Articles from 1918
The attached ad makes it quite clear that the American Army was not without its innovators: the Germans may have introduced poison gas, the British may have introduced the tank but it was the Americans who added Chamois Leather Underwear to the arsenal of industrial warfare.
Unlike those Poilu who rushed manfully to the recruiting stations in 1914 expecting some sartorial glory in the form of a shiny cavalry breast plate or stylish bright red pantaloons, only to find that the constraints of modern warfare would only provide him with a filthy rat-infested trench and a poor-man’s concept of a camouflage uniform (light-blue wool); the American Doughboy at least had some time to figure out that he would not be as nicely turned out as his uncle was during the Spanish-American War.
This odd notice was printed on the front page of The Stars and Stripes while most of the A.E.F. was still in training. The word was out by this time that the Campaign Hats they were issued back home were out -and so to counter the gripes, the army printed this balderdash to put a ‘nice spin’ on the tin pot
It’s not a helmet
To read more about the old campaign hats of the A.E.F. click here.
Six very fine fashion drawings illustrate what was generally perceived to be the chic silhouette during the August of 1918.
There may be some women who can get along without satin frocks, but it is exceedingly doubtful..
It was the Prussian Guard against the American Indian on the morning of October 8 in the hills of Champagne.
A short notice printed in May of 1918 which intended to let the Doughboys know that the U.S. Army Quartermaster Corps was well aware that changes needed to be made in the American uniform in response to the damp French climate.
The additional uniform items never went into production in light of the fact that the war ended six months later.
A colored scan of the widely distributed seventy-word letter that Britain’s King George V wrote to all members of the American military who had stepped on British soil. The letter is dated April, 1918 and was made to appear as though it was from the King’s private stationery; the Windsor Castle letterhead is engraved in scarlet while the cursive body of the letter (in dark gray ink) is beautifully printed below in the conventional manner. It would seem that the California Doughboy who received this particular letter was not impressed; he simply turned it over and addressed a letter to his parents.
One of the most curious aspects of the Great War that generated a good deal of conversation among the civilian populations was camouflage. Many people believed that camouflage was one of many elements that made that war so terribly different from all other wars. One well-read reader from a respectable American magazine would have non of it: she composed a well researched letter explaining that the need for camouflage preceded the era of industrial warfare and was practiced by the ancient combatants of Greece and Rome as well.
Instructions as to how American insignia was to be worn on the trench coat as well as the officer’s raincoat. An additional notice can be read concerning the Army’s wish that all Doughboys maintain a good, soldierly appearance while not serving in the zone of advance.
Appearing in The Stars and Stripes in mid-February of 1918 was this column about one of the newest disciplines to be introduced to the photographic section of the U.S. Army Signal Corps: the motion picture branch.
There is one movie-officer at present assigned to every division in the A.E.F.; one might call him the camera battery, if one wanted to get really military about it. Under him is a squad of expert photographers, some movie men, some ‘still’ snappers.
From the time when the sun finally decides that he might as well hobble up in the sky and do part of a day’s work, which isn’t often in this region, until the time that the aged, decrepit old solar luminary decides again, about the middle of the afternoon, that he’s done all he’s going to do while the calender is fixed the way it is, the camera battery is up and around taking pot-shots at everything in sight… They may be ‘covering’ a review, a series of field maneuvers ‘up front’ or merely Blank Company’s wash day at the village fountain. But always when the sun is shining, they are at it.
Click here to read a YANK MAGAZINE article about the Signal Corps films in the Second World War
This article,Photography’s Notable Part in the War was written by an active participant in the aerial reconnaissance arm of the Royal Flying Corps, Captain Henry A. Wildon. He reported that both sides in the conflict recognized early on that intelligence gathering by way of camera and aircraft was a real possibility:
Our first airplanes in France were not supplied with photographic equipment. It was not until the beginning of 1915 that the importance of of photography became apparent, and was made possible by improvements in the type and general stability of the airplane.
The American performance at the battle of Chateau-Thierry proved to General Foche that the Americans had the necessary stuff, and it was widely recognized that the Doughboys played the key roll in keeping the Germans out of Paris.
The attached STARS AND STRIPES article is extremely detailed as to the individual units (both French and American) that participated in rolling back the Germans along the Marne.
In the spring of 1917, the German Air Corps developed a squadron of large aircraft capable of dropping 660-pound bombs on London -and drop them they did, killing as many as 788 human beings between May of 1917 and May of 1918. The Giant Goltha Bombers conducted these raids primarily at night and utterly terrified the East End of London. Eventually, German losses escalated and the London raids were canceled in favor of Paris and various other French targets. In 1917 this image of a Goltha cockpit appeared in the French press.
The Lewis gun was, in the circumstances, a weapon of very considerable value. It helped the British infantry to hold back masses of the enemy in the opening phase of the war, and became one of the most important instruments of attack and defense during the long period of trench warfare.
The light Lewis gun became the favourite weapon of the British airman, against the Parabellum gun of German pilots and fighting observers.
Click here if you wish to read about the American inventor of the Lewis Gun.
If you are looking for a serious report concerning the political battles fought in Congress regarding Prohibition (1919 – 1933), you can keep looking. The attached essay is a humorous parody of that dispute between the Drys and Wets as it existed just months before the ‘Noble Experiment’ began in earnest. By November of 1918, the American newspaper readers had simply overdosed on the redundant writings of assorted war correspondents – and so, with a bit of whimsy, the VANITY FAIR writer George S. Chappell sat down to write about the political war between these two groups using the same journalistic affectations everyone was so heartily sick of. You will also find a mock military map depicting the faux topography in dispute.
A NEW YORK TIMES correspondent reported from Washington what the official line was as to why the U.S. Army had seen fit to toss out the campaign hat in preference to the European-style Overseas cap:
When the Americans entered the trenches, said an official statement today, it was found that the brim of their campaign hat interfered with sighting through the trench periscopes and that the high crown, in the case of tall men, could be seen above the parapets. The new cap is so low that it permits the men to move with the same freedom as when they are hatless.
Forty-three years after the bloody end of the American Civil War, this reminiscence by a Southern officer appeared in print recalling the important roll that corn played during those days as it had throughout all American history.
When the songwriter Irving Berlin sat down in 1915 to write his well-loved ditty I love the Girl on the Magazine Cover, we have no doubt that it was the Christy Girl who inspired him. The Christy-Girl, so-called, was the creation of the American commercial illustrator Howard Chandler Christy (1873 – 1952) who placed her famous mug on thousands of magazine covers, newspaper ads and billboards.
The attached file consists of two articles, both pertaining to recruiting posters; one for the U.S. Navy and the other for the Marines. In the interest of national security, the Christy-Girl is depicted as a cross-dressing patriot in both of them, and the sailors loved it; they preferred to call her Honey Girl, and as far as they were concerned, that name fit her just fine.
Attached are a few words on the W.W. I naval recruiting poster To Arms by illustrator Milton Bancroft.
The article primarily describes what the duties of a ship’s bugler are, what this position represents and why this was such an suitable graphic image for recruiting sailors for the war.
