Category Archives: hero

Cactus Crew Chief

80 Years Ago Today: “March 22, 1943: Technical Sgt. R.W. Greenwood, a Marine, sits in the cockpit of a Grumman Wildcat fighter plane, based at Henderson Field, Guadalcanal, that is credited with shooting down 19 Japanese aircraft, as illustrated by the number of Japanese flags on his plane. Several different pilots have flown the ship during successful missions, but Sgt. Greenwood has remained plane captain.”

(AP Photo)

I’d imagine the good Sgt. Greenwood is from the “Bulldogs” of VMF-223. Led by Major John L. Smith (19 air-to-air kills 21 August-to-03 October 1942 with the “Cactus Air Force” on Guadalcanal) along with XO Capt. Marion Eugene Carl (16.5 air-to-air kills 04 June 1942-to-03 October 1942 with Cactus) the unit was a legend among legends.

Other Marine Wildcat Squadrons on Guadalcanal included the “Fighting Bengals” of VMF-224 under Major Robert E. Galer (11 kills with Cactus), The “Wolfpack” of VMF-112 which included the “Raging Cajun” Lt. Jefferson J. DeBlanc who downed five Japanese aircraft in minutes before being shot down himself in Jan. 1943, the “Green Knights” Of VMF-121, the “Candystripers” of VMF-122 (whose XO at the time was Pappy Boyington of later Baa Baa Blacksheep fame), the “Flying Eight Balls” of VMF-123, and the “Hell Hounds” of VMF-212.

Of Pistachios and the Emperor Ming

As a child of the early 1980s, the first Bond movie I saw in the theatre was Sir Roger Moore’s For Your Eyes Only, and today I will fight for that film’s reputation. I just thought it was great and it still holds up. Definitely in the top 10 Bond films, maybe even the top five.

It also had one of the best-supporting rouges, the pistachio-munching Greek smuggler Milos Columbo, played by Chaim Topol.

In the film, I noticed Milos carrying his Tokagypt Type 58 in an unusual manner, especially considering Moore’s PPK behind him. 

The grip, even today, still seems unusual but it is clearly keeping in mind both muzzle and trigger awareness.

One reason for that is Topol– whose father was in the Haganah back in the old British Palestine Mandate days– served in the Israeli Defense Forces as a teen, then most of his adult life in the reserves returning to active duty in the Sinai Campaign in 1956, the Six-Day War in 1967 (leaving the cast of Fiddler on the Roof at Her Majesty’s Theatre, London, for that campaign), and the Yom Kippur war of 1973. Yes, he was in an entertainment troop, but he still served and, in Israeli fashion, surely had a good bit of small arms experience.

Of course, Topol is now gone at age 87, having been iconic to most people for being the Fiddler guy, whereas to me he will always be Milos Columbo and Professor Hans Zarkov from that 1980 sci-fi camp classic, Flash Gordon, a movie so great it has never been remade.

Take it out Milos:

Vale, Ricou Browning, Daddy Frogman

One of Florida’s greats, and the last of the classic 1950s Universal horror film actors, Ricou Browning, has passed this last week, aged 93, at his home in Southwest Ranches, Florida.

Raised on Jensen Beach as a member of a family of fishermen, Ricou could swim before he could walk, or at least that’s what has always been said. In his teens, he worked in the underwater shows at Wakulla Springs, then, after a stint in the Air Force, went to FSU and was a standout on the swim team.

In 1953, after returning to his old job at Wakulla Springs, he did some test dives for Universal, and the rest was history.

As noted by the Marin County News in 2012:

There was a deep cave at Wakulla, where Ricou took them and with a movie camera which had been brought along, they filmed Browning swimming in the spring waters. A few weeks later Ricou was contacted by Arnold, who had been greatly impressed by the youth’s swimming style and offered him a sizable sum of money to play the role of the “gill-man” in Universal-International’s movie “Creature from the Black Lagoon.” Young 23-year-old Ricou replied, “Fine. Let’s have at it.”

Ricou went to California where a special $18,000 outfit was constructed; the “creature” would have gills and a fish-like face. Browning would do all the underwater scenes for the movie, many times holding his breath up to four minutes at a time, not releasing any air bubbles from his mouth or nose! The underwater action was filmed at Wakulla Springs while some of the “above water” segments were done at Rice Creek near Palatka in Florida.

Another heavier gill-man costume was made for all the scenes filmed out of the water and were shot in California. Ben Chapman, a cousin of actor Jon Hall, played the role for these scenes. Other actors included Julie Adams, Richard Denning, and Richard Carlson and the filming was completed in late 1953.

