In 2015, the world bid farewell to the beloved boy band, One Direction, as they announced a temporary hiatus. However, they left behind a glimmer of hope, promising to return. Now, eight years later, we’re still eagerly waiting for their reunion. But what have the band members said about the possibility of coming together again? Let’s delve into the latest updates surrounding this highly-anticipated reunion.

Harry Styles: Keeping the Door Open

Harry Styles, the breakout star of the group, has enjoyed a flourishing solo career, marked by Grammy wins and chart-topping hits. During a recent interview with James Corden on The Late Late Show, Styles spoke about the complexity of the situation, stating, “I fear that it’s not a straightforward yes or no question. I believe I would never definitively rule it out. If there comes a time when we want to do it, I see no reason why we shouldn’t.”

Liam Payne: Group Chat, but No Reunion Plans

Liam Payne, in an interview with Delicious TV, brought a glimmer of hope to fans by revealing that the band members stay in touch through a group chat. However, when asked about the possibility of a reunion, Payne’s response remained uncertain.

One Direction
Image Source: Entertainment Tonight

Louis Tomlinson: Open to the Idea

Louis Tomlinson, earlier this year, admitted that while it’s challenging to imagine a reunion at the moment, he hasn’t ruled it out entirely. He commented, “I’d be surprised if we go through our entire lives without some form of reunion, or whatever you want to call it. I’d be up for that.”

Niall Horan: Awaiting the Conversation

Niall Horan hasn’t witnessed much progress in discussions about a reunion. He noted, “It’s as if the conversation hasn’t taken place. It’s a fantastic legacy to have. No, I don’t think it diminishes the excitement. It’s more that the response remains the same. The conversation has yet to occur.” While he confirmed that the band members communicate regularly, the topic of a reunion remains elusive. He even hinted that it might resemble the “Friends” reunion or perhaps a full-fledged tour.

Zayn Malik: The Enigmatic Member

Zayn Malik, who has maintained a low public profile in recent years, remains a mystery regarding his stance on a reunion. Fans eagerly await any word from him.

One Direction. Image Source: Nicky Swift

Harry Styles’ Optimism for a One Direction Reunion

Harry Styles, during his appearance on The Late Late Show, continued to fuel the hopes of millions of fans. He responded to the possibility of a reunion with a cheeky, “never say never.” This isn’t the first time he’s addressed the topic. Harry Styles has previously expressed that there’s still a lot of love between the band members, and if the right moment arrives, a reunion could be on the horizon.

A Band That Defined an Era

One Direction, with members Liam Payne, Zayn Malik, Niall Horan, Harry Styles, and Louis Tomlinson, took the world by storm. Their announcement of a hiatus in August 2015 was met with tears, but fans have clung to the hope of a reunion.

Image Source: Sky News

Harry’s Hints

Harry Styles recently caused a stir on social media when he posted a selfie wearing a One Direction T-shirt on his Instagram Stories, only to delete it shortly after. Eagle-eyed fans couldn’t miss the iconic T-shirt from the group’s 2012 Up All Night Tour.

A Grateful Heart

During the 2023 BRIT Awards, Harry Styles emerged victorious, claiming the Album of the Year award for “Harry’s House.” In his acceptance speech, he graciously thanked his former bandmates, Niall, Louis, Liam, and Zayn, acknowledging their role in his journey.

The World Awaits

While fans continue to hope for a One Direction reunion, the band members’ individual careers have soared. Harry Styles’ recent Grammy wins and chart-topping album prove that the members have thrived in their solo endeavors. But as Harry himself said, “never say never.” So, Directioners, keep the faith—your favorite band may just surprise you one day.

In conclusion, the possibility of a One Direction reunion remains uncertain, but the love and anticipation from fans worldwide keep the dream alive. Whether it’s a tour, a single performance, or something entirely unexpected, the legacy of One Direction lives on in the hearts of millions.

Forty-two years after Israel banned John Lennon, Paul McCartney, George Harrison and Ringo Starr from playing to the nation, the truth about its Beatlephobia has finally been revealed.

Still reeling from the sight of Israeli teenagers swooning to the tunes of Cliff Richard in 1963, Israel’s publicly appointed guardians of good taste and morality, the interdepartmental committee for authorising the importation of foreign artists, refused their entry.

Determined to prevent another outbreak of mass hysteria, the 13 member committee of politicians and civil servants whose job it was to assess the artistic merit of foreign acts resolved to be “vigilant”.

As a result, the 1964 request to bring to Israel, the Rhythm Beatles – as they were called in Hebrew – was roundly rejected in the committee’s resolution 691, which reads: “Resolved: Not to allow the request for fear that the performances by the Beatles are liable to have a negative influence on the [country’s] youth.”

The promoters appealed against the decision, so the committee launched a global investigation of the awesome foursome.

After soliciting information from Israeli embassies and the foreign ministry’s cultural relations department, it discovered that the world was afflicted with Beatlemania.

Israel’s media lambasted the group, urging the committee to protect the nation’s youth as Cliff Richard had already given them “a bad name”. One paper reported that committee members had been listening to the “yeah-yeah-yeah howls which are capable of striking dead a real beetle”.

Another reported the head of the education ministry as saying: “There is no musical or artistic experience here but a sensual display that arouses feelings of aggression replete with sexual stimuli.”

At the conclusion of its inquiry, the committee wrote, in resolution 709, that it would refuse entry because “the band has no artistic merit” and its performances “cause hysteria and mass disorder among young people”.

Several versions of the story, blaming the then prime minister, Golda Meir, a former education minister who had never heard of the Beatles, a jealous promoter who regretted turning down the Beatles for Richard, and even the finance ministry for allegedly refusing to allot the foreign currency required to underwrite the performance, have lingered.

