunset on February 23, 1942, Commander Kozo Nishino of the Imperial Japanese Navy and his I-17 submarine lurked 1,000 yards off the California coast. It was less than three months since the attack on Pearl Harbor. Los Angeles residents were tense to say the least, soon after dark, the I-17 surfaced and began firing armour piercing shells at the Bankline Oil Company refinery in Ellwood, a small oilfield community 12 miles north of Santa Barbara. Commander Nishino targeted oil storage tanks, piers and other facilities he had toured before the start of World War II. Several of the shells struck while others passed over Wheeler’s Inn, whose owner reported the attack.

“We heard a whistling noise and a thump as a projectile hit near the house,” recalled another witness. “I thought something was going wrong with the refiners.”

The shelling continued for 20 minutes before I-17 escaped into the darkness. It was the first Axis attack on the continental United States of the war. “Shell California! Enemy U-boat sends many shots into oilfields near Santa Barbara, entire area is blacked out,” declared the February 24 front page of the Chicago Tribune.

Although there were no injuries and minimal damage (a wrecked derrick and pump house), the barrage led to a public panic that soon intensified. Witnesses claimed seeing offshore enemy “signal lights.” Many newspapers began referring to the attack as the “Bombardment of Ellwood.”

sub attacks oilfield

Commander Nishino sailed on to new combat assignments in the Aleutians – unaware of the strange result of his attack on Ellwood’s oil refinery. Despite missing their targets, dropping into the sea, on the beach, and into nearby cliffs, the Japanese artillery shells brought dramatic result not least an “Avenge Ellwood” fund-raising campaign was created in early 1943 for a war bond drive whipping up local fervour and also bringing about Japanese- American internment in California.

The attack not only fuelled West Coast invasion fears, but also soon led to the largest mass UFO sightings in U.S. history. In the early morning hours of February 25, 1942, the sleep of two million Americans, in the vicinity of Los Angeles, California, was interrupted by the sound of air raid sirens and anti aircraft fire. Groggy residents awakened by the high pitched warnings and the almost ceaseless firings of artillery were rewarded with a light show that made the night into day.

Thousands of U.S. Army anti-aircraft searchlights flooded the skies searching for attacking aircraft. They rapidly crisscrossed the black void desperately hoping their beams would pierce the black veil and disclose the enemy planes. Only days after the surprise Japanese attack, Los Angeles was not prepared for another sneak attack as the events of the morning would reveal.

Air raid wardens stopped cars and insisted lights be extinguished and home window shades drawn. Neighbourhoods and streets were now darkened, denying the enemy easily lit targets. Overhead, silently, a glowing object was moving slowing as air craft batteries focused by spotlights began took aim.

Katie, a young woman that had volunteered to be an air raid warden received a phone call from her district supervisor. The supervisor notified her of the alert and then asked if she had seen an object in the sky that was very close to her home. Without hesitation she went to the window and looked into the sky. "It was huge! It was just enormous! And it was practically right over my house. I had never seen anything like it in my life!" she said. "It was just hovering there in the sky and hardly moving at all." "It was a lovely pale orange and about the most beautiful thing you've ever seen. I could see it perfectly because it was very close. It was big!"

Katie added that the anti-aircraft searchlights had completely surrounded the object. "They sent fighter planes up and I watched them in groups approach it and then turn away. There were shooting at it but it didn't seem to matter." Katie states that U.S. fighter planes did attack the object. "It was like the Fourth of July but much louder. They were firing like crazy but they couldn't touch it." "I'll never forget what a magnificent sight it was. Just marvellous. And what a gorgeous colour!", said Katie.

With lights off, residents were now able to witness what was to be known as the "Battle of Los Angeles". It was a scene often depicted in future Hollywood science fiction movies. The "War of the Worlds" seems eerily familiar as U.S. military personnel bombard the space invaders with hundreds of artillery shells, bathed in brilliant light from an array of searchlights. The 37th Coast Artillery Brigade's antiaircraft batteries began firing at 3:08 a.m. and ceased at 4:14 a.m. In total nearly 2000 12.8 pound artillery shells were fired into the night sky at an undisclosed and seemingly indestructible object. The all clear siren was heard at 7:21 a.m. and the citizenry exhaled a collective sigh of relief. They had survived! The question as yet unanswered, who or what had attacked?

Newspaper reports were scarce. Government and military officials often gave conflicting statements to the press. Local resident witnesses were not interviewed or the information they gave not deemed credible by the news agencies. The only mention of the event in the Los Angeles Times was a brief article of page one which started with the headline: "Chilly Throng Watches Shells Bursting in Sky". The article written by Marvin Miles went on to describe "explosions stabbing the darkness like tiny bursting stars" and "searchlight beams poking long crisscross fingers across the night sky" and so on. The article did not mention an unknown object or enemy planes.

Initial reports cited witnesses seeing formations of warplanes overhead resulting in dogfights between enemy and U.S. fighter planes. Still others reported seeing flares falling from the sky. A naval intelligence warning indicated an attack was expected within the next 10 hours. Various radar stations picked up an unidentified object 120 miles west of Los Angeles. Immediately following the blackout the information centre was inundated with phone calls from patriotic citizens reporting enemy planes in the sky.

A Coast Artillery colonel spotted 25 planes at 12,000 feet over Los Angeles and others saw a balloon carrying red flares hovering over Santa Monica. The military stated that no U.S. aircraft were in the air. Stories of dogfights were erroneous. Officials explained that because of its limited number of aerial assets, the planes had remained grounded, until identified enemy planes could be located and verified.

The Secretary of the Navy Frank Knox announced at a February 25 press conference that there was no evidence of enemy planes and that the raid was simply a "false alarm". The Fourth Air Force believed that there had been no enemy planes over Los Angeles. Finally the Army issued the War Department report which indicated that between one and five unidentified objects had flown over L.A. These objects were believed to be Japanese. However, at the conclusion of World War II, the Japanese claimed that they did not send aircraft and did not attack Los Angeles or Southern California in February 1942!

Non-military witnesses, some using binoculars, describe a large orange object that moved slowly over the coast between Santa Monica and Long Beach. The object traveled the twenty miles in approximately 30 minutes and then disappeared. An employee of the Los Angeles Herald Express said that he was certain many of the artillery shells had hit their target - but had had no effect. The photograph below seemingly shows the unknown object, caught in the web of searchlights.

The incident has ended up with conspiracy theories attached. Was it a flying saucer attack? Was it a weather balloon? Was it a false flag operation designed to inspire support for the war effort? According to a 1980s investigation, it was just itchy trigger fingers and ‘war nerves’. The incident went on to inspire Steven Spielberg’s first war film, 1941 and demonstrates the power of mass hysteria and media manipulation.

One band that has kept me well sustained over many years is Baltimore’s critically acclaimed Arbouretum, a mighty psyche/folk/rock beast often compared to Crazy Horse era Neil Young with definite leanings toward the country and folk traditions. Engaging, hypnotic and truly beguiling, Arbouretum's live shows are far from self-indulgent; every note, every tone, every solo and every beat is an essential component to expansive and engaging story telling.