Ricou Browning finishes getting into costume as the Gill-man in “Creature from the Black Lagoon” (with a little help). Filming of underwater scenes took place in Wakulla Springs, Florida, ca. 1953. General Photographic Collection, 1845-2016. State Archives of Florida, Collection M82-5, Image PR10705.

Besides portraying the Creature in the underwater scenes for the film’s two sequels, “Revenge of the Creature” and “The Creature Walks Among Us,” he also was the director for the extremely complicated underwater scenes in “Thunderball” (1965) and “Never Say Never Again” (1983), as well as Flipper.

Who as a kid hasn’t thought they would be involved in more underwater spear gun fights as an adult?

Of course, anyone who has ever attempted BUD/S training with the Navy for the past 60 years has seen the enduring Creature statue, a gift to the Naval Special Warfare Center at Coronado, from BUD/S Class 63. Around his neck is a sign, often replaced, asking, “So, you want to be a frogman?”

The statue is often referred to as Gillman, Swampman, or just “Gilly.” A repro of this statue is on display at the Lt. Michael P. Murphy Navy SEAL Museum on Long Island.

Edenton/Haley Soldiers On

Following an extended $6 million seven-month dry dock maintenance period in Seattle, the one-of-a-kind 282-foot British-built Coast Guard Cutter Alex Haley (WMEC-39) returned to her homeport at Coast Guard Base Kodiak, Alaska earlier this month.

The crew of the Coast Guard Cutter Alex Haley returns to homeport at Coast Guard Base Kodiak, Alaska, on Jan. 12, 2023. U.S. Coast Guard photo by Petty Officer 3rd Class Ian Gray

As noted by Coast Guard 17th District (Alaska)

The engineering department oversaw 76 work items including major overhauls on the cutter’s controllable pitch propeller system, speed reducers, rudders, and boilers, along with inspections of fuel, sewage, and water tanks. The operations department supervised a renewal of Alex Haley’s flight deck, navigation systems, and electronics while maintaining critical law enforcement currencies. The deck department expertly completed vast amounts of painting and topside preservation, while ensuring small boat operational readiness.

The Coast Guard Alex Haley sits dry-docked for repairs and maintenance in Seattle, Washington, on Dec. 13, 2022. While in the dry dock, the crew and contractors successfully completed more than $6 million worth of repairs.

In typical USCG fashion, Haley is one of the oldest ships in the U.S. maritime service, with 56 years on her hull and another decade of service looming.

Built by Brooke Marine in Lowestoft, Sussex between 1967-71 as USS Edenton (ATS-1), the 3,500-ton vessel was the lead ship of a three-hull class of salvage and rescue ship capable of worldwide operations.

USS Edenton (ATS-1) NHHC L45-82.06.01

Joining the fleet when commissioned on 23 January 1971, as part of the Second Fleet, she would go on to complete no less than nine extended Med cruises and one West Pac deployment before she was decommissioned on 29 March 1996, completing 25 years “haze gray and underway.” Of note, the builder of the class, Brooke Marine, had gone into receivership and been sold off almost a decade prior, while the class’s Paxman diesels were increasingly unsupportable.

Edenton was stricken from the Navy List on 29 December 1997.

While her sisters USS Beaufort (ATS-2) and Brunswick (ATS-3) would be retired at the same time, they would retain their extensive salvage gear fit and be sold in a hot “as-is” transfer to the South Korean Navy, where they linger in service as ROKS Pyeongtaek (ATS-27) and ROKS Gwangyang (ATS-28), respectively.

As for Edenton, over a two-year period, she would land much of her deep water salvage gear to make room for a helo deck, grab a white paint scheme with a racing stripe, trade her vintage Mk 16 20mm guns for MK38 Bushmaster 25mm mounts, swap her Paxmans for Catapillars, and ship off to Kodiak where she would take the place after WWII-era icebreaking cutter USCGC Storis (WAGL-38/WMEC-38) was retired, as the Coast Guard’s primary live-in asset in the Bering Sea. Of note, that is why Haley carries the next hull number in line (WMEC-39) after Storis.

Her missions typically involve search and rescue, fisheries law enforcement, and vessel safety inspections across Alaska.

Since her commissioning in USCG service on 10 July 1999, ex-Edenton has carried the name of the late Alexander Palmer Haley, Chief Journalist, USCG (Ret.).