But when the Israeli ambassador to Britain, Ron Prosor, gave an official letter of apology to John Lennon’s half-sister this year, Alon Gan, a history professor at Tel Aviv University, was inspired to investigate.

Gan, who revealed the story in the daily newspaper Haaretz, one week before McCartney is due to perform for the first time in the country, said the true story was that “Israel in the early 60s was afraid that from the west would come a bad wind of sex, alcohol and rock’n’roll”.

PA Media
Sir Paul McCartney said the success was “mind-boggling”

The Beatles’ latest number one has been claimed as “an important landmark” for both the band and their home city.

The band’s Now and Then went to number one on Friday, 60 years after their first chart-topper, From Me To You.

Kevin McManus, Liverpool’s head of Unesco City of Music, said it continued the city’s “glorious run of success” which began with Lita Rosa in 1953.

He said it also meant Liverpool’s world record of “most number one hits from a city” now stood at 59.

The success of the new single saw The Beatles become the act with the longest gap between their first and last number ones and the oldest band ever to hit number one.

Sir Paul McCartney said the success was “mind-boggling”, adding: “It’s also a very emotional moment for me.”

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The single is the Beatles’ 18th number one and will be added to Liverpool’s Pop Music Wall of Fame

Mr McManus said the chart-topper confirmed the “incredible enduring power of the group” and was also an “important landmark for our city as it continues Liverpool’s proud tradition of having a number one single in every decade since the charts began”.

“Our Guinness World Record of ‘most number one hits from a city’ now extends to 58 – and the city’s Pop Wall of Fame on Mathew Street will soon welcome this latest addition,” he said.

Liverpool’s first number one was delivered by Lita Rosa in 1953, who got to the top with (How Much Is) That Doggie In The Window.

Since then, The Beatles have delivered 17 number ones, with others such as Cilla Black, Gerry and the Pacemakers, Frankie Goes To Hollywood, Atomic Kitten, Melanie C, The Real Thing, Sonia and Lightning Seeds also reaching the top of the charts.

Spice Girl Melanie C is one of Liverpool’s many chart-toppers, having scored two solo number ones

Mr McManus said while he suspected “Paul and Ringo” were not “glued to their radios waiting to find out if they had made it” this time around, reaching number one “still means a lot”.

“Of course streaming means the way the chart is calculated now is different and the numbers required to reach the top spot are much less than in the glory days, but it is still a huge deal,” he added.

“I grew up listening to the charts on the radio with my older sisters dying to know what the number one was going to be.

“Those days are gone but artists and their devoted fans still know the power of a chart-topping single.”

The Beatles in 1964. Photo: Mark and Colleen Hayward / Redferns / Getty Images

A month before the Beatles played “The Ed Sullivan Show,” they released their second American studio album — the one most people heard first. Here’s a track-by-track breakdown of this magnitudinous slab of wax by the Fab Four.

For many in America, Meet the Beatles! marked their first introduction to the legendary Fab Four — and their lives would be forever altered.

Released on Jan. 20, 1964 by Capitol Records, the Beatles’ second American studio album topped the Billboard 200 within a month and stayed there for 11 weeks — only to be ousted by their next U.S. album release, The Beatles’ Second Album.

It’s almost impossible to put into words the impact of Meet the Beatles! on an entire generation of the listening public. But Billy Corgan, of the Smashing Pumpkins, gave it a shot as an early fan of the Beatles in a series of LiveJournal remembrances — in this case, of himself at five years old, in 1972.

“I am totally overwhelmed by the collective sound of the greatest band ever blasting in mono thru a tin needle into a tiny speaker,” he wrote. “I associate this sound forever with electricity, for it sends bolts thru my body and leaves me breathless. I can not stand still as I listen, so I must spin… I spin until I am ready to pass out, and then I spin some more.”

So many other artists remember that eureka moment. “They were doing things nobody was doing. Their chords were outrageous, just outrageous, and their harmonies made it all valid,” Bob Dylan said of the opening track, “I Want to Hold Your Hand.” “I knew they were pointing the direction of where music had to go.” Everyone from Ozzy Osbourne to Sting and Questlove agreed.

From Meet the Beatles!, the Fabs would have the most astonishing five-or-six-year run in music. And so much of their songwriting and production innovation can be found within its grooves; truly, the world had no idea what it was in for. In celebration of the 60th anniversary of Meet the Beatles!, here’s a quick track-by-track breakdown.

“I Want to Hold Your Hand”
The Fabs’ first American No. 1 hit may have been about the chastest of romantic gestures. Still, there’s nothing heavier than “I Want to Hold Your Hand,” because it’s clamor and fraternity. That seemingly saccharine package also contained everything they’d ever do in concentrate — hints of the foreboding of “Ticket to Ride,” the galactic final chord of “A Day in the Life,” and beyond.

“I Saw Her Standing There”
A few too many awards show tributes have threatened to do in “I Saw Her Standing There,” but they’ve failed. As the opening shot of their first UK album, Please Please Me, it’s perfect, but as the second track on Meet the Beatles!, it just adds to the magnitude. What a one-two punch.

“This Boy”
Songwriting-wise, “This Boy” drags a little; it becomes a little hazy who “this boy” or “that boy” are. But it’s not only a killer Smokey Robinson rip; John Lennon’s double-tracked vocal solo still punches straight through your chest. (Where applicable, go for the 2020s Giles Martin remix, which carries maximum clarity, definition and punch — said solo is incredible in this context.)

“It Won’t Be Long”

Half a dozen other songs here have overshadowed “It Won’t Be Long,” but it’s still one of the early Beatles’ most ruthless kamikaze missions, an assault of flying “yeahs” that knocks you sideways.