Although a fan for many years, I first met Arbouretum's leader Dave Heumann while developing the Eastman sister brand ELMC. While planning the brand launch it was decided a short film would be made to communicate the concept of our new American motorcycle culture based project. The film was to embody the ethos of the brand and the freedom associated with riding a motorcycle along with the cameraderie and brotherhood of being part of a club. The soundtrack was an all important component to this and would essentially drive the film itself. Our immediate thought was to use an Arbouretum song, we contacted Dave Heumann for permission and after many discussions and a lot of work on Dave's part, the result was "Out to the Reaches", a song written and recorded specifically for the film, perfectly capturing a dark journey with an endless moving horizon.

After 5 albums with Arbouretum and numerous other acclaimed projects, Dave Heumann has just released his first solo album entitled "Here in the Deep". Taking this as an opportunity to explore other sides of his song-writing craft, while still bearing a few of the hallmarks of his band, it is a record steeped more in country/folk traditions than psychedelic epics. Of course, under the surface it was always a sense of traditional song-writing that drove Arbouretum, but here it’s much clearer and allowed a sense of freedom to roam. Unhurried, it takes its time to unfold allowing moments of clarity as the music betrays it hidden depths. The almost simplistic nature of it is disarming though and there is much happening under the surface, or indeed on some of the more experimental tracks that show a musician unafraid to take risks. Arbouretum’s thicker tones are replaced by more dappled textures that privilege the folk-rock formalism that has long underpinned much of Heumann’s music.

Anyone who has seen Arbouretum live will be aware of Heumann's prowess in creating mesmerising, trance-like guitar solos which often take the songs into unexpected places, "Here in the Deep" though channels an almost English folk nature into an otherwise very old time American album. Almost as if to nod to bands such as Fairport Convention, it accepts that a widening of musical influences is necessary to a greater understanding of what makes a song tick. It an album concerned more with song writing and consequently, the songs contained within its groove are shorter and more compact affairs and ones that display another side to Heumann's craft. The subtlety that's displayed throughout the record is deftly played out on the penultimate song "Ends Of The Earth", a ruminative jam that builds from gentle foundations into a substantial climax of increasing tempos, noise and sensitive guitar work.

We caught up with Dave last week as he prepared for his current European tour and asked him some questions about his approach to music and the album itself.

This is your first solo record, what were the driving themes and impulses behind it?

I wanted to make a record with the kinds of sounds and textures not usually found in an Arbouretum album- acoustic guitars, hand percussion, etc., also I wanted to include some song ideas that occurred to me at the time to be a little more pop in their sensibilities than what was common for Arbouretum to do.

With a solo project, one would assume you have complete creative autonomy, as such how did this process differ from making an Arbouretum album?

With Arbouretum, it's usual for me to come in with a skeletal idea and then say to the guys, "how do you think we should come in? How many times should this part go? What should the tempo be like?", etc. With this project I didn't have the usual guys giving feedback on these kinds of things, so I really had to trust my own judgement there.

Your lyrics are crammed with rich and evocative imagery, often communicating a complex story or allegory, is this literary approach to songwriting something you consider key to your work?

It's what works for me. I like to appeal to whatever parts of the psyche that respond to poetry. My lyrics aren't poetry, but they are designed to be expressive in a similar manner.

Nature appears to play a big part in your creative process, can you explain why?

To me, nature is as pure or as real as anything else in the world of experience. Much of what we surround ourselves with wasn't around 100 years ago and won't be in 100 more, but nature is enduring and true, even when it's degraded by human activities to an extent.

You're well known for incredible modal sonic excursions in your work, can you tell us about your chosen equipment for this record - guitars, pedals and so on?

For this record I used mainly a smaller Ampeg amp - I forget the model number, but it's all-tube and low wattage. It has a really great quality when paired with my Martin EM-18 electric, and also with my recently acquired Westone Thunder guitar. Pedal-wise, I'm still using my Eventide Time Factor as my main delay, along with an assortment of other stompboxes- Fulltone tremolo, Electro-Harmonix Freeze and so on. I didn't use much overdrive on the record. I mainly would use a boost pedal for the solos to bring out more amp tone.

You're also an avid photographer, what is it about the photographic process you find appealing?

It's just another means of self expression. I mainly just shoot on my phone these days, because mine has a good shooter and it's conveniently always with me, though I've experimented with film cameras and DSLRS in the past. My process with it has a lot to do with editing, and I'm more natural at shooting landscapes as opposed to people-oriented shots.

What records are currently on your own playlist?

I've been listening to a lot of Hamza El Din lately. Also a current band from Australia called Dick Diver is something I find myself putting on a lot. Red River Dialect, whom we are honored to be playing with soon in London, has also been a mainstay. There latest record is fantastic, and so was the previous one.

You're currently on tour in Europe with a fantastic backing band (comprised 1 part Arbouretum and 2 parts The Trembling Bells), with Alex Neilson who is considered one of the finest freestyle drummers around today, can you tell us how this special group came together?

Yes. I asked Alex because not only is he a very expressive and fluid drummer who can play very freely, but he has an extensive background in the folk tradition, which is something I'm always looking to explore more. He recommended Alasdair Mitchell as being a fine bass player with a good ear for vocal harmonies. Matt I asked because he's a reliably good musician on any instrument he plays, and also having someone from Arbouretum with me on this tour helps me feel anchored a bit more than if I had gone to solely with people I hadn't previously toured with.

What's on the horizon for you in the future?

I haven't mapped out all of it of course, but the next thing planned is to finish writing and recording another Arbouretum record. After that, who knows!

"Here in the Deep" is out now and available from al good record shops, iTunes and Thrill Jockey HERE

Dave is currently on tour in Europe with dates below remaining, check out a show if you can!

Fri Nov 13th Prague, Czech Republic – Divadlo Dobeška
Sun Nov 15th Leipzig, Germany – UT Connewitz
Mon Nov 16th Berlin, Germany – Magnet Club
Tue Nov 17th Cologne, Germany – King Georg
Thu Nov 19th Schorndorf, Germany – Club Manufaktur
Fri Nov 20th Utrecht, Netherlands – Le Guess Who?
Sat Nov 21st Oxford, UK – Audioscope Festival
Sun Nov 22nd London, UK – MOTH CLUB

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The Type B-3 flight jacket, arguably the most recognisable flight jacket in history, was principally inspired by the British 'Irvin' flying jacket. Leslie Irvin first designed what we now regard today as the classic sheepskin flying jacket during the early 1920's. In 1926 he set up a manufacturing company in England, and became the main supplier of flying jackets to the Royal Air Force during most of WWII. However, the demand during the early years of the war was so great that the Irvin company engaged subcontractors, which explains the slight variations of design and colour that can be seen in early production Irvin flying jackets.

The USAAF took the classic 'Irvin' design and from it developed the type B-3, standardised on May 8th 1934, the jacket underwent a series of specification changes over the years, culminating in the simplified pattern of late 1943. As aerospace technology improved, the altitudes at which aircraft operated increased. Most heavy bombing raids in Europe during World War II took place from altitudes of at least 25,000 ft, where ambient temperatures could reach as cold as negative 50 degrees Celsius (negative 58 Fahrenheit). The cabins of these aircraft were uninsulated, so a warm, thick flight jacket was an essential piece of equipment for every member of the crew. The B-3 would become the standard issue 'Heavy Zone' flight jacket for the next 10 years.