Long before he drew international acclaim for Roots, Haley enlisted in the Coast Guard in 1939 as a mess attendant/steward and, serving through WWII on the cutters Mendoza and Pamlico and in the Pacific Threatre on the cargo vessel USS Murzim (AK-95), contributed articles to the Coast Guard Magazine and started a mimeographed ship’s newspaper. Switching to a Journalist rate in 1949, he would transfer to the Reserve list in 1959, completing 20 years of active duty including WWII service across three theatres and Korean War service. He would then go on to become a senior editor for Reader’s Digest and conduct a series of brilliant interviews for Playboy in the 1960s, back when folks really did buy it for the articles, before becoming a household name.

JOC Haley passed in 1992, aged 70.

May we all grow up to be Buzz Aldrin

Downing a pair of NorK MiG-15s while flying an F-86 Sabre as part of the famed 51st Fighter Wing over Korea would be the highlight of a career for most, but was just the opening act for Buzz…

Col. Edwin Eugene Aldrin Jr., (USMA 1951), besides flying 66 combat missions during the Korean war, shooting down two enemy MiG-15s, making three spacewalks as pilot of the 1966 Gemini 12 mission, serving as the lunar module pilot on the 1969 Apollo 11 mission where he was the second man to walk on the surface of the moon– and pack later a punch to defend that honor— just made his 93rd orbit around the sun while aboard this humble rock in style.

On my 93rd birthday, and the day I will also be honored by Living Legends of Aviation, I am pleased to announce that my longtime love and partner, Dr. Anca V Faur, and I have tied the knot. We were joined in holy matrimony in a small private ceremony in Los Angeles, and are as excited as eloping teenagers.

The oldest surviving moonwalker (only 4 of the 12 remaining) got hitched in combat boots, no less. 

That kick, tho

I love both war movies and sports movies so it should come as no surprise that 1981’s “Victory,” directed by the great John Huston (shortly after he did one of my favorite films of all time, the Kipling tale, “The Man Who Would Be King”), in which a team of scratch Allied soccer players drawn from across numerous German stalags during WWII to play an elite German team, is high on my list.

Starring a number of international World Cup-level footballers with acting from the likes of Sir Michael Cain up front and Max Von Sydow’s Major Karl von Steiner adding just enough honor to the opposition, the film is very loosely based on the often over-told semi-true story of the “Death Match” between Ukrainian and German teams in occupied Ukraine in 1942.

However, the big guns on the field are brought by Brazilian football phenom, Pele, who was in his 40s when “Victory” was filmed and had retired from the sport already, with three World Cup wins in his rearview– a record not bested to this day.

Still, Pele was both funny and delivered a perfect bicycle kick photographed by English cinematographer Gerry Fisher (of “Aces High” fame.)

Truly art in sport.

When I saw the film as a kid, I was playing soccer in a Y8 league and, every time I put on my cleats for my next five years in the sport, I thought of “Victory.” Much later in life, while coaching it for my kids’ teams, watching it at team parties was required, although I will admit, it was more of an acquired taste!

Thank you, Pele,

Warship Wednesday, Nov. 30, 2022: Crescent City Blues

Here at LSOZI, we take off every Wednesday for a look at the old steam/diesel navies of the 1833-1954 period and will profile a different ship each week. These ships have a life, a tale all their own, which sometimes takes them to the strangest places. – Christopher Eger

Warship Wednesday, Nov. 30, 2022: Crescent City Blues

Official U.S. Navy Photograph, now in the collections of the U.S. National Archives, 80-G-216014.

Above we see the lead ship of her class, the heavy cruiser USS New Orleans (CA-32) camouflaged at Tulagi in the then hotly contested Solomon Islands, shortly after she was torpedoed during the Battle of Tassafaronga on 30 November 1942– some 80 years ago today. Note that her stern is riding high and that her forward end is low in the water as the Japanese Type 93 Long Lance she caught had severed her bow between # 1 and # 2 eight-inch gun turrets, killing 182 men and lopping off almost a fifth of her length.

About the class

Classified as the “Second Generation of Treaty Cruisers” by Friedman who has an entire chapter on the subject in his USNI Press U.S. Cruisers book– a bible on the subject– the seven New Orleans class vessels came after America flirted with the more cramped and often extremely lightly armored Pensacola class (Pensacola and Salt Lake City) Portland class (Portland and Indianapolis), and Northampton-class (Northampton, Chester, Louisville, Chicago, Augusta, and Houston) cruisers. For reference, the P-colas, which carried 518 tons of armor, had just 4-inches of armor at their thickest, with just a maximum of 2.5 inches on their turret face and 1.25 inches on the conning tower, making them vulnerable to 5-inch shells and derided as being “tin clads” or “eggshell” cruisers.