“All I’ve Got to Do”
Lennon shrugged off “All I’ve Got to Do” as “trying to do Smokey Robinson again,” and that’s more or less what it is. One interesting detail is the conceit of calling a girlfriend on the phone, which was firmly alien to British youth: “I have never called a girl on the ‘phone in my life!”he said later in an interview. “Because ‘phones weren’t part of the English child’s life.”

“All My Loving”
“All My Loving” was the first song the Beatles played on the American airwaves: when Lennon was pronounced dead, eyewitnesses attest the song came over the speakers. It’s a grim trajectory for this most inventive and charismatic of early Beatles singles, with Lennon’s tumbling rhythm guitar spilling the composition forth. (About that unorthodox strumming pattern: it seems easy until you try it. And Lennon did it effortlessly.)

“Don’t Bother Me”
As Dreaming the Beatles author Rob Sheffield put it, “‘Don’t Bother Me,’ his first real song, began the ‘George is in a bad mood’ phase of his songwriting, which never ended.” Harrison wouldn’t pick up the sitar for another year or two, but the song still carries a vaguely dreamy, exotic air.

“Little Child”
“I’m so sad and lonely/ Baby, take a chance with me.” For a tortured, creative kid like Corgan, from a rough background — and, likely, a million similar young folks — Lennon’s childlike plea must have sounded like salvation.

“Till There Was You”
McCartney’s infatuation with the postwar sounds of his youth never ended, and it arguably began on record with this Music Man tune. As usual, McCartney dances right on the edge of overly chipper and apple-cheeked. But here, George Martin’s immersive, soft-focused arrangement makes it all work.

“Hold Me Tight”
Like “Little Child,” “Hold Me Tight” is a tad Fabs-by-numbers, showing how they occasionally painted themselves into a corner as per their formula. Their rapid evolution from here would leave trifles like “Hold Me Tight” in the rearview.

“I Wanna Be Your Man”
Tellingly, Lennon and McCartney tossed this half-written composition to the Stones — and to Ringo Starr. Mick Jagger’s typically lusty performance works, but Starr’s is even better — the funny-nosed drummer throws his whole chest into this vocal workout.

“Not A Second Time”
Meet the Beatles! concludes with this likable Lennon tune about heartbreak — maybe C-tier by his standards, but it slouches toward his evolutionary step that would be A Hard Day’s Night.

Soon, these puppy-dog emotions (“And now you’ve changed your mind/ I see no reason to change mine/ I cry”) would curdle and ferment in astonishing ways — in “Ticket to Ride,” in “Girl,” in “Strawberry Fields Forever.” And it all began with Meet the Beatles! — a shot heard around the world.

With the news of a ‘final’ record from The Beatles, and the development of AI voices, holograms and “raves beyond the grave”, where should we draw the line, asks Arwa Haider.

“I think we’re actually on the cusp of something exhilarating and terrifying… it’s an alien life form.” When Bowie voiced these thoughts in a 1999 interview, he was greeting the creative dawn – or potential cataclysm – of the digital age. His words seem even more spookily resonant several years after his death (the Starman left this world in 2016). The music industry remains in a state of flux, and tech continues to connect realms – and maybe even raise the voices of long-departed singers.

AI music is frequently taken to mean the buzz around “deepfake” digitally-generated vocal sounds, whether imitating the styles of contemporary stars (for instance, the recent AI “fake Drake”/The Weeknd track Heart on my Sleeve uploaded by TikTok user ghostwriter977) or dead legends – including a flurry of AI Bowie “new songs”, covers and imaginary duets (such as Life on Mars featuring a digital Freddie Mercury). At the same time, slightly confusingly, AI music relates to the cutting-edge tech used to restore recordings actually made by a singer in their lifetime – such as the release of The Beatles’ “final song”, Now and Then, with its first bars written by John Lennon in 1978 and the track completed last year.

This isn’t the Fab Four’s only “new” record following their original split, or Lennon’s death in 1980; Free as a Bird (featuring Lennon’s hazy lead vocals) became an international hit in 1995 – but tech capabilities have soared since then, and the Peter Jackson-directed archive doc series Get Back (2021) proved pivotal. McCartney explained in a recent Radio 4 interview that John Lennon’s voice was extracted from “a ropey little bit of cassette” using tech trained to detect individual voices and distinguish them from surrounding audio.

“We had John’s voice and a piano and he [Jackson] could separate them with AI,” said McCartney. “They tell the machine, ‘That’s the voice. This is a guitar. Lose the guitar.’

“So when we came to make what will be the last Beatles’ record, it was a demo that John had [and] we were able to take John’s voice and get it pure through this AI.”

The draw of the familiar

While machine-learning software is rapidly evolving, there are various deep-rooted motivations behind such posthumous expressions. As music fans, we’re usually excited to hear anything featuring our favourite singers; if they’re no longer with us, that sharpens the desire. There’s an emotional hook as well as a novelty factor when Lennon “reunites” with McCartney (including their “virtual duet” at the latter’s Glastonbury set last year), or when multi-genre holograms (Tupac, Maria Callas, Ronnie James Dio) materialise onstage, even with noticeable glitches. Obviously, commercial corporations are also keen to draw as much revenue as possible from artist legacies, and posthumous releases can be lucrative business; alt-rock icon Kurt Cobain was just 27 when he killed himself in 1994, but he continues to generate millions, through releases of extremely variable quality.

A moral dilemma persists in bringing singers back from the dead. Most artists have creative ideals, and we can only guess what they would have wanted once they’ve gone; “deepfake” tracks suggest that singers are infinitely malleable – serving industry whims and viral gimmicks, even as raves beyond the grave. The AI-generated craze hasn’t been limited to dead Western stars; international examples have included “new” tracks from South Korean folk hero Kim Kwang-seok as well as Israeli singer Ofra Haza – but as it stands, most “deepfake” music sounds depressingly bloodless, like a bot version of ’90s TV show Stars in their Eyes.