During the autumn of 1942, the United States introduced the B-17, a long-range strategic bomber better known as the Flying Fortress, in Europe. The plane would prove instrumental in winning the war. Over the ensuing months, as the bombing campaign intensified over the skies of France and then Germany, the men who flew the armed colossus proved their mettle against incredible odds. As the Allied crews flew punishing 8-9 hour missions, it was essential to retain body heat in the cold, unpressurised cabins at altitudes of up to 30,000 feet. No amount of armour, fire power, or flying savvy could prepare the men for these brutal, below freezing temperatures. It was then and there that sheepskin leather made its fateful appearance and the B-3 Jacket earned its place in aviation history. No man-made material could master such inhospitable temperatures over a sustained period and allow the crewmen to perform their critical duties.

Even today's high-tech synthetic fibres strive to provide the same incredible warmth and soft-as-butter comfort that natural sheepskin jackets offer. Unlike other materials, the crimp of the sheep's wool creates insulating air spaces, naturally retaining heat and wicking away excess moisture when the body generates it. This protection was essential to the crews of the B-17. The men who donned the B-3 Jackets relied on their rugged and tough exteriors as much as they did on their soft and pliable interiors. Furthermore, the unforgettable images that emerged from the fabled dogfights above London, Paris, Hamburg and Berlin have remained in American consciousness way past that Great Generation's heyday. The B-3 Jacket perfectly reflected that ethos of bravery and determination. The rugged simplicity of its materials squarely embodied the country's character as a no-frills, tough-as-nails but stylish uniform that could withstand the elements while providing much needed comfort and succour to cold, battle-weary men.

The type B-3 has become an item proudly passed from father to son, generation after generation, not to be replaced, traded or retired, but cherished and worn for its amazing natural properties. It has been immortalised in history and on film by some of the worlds greatest icons from McQueen to Monroe. Our many exacting reproductions of this timeless flight jacket can be found HERE in the Eastman USAAF Sheepskin section.

Due to the escalation of WW2 in 1940, American Congress funded an increase in the strength of the US Army Air Corps from 29 to 54 combat groups and increased pilot training to 7,000 per year. The quickest way for the Air Corps to obtain additional bases was to utilise existing civil airports. Across the nation airports were commandeered for military usage in readiness for war.

On September 21, 1940, the Air Corps announced a $1.5 million project to build facilities at Daniel Field in Augusta, Georgia to support 100 to 110 pursuit aircraft and 2000 men. Because of technicalities in the land transfer, construction did not begin until March 1941. Once begun, a large construction program was needed to turn the civil airport into a military airfield. Construction involved runways and airplane hangars, with three concrete runways, several taxiways and a large parking apron and a control tower. Several large hangars were also constructed. Buildings were ultimately utilitarian and quickly assembled. Most base buildings, not meant for long-term use, were constructed of temporary or semi-permanent materials. Although some hangars had steel frames and the occasional brick or tile brick building could be seen, most support buildings sat on concrete foundations but were of frame construction clad in little more than plywood and tarpaper.

Although the Army initially planned on using Daniel for fighter aircraft, it was utilised instead mostly by transport and observation squadrons. This was due to the fact that Daniel's longest runway was a relatively short 4,200 ft (1,300 m). The geographical restrictions of ravines to the west and the city of Augusta to the east made the extension of the runways impractical. Aside from aircraft training, enlisted men were also given regular firearms and PT instruction.

Initially assigned to the Army Air Corps Southeast Air District ,the first units at Daniel Army Airfield the 14th and 15th Air Transport Squadrons of the 61st Transport Group arrived on July 12, 1941 from Kelly Field, near San Antonio, Texas. The 61st's group headquarters was formed at Olmsted Field, near Harrisburg, Pennsylvania. The squadrons flew C-47 Skytrains, as well as Doulas C-39's, which was the Air Corp's version of the Douglas DC-2. After organisational training and flying a few paratroop operations, the 61st and its squadrons were sent to Lubbock Field in Texas.

During the week of October 20, Daniel Field hosted the 40th Pursuit Squadron which came to Daniel Field from Selfridge Field, Michigan which took part in III Interceptor Command exercises, flying P-39 Aircobras.

With the United States at war in 1942, activity at the airfield expanded dramatically. In early February. Five transport squadrons of the Air Force Combat Command 89th Transport Group, the 24th, 25th, 26th, 27th, and 28th were activated at Daniel AAF. These squadrons were equipped with C-47s and Douglas DC-3's pressed into military service from the airlines. The 89th stay at Daniel was a short one. Only five weeks later the group moved on to Air Technical Service Command depot at Harding AAF, near Baton Rouge, Louisiana.

Also during February, three observation squadrons, the 16th, 111th, 122nd, and 154th, arrived from various other bases and forming the Third Air Force 68th Observation Group. Pilots trained on Douglas O43-A, Vultee / Stinson O-49 / L-1 Vigilant and Douglas A-20B Havoc aircraft performing antisubmarine patrols along the South Carolina and Georgia coast.

In 1942, newly built Army Airfields were becoming available in the southeast and the Air Force no longer had the need for Daniel Field and its short runways. No other operational units were stationed at Daniel after August 1942. In February 1943, Daniel was reassigned to the Air Technical Service Command. The facilities became a repair and replacement depot for Third Air Force aircraft. Most of the military flying at Daniel was by transient aircraft undergoing 3d and 4th echelon heavy maintenance work.

Daniel also activated and trained 32 chemical warfare companies. Chemical companies were equipped and taught to use smoke pots, tear gas, chemical trailers, trucks, blasting caps, and how to fill aircraft spray tanks. During the last part of the war, Daniel was used to prepare vehicles for use in the planned Invasion of Japan. In addition, the field had a branch prisoner of war camp with about 1200 POWs working on the field and in the nearby forests.

By war's end, the Army's air operations at Daniel were discontinued, with the airfield being returned to full civil control on October 31, 1945.

We have made an exact reproduction of a late war Daniel Field t shirt, made from a superior quality 'slub yarn' cotton, they are constructed as per the original in terms of cut, seam-style and shade and feature a print taken from an original 40's Daniel Field AFB t shirt. You can find them HERE in the webshop.

Originally starting out in July of 1943, this squadron’s was first designation was VB-146 (bombing squadron). After going through a number of other designation changes without any recorded insignia it finally became VP-ML-6 (Medium Patrol Squadron) on the 15th November 1946.

Upon the inception of this new designation the squadron was given its first official squadron insignia emblem featuring the animated icon Popeye the Sailorman. The usage of cartoon characters on unit insignia had been popularised during WWII with Walt Disney granting usage of all its characters to the US Military. The VP-6 insignia was developed by Bradley Kelly of the King Features Syndicate, it depicts Popeye astride a P2V Neptune bomber with missile in left hand and and .50Cal machine gun in the other, blazing away. Originally introduced as a minor walk-on character on the 1920's animated cinema short ' Thimble Theater', Popeye quickly became the star. With Popeye’s arrival came a host of new, off-beat funny folks such as Swee’pea, the “infink” Popeye adopted; J. Wellington Wimpy, the world’s most notorious hamburger-obsessed moocher; and Bluto, his hard-headed, lead-fisted antagonist. Popeye joined the U.S. Navy in 1941, with The Mighty Navy (1941), the first of several war-related shorts and the first time he would appear in an all-white uniform. Popeye was the one of the most popular cartoon stars from the 1930s through to the 1960s with over 753 Popeye cartoon segments existing to date.