Some 588 feet overall with a 61-foot beam, the New Orleans class carried 1,507 tons of protection (three times as much as Pensacola) and ran a belt and central conning tower that carried up to five inches of plate while the thickest parts of the turret faces went eight, making them capable of withstanding hits from the 8-inch shells of the day– if they were fired from far enough away.

In a further improvement, while carrying nine 8″/55 Mark 9 main guns of the same type as the previous U.S. Treaty heavy cruisers, the New Orleanses carried them in better-designed turrets with more room and would be upgraded during the war to Mark 12, 14, or 15 guns.

8-inch guns of the New Orleans-class cruiser USS Tuscaloosa (CA-37), Norfolk, VA. December 1940

As noted by Friedman concisely, “The New Orleans class represented a shift in U.S. cruiser priorities toward protection, gained in part because of a determined use of the entire available treaty tonnage.”

Speaking to which, while rated as 10,000 tons on paper– in line with the Washington Naval treaty limits– during WWII they pushed almost 13,000 when fully loaded and carrying scores of AAA guns for which they weren’t designed. By comparison, the standard weight of the 585-foot P-Colas and 600-foot Northamptons were just 9,138 and 8,997 tons, respectively, leaving a lot of treaty weight on the table.

USS New Orleans artist impression by I.R. Lloyd, circa early 1930s NH 664

USS New Orleans (CA-32) builder’s model, photographed circa 1936. NH 45123 and NH 45122.

Earlier heavy cruisers USS Salt Lake City (CA-25) and USS Pensacola (CA-24), left, alongside USS New Orleans (CA-32) to the right, seen nested together at Pearl Harbor, 31 October 1943. Ford Island is at the left, with USS Oklahoma (BB-37) under salvage at the extreme left, just beyond Salt Lake City’s forward superstructure. Note the radar antennas, gun directors, and eight-inch guns on these three heavy cruisers as well as how much different their bridges, turrets, and masts are. The rounded roofs of early Mark 9 twin and triple turrets of USS Salt Lake City and USS Pensacola contrast greatly with the later turrets of USS New Orleans on the right.80-G-264236

They also had extensive floatplane facilities including two catapults and a large hangar, with corresponding avgas bunkerage and aviation magazines. They typically operated up to four Seagulls, though the number of catapults and extremely dangerous gasoline stores were whittled down late in the war and only a pair of floatplanes carried.

New Orleans class mate USS Quincy (CA-39) looking forward over the boat deck from the secondary conn over her hangar, while the ship was at the New York Navy Yard after her last overhaul, 29 May 1942. Crude # 1 in white circle (center) marks the location of the 5″/25cal loading practice machine. Other notable items includeboats and boat cradle in foreground; four Curtiss SOC Seagull floatplanes atop the catapults; crated food piled by the after smokestack; and USS Marblehead (CL-12) at left. NHHC 19-N-30725

 

Curtiss SOC Seagull scout-observation aircraft leaves the port catapult of a New Orleans-class heavy cruiser, circa 1942

Our subject

The Mississippi River city of New Orleans, the site of two different battles in 1815 and 1862, had previously lent her name to a ship-of-the-line that was begun the same year as the former and sold while still in the stocks over 20 years past the latter.

Then came a protected cruiser — laid down by Armstrong in England as Amazonas for the Brazilian Navy— that was rushed into service in 1898 and would remain in the line through the Great War. 

U.S. Navy protected cruiser, USS New Orleans (later PG 34 and CL 22), port bow. Reproduction of a painting by Koerner & Hayes, circa 1897-98.

As such, our cruiser is the only the second USS New Orleans to reach the fleet. Laid down on 14 March 1931 at the New York Navy Yard, she was commissioned on 15 February 1934.

A great pre-war shot of the USS New Orleans shows her profile. NH 660

Her brief peacetime period took her as far as Scandinavia, a showboat for the Navy and the country before finding herself increasingly after 1936 in Pacific waters.

May 1934– heavy cruiser USS New Orleans at Stockholm along with the pansarskeppet Gustav V Sverige. Marinemuseet Fo39197

A superb image of USS New Orleans (CA-32) in English waters, in about June 1934. Note her gunnery clock and no less than four Curtiss SOC Seagull floatplanes on her catapults. Photographed by Wright & Logan, Southsea, England. Donation of Captain Joseph Finnegan, USN (Retired), 1970. U.S. Naval History and Heritage Command Photograph. NH 71787

USS New Orleans (CA-32) in port, circa 1937. Note the broad band painted on her after smokestack, probably a recognition feature. NH 50757

Cruiser USS NEW ORLEANS (CA-32) under St John Bridge, Portland

War!