While nostalgia is a powerful force, there’s also an “ick factor” to the sentimentality of many posthumous projects – perhaps most luridly demonstrated in Barry Manilow’s 2014 album, My Dream Duets, which featured him crooning alongside recordings of dead icons including Judy Garland, and Whitney Houston.

Despite this, some contemporary vocalist/producers have responded positively to “deepfake” tech – notably, electronic artists such as Grimes and Holly Herndon (whose 2021 custom voice instrument Holly+ invited users to upload tracks for reinterpretation). Even the trailblazers admit that they’re feeling their way, though, and global laws remain nebulous around AI and intellectual property.

“As an artist, the AI possibilities of collaborating with vocalists who have passed away evoke a mix of excitement and unease,” admits J Lloyd, co-founder/frontman of Jungle, whose original tracks including latest single Dominoes dig deep into classic soul and funk styles. “When considering how future generations will connect with our own music, AI sparks a sense of curiosity and wonder – will our expressions be experienced in new, immersive ways, or will the human touch and emotional resonance that defines our music be overshadowed by technological advancements?”

Some singers have reacted more emphatically against posthumous projects; in 2021, Anderson .Paak had part of his will tattooed on his arm (“When I’m gone, please don’t release any posthumous albums or songs with my name attached”). Although Amy Winehouse’s estate approved the posthumous collection Lioness – Hidden Treasures (2011), Universal label CEO David Joseph later announced that her vocal demoes had been destroyed as “a moral thing”, to avoid future releases she couldn’t have consented to.

Ultimately, the most sensitively treated posthumous releases tend to be nurtured by those who genuinely knew and loved the artists. The posthumous Sparklehorse album was released in September, with Mark Linkous’s younger brother and sister-in-law completing the work they started before his tragic death in 2010.

The emotional and creative bond to a late singer is also expressed in far-reaching ways; out in July, album The Endless Coloured Ways centres on the songs of Nick Drake (who was just 26 when he died in 1974), with reinterpretations from artists including Emeli Sandé and John Grant. The project was overseen with a distinctly human touch by Cally Calomon (manager of the Nick Drake estate, who has worked closely with Drake’s family since the ’90s), and Jeremy Lascelles, co-founder of Blue Raincoat Music and CEO of Chrysalis.

“All art is artifice… No intelligence is ever ‘artificial’,” Calomon tells BBC Culture. “Calling intelligence, however so generated, ‘artificial’ is yet another example of humankind trying to absolve themselves from the blame and consequences of their invention.”

Lascelles points out: “AI is only the latest in a long run of technological advancements, and as with all things that involve disruptive change, it is both threatening and brings about huge opportunities. Artists and songwriters have forever written songs inspired by their peers – sometimes brilliantly, sometimes in ways that are cringingly and crassly obvious. The same applies to posthumous recordings being brought life by means of modern technology. In the end, the only judges will be the listener. Does this sound emotionally engaging and ‘authentic’, or does it sound fake and contrived?

“With The Endless Coloured Ways we asked a range of artists to re-invent these songs in their own style, requesting only that they don’t copy Nick’s original recordings. We think the results are spectacular. And we can assure you that no modern piece of technology was mistreated or harmed in any way during the process.”

This article was originally published in June 2023.

6 May 1944, RAF Hucclecote Hawker Tempest Mark Vs, new and shiny, after leaving the Gloster Aircraft Company production line.

Read more: Hawker Hurricanes and the Battle of Britain

 

In 1934 the British Air Ministry issued specification F.36/34, for a monoplane eight-gun fighter.

The response of Hawker and its associated companies became the iconic Hurricane – 100 mph faster than anything previously flown. More specifically, the Hawker Hurricane was the first monoplane fighter of the Royal Air Force and the World’s first eight-gun monoplane fighter capable of surpassing 300 mph in level flight with a full war load.

Designed by Sydney Camm, the Hurricane was based on his earlier biplane fighters and would go on to influence such later aircraft as the Typhoon, Tempest and Sea Fury.

The Hawker Hurricane was in full production at the outbreak of war in 1939 and, with Mitchell’s Spitfire which shared the same Rolls Royce Merlin engine, it formed a major part of Fighter Command strength during the Battle of Britain. The News Chronicle hailed Camm as the man who saved Britain and he was made CBE in 1941.

The first prototype Hurricane flew on 6 November 1935 and production examples began to equip 111 Squadron in January 1938. In February 1938, Squadron Leader John Gillan flew a 111 Squadron Hurricane from Edinburgh to London in 48 minutes, averaging 408.7 mph, or seven miles a minute. In contrast, the same journey by rail at the time would have taken six hours.

More Hawker Hurricanes were used in the Battle of Britain than any other RAF fighter type and their pilots claimed 75 % of all victories. In fact, 29 squadrons of Hurricanes took part in the Battle of Britain compared to just 19 of Spitfires. In RAF Fighter Command’s 11 Group, covering the South East of England, 17 squadrons of Hurricanes served alongside 8 of Spitfires.

Moreover, Flight Lieutenant James Nicolson, who was Fighter Command’s only VC in the Second World War, flew a Hurricane. Nicolson, of Boscombe Down based 249 Squadron, was awarded his decoration after an engagement with Messerschmitt 110s near Southampton on 16 August 1940, when he was hit by 4 cannon shells, 2 of which wounded him while another set fire to the gravity tank.  When about to abandon his aircraft because of the flames in the cockpit, he sighted another Messerschmitt 110.  This he attacked and shot down, although as a result of staying with his aircraft he sustained serious burns to his hands, face and legs.  Afterwards, Nicolson did bail out and was convalescing in Torquay when he heard that he had been awarded the VC.