In 1950 VP-6 deployed to Korea as the first patrol squadron in the theatre of operations after the outbreak of hostilities and the first to fly the Lockheed P2V Neptune in combat. During this tour the squadron operated from Johnson AFB, Japan 7 July-6 August 1950: Tachikawa AFB, Japan, 6 August 1950-12 February 1951: and a detachment at Atsugi Japan, 5 January-12 February 1951. Combat patrols were flown over the Yellow Sea and Sea of Japan from bases in the north of Japan. Special assignments included reconnaissance flights, cover for the Inchon landings and the evacuations of Hamhung and the Chosen reservoir.

In July 1950, two VP-6 P2V-3s, piloted by Lieutenant Commander R. L. Ettinger and Lieutenant William J. Pressler, sighted a train along the Korean coast near Chongjin. The two crews destroyed the train with 5-inch rockets and 20-mm bow guns. The following month two Neptunes, led by Lieutenant Commander E. B. Rogers, attacked several boats and barges engaged in mine laying near Chinnampo. Three boats and two barges were sunk. Roger's P-2 Neptune was holed six times by enemy fire. On the same day, other VP-6 aircraft damaged two surface craft near Wonson, Korea. Later that month a VP-6 P2V-3 Buno 122940 piloted by Ensign William F. Goodman, attacked an enemy patrol vessel near Chinnampo, Korea. The starboard engine of his aircraft was damaged by enemy AAA fire and was ditched 6 miles west of Paeng Nylong-do. The entire crew was rescued by Royal Navy cruiser HMS Kenya. As a result of this loss, patrol aircraft were no longer assigned attack missions in Korea.

While on deployment in Japan, Patrol Squadron SIX acquired the name "Blue Sharks" as a result of a feature story in Collier's magazine entitled "Ble Sharks off the Red Coast". The article described the Lockheed P2V "Neptune" as a "Blue Shark." The unit took on this new moniker and went on to participate in the Tonkin Gulf Crisis with the 7th Fleet during the Vietnam war.

In collaboration with clothing brand TSPTR we have recreated the VP-6 US Navy jacket model M422A - along with the Korean era Popeye unit insignia taken exactly from the original and made on the correct military quality looms to produce a high-quality reproduction. As with all of the garments in the Elite Units section, it is subtly time worn to give the garment true vintage appeal and is our homage to this great unit. This is an officially licensed product from King Features Syndicates.

Many of the original West Coast motorcycle clubs were formed by ex-servicemen just returned from World War II. They were men whose lives had been interrupted by the horrors of war. They were looking for excitement and craving fun but more importantly, they were longing for the brotherhood they had while serving on the Worlds battlefields. They gravitated together through these desires and the commonality of riding motorcycles.

The club gave them the sense of belonging they had experienced in their military units but also afforded them a new found freedom you could only find on the open road. Infamous clubs including the Hells Angels, Boozefighters and the Pissed Off Bastards of Bloomington came together not long after the end of World War II, bringing a new culture and language to post war America. The Fall 2015 ELMC collection celebrates these innovators, not only for their spirit and sense of adventure but also for their knack for turning military issue equipment into functional motorcycle riding gear.

This series was shot by regular Eastman collaborator and well known motorcycle aficionado and collector Gary Margerum.

“Jabara, you’re shooting at me!” screamed Lieutenant Dick Frailey in a desperate attempt to get Major James Jabara, the third ranking American ace of the Korean War, to break off his attack. But his frantic radio transmission came too late. Jabara had opened up with his .50-caliber machine guns from a range of 3,000 feet and then followed up his initial trigger squeeze with eight more bursts. His bullets smashed into the left wing, engine and canopy of Frailey’s North American F-86 Sabre. Several rounds passed between Frailey’s arm and chest, ripping through his instrument panel.

Frailey’s engine started to smoke, and his jet rolled over into a dive. He managed to temporarily recover control of the fatally damaged plane and point it toward the Yellow Sea, where he thought he might have a better chance of being rescued.

With 64 missions over Korea under his belt, Frailey was an ex­perienced combat veteran. Ironically, he was flying Jabara’s usual aircraft on this mission and often flew as his wingman.

Frailey had purchased an expensive camera on a recent trip to Japan, intent on becoming the first American pilot to take a still photograph (other than gun camera footage) of a MiG-15 in flight. “I don’t want to eject,” Frailey announced to his flight mates. “I’ve got my new camera with me.” Jabara replied, “Screw the camera, I’ll buy you a new one.”

Frailey had difficulty getting out of his seat in the course of bailing out, but he managed to deploy his parachute just before his feet hit the water. His chute promptly landed on top of him, and he escaped from the web of tangled shroud lines only to discover that one of Jabara’s bullets had punctured his one-man life raft. To make matters worse, he had ejected within range of Communist shore artillery. Fortu­nately for Frailey, a U.S. Air Force Grumman SA-16 amphibian pilot braved the ensuing barrage and plucked him from the water.

The Air Force tried to keep the incident secret because it reflected poorly on Jabara, a celebrated war hero. Moreover, Air Force officials didn’t want the public to know about one of the factors that had contributed to this case of mistaken identity: American pilots frequently violated the rules of engagement prohibiting flight into Chinese airspace. Frailey’s flight leader had taken his four Sabres north of the Yalu River on a MiG sweep. Jabara saw the flight’s contrails tracking from the north across the border to the south and assumed they were a formation of MiGs. His pursuit curve put him on Frailey’s tail.

Jabara was known for his aggressiveness. During one World War II mission on May 28, 1944, his flight of four North American P-51D Mustangs was escorting Allied bombers to targets deep in the heart of Germany when 50 Messerschmitt Me-109s swarmed the bomber formation. Undaunted by the overwhelming odds, Jabara plunged into the furball with reckless abandon. A Luftwaffe pilot shot off Jabara’s canopy during the ensuing melee, yet the Mustang pilot re­mained unfazed. He continued his attack and managed to claim a probable victory despite the fact that he was flying a “convertible” at that point.

“Jabara was the ultimate warrior when it came to going to the sound of the guns without orders,” recalled Lt. Gen. Earl Brown, a Sabre pilot who flew 125 combat missions with the 4th Fighter-Interceptor Wing in Korea. “He would go wherever the guns were sounding, looking for some; if you’re with him in a bar fight, he’s just looking for a guy to punch—but if you’re not careful, he might, in his excitement, punch you.”

Many of the top aces in Korea, including Jabara, seemingly suffered from an affliction known as “MiG Madness.” They obsessed over their MiG tallies and worked themselves into a frenzy whenever they saw another aircraft airborne. In the heat of the moment, they sometimes saw what they wanted to see. Hal Fischer, the 25th ranking Korean War ace, wrote about another friendly fire incident in which he observed his wing commander, a man with a “visual problem and a great desire for shooting down MiGs,” fire on two Sabres heading south across the Yalu despite repeated calls over the radio explaining that they were friendly aircraft.

No official Air Force record chronicles the number of friendly fire incidents, but plenty of anecdotal evidence exists to suggest it occurred more than one would expect. On a few occasions, pilots who returned from a mission claiming a kill had their celebrations cut short when their gun camera footage clearly showed an F-86’s identification markings. A senior officer in the 4th Wing, for example, was transferred after a review of his gun camera film from a mission on June 22, 1951, conclusively showed that he had shot down Lieutenant Howard Miller, a pilot in the wing’s 336th Squadron.