In it from the very first bullet, on 7 December 1941, New Orleans was moored at Berth 16, Navy Yard Pearl Harbor undergoing engine repairs on shore power.

As noted by her report of the attack:

At 0757 sighted enemy planes “dive bombing” Ford Island and went to General Quarters immediately. At 0805 sighted enemy torpedo planes on port quarter flying low across our stern. Rifle fire and Pistol fire was opened from our fantail as the first planes flew by to launch their torpedoes at the battleships. This ship saw several planes launch their torpedoes headed in the direction of the battleships. Our 1.1/75 battery and Machine Guns aft were manned in time to actually fire at three or four enemy planes passing our stern. About 0810 all batteries, except the 8″ battery, were in action engaging such enemy planes a presented themselves as targets.

USS New Orleans (CA-32) off the Mare Island Navy Yard, California, 9 February 1942, two months after Pearl Harbor. NH 97846

Lightly damaged– her crew found no less than 29 small holes in her above water-line hull and superstructure due to flying fragments but she suffered no casualties– with the Pacific Fleet’s battleships out of service, she was soon expected to fill the gap along with her sisters.

She was soon escorting convoys throughout the South Pacific and screened the carrier USS Yorktown at Coral Sea (taking 580 of Lexington’s survivors off) in May, USS Enterprise at Midway in June, and was standing by USS Saratoga at the Battle of the Eastern Solomons in August 1942.

USS New Orleans underway during exercises in Hawaiian waters, 8 July 1942. This was just weeks after Midway, where she screened Enterprise. Note the extensive float nets and rafts on her superstructure and turrets. 80-G-10115

When Sara was torpedoed by a Japanese submarine, New Orleans spent almost 12 weeks escorting the precious flattop back to Pearl, waiting for her to be repaired (and picking up more AAA guns of her own), then escorting her back to the Solomons.

As the Japanese had fought a string of cruiser/destroyer vs cruiser/destroyer night actions at Savo Island in August (with three of New Orleans’s sisters– Astoria, Quincy, and Vincennes— lost in minutes), Cape Esperance in October (Salt Lake City lost) and Guadalcanal in November (Portland and sister San Francisco seriously damaged) in which the U.S. attrition rate when it came to heavy cruisers became untenable, it was inevitable that New Orleans would soon find herself in a scrap. One that would be the last large surface ship clash of the Solomons campaign.

This brings us to…

Tassafaronga!

RADM Carleton H. Wright’s Task Force 67– including the heavy cruisers USS Minneapolis (CA-36), USS New Orleans (CA-32), USS Northampton (CA-24), and USS Pensacola (CA-26), the light cruiser USS Honolulu (CL-48) and the destroyers USS Drayton (DD-366), USS Fletcher (DD-445), USS Maury (DD-401), USS Perkins (DD-377), USS Lamson (DD-367), and USS Lardner (DD-487)— had a rendezvous with destiny when it acted against a partially surprised and all-around inferior (on paper) Japanese “Tokyo Express” force of RADM Raizō Tanaka’s eight cargo-burdened destroyers of the IJN’s DesRon2 on the night of November 30, 1942, on the surface of Iron Bottom Sound near Lunga Point.

It went…badly.

As described by the National Museum of the Navy:

U.S. force of five cruisers and six destroyers intercepted eight Japanese destroyers bringing reinforcements to Guadalcanal and were crippled by a brilliantly executed Japanese torpedo counterattack. Heavy cruiser Northampton was sunk, while Pensacola, New Orleans, and Minneapolis were badly damaged. The Japanese only lost the destroyer Takanami. In this action, the last of the Guadalcanal campaign’s five major surface battles, the Japanese once again demonstrated their tactical superiority at night. The Navy was learning though, as would be demonstrated in 1943.

It turned out that, while the New Orleans class had better armor than the first generation of American Treaty Cruisers, they suffered from a lack of below-waterline protection and dramatic bow loss ran in the family, at least at Tassafaronga.

Sister Minneapolis, who scored many of the hits on Takanami, took two torpedo hits from Japanese destroyers, one on the port bow, the other in her number two fireroom, and her bow collapsed.

USS Minneapolis (CA-36). En route to Pearl Harbor for repairs, circa January 1943. She had lost her bow when hit by Japanese torpedoes during the Battle of Tassafaronga, off Guadalcanal on 30 November 1942. Official U.S. Navy Photograph, now in the collections of the National Archives, 80-G-44544.

New Orleans also took her lumps.