Although slower than a Spitfire due to its thicker wing, the Hurricane had a smaller turning radius (of 800 compared to 880 feet) and could also out turn its Luftwaffe adversary the Messerschmitt Me109. Unlike both the Spitfire and the Messerschmitt too, the Hurricane had a wide track undercarriage, making it easier to land on either a grass airfield or the deck of an aircraft carrier.

Indeed, one advantage of the thick wing and closer concentration of guns was making the Hurricane a steady gun platform compared with the Spitfire, which tended to wobble when the eight machine guns were fired. Once on the ground after a sortie, too, the Hurricane was faster to rearm and refuel – taking just nine minutes to the 25 of the Spitfire.

Similarly , compared to the all metal Spitfire, the fabric fuselage of the Hurricane was relatively easy to repair. Altogether during the Second World War, 4 000 damaged Hurricanes were put back into service and 60% of all Hurricanes that crashed on British soil were put back into service.

Hawker Hurricanes continued in use until the end of World War II and its rugged design lent itself to the ground attack role with rockets, bombs and even 40mm tank-busting canon.

The Mark 1 Hurricane combined fabric covered wings with a Rolls Royce Merlin II engine and 2 600 rounds of .303 ammunition for its eight machine guns. The Mark 1 revised, with metal covered wings, armour plating for the cockpit and a constant speed metal propeller, saw 4 200 examples produced.

The Mark IIA introduced the Merlin XX engine with two speed supercharging while the IIB had 12 Browning guns in the wings. Some IIBs were also fitted with bomb racks and tropical variants had Vokes filters to keep dust out of the engine.

Known as the “Hurribomber”, the Mark IIC was fitted with a pair of 20mm Hispano Canon in each wing as well as hard points for bombs. 4 711 were built, while the IID had two Vickers 40mm canon for attacking tanks and armoured vehicles. This was nicknamed “The Flying Can Opener” (pictured above) while the Mark IV had a universal wing which could carry a wide range of armament.

During 1941-2, Hurricats – Hurricanes launched by rocket powered catapult from 35 merchant ships – played a vital role in the Battle of the Atlantic. Nine German aircraft attacking the convoys were shot down although without any landing options after their flight the Hurricat pilots were obliged to ditch in the sea. After 1942, Catapult Aircraft Merchantmen were replaced by escort carriers.

The first Gloster-built Hawker Hurricane appeared on 27 October 1939 and the 1 000 th example exactly a year later. A total of 2 750 Hurricanes were built by Glosters up to March 1942: with as many as five aircraft being completed each day.

Up to the end of 1944, a total of 14 583 Hurricanes had been built, including 1 400 in Canada, 100 in Yugoslavia and 80 in Belgium. More than 2 000 Hurricanes were also exported to the USSR to fight Germany on the Eastern Front and non aligned export customers included Portugal, Turkey and the Irish Free State.

The example here combines brown and green camouflage – ideally suited for combat over land – with the half-black half-white underside paint scheme used as a recognition aid by the RAF early in World War Two.

N2358 – as modelled above – was flown in these markings by 73 Squadron RAF Berry-au-Bac, France in May 1940 although the same machine – with the same prominent letter Z – had been flown by Pilot Officer C.D. “Pussy” Palmer of 1 Squadron  at Vassincourt in November 1939 with lighter shades of brown and green camouflage and a light grey underside.

On 7 October 1940 meanwhile, Pilot Officer Ken Mackenzie of 501 County of Gloucester Squadron ran out of ammunition in combat so used the wingtip of his Hawker Hurricane to knock the tail plane off a Messerschmitt Me109, sending it plummeting into the sea. He then managed to land his stricken Hurricane with a damaged wing, earning the nickname “Super Mack”.

 

Slightly later in the war, Hawker Hurricane IV KW919 wore the FJ code of 164 Squadron RAF. The Argentine-British unit reformed at Peterhead, Aberdeenshire on 6 April 1942, initially with Spitfire VAs. In January 1943 the squadron moved to South Wales to train as a ground-attack unit, where it was equipped with both Mark IID “Can Opener” and Mark IV universal wing Hawker Hurricanes. Operations against enemy shipping and coastal targets with rocket projectiles and bombs began in June 1943 until the squadron re equipped with Hawker Typhoons in February 1944. 164 eventually became 63 Squadron RAF on 31 August 1946.

Although the RAF Victory fly-past over London in September 1945 was composed entirely of Spitfires, in 2015 there were still 13 Hawker Hurricanes flying around the World.

Named The Last of the Many, the final Hawker Hurricane built was a IIC allocated the serial number PZ865.  First flown at Langley, Buckinghamshire on 22 July 1944, it was retained by its manufacturer for trials work and moved in 1950 to the Hawker factory at Dunsfold Aerodrome. On 1 May 1950, PZ865 was given the civil registration G-AMAU and flown to second place in the 1950 King’s Cup Air Race by Group Captain Peter Townsend. Ten years later, G-AMAU was used as a chase plane during trials of the P1127 VTOL aircraft seen in the background above. G-AMAU also appeared in the 1969 Guy Hamilton film The Battle of Britain and in 1972 was donated to the Royal Air Force’s Battle of Britain Memorial Flight.

The Messerschmitt Bf 109F Friedrich, a pivotal aircraft in World War II aviation history, represented a significant leap forward in both aerodynamics and armament over its predecessor, the E series.

Developed by German engineers, the Bf 109F boasted numerous enhancements that aimed to optimize performance and combat effectiveness on the battlefield.