In addition to fostering friendly fire incidents, MiG Madness sometimes caused pilots to take unnecessary chances in combat, and consequently resulted in the death of many talented aviators. MiG Madness claimed the life of Major George Davis, then the leading American ace of the war (12 victories), on February 10, 1952. “George’s main goal in life was to shoot down MiGs,” reminisced squadron mate Charlie Mitson. Just prior to Davis’ death, Mitson remembered him “dwelling on his score a lot.” The ace’s quest to build his victory total undoubtedly clouded his judgment during that last fateful mission.

Davis was leading 18 F-86s with orders to screen out any MiGs that attempted to intercept U.N. fighter-bombers attacking targets at Kunu-ri. Perhaps out of boredom, Davis broke away from the formation and took a four-ship flight up to the Yalu looking for action. His decision to embark on a MiG-hunting lark is pretty remarkable, especially since he was the mission commander for the Sabre screen. Moreover, MiGs frequently flew in large formations (often in trains of 60 to 80 aircraft), so Davis should have expected to be outnumbered if his flight encountered any enemy jets.

Sometime later Davis spotted 10 MiGs heading southeast at high speed. Unfortunately for the mission commander, his element leader (No. 3 in the formation) had run out of oxygen and returned to base with his wingman (No. 4). Davis decided to bounce the MiGs even though he and his wingman were outnumbered 5-to-1. He waded into the enemy formation, blasting away. The MiGs scattered, but one hesitated just long enough for Davis to rack up his 13th kill.

A slashing attack at that juncture would have guaranteed an escape option, but Davis was not satisfied with just one victory. He elected to immediately pursue another MiG, which meant he would have to sacrifice his energy advantage. Davis expertly maneuvered his jet behind the fleeing enemy plane and squeezed the trigger. Thick black smoke immediately poured from the MiG’s engine, and the jet entered a steep dive. The Communist pilot never recovered from the hit, and Davis claimed his 14th and final victory.

But Davis had bled away his speed while maneuvering to achieve his two kills in rapid succession, and as a result he was a sitting duck. At 32,000 feet a slow-moving F-86’s turning performance is marginal. Even so, the Sabre ace was attempting to turn to engage a third MiG when a fourth drilled his cockpit with cannon fire. Davis’ jet spun out of control. His wingman repeatedly yelled for him to bail out, but there was no answer, and the F-86 smashed into a Korean mountain.

The Air Force posthumously promoted Davis to lieutenant colonel and awarded him the Medal of Honor for his “indomitable fighting spirit, heroic aggressiveness, and superb courage in engaging the enemy against formidable odds.” His citation observed: “Rather than maintain his superior speed and evade the enemy fire being concentrated on him, he elected to reduce his speed and sought out still a third MiG-15. During this latest attack his aircraft sustained a direct hit, went out of control, then crashed into a mountain 30 miles south of the Yalu River.”

Davis’ refusal to break off his attack even after scoring a kill may have been motivated by a desire to achieve greater public notoriety. The American press treated the first aces of the jet age as knights of the air. They became household names, rivaling in popularity even sports stars of the day. The media piled praise on Sabre pilots in part because they were achieving tangible victories over the Communists during a period when the ground war stagnated.

The Communists chose to challenge American air power principally in “MiG Alley,” the northwestern quarter of North Korea bounded on the west by the Korea Bay and on the east by a line running roughly between the Sui-ho Reservoir and the town of Huichon. MiGs could launch from the Antung complex of airfields in Chinese Manchuria and be ready to fight within a few minutes, whereas Sabre pilots needed to fly a considerable distance just to make it to MiG Alley, let alone fight there. Basically, MiG Alley was at the edge of the F-86’s endurance. Sabre pilots often had less than 20 minutes’ on-station time before they had to return to base.

In an effort to stretch their time on station, many pilots would fly past “bingo” (the minimum fuel required for a safe return to base). To get home, they had to shut down the Sabre’s engine and glide part of the way. The F-86 could glide 69 miles from an altitude of 30,000 feet. The idea was to hopefully arrive over home base with enough fuel to restart the engine and land. But the Sabre’s engine did not always cooperate. The practice was so widespread that one squadron commander noted his unit made a dozen dead-stick landings each week in 1951-52. Squadron, group and wing leaders generally did not punish pilots for flying past bingo fuel. Instead they tended to celebrate it as a sign of an aggressive fighter pilot who pushed the flight envelope.

Captain Robinson “Robbie” Risner, a Korean War ace with eight victories, was one of those celebrated aggressive pilots. On October 22, 1952, he chased four MiGs across the Yalu while escorting a flight of fighter-bombers. Risner finally caught the tail-end Charlie deep inside Man­churia and fired a burst that shattered the MiG’s canopy. The enemy pilot, trying to escape, performed a split-S and managed to pull out of the maneuver 10 feet from the ground. The MiG was so low at that point that Risner saw its jet engine exhaust kick up dust from a dry riverbed. “He was not in very good shape,” recalled Risner, “but he was a great pilot—and he was fighting like a cornered rat!” The MiG pilot pulled his throttle to idle and put out his speed brake in an effort to get the Sabre to overshoot. Risner rolled over the top of the MiG and came down on the other side next to his wingtip. “We were both at idle with our speed brakes out, just coasting,” Risner recalled. “He looked over at me, raised his hand, and shook his fist. I thought, ‘This is like a movie. This can’t be happening!’ He had on a leather helmet, and I could see the stitching in it.” The MiG valiantly evaded his pursuer all the way back to Ta-tung-kou airfield, 35 miles into China. Risner and his wingman, Lieutenant Joe Logan, doggedly pursued him even as the enemy jet flew at 300 knots between two of the airfield’s hangars. Risner eventually got in an opportune shot and peppered the enemy with bullets until he blasted off part of the MiG’s wing. The MiG crashed alongside the runway.

During the high-speed pass between the hangars, Chinese anti-aircraft artillery punctured Lieutenant Logan’s fuel tank. Jet fuel was pouring out of his Sabre, and Risner told him to shut down his engine to save gas and then attempted to push Logan’s aircraft to safety using the nose of his F-86. He had to back off after two attempts, though, because venting fuel and hydraulic fluid from Logan’s crippled jet covered his canopy. Logan bailed out near Cho-do and drowned after becoming entangled in his parachute risers. On his way home, Risner’s F-86 ran out of gas, but he managed to glide back to base and make a successful dead-stick landing.

Many senior Air Force leaders not only condoned but encouraged pilots like Risner to break the rule that prohibited pursuit of MiGs into China. In fact, the top pilots routinely crossed the border. They did so both in hot pursuit and as part of preplanned missions that flagrantly broke the rules. Two-thirds of the 39 American jet aces crossed the Yalu, including the three leading aces. Eight of 11 pilots who scored 10 or more kills admitted after the war that they had crossed into Manchuria. General John Roberts remarked, “There were a lot of airplanes shot down in Korea by guys who…[did] not necessarily play by the rules.”

Sabre pilots were encouraged by the lax attitude of senior leaders, whom they expected would wink at border violations. For the most part their assumption was correct. After watching a radar display that showed two F-86 pilots twice circling a Chinese airfield 100 miles beyond the border, General Frank Everest, commander of the Fifth Air Force from June 1951 to May 1952, pretended to angrily storm into the postflight debrief and threaten the two pilots with court-martial. He then stomped out of the room and slammed the door. Moments later, he poked his head back in the room and said, “And furthermore, if you are going to violate the Manchurian border, for Dog’s sake turn off the damn IFF [identification friend or foe].” Likewise, General Glenn Barcus, the Fifth Air Force commander after Everest, told pilots during one premission brief to “Screw the Yalu!”