Detailed from DANFS:

When flagship Minneapolis was struck by two torpedoes, New Orleans, next astern, was forced to sheer away to avoid collision, and ran into the track of a torpedo which ripped off her bow. Bumping down the ship’s port side, the severed bow punched several holes in New Orleans’ hull. A fifth of her length gone, slowed to 2 knots, and blazing forward, the ship fought for survival. Individual acts of heroism and self-sacrifice along with skillful seamanship kept her afloat, and under her own power she entered Tulagi Harbor near daybreak on 1 December.

For New Orleans, her Battle Damage Report is stark:

  1. During the night of 30 November 1942, NEW ORLEANS was a unit of a task force which engaged a Japanese force in the action subsequently named the Battle of Lunga Point. NEW ORLEANS, firing with her main battery and steaming at 20 knots, had just started to swing to the right to avoid MINNEAPOLIS when a torpedo struck the port bow in way of turret I and detonated.
  2. The torpedo detonation was followed immediately by a second and much heavier detonation. As a result, the bow, including turret I, was severed almost completely between turrets I and II. It swung out to port and tore loose, probably due to the starboard swing of the ship. It then floated aft and banged against the port side. Holes were torn in the shell at frames 53, 130 and 136 and the port inboard propeller was wrecked.

That secondary explosion was later determined to be from one of New Orleans’s aviation bomb and mine magazine, A-502-1/8-M, which “contained the 160-pound demolition charge and forty-nine 100-pound bombs” and that of an adjacent small arms magazine, A-502-M, which contained five 325-pound depth bombs.

From her battle damage report

She limped into Tulagi some eight hours after the battle and remained there shoring up her bow with coconut logs under a camo net for 11 days.

Port bow view as she entered Tulagi harbor about 8 hours after being struck by a torpedo, 1 December 1942

USS New Orleans (CA-32) under camouflage at Tulagi, December 1942

USS New Orleans (CA 32) Cruiser shown soon after the battle. 80-G-44447

Minneapolis did much the same, with the help of Seabees. 

New Orleans then slowly sailed for Sydney, Australia, arriving on Christmas Eve 1942, her crew finally getting some much-needed rest. She would remain there until March, when, after a temporary stub bow was fitted in dry dock, she left for Puget Sound and arrived on the West Coast on 3 April 1943 after stops at Pago Pago and Pearl Harbor

USS New Orleans (CA 32) comes into the Puget Sound Navy Yard, Bremerton, Washington, for a new bow after battling with Japanese warships in Southwest Pacific. In this view, she is almost ready for joining to a new bow. The photograph was released 11 January 1944. 80-G-44448

USS New Orleans (CA-32) steams through a tight turn in Elliot Bay, Washington, on 30 July 1943, following battle damage repairs and overhaul at the Puget Sound Navy Yard. She is likely “creating a slick” for recovering a sea plane– making a smooth patch of becalmed water for the aircraft to land upon. NH 97847

USS New Orleans (CA-32) off the Puget Sound Navy Yard, Bremerton, Washington, following battle damage repairs and overhaul, 5 August 1943. NH 97848

Back in the fight

After post-rebuild workups, New Orleans sailed 5-6 October 1943 with RADM Alfred E. Montgomery’s Task Force 14 to shell Japanese-occupied Wake Island.

Wake Island Raid, October 1943. A heavy cruiser’s 8-inch guns bombard Wake, as seen from USS Minneapolis (CA-36), 5 October 1943. The two following ships are (in no particular order): USS San Francisco (CA-38) and USS New Orleans (CA-32). National Archives photograph, 80-G-81973

New Orleans would also help support Allied landings at Hollandia and the invasion of the Marianas.

Saipan Invasion, June 1944. Units of Cruiser Division SIX bombard Saipan on 14-15 June 1944. The nearest ship is USS New Orleans (CA-32). Beyond her is the light cruiser USS St. Louis (CL-49). 80-G-K-1774

She would lend her increased AAA batteries to help swat down Japanese aircraft during the Battle of the Philippine Sea while revisiting her old days of screening carriers. Then came the big shows in the Philippines and at Iwo Jima.

USS New Orleans (CA-32) at the Mare Island Navy Yard, California, 8 March 1945. The city of Vallejo is in the background. Note the ship’s welded bow structure (forward of her second 8/55 triple gun turret). This replaced her original riveted construction bow, which was lost during the Battle of Tassafaronga at the end of November 1942. Circles mark recent alterations to the ship. 19-N-80232

A rare shot at the same time and place as the above that shows her hangar open. Note that her portside catapult has been landed by this time in her career.

After a final wartime refit at Mare Island, she was back at it, hammering Japanese positions at Okinawa and was at Subic Bay when hostilities ceased.