Externally, the Bf 109F exhibited several notable aerodynamic improvements over previous models. One of the key modifications was the addition of a metal shield on the left-hand exhaust of later aircraft variants. This shield served a crucial purpose by preventing exhaust fumes from entering the supercharger intake, thereby ensuring optimal engine efficiency and performance.

Furthermore, the canopy design of the Bf 109F remained largely unchanged from the E-4 variant, with one specific alteration outlined in the handbook for the F model. The forward, lower triangular panel on the starboard side was replaced with a metal panel equipped with a port for firing signal flares. Additionally, a two-piece, all-metal armor plate head shield was installed on the hinged portion of the canopy, providing enhanced protection for the pilot. Although some variations of this shield lacked the curved top section, it nonetheless represented a significant improvement in pilot safety.

Pilots also had the option to install a bullet-resistant windscreen, further enhancing the aircraft’s defensive capabilities. These enhancements underscored the German engineers’ commitment to improving pilot survivability and safety during combat operations.

In terms of aerodynamic performance, the Bf 109F featured a boundary layer duct that facilitated continuous airflow through the airfoil above the radiator ducting. This innovative design allowed for optimal cooling efficiency, a critical factor in maintaining engine performance during prolonged combat missions. Additionally, mechanically linked split flaps and a thermostatic valve system regulated the position of the upper split flap and forward bath lip, ensuring maximum cooling effectiveness under varying flight conditions.

Another significant improvement introduced in 1941 was the incorporation of “cutoff” valves, which allowed pilots to shut down either wing radiator in the event of damage. This feature proved invaluable in combat situations, as it enabled pilots to preserve the remaining coolant and extend their operational capabilities. However, these valves were initially supplied only as kits to frontline units, with limited availability for reasons that remain unclear.

The redesigned wings of the Bf 109F featured new leading-edge slats and rounded, removable wingtips, which increased the wing span slightly compared to the E series. These modifications rendered internal gun mounting impractical, necessitating revisions to the aircraft’s armament.

The armament of the Bf 109F consisted of two MG 17 machine guns above the engine, along with a Motorkanone cannon firing through the propeller hub. The specific cannon varied across different F variants, with early versions featuring the MG FF/M cannon, later upgraded to the 15 mm MG 151, and eventually the 20 mm MG 151/20 from the F-4 model onwards.

To address concerns about firepower, later variants of the Bf 109F could be equipped with underwing-mounted 20 mm cannons. However, this enhancement came at the cost of some performance compromises, highlighting the ongoing balance between firepower and aircraft maneuverability in wartime aviation design.

Overall, the Messerschmitt Bf 109F Friedrich represented a significant advancement in both aerodynamics and armament technology during World War II. Its innovative design features and enhanced combat capabilities contributed to its reputation as one of the most formidable fighter aircraft of its time.

From flags to jerseys, the colors red, white and gold have been everywhere lately as the San Francisco 49ers get ready to take on the Detroit Lions in a conference championship game on Sunday.

For most fans, it’s an important game deciding who goes on to the Super Bowl, but the matchup is taking on a new level of importance for Lodi’s Frank Wright.

“I’m a talker and I’m a storyteller,” said Wright, a 99-year-old WWII veteran and longtime 49ers fan.

Wright is used to being the talker, but the talk of the town and at his senior center this week, have been about him.

“We had about 100 people in there at least going through and saying, ‘Did you hear that Frank is going to the game?’” said Wright.

Excitement is all around as Wright prepares to be honored as a frontline hero during the NFC Championship Game on the field of the 49ers’ Levi Stadium.

Ever since he found out about the invitation days ago, the anticipation for the 99-year-old has been overwhelming.

“I could hardly sleep that night when he said it’s a possibility… and a possibility to see the team play — that’s something I haven’t seen in ages,” said Wright.

It was an emotional moment when Wright’s friend and fellow longtime 49ers fan Juan Barragan found out as well.

“I had tears,” said Barragan, a Marine veteran. “You don’t understand what he means to us, to me. He and I have a bond that many people will never understand because we’re not just Marines, we’re brothers.”

Barragan will be watching from home as Wright walks on the field Sunday — taking in the emotions as his friend is honored.

“It’s tears of happiness, joy,” said Barragan.

Barragan and Wright have different parts to look forward to the most.

“They put the big old flag on the field, the red white and blue, the flyovers, the national anthem,” said Barragan. “It brings us to tears.”

As for Wright, being honored will be just as exciting as meeting some of his favorite players.

“I understand I may be able to see Joe Montana,” said Wright.

Both feel appreciation.

“Every veteran out of the 209 is grateful and thankful that the gold standard of franchises has done this for Frank and made his dream come true,” said Barragan. “Thank you San Francisco 49ers, we love you.”

While he’s still busy preparing, there’s really only one thing on mind for Wright.

“Of course, we know we’re going to beat the Lions anyways,” said Wright. “Go Niners!”

The Truth Behind Royce Williams’ Legendary Dogfight was Hidden for 50 Years

Photo Credit: 1. USN / Wikimedia Commons / Public Domain 2. Austin Rooney / Defense Media Activity / DVIDS / Public Domain (Brightness, Contrast & Saturation Increased)

The years following the Second World War were tricky. While Russia had been an ally to the United States during the conflict, the two frequently butted heads afterward. This tenuous relationship led one of the most famous dogfights in naval aviation history to be be kept a secret for decades. The American pilot involved: Royce Williams.

Royce Williams’ upbringing

Royce Williams. (Photo Credit: Austin Rooney / Defense Media Activity / DVIDS / Public Domain)
Elmer Royce Williams was born in Wilmot, South Dakota on April 4, 1925. He and his brother were interested in learning to fly and, following the Japanese attack on Pearl Harbor in December 1941, both enlisted in the US Navy. Royce, who was in college at the time, qualified as a naval aviator in 1945, and later learned how to pilot the Grumman F9F-5 Panther.