Many commanders not only permitted and encouraged border violations but also engaged in the practice themselves. Lieutenant Michael DeArmond, a young F-86 pilot, recalled one commander telling the squadron before a mission that any pilot caught north of the border would face court-martial. On that same mission, the commander led a flight of four Sabres deep into Manchuria and shot down a MiG. Wanting to keep the rules of engagement violation a secret, the officer quizzed DeArmond on the location of the shootdown. DeArmond answered, “Somewhere around the mouth of the Yalu.” The colonel responded, “Son, you have a bright future in the Air Force.”

Colonel Francis Gabreski, the top American ace in the European theater during World War II, chased a MiG over the main runway at Antung. After shooting down the Soviet pilot, Gabreski interrupted his flak-dodging maneuver to execute a victory roll over the Chinese airfield. Gabreski admitted to Colonel David Jones, a Fifth Air Force staff officer and later Air Force chief of staff, that his unit frequently crossed into China. When Colonel Jones expressed his dismay, Gabreski suggested that the colonel or his general was free to fly up to the Yalu and write down tail numbers. Furthermore, he declared that if the Fifth Air Force wanted “to kick ass” for the border violations, they should start with his own. Colonel Harrison Thyng, commander of the 4th Fighter-Interceptor Wing, or­dered a pilot to buzz Antung at an altitude of 10 to 15 feet at Mach .9. He reasoned that the sonic boom would infuriate the MiG pilots and entice them to rise to the bait.

Sabre pilots shied away from strafing MiGs on the ground, perhaps because two unlucky F-80 Shooting Star pilots were court-martialed after they became lost and shot up a Soviet airfield in October 1950. Even so, MiGs did not have to get too far off the ground before American airmen would shoot at them. Georgy Lobov, the first Soviet MiG commander of the war, complained, “Americans were constantly crossing the border.” Lobov’s unit, the 64th Fighter Aviation Corps, lost 26 aircraft over their own airfields during the first six months of 1952. American planes would often circle at high altitude over the mouth of the Yalu and swoop down on Communist pilots after seeing dust swirling on their airfields, an indication that MiGs were taking off. The Soviets were so frustrated by the aerial blockade that they simply kept their jets on the ground when Sabres were re­ported overhead.

Sabre gun camera footage sometimes showed MiG-15s with their landing gear extended, with other enemy planes plainly visible in the background, parked on the tarmac of Chinese airfields. Understandably, this type of incriminating evidence tended to get “lost” or destroyed.

Air Force officials mostly turned a blind eye to flights into Manchuria. But they did haphazardly and inconsistently enforce the restriction. Captain Joe McConnell, the highest-scoring American ace of the conflict, was grounded for two weeks for repeatedly crossing the border. The 51st Wing commander, Colonel John Mitchell, intervened and forced McConnell’s superior to allow him to fly again. Usually Air Force leaders cracked down only after an embarrassing incident occurred that they could not ignore.

On January 23, 1953, cannon fire from a MiG broke the right arm of Lt. Col. Edwin Heller, commander of the 16th Fighter Squadron, during a sortie over Manchuria. Bullets also severed his Sabre’s control stick and disabled its ejection system. Heller’s F-86 went into an uncontrollable dive from 40,000 feet. He struggled to disconnect his seatbelt, stood up in his seat and started trying to claw his way through an eight-inch hole in the canopy—at which point the 650-mph wind stream sucked him right through the opening. Among other injuries he suffered during the bailout, Heller’s left leg was fractured when it struck the horizontal stabilizer. Peasants captured the downed pilot, who endured 28 months in Chinese captivity.

Heller’s shootdown over Chinese territory resulted in diplomatic protests that jeopardised ongoing peace talks. At about the same time, Swiss observers traveling through Manchuria to Panmunjon for the peace talks witnessed a dogfight well north of the Yalu. Their complaints finally forced senior Air Force officials to take action.

Captain Dolph Overton, an ace with possibly the hottest streak in Air Force history, became the scapegoat. Overton shot down five MiGs in just four days (January 21-24, 1953). During a visit to an Air Force radar site on Cho-do, he had learned where MiGs orbited while waiting to land, how long they stayed airborne and how they made their approach to landing. Overton positioned his jet above the MiGs’ landing pattern, flying a racetrack pattern with minimal manoeuvring to lessen the possibility that the sun’s glint off his Sabre’s wings would give away his position. Then he waited to pounce on his prey. He turned off his IFF, hoping to fool enemy radar operators into thinking his aircraft was just another MiG getting ready to land.

Overton also tried to keep his jet between the sun and the MiGs in order to arrive at their 6 o’clock position undetected. All of his kills were achieved at close range without the use of the radar-ranging feature of the Sabre’s gunsight. “They never seemed to see us or recognize us until too late,” he boasted.

The day after his fifth kill, Overton was called into Colonel Mitchell’s office. He responded truthfully when asked, “Were you over the river yesterday?” Under pressure from higher headquarters, Mitchell grounded the ace. He also gave Overton a terrible efficiency report for his “inability to follow orders,” took away his captain’s bars and sent him home without decorations and without official recognition of his five victories. The Air Force eventually did bless Overton’s claims, but it took almost a year (normally victory claims were processed, reviewed and confirmed within a month).

Mitchell’s actions were an extreme example of hypocrisy. The wing commander had not only condoned flights across the border, he had personally participated in them. Overton’s treatment was particularly unfair because on the day in question he was flying as the No. 4 aircraft in a four-ship flight—in other words, he was just a wingman. Overton remarked, “I know that shit flows downhill, but it seemed to me that this was a long way down.” Within a year he resigned his commission and left the service. The squadron was grounded for a short period, but no other pilot was individually punished—possibly because the ground crews threatened to mutiny after learning of Overton’s fate.

Not all top pilots violated the rules of engagement in search of MiGs. In the foreword to MiG Alley to Mu Chia Pass: Memoirs of a Korean War Ace, which chronicles the air exploits of nine-victory ace Cecil Foster, Overton wrote: “Sometimes the MiGs just did not leave China. You cannot shoot a plane down if it does not fly when you are flying or does not fly into your combat zone. During those inactive times, some pilots ventured across the Yalu River into China hoping to engage in enemy activity. Cecil Foster never crossed the Yalu illegally.” Just the fact that Overton celebrates Foster’s disciplined adherence to the rules as a way to testify to his character suggests that the practice of crossing into Manchuria was widespread and routine. “[Our pilots] were coming back with blackened gun ports after every mission,” recalled one officer. “That meant they were shooting at MiGs every time they were up there. That couldn’t happen unless they were on the wrong side of the border.”

The punitive actions taken against Overton failed to deter other F-86 pilots from continuing to break the rules of engagement. On April 7, 1953, Hal Fischer, a double ace, spotted four MiGs crossing the border into Korea. The enemy jets turned around and escaped back into China, but Fischer gave chase anyway. He cleared his wingman to return home without him after the latter reported that he was low on fuel. Flying alone, Fischer continued to press the attack even after three more MiGs appeared. Official Soviet records describe what happened next: “At 1640 upon approach to Danu airfield, Senior Lieutenant Berelidze’s pair attacked one F-86 which was pursuing Senior Lieutenant Ugryumov at an altitude of 1,000-1,500 meters. Senior Lieutenant Berelidze shot down one F-86 from a distance of 400 meters at a 14 quartering angle. The pilot: Captain Harold Edward Fischer, service number A02204126, Flight Commander, 39th Air Squadron, 51st Wing, was taken prisoner.” The Chinese held Fischer in solitary confinement until June 1955. He had more than two years to reflect on his bout of MiG Madness.

