ianwoodward9I have recently located the fuller videoclip from which the excerpt I first posted was taken. Much of this will be of little interest to most of you (and, indeed, largely to me, too). However, here it is:
http://www.youtube.com/watch?v=1kD2P5_16xc
It opens with about 20 seconds shot from the Lodestar in question, as it comes into land. Again, my question is this:
Given this additional footage of the approach to the airfield, showing the area around and the runway etc., is it possible to identify which airfield it is?
BACKGROUND If you’re bored already, then don’t read on but here’s a little bit of backjground:
1. The original footage is at 1.15 – 1.25
2. This home movie footage was almost certainly shot by Victor Maymudes, who was Bob Dylan’s road manager at that time
3. It looks as though, on Victor’s death, it passed to his son, Jake, who works in the video making business, I believe
4. It is as if Jake took the home movie footage and edited it into this clip – perhaps as an exercise
5. The music is not Bob Dylan
6. The Law family included John Phillip Law, who was an actor. He appeared in “Barbarella”, as I recall, as the blind angel. He is included in this footage.
7. The Law family ran a sort of artists’ colony in LA in the mid-1960s, based at a place called The Castle.
ianwoodward9I have recently located the fuller videoclip from which the excerpt I first posted was taken. Much of this will be of little interest to most of you (and, indeed, largely to me, too). However, here it is:
http://www.youtube.com/watch?v=1kD2P5_16xc
It opens with about 20 seconds shot from the Lodestar in question, as it comes into land. Again, my question is this:
Given this additional footage of the approach to the airfield, showing the area around and the runway etc., is it possible to identify which airfield it is?
BACKGROUND If you’re bored already, then don’t read on but here’s a little bit of backjground:
1. The original footage is at 1.15 – 1.25
2. This home movie footage was almost certainly shot by Victor Maymudes, who was Bob Dylan’s road manager at that time
3. It looks as though, on Victor’s death, it passed to his son, Jake, who works in the video making business, I believe
4. It is as if Jake took the home movie footage and edited it into this clip – perhaps as an exercise
5. The music is not Bob Dylan
6. The Law family included John Phillip Law, who was an actor. He appeared in “Barbarella”, as I recall, as the blind angel. He is included in this footage.
7. The Law family ran a sort of artists’ colony in LA in the mid-1960s, based at a place called The Castle.
ianwoodward9Sorry for delay. I’ve been a bit preoccupied.
This is not project with which I’m involved but, as I know someone who does volunteer “work” at the theatre, I’ll try to pass the information along. Thanks.
ianwoodward9One can but try.
ianwoodward9Trying to identify the airfield from so short a piece of home movie footage, as shown in that videoclip, was a very long shot indeed but thanks, anyway, to all those who have at least viewed this thread.
ianwoodward9Thanks for the response and sorry to take so long to come back to you on it.
Dylan’s manager at that time was one Al Grossman, who also managed Peter Paul and Mary, who were Trio Concerts Inc. Dylan’s company was Ashes & Sand Inc. This particular Lodestar was first owned by Trio, then was transferred to Ashes & Sand. Around that time, I believe that Trio Concerts acquired another Lodestar. If my memory is correct on this element, then it would explain the reference to two Lodestars. As far as I know, the two were owned rather than leased but I’d be pleased to be corrected on this.
When the first link refers to “the band”, they were actually the musicians who later came to be called The Band, though they were actually called Levon & The Hawks at this time. They had played a summer residency at a resort in New Jersey, after which they returned to Toronto (all but one were Canadians). Following up a recommendation and after working with a couple of members, Dylan went to check them all out in Toronto, after which he returned to New York. There were two concerts in Texas, including the one in Austin. These were, in a way, try outs, in that Dylan had a major concert coming up at Carnegie Hall in New York in early October. He had had a very mixed reaction to the “electric” songs at a festival in July and at an open-air concert near New York in August and he wanted to get it right for the Carnegie Hall show.
Thereafter, Dylan and this band of musicians (notwithstanding a few changes of drummer) toured North America for the last quarter of 1965 and the first quarter of 1966, followed by a so-called world tour in April and May 1966.