Williams was deployed to Korea following the outbreak of the war in June 1950. While there, he flew a number of combat missions, one of which would make him a legend within the US Naval Academy.

A legendary dogfight

Royce Williams was flying a Grumman F9F-5 Panther during his dogfight with six Soviet-piloted Mikoyan Gurevich MiG-15s. (Photo Credit: National Museum of the U.S. Navy / Wikimedia Commons / Public Domain)
On November 18, 1952, Royce Williams was serving with Fighter Squadron 121 (VF-121) onboard the USS Oriskany (CV-34), as part of Task Force 77. Despite having already flown a mission that day, he and three pilots took to the skies some 12,000 feet over Hoeryŏng, North Korea. The naval airmen spotted Russian Mikoyan Gurevich MiG-15s in the air, at which time the flight leader and his wingman turned back toward the aircraft carrier, citing an issue with his fuel pump.

Williams and his wingman rose to 26,000 feet, where they were fired upon by the fighters. His wingman managed to break away and return to Oriskany, and before he knew it, Williams was in a dogfight with 7 MiGs – a terrible situation. He later said of the engagement:

“I was engaged mentally at the time. A lot of it was awareness of where they were and how I had to maneuver to avoid them. They were taking turns. I decided if I concentrated on shooting them down, then I’d become an easy target. So my initial goal was to look for defensive opportunities when they made mistakes.”

The fight continues

After a 35-minute dogfight, Royce Williams was able to safely return to the USS Oriskany (CV-34). (Photo Credit: National Museum of Naval Aviation / Wikimedia Commons / Public Domain)
If pilots are faced with the kind of situation Royce Williams was, their training tells them to run, if possible. However, Williams was locked in the fight and attempted to handle it the best he could. That meant taking a defensive position and waiting for the Soviet pilots to make mistakes – and that they did.

Most dogfights last for only a few minutes. This one, however, continued for an excruciating 35 minutes, making it the longest dogfight in the history of the US Navy. Williams is confirmed to have taken out four of the opposing flyers, and it’s believed he hit two others.

By the end, the pilot was left one-on-one with the remaining MiG. At this point, he was out of ammunition and his hydraulics were shot. The latter was the result of a cannon fire hit from one of the enemy fighters. Despite this, he was able to escape and make it back to the USS Oriskany. While he was uninjured, his F9F-5 had suffered 263 bullet holes.

Nobody knew about Royce Williams’ heroism

From 1969-71, Royce Williams served as the captain of the USS Eldorado (AGC-11). (Photo Credit: United States Navy / Wikimedia Commons / Public Domain)
Despite his incredible feat, Royce Williams never became known to the American public. In fact, the US military worked to keep the dogfight a secret. The Soviet Union was not thought to be involved in the Korean War, and Navy officials believed that, if the story got out, the Soviets would become more involved. The pilot himself was sworn to secrecy for more than 50 years, until the records were declassified in the early 2000s.

Despite the records being sealed in the US, those on the Soviet side were released in the 1990s, following the collapse of the USSR. In them, it was confirmed that out of the seven MiGs to take to the skies that day, only one returned to base.

Williams continued his service in the Navy long after the Korean War. His career continued until 1980, when he retired as a captain. He flew 110 missions during the Vietnam War, and from 1969-71 served as the captain of the USS Eldorado (AGC-11). Over the course of his career, he received the Silver Star, two Distinguished Flying Crosses, 11 Air Medals, a Bronze Star, two Meritorious Service Medals and the Legion of Merit with Combat “V,” among others.

Righting a wrong

Royce Williams is confirmed to have downed four Mikoyan Gurevich MiG-15s during his famous dogfight. It’s also believed he downed two others. (Photo Credit: USAF / Wikimedia Commons / Public Domain)
The general public may not have known about Royce Williams’ actions, but those within the Navy certainly did. Following his decorated career, the pilot retired to San Diego, home of the legendary TOPGUN flight school. Those who attended the program were well aware of the former aviator’s exploits.

For years, there has been a push for Williams to receive the Medal of Honor, with a group of Congress members pushing for him to be presented with it. In December 2022, it was announced the veteran would, instead, be awarded the Navy Cross, the second-highest award for valor in combat. In a press release, Secretary of the Navy Carlos Del Toro stated:

“Having reviewed the findings of now numerous investigations related to the case of Capt. Royce Williams, I have determined the case to be special and extraordinary. Lt. Williams took the lead of an incredibly critical mission during the Korean War, which led to the protection of Task Force 77 from enemy attack.

“I authorize the Navy Cross be awarded for his valorous actions committed from personal bravery and self-sacrifice to country. His actions clearly distinguished himself during a high-risk mission and deserves proper recognition.”

Rep. Darrell Issa (R-Cal) echoed Del Toro’s sentiments, telling the media, “The heroism and valor he demonstrated for 35 harrowing minutes 70 years ago in the skies over the North Pacific and the coast of North Korea saved the lives of his fellow pilots, shipmates, and crew. His story is one for the ages, but is now fully told.

Seeing the new “Top Gun” movie sequel starring Tom Cruise is not the only way for a Tommie to experience dramatic air maneuvers this summer. A University of St. Thomas graduate will be flying the number three right side slot when the United States Air Force Thunderbirds Air Demonstration Squadron headlines the annual Duluth Air Show on July 16.

Major Lauren “Threat” Schlichting ’12 is one of only six female pilots in the 69-year history of the squadron and the second female Thunderbird to have graduated from the University of St. Thomas in Minnesota.

During the show, Schlichting and her fellow Thunderbirds will push their F-16 Falcons to the limit in the type of highly choreographed near misses that can test the nerve of even the most elite Air Force fighter pilot.