After supporting the post-war occupation of Korea and Manchuria, she made two trips back stateside on Magic Carpet missions returning Pacific War vets to the U.S. Arriving at Philadelphia Navy Yard in March 1946, she spent an 11-month period preparing for mothballs and was decommissioned 10 February 1947.

She had earned 17 battle stars for her war– tying for third most in the theater– and gained a new bow.

From her nine-page War History in the National Archives.

Of her seven-ship class, only four were still in commission on VJ Day and three of those were so grievously damaged in action against the Japanese off Guadalcanal that they had to be extensively rebuilt. Only sister USS Tuscaloosa (CA-37), which had “luckily” fought most of her war in the ETO, was never damaged in battle.

The remainder of the New Orleans class in the 1946 edition of Janes.

Cruisers and other warships laid up in the Philadelphia Yard Reserve Fleet Basin, circa 1947. The outboard ship in the left group is USS St. Louis (CL-49). Ships in the background include (in no order): USS San Francisco (CA-38), USS Tuscaloosa (CA-37), USS Minneapolis (CA-36), USS New Orleans (CA-32), USS Louisville (CA-28), and USS Portland (CA-33). Courtesy of “All Hands” magazine. Catalog NH 92254

After spending 12 years along Philly’s red lead row, the vaunted USS New Orleans had her name struck from the Navy List on 1 March 1959 and was sold for scrapping on 22 September 1959 to the Boston Metals Co., Baltimore, Md. Similar fates were met by her three remaining sisters at the same time.

Epilogue

Our cruiser was remembered by the (apparently now defunct) USS New Orleans Reunion Association and most of her war diaries along with some architectural and engineering drawings are digitized in the National Archives.

Her ship’s bell– presented to the cruiser by the Louisiana State Museum in 1933– is on display in New Orleans City Hall, just outside the Mayor’s Office.

The National WWII Museum in New Orleans has other artifacts including a piece of the coconut log shoring from Tulagi.

With the old New Orleans sent to the breakers, the Navy soon recycled her name for a new Iwo Jima-class amphibious assault ship commissioned in 1968 and would go on to serve three decades.

The U.S. Navy amphibious assault ship USS New Orleans (LPH-11) underway in San Diego Bay, California (USA), on 16 June 1988. AH-1 Cobra, CH-53E Sea Stallion, and CH-46 Sea Knight helicopters line the flight deck. In the background is the submarine tender USS McKee (AS-41) and the submarine rescue ship USS Florikan (ASR-9). Date 16 June 1988. NH 107677-KN

Then came the Ingalls-built USS New Orleans (LPD-18), a massive 25,000-ton San Antonio-class amphibious transport dock, commissioned in the Crescent City in 2007 and still in service.

The U.S. Navy (Pre-Commissioned Unit) San Antonio Class Amphibious Transport Dock Ship USS New Orleans (LPD 18) sails beneath the Huey P. Long Bridge as it moves on the Mississippi River towards New Orleans, La., on March 5, 2007, in preparation for its commissioning ceremony on March 10, 2007. MCS Kurt Eischen, USN.


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So I went to see Devotion…

I weighed in last week on the behind-the-scenes attention to detail of the new J. D. Dillard/Erik Messerschmidt Sony Pictures war biopic Devotion, focusing on the too-short life of Ens. Jesse Leroy Brown and his “Fighting Swordsmen” wingman, Lt. (j.g) Thomas J. Hudner Jr., who flew side-by-side at the Battle of Chosin Reservoir in the Korean War.

1950 photo of Fighting 32 (VF 32) ahead of USS Leyte’s Med deployment that soon became a Korean combat tour

If you missed that, the production went all-out, leasing real MiG-15s, F4U Corsairs, A-1 Skyraiders, and F8F Bearcats, then constructing an Essex-class straight deck carrier in a field to put them all on for static shots.

I mean, Dillard is the son of a Blue Angel and his first memory is touching the nose of his dad’s just-landed F-18– so what do you expect?

Said the director on his use of these vintage war birds:

It was by far the most meticulous part of the filmmaking process, but it was important to me aesthetically that we put as much realism in front of the camera as we could. There aren’t even enough of these period planes still flying to fill the skies in the way that we wanted to. But what we always prioritized is that the action happening closest to the camera was practical. That 17th plane, half a mile off, can totally be CGI. But the plane flying very close to the camera is a real Corsair painted with the real squadron’s letters and numbers, and there are real stunt pilots in those planes, executing real maneuvers. That was very important to me and ultimately worth the prep and the planning.