Undoubtedly, the aggressiveness of the leading American Korean War aces in pursuit of MiGs propelled them to the top of the pecking order and helped secure air superiority for U.N. forces. For that, they should be honoured. But tales of friendly fire, rule-breaking and recklessness blemish the stellar combat records of these legendary airmen.

For some time now William Hamper has been a regular Eastman and Buzz Rickson's customer. His working pseudonym for the past 38 years has been Billy Childish - one of the few remaining bastions of British originality and talent today. A cult figure in America, Europe and Japan, he is by far the most prolific painter, poet, and song-writer of his generation. In a twenty year period he has published over 40 collections of critically acclaimed poetry, recorded over 100 full-length independent LP’s and produced over 2000 paintings.

Born in 1959 in Chatham, Kent, he left Secondary education at 16 an undiagnosed dyslexic. Refused an interview at the local art school he entered the Naval Dockyard at Chatham as an apprentice stonemason. During the following six months he produced some six hundred drawings. On the basis of this work he was accepted into St Martin’s School of Art to study painting. However, his acceptance was short-lived and before completing the course he was expelled for his outspokenness and unorthodox working methods. With no qualifications and no job prospects Childish then spent some 12 years developing his own highly personal writing style and producing his art independently.

Since then he has had solo and group exhibitions internationally including New York, London, Seoul and Berlin. He was included in British Art Show 5, which toured throughout four cities - Edinburgh, Southampton, Cardiff, and Birmingham. In 2010, he was the subject of major concurrent survey exhibitions at the ICA in London and White Columns in New York, and in 2011 he became Artist in Residence at the Chatham Historic Dockyard where he currently works.

As fan's of Billy's work across all genres it was a pleasure to speak to him recently regarding his work and patronage of eastman products.

To define you as eclectic in your influences and projects would be a huge understatement, in your view does creativity have to be approached in a wide variety of media?

No, I just happen to get bored if I do anything every day. As a kid I wanted to be painter as I didn’t fancy a ‘real’ job. Music came along in 77 and I was happy to be included. But we were never with an agency or big label – our tours were 2 weeks tops in the back of a transit round Germany etc. Writing, again, I just write when I feel like it, but within that I am very disciplined and can apply myself with quite an intense focus - but then I need a break and to do something else. This suits me but isn't a 'have to' for everyone else.

Would you define one particular facet of your work as more important to you than the others?

Yes, painting is nearest my basic nature.

You've been an Eastman and Buzz Rickson's customer for some time now, what initially attracted you to the brands?

I found out about Eastman from a friend who recommended I take a look. As a boy I used to buy old military jackets and hats and wore some of that stuff as a punk in 77. As a teenager through to the 90’s I bought most my cloths in Oxfam, as I hated regular fashion. I then began to notice people who made stuff with the same attention to detail as the old gear I liked. I found out about the Buzz Rickson from Eastman Leather. Really you vote with your money & patronage, and I vote for people who care about what they do, be it art, cooking, or any type of making. If your going to engage in materialism make it good materialism, not careless stuff often made by underpaid children in the 3rd world without piss breaks. Of course there can be compromise, but I really try to engage in life with love and prefer people who do the same.

You have a strong sense of style that is clearly motivated by the context of the clothing you wear as much as the aesthetic, can you explain why this is important?

In a strange way it's not that important to me. I often don’t remember what I've put on in the morning - or look like - unless I'm confronted with myself in a shop window. All of my eclectic choices are based on liking the colours in the weave and weft, or a button. I've always been like this; when I was seven I used to wear an old fedora that I brought for 3d from a local jumble sale. I liked it because it was of the old world and coloured green.
I was one of the few punks to wear shorts (8th army) and sometimes an old homburg hat. To understand where I'm coming from I'd have to say I have a childlike relationship with stuff. There is no mandate other than some stuff fires my imagination and things that are real and cared about allow my imagination fuller reign.

Your style could almost be described as a reaction to the burgeoning subcultures during your formative years in the 1970's - glam, punk and so on. Is this a conscious move to relocate yourself in a different era?

I've covered this a bit, but for sure I liked all the old soldiers who worked in the dockyard when I was 16. I was an apprentice stone mason in the yard 1976 and it was normal to wear an old WWII beret and work duffel coats from back then. (my overalls were WW11 RAF,). I certainly felt more affinity with the old boys than my contemporaries.

You made a fantastic Super 8 film based on the British retreat from Mons in WWI, can you tell us more about the motivation behind this?

I was a RE cadet when I was 12 and have always liked a bit of serge. I've been a member of a living history group, The Great War Society for many years, and in 2004 we did an 80 mile march in full kit to mark the 90th anniversary of the retreat from Mons – also raising money for the British Legion (as a punk one of our venues in 1977 was the British Legion Hall in Chatham). For the march I decided to borrow my mates old super 8 camera he bought at the Rochester flea market and bought 10 reels of out-of-date Russian super 8 stock on the cheap. I was run ragged as I was also on road duty on my old bike, but I got some shots in and luckily it all came good. I recorded the soundtrack on an old cassette recorder and dubbed that on and we had a little story.

You seem to approach all of your creative projects in a specifically old fashioned manner, the phrase, 'if a jobs worth doing, its worth doing well' springs to mind, is this something you adhere to?

That’s nearly true. But I'm no stickler – I never had a lesson in anything and really found my own way copying mates (and the masters). I'm fast and a bit of a bodger – but I bodge with love and now have somehow learned to do some of this stuff with ease and grace. What I admire in others is their care and ability to measure (I couldn’t really manage to be a stone mason as I've got no maths. I'm dyslexic, left school at 16 was not allowed in the school choir as they said I was tone deaf, and I was thrown out of art school. So I'm a bit of a contradiction.

Can you tell us what you're working on at the moment?

I'm just finishing a new LP – we still record on analogue and have always made our releases on vinyl. I have a solo show of paintings opening in New York this September. I've made a hand coloured etching edition to tie in with this and as a fund raiser for the Whitchapel Gallery in London. There's a new bronze edition about to come out through L-13 (skull and femur) + some affordable prints of paintings. I've also been writing a novel about 77 /78 punk rock – 7 drafts and 4 years in now - and have numerous other side projects I'm messing with as well.

Billy's latest exhibition entitled 'Flowers, nudes and Birch trees' is currently showing at Lehmann Maupin in New York from
September 10 - October 31 2015

His latest collection of poetry titled '
In the Teeth of Deamons' was published this year by Tangerine Press, Tooting

In the years during and preceding the Second World War the U. S. Navy developed and issued a multitude of different styles of cold weather gear and clothing. Winter jackets, commonly referred to as “Deck Jackets,” became the most cherished clothing articles of sailors during WWII and among collectors today. Most of the deck jackets used in WWII evolved from a dark blue, waterproof, zip-front design that was very similar in appearance to the U. S. Army’s Winter Combat Jacket (Tanker Jacket). In 1943, the second version of this Deck Jacket design was introduced, featuring a new-style front closure that was both an improvement over the zipper closure and a distinguishing characteristic of this jacket style that would later be considered a design classic.