The Lodestar was used extensively on those North American tours and I would be pleased to receive any information about its use in the October 1965 to March 1966 period.
ianwoodward9No, the aircraft does not survive and, yes, that is Bob Dylan exiting it. The guy in the light shirt is Albert Grossman, his manager.
ianwoodward9Many thanks. That’s the programme and there it is within the first minute or so. As an Aussie aviator was being repatriated, he witnessed enemy aircraft flying in from the east and trailing white ribbons to indicate they were surrendering. The Focke-Wulf reference is to one enemy pilot who, probably from an ingrainied thought process (that is, almost involuntarily), takes a pot shot at a tank and is shot down. I must say that, to me, it seems odd that an aircraft coming in to surrender would be armed at all but perhaps they were concerned that the white ribbons would not be recognised and they might have to defend themselves and scoot off back whence they’d come.
The Aussie describes the aircraft as streaming in, which suggests they were in large numbers and that this was not an isolated thing. Was any kind of directive issued, or any formal agreement reached, to recognize this as a sign of surrender?
I’m a bit lapsed in my aviation enthusiasm but I cannot recall reading about the trailing of white ribbons in these circumstances before. I wonder if there are any photographs of that. It would make quite a sight and you’d imagine someone would think to take a snap or two.
ianwoodward9Unfortunately, I failed to catch the repeat.
Is this streaming of white ribbons so well-known that it isn’t worth a comment or is that it this must have been something unique and thus not recorded?
It’s just that it was new to me.
ianwoodward9Never thought to see Job’s dairy mentioned here. We had their milk floats around the area that we lived then. The other side of LAP. And Rossi’s Ice creams, too.
Somewhere, I have an official photo taken pre-war at Heston (the photo comes with a typed description identifying it as taken at Heston) and a couple of other official pics that might well be Heston.
ianwoodward9That the horizontal surfaces (at least, the upper surfaces) were also painted red and that the photo showed a painted F1A and the drawing a bare metal one support the display team explanation. I was going to say that I presume that not all a squadron’s aircraft would used in a display team but I’m sure someone will tell me something different. In a previous era, wasn’t there a whole squadron of black Hunters? 111 Sq, perhaps?
Also, I can recall an air display at Tangmere (late 1950s ?) in which more than one sqaudron of Hunters performed an aerial display. My youthful memory suggests something like 30 but maybe not that many. It was a big number, anyway, and I think the commentator described it as the largest number ever to attempt mass aerobatics – my phrasing, not his.
ianwoodward9Thanks, Chox. I missed out the horizontal surfaces painted red, too.
If 56 Sq had “got away” with this paint scheme on the F1As, it would seem reasonable to expect little problem with their paint scheme for the F3s. Perhaps it was the omission of the RAF tricolour flag on the tail fin with the checkerboard scheme.
ianwoodward9And I meant to add this from the article I mention.
At a time when U2s were said to be invulnerable to all but SAMs, the RAF asked if it could try to intercept U2s temporarily in the UK. The article reads: In a number of practice penetrations by the American aircraft, operating at peak altitude and speed performance, they found the Lighnings “sitting effortlessly on their tails” in every case.
ianwoodward9Believe me, I am no expert on this subject and have no idea if this is interesting or even relevant, but ….
While the 56 Sq. F1As (?) did not have the checkerboard markings on their tail fins, at least one had the whole of its fin (and its fuselage spine) painted red, with a large squadron crest in red on a white circle. The code was above this, in black with white edging. The red and white checkerboard appeared either side of the roundel, as normal.
XM171 “A” is shown, in colour and in near vertical descent, on the front of Flying Review Vol.19 No.11 (July 1964).
There is a 5 page article inside, including a 3-view drawing of XM175 “T” but this is essentially bare metal.
Finally (and slightly off topic), can anyone remember the Lightnings at the Farnborough show in the early 1960s. My memory suggests that there were about a dozen of them, taking off in pairs. Which squadron? I remember it because I had managed to get tags allowing me to stand on the grass between the crowd barrier and the runway. I think that was the year that a 1930s biplane flew there. If I had to delve deep in the recesses of my memory, I’d say it was a Hawker Fury but I’m probably wrong.
ianwoodward9Thanks, Martin.
It was “Samuel C Dunlap III Inc” that I was googling for. Hence the difference.
The book on Lockheed Twins mentions this corporation at least twice, in the context I’ve mentioned, but can’t seem to find anything about.
I’ve searched the New York Times site, in the hope of some mention in the business section, but, so far, no luck.
I shall be off-site for a few days, so any other posts will not be answered until next week, I’m afraid.
Sign In