The first time she attempted a tight formation loop, Schlichting realized how unnatural it was to be inverted at 500 mph with another fighter so close she could almost reach out and touch it.

“You have to ignore some pretty basic survival instincts,” Schlichting said. “I don’t know if people have a sense for how close we actually get to one another. There are times when my commander’s missile rail is about 18 inches away from my canopy.”

Major Lauren “Threat” Schlichting ’12 is one of only six female pilots in the 69-year history of the squadron and the second female Thunderbird to have graduated from the University of St. Thomas. (U.S. Air Force photo by Tech. Sgt. Nicolas Myers)

Schlichting clearly remembers the spark that ignited her passion for aviation. “In second grade, two astronauts from NASA came to speak at our school in my hometown of Stillwater, Minnesota. The funny thing is that I was way more interested in the fact that they were pilots than the fact that they were astronauts,” Schlichting said.

For Schlichting, the choice to attend St. Thomas was simple. ROTC Detachment 410 had a strong reputation for cultivating cadets, and the university offered a unique subsidy covering any remaining tuition, room and board after ROTC scholarships. St. Thomas is an attractive option for ROTC candidates; the university received the Military Friendly School Gold Award in 2022.

As a math major, Schlichting appreciated the patience and dedication of the faculty and how their example inspired her later in her career.

After graduating from St. Thomas in 2012, Schlichting received her commission as an officer in the U.S. Air Force and attended flight school, where she earned a coveted fighter pilot assignment. In 2018, she deployed to Iraq in support of Operation Inherent Freedom where she logged over 420 combat hours in her F-15E Strike Eagle.

Upon her return from deployment, Schlichting went on to become an Air Force flight instructor, where the example set by her math professors from St. Thomas proved very useful.

“I would spend long hours with my students in simulators, and I would think back to my professors at St. Thomas and how patiently they helped me work through proofs,” Schlichting said. “It’s definitely something I wanted to emulate.”

The United States Air Force Air Demonstration Squadron “Thunderbirds” practice during the team’s inaugural winter training trip Jan. 20, 2021, at Spaceport America, New Mexico. This trip provides the team a month of air show practice in different conditions and terrains. (U.S. Air Force photo by Tech. Sgt. Nicolas Myers)
Major Lauren “Threat” Schlichting ’12 is one of only six female pilots in the 69-year history of the squadron and the second female Thunderbird to have graduated from the University of St. Thomas. (U.S. Air Force photo by Tech. Sgt. Nicolas Myers)

Photo courtesy of U.S. Air Force
Major Lauren “Threat” Schlichting ’12 is one of only six female pilots in the 69-year history of the squadron and the second female Thunderbird to have graduated from the University of St. Thomas. (Photos courtesy of U.S. Air Force)

The United States Air Force Air Demonstration Squadron “Thunderbirds” practice during the team’s inaugural winter training trip Jan. 20, 2021, at Spaceport America, New Mexico. This trip provides the team a month of air show practice in different conditions and terrains. (U.S. Air Force photo by Tech. Sgt. Nicolas Myers)

Major Lauren “Threat” Schlichting ’12 is one of only six female pilots in the 69-year history of the squadron and the second female Thunderbird to have graduated from the University of St. Thomas. (U.S. Air Force photo by Tech. Sgt. Nicolas Myers)

Photo courtesy of U.S. Air Force

As a female Thunderbird pilot, Schlichting is often approached by young girls who want to follow in her footsteps. “I think it’s really important when you have a dream that you see yourself in someone else who’s accomplished that dream. I go out to events, and little girls want to come talk to me. It’s special to me because I was that girl,” Schlichting said.

Schlichting appreciates the benefit of setting this example because it was another University of St. Thomas graduate and female Thunderbird pilot who inspired her to apply. Michelle “Mace” Curran ’09 served in the Air Force from 2009-21. Curran completed a tour of duty in Afghanistan in 2016, and in 2019 she became just the fifth female pilot in Thunderbird history.

Michelle “Mace” Curran ’09 served in the Air Force from 2009-21. Curran completed a tour of duty in Afghanistan in 2016, and in 2019 she became just the fifth female pilot in Thunderbird history. (U.S. Air Force photo)

During the selection process, current Thunderbird pilots have an opportunity to weigh in on candidates.

“When Lauren applied to become a member of the Thunderbirds, I was involved in the hiring process, and I was a huge advocate for her, but if her skills and her personality weren’t there, it wouldn’t have mattered how much I advocated for her,” Curran said. “She had all of the skills, she had a great reputation and she was one of the nicest human beings I’ve ever met, which was also very apparent to everyone else. So it was cool to be able to help push for her a little bit because she was just the perfect person for the job.

“I knew Lauren from St. Thomas. She was a freshman when I was a senior, and we were in Detachment 410 together. I wonder if me becoming a Thunderbird pilot had any impact on Lauren becoming one too,” Curran said.

Schlichting left little doubt. “I followed Michelle through her career. When she got a pilot slot in the Thunderbirds, I thought she was so cool, and I knew it was what I wanted to do,” Schlichting said.

As commander of ROTC Detachment 410, Lt. Col. Mike Fiandt keeps a close eye on the careers of former officers in training. “It’s always exciting to hear about the amazing accomplishments of our Det 410 alumni and what they’re doing out on active duty. Major Schlichting’s selection as a Thunderbird pilot is a testament to her dedication, character, and excellence, not only as a pilot but as a U.S. Air Force officer,” Fiandt said. “Major Schlichting and Michelle Curran exemplify the culture of leadership, service, teamwork, and excellence produced by our Air Force ROTC program and the St. Thomas community.”

Visit the U.S. Air Force ROTC Detachment 410 webpage to learn more about ROTC at St. Thomas.