This new Deck Jacket took into account the lessons learned from several years of warfare at sea. By the time America was actually at war and fighting in 1942, it was concluded that Navy personal who found themselves on shore or beach landing operations needed to be instantly and obviously recognized as U. S. Navy personnel when viewed mixed-in with various Army troops. Likewise, the USN had such different working uniforms from the U. S. Army that it was also feared GI’s unfamiliar with the Navy clothing might mistake USN personnel on the beach as enemy troops, many of whom were themselves also blue-clad navy forces manning the coastal defences that U. S. forces were assaulting. This potentially deadly dilemma was rectified in late 1942, whereby the newer-production zip-front Deck Jackets leaving the factories had the upper back area boldly stenciled with the identification text “U. S. NAVY” in block letters using an opaque, semi-reflective, silver-coloured silk screening ink.

The revised Deck Jacket of 1943 was exclusively produced with the silver stencilling across the back, unlike the earlier jackets it replaced. It retained the waterproof, celluloid plastic interlining (sandwiched between the outer shell and Melton wool inner lining) of the earlier jacket style, but the most recognisable improvement incorporated in the 1943 Deck Jacket was the new style frontal closing method. The earlier jackets closed via a metal zipper. During very cold weather conditions, any collected water spray on the zipper would immediately freeze, making the zippers very difficult, if not impossible to operate. Likewise, deck personnel wore heavy gloves in cold weather, the wearing of which often made operating the zipper slide unduly hard, and if the zippers were ice-caked with frozen spray, more often than not they would simply fail completely. The solution to this problem was found in the typical fireman’s coats of the era. Naturally, firemen wore heavy gloves and were often coated in water from head to toe, and in winter, this water froze to their coats, yet they could fasten or unfasten their coats without great difficulty. The fireman’s coats, however, fastened not with zippers but with a metal hook-style clasp fastener that pivoted on a hinge pin and folded around and through a metal bracket. It was this same fastener design that the U. S. Navy incorporated into the 1943 Deck Jackets.

There are a few variation in the production of this "hook" type as well, the vast majority of original issued jackets includes the "D" patch pockets and single hook at the bottom of the jacket, however similar "hook" types without the "D" pockets exist and some have double hook enclosure at the bottom. This is no surprise as the patterns are usually modified to suit the situation and varies from one manufacturer to another.

This new Deck Jacket became synonymous with WWII U. S. Navy operations around the world and has since become a prized collectors item.

The 80th was the first USAAF fighter group to be stationed in Burma since the Japanese ran out the famous Flying Tigers in 1942. The 80th fighter group was unmistakably a vital element in the victory in Burma. During its two years in combat, this group, which called itself the "Burma Banshees", kept the supply lines open to China. These planes and pilots fought a forgotten campaign over the ‘Hump’ of the Himalayas and into Burma from late 1943 through the end of the war, engaging Japanese Army aircraft over isolated jungles and unmapped green hell in support of General Stilwell’s Chinese Troops and General Merrill’s Marauders.

The 80th had a motto, "Angels on our Wings," because its primary mission was to escort and conduct combat air patrols for transports but the group's nickname, the "Burma Banshees," sent a message to its Japanese enemies - when they heard the wailing sound of a Banshee's machine, death and destruction were coming their way. Their distinctive ghost skull was nice contrast to the more traditional shark jaws often seen on Warhawks in U.S. and British service.

The 80th Pursuit Group was born in the wake of Pearl Harbor shortly after America's entry into World War II. It was commissioned on January 13, 1942 along with dozens of other fighting units under a special order of Congress. Less than a month later, on February 9, 1942, the 80th was activated at Selfridge Field, Michigan, with the 88th, 89th, and 90th Pursuit Squadrons. The first several months of the 80th's history were quite uneventful. Its ranks, almost totally enlisted, performed administrative and organisational functions while waiting for planes and pilots. During this period, on May 12, 1942, the Department of the Army changed the designation of the group and its squadrons from "pursuit" to "fighter." In July of 1942, the pilots arrived and began training, first in the P-47 Thunderbolt and later in the Curtis P-40. By 1943 they were ready for combat.

On May 10, the 80th shipped out of New York harbor headed for Karachi, India. From there the journey continued over land. From September, 1943, until March, 1944, the 80th established its base of operations in the Assam Valley just outside of northern Burma. Since its main purpose was the defence of supply routes to China, the majority of missions flown were patrols in support of the cargo airlift between Assam and Kunming, China. The 80th also provided offensive strikes in the Huwang Valley of northern Burma to protect allied engineers building the Ledo Road, a land supply route through the Burmese Jungle. The official mission of the 80th Fighter Group was soon extended to include offensive strikes in northern Burma to prevent the establishment of enemy bases from which Allied airlift planes might be attacked. Therefore, in the months that followed, the group launched several attacks on Myitkyina Airdrome in an effort to reduce Japanese attacks on the Hump cargo planes. Myitkyina, the only all-weather strip in northern Burma, was the principal Japanese base for the defence of Burma from the north. Japanese opposition was not the only enemy. In the dense jungles temperatures sometimes soared to 140 degrees and the humidity hovered near 100 percent. Crews worked in swarms of beetles, flies, and gnats. At night, sleeping required the use of mosquito netting. Supplies came by ship from half way around the world and were nearly impossible to obtain. Finally, disease and fungi claimed more troops than opposing enemy fire.

By the time the 80th Fighter Group left Myitkyina it had compiled an impressive combat record. The Banshees launched 18,873 planes on 4,719 missions, destroyed more than 200 bridges and destroyed 80 enemy planes in the air or on the ground. It received the Distinguished Unit Citation for a most remarkable defence of a critical Indian oil refinery. This fighter group kept the supply lines open and helped Allied bombers and ground troops defeat a Japanese onslaught that at one point in this war seemed unstoppable. By the spring of 1945, targets were becoming scarce as the war was drawing to a close. Shortly after the end of the war in September, the 80th returned to the United States and was deactivated on November 3, 1945.

West Coast artist Bruce Minney was born October 2, 1928 making him an impressionable teenager during the years of WWII. In 1946 he was accepted to the prestigious California School of Arts and Crafts. However, after graduation work as a firefighter left him unfulfilled artistically so in 1955 he packed up his family and moved to the mecca of advertising, paperback and pulp publishing – New York City.

In the days of Mad Men, men's adventure magazines thrived. With titles like Stag, Male, For Men Only, and Man's Illustrated their crazy covers and even crazier stories were distinctly American. Minney spent 20 years working as an illustrator for men's adventure magazines painting beautiful scantily clad women, gorillas, lions, tigers, bears, elephants, alligators, headhunters, Nazis, airplanes, aircraft carriers, tanks, guns, and many explosions. His style evoked boys own adventure and spoke to men on a base level. As the 1960s wore on and US involvement in Vietnam increased and magazines like Penthouse became more explicit, circulations for the men’s adventure magazines dropped and jobs were harder to come by. One of the last men’s adventure magazine illustration Bruce did was for National Lampoon in November 1970. The illustration is a brutal, acerbic parody in the men’s adventure style set in Vietnam.

He worked another 20 years painting covers for all kinds of paperbacks, over 400 in total, including western (The Lone Ranger), historical romance, action, military (Hornblower), biography, and Gothic horror. He truly was the man who painted everything.

His populist hyperrealist style, while similar to that of Mort Knustler and others, has been embraced and preserved, and is now highly collectable. The winner of numerous awards and the shaper of men and boys for a generation or better, he died on August 5, 2013.