And, besides tapping in actor Glen Powell– who played the cocky “Hangman,” the modern Iceman substitute in the new Maverick movie– Dillard also used the same aerial photography team that worked on that project but with the benefit of fewer restrictions.

“I joke that they spent 200-plus million dollars on R&D, then came to work with us,” Dillard says. And since his film didn’t use modern U.S. Navy planes, he had more freedom. “There is significantly less red tape when you want to take that plane 15 feet over the water at more than 100 miles an hour and photograph it, which at one point we did,” he says. “There are also technical differences in photographing those aircraft… As a small example, you can’t put a camera directly behind an F-18, because there’s jet blast. But we could sit our camera plane right on the tail of the Corsair because it has a propeller — you’re not worried about the camera melting from the afterburner.”

With this lead-up, how could I NOT go see the movie on opening night last week?

I can report that it was a good film, that should be seen on the biggest screen possible to drink it in, full of amazing and unique warbird shots. As far as the plot, it is based on a true story and they stick to most of the real details with only minor deviations. The dialog was a little hokey at times but certainly not any worse than that seen in other modern war films.

As Brown was the first African-American U.S. Navy officer killed in action, he has long deserved a decent film telling his story and this is it. Going past that, it is entertaining and, while circling back to the racial elephant in the room several times, doesn’t make it the prime driving point of the film. I’m no movie rater but if you had to ask me, I’d give it at least an 8 out of 10 overall.

If you have some time to kill, you could find worse ways to spend two hours.

Perhaps it will lead to Brown getting a destroyer named after him. 

Speaking of which.

Welcome home, Hudner

Of interest, the SURFLANT-tasked Flight IIA Arleigh Burke-class destroyer USS Thomas Hudner (DDG-116), commissioned in 2018, just returned this weekend from the inaugural deployment of the Gerald R Ford Carrier Strike Group.

As detailed by the ship’s social media page:

-We sailed 15,148 miles,
-Conducted 7 replenishments at sea,
-Set 8 Sea and Anchor details
-Completed 2 Straits Transits
-Saw winds as high as 52 knots,
-Completed 78 flight quarters,
-Inducted 4 new Chief Petty Officers,
-Qualified 3 new Officers of the Deck, 2 new Tactical Action Officers, and 8 new Engineering Officers of the Watch
– Expended 52,266 rounds of ammo,
– Passed 1 Engineering Certification,
– Visited 2 new countries,
And made countless memories along the way.

    Echohawk

    The 45th Infantry (“Thunderbird”) Division Museum in Oklahoma recently shared a gripping series of combat drawings by Brummett Echohawk.

    An unofficial war artist, Echohawk was a Pawnee, Kit-Kahaki (warrior band) and “saw the elephant” firsthand as an infantryman with the 45th’s 179th Infantry Regiment, earning the Combat Infantry Badge, Bronze Star, and Purple Heart (3), after enlisting in the Oklahoma National Guard in 1940 at age 18.

    His outfit was filled with depression-era cowboys, farmers, and more than a thousand Native Americans– recently brought back into the attention of many due to the recent Liberator series on Netflix– with Echohawk and William Lasley, a Potawatomie, leading a successful charge at Anzio Beach to take the “Factory” which insured that the Allied toe-hold at Anzio Beach was secure.

    A number of his drawings made it into wartime publications.

    The Thunderbirds suffered 26,449 casualties in 230 days of combat across Europe, some 187.7 percent of its authorized strength.

    As for Echohawk, he went on to become a well-recognized artist specializing in Western and Native themes and is well-exhibited at the Gilcrease Museum and the National Cowboy and Western Heritage Center.

    Trail of Tears, by Brummett Echohawk, black, and whitewash, 1957 via the Gilcrest

    SGT Echohawk passed at age 83 in 2006 and is buried in Pawnee’s Highland Cemetery.

    For more information, visit the Echohawk Project and pick up his books, including Drawing Fire: A Pawnee, Artist, and Thunderbird in World War II.

    Don’t make me start buying rocket kits again

    The whole SpaceX thing is just amazing and the Falcon 9 series is something that– I think– has revolutionized the current space program, giving a platform that is cheap and successful to both national security and commercial interests while being largely independent of NASA. In short, it is almost everything the Shuttle program tried to pull off but didn’t. Honestly, we should have had this back in the 1970s. If so, I’d think that human space exploration would be several levels higher than it is now.

    And, just in time for Christmas, Estes has a 1:100 scale Space X Falcon 9 available, capable of hitting 300 feet.

    I used to love Estes Rockets as a kid and I can’t imagine anything that would bring a sparkle to my eyes if I was still a 10-year-old than to get one of these.

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