VA-Vol-5-No-3-Mar-1977 by EAA Vintage Aircraft Association

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Restorer's Corner :!lJJ/ .J.R. NIELANDER•.JR. Your Editor has appointed three Associate Editors to help him with the publication of your magazine. He would very much like to appoint at least three more . To become an Associate Editor the writer must have sub mitted at least five articles which were published in THE VINTAGE AI RPLANE during the previous calendar year. For each subsequent calendar year in which he continues to submit at least five articles which are pub lished, he will continue to be appointed an Associate Editor for the succeeding year. An Associate Editor will receive a free membership in the Antique/Classic Divi sion each year that he holds the office. Further, he will be supplied with official Division stationary for such cor respondence as he finds necessary in the pursuit of his activities as Associate Ed itor, official Division busi ness cards imprinted with his name and title, and a Press Card . Associate Editors' contributions will be credited to them in the table of contents. In addition, every article contains its auth or's byline at the head of the article . Of course your Editor and his three Associate Editors can not do the whole job by themselves, they need help from you. Write the stories of your restoration or your flying experiences in an antiq ue or classic aircraft and submit them directly the the Editor, THE VINTAGE AI RPLANE, Box 229, Hales Corners, Wisconsin 53130, for publication in your magazine.

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For those of you who are relativefy new members in the Division we repeat excerpts from our February, 1976, Restorer 's Corner which contained our short course in writing for publication. "Writing for publication is easy. Just tell the story in your own words exactly as it happened , Don't worry about punctu ation, misspelled words or grammar. Most of the time your natural instincts in these matters will be correct. For the few times that you may make a mistake, your editor will make the necessary corrections." "What is most important in writing for publication is the mechanics, not the grammar or punctuation . If you write for publication and do not use a typewriter, it is best to use lined 11 x 8Y2 notebook or tablet paper and to write only on every other line. If you do type, you should double or triple space your lines." "Whether you type or write long hand, there are a few more procedures which are considered standard practice when writing for publication. First, you should start typing or writing your story in the middle of the first page so that the top half can be used for titling, your byline, and for editor's notes. Use title which you give to the story and yo ur name should be all that ap pears on the upper half of this first page. Second, you shou ld use one side of the paper only. Third, you should number the top of each page and also restate your title so that if your editor should happen to mix your story with other papers on his desk, he will not have any trouble identifying the individual pages and putting your story back together. Fourth, at the bottom of each page except the last one you should write 'more' or 'con tinued' to let your editor know that the page he holds is not the last one in case they should become separated. Fifth, at the bottom of the last page of your story you should write 'end' to let your editor know th at he has the whole story and has not lost any pages."

"The only othe r points of importance concerning stories for publication have to do with the submission of photographs with th e stories. All photographs intended to be used along with the content of the article should preferably be black and white glossy prints. Color photos if they are sharp can be converted to black and wh ite. These prints can be al most any size, but generally editors like to get 5" x 7" or larger photographs. How ever, clarity and sharpness of detail are most important and should never be sacrificed. Pictures for possible use on the cover or for special color features should be either color transparencies or very clear color prints. Be sure to list the number of pictures enc losed with each article on the top of the first page with the heading. "With the completion of th is short course in maga zine writing yo ur editors will ex pect to be deluged with stories and pictures of your experiences and your resto rations. Pl ease don't let them down."

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OFFICIAL MAGAZINE

ANTIQUE / CLASSIC

DIVISION of

THE EXPERIMENTAL AIRCRAFT ASSOCIATION

Editorial Staff Paul H. Poberezny Ass~ciat~ Eaitof'

H. Glenn Buffington

818 W. Crocken St. No. 201

Seattle, Washington 98119

Editor AI Kelch

P.O. Box 229 Hales Corners, Wis. 53130

MARCH 1977

Assistant Editor Lois Kelch

Associate Editor Robert G. Elliott 1227 Oakwood Ave. Daytona Beach , Florida 32014

Associate Ed itor Edward D. Williams 713 Eastman Dr. Mt. Prospect, Illinois 60056

The Restorer's Corner .......... . ... .. .... ..... .. .. .. ... . .. .. . .... 1

Some thoughts on Fairchild PT Aircraft (by Ed Escallon) ..... . ........... 3

Cowboy Aviator (Roman Warren) (by Ray Cocking) .....................7

Vintage Album ... , ... ..... ... ...... . . . .......... . .. ... .... ... .. 11

A Silver Eagle Part II (by Robert Elliott, Assoc. Ed.) ......... .. .. ...... ,13

P.A.T. (pacific air transport) (by Edward D. Williams Assoc. Ed.) ..... .. ...18

Associate Editors will be identified in the table of con· tents on articles they send in and repeated on the article if they have written it. Associate Editorships will be assigned to those who qualify (5 articles in any calendar year).

Directors ANTIQUE AND CLASSIC DIVISION

OFFICERS PRESIDENT J. R. NIELANDER, JR. P,O, BOX 2464 FT. LAUDERDALE, FL 33303 VICE·PRESIDENT

JACK WINTHROP

RT. 1, BOX 111

ALLEN, TX 75002

SECRETARY

RICHARD WAGNER

P.O. BOX 1B1

LYONS, WI 53148

TREASURER E.E. "BUCK" HILBERT

8102 LEECH RD.

UNION,. IL 60180

Claude L. Gray. Jr.

AI Kelch

9635 Sylvia Avenue Northridge, California 91324

7018 W. Bonniwell Road Mequon, Wisconsin 53092

James B. Horne 3840 Coronation Road Eagan, Minnesota 55122

Evander M. Britt Box 1525 Lumberton. North Carolina 28358

George E. Stubbs Box 113

M. C. "Kelly" Viets RR 1, Box 151

Brownsburg, Indiana 46112

Stillwell, Kansas 66085

William J. Ehlen

Morton Lester

Route 8, Box 506 Tampa, Florida 33618

Martinsville. Virginia 24112

EAA ANTIQUE/CLASSIC DIVISION MEMBERSHIP o

P.O. Box 3747

Advisors

VOLUME 5 NUMBER 3

Brad Thomas. Jr.

Dale A. Gustafson

Pilot Mountain, North Carolina 27041

7724 Shady Hill Drive IndI an apolis. IN 46274

Robert A. White 1207 Falcon Drive Orlando. Florida 32803

Roger J. Sherron

446-C Las Casitas

Santa Rosa. CA 95401

301 Dodson Mill Road

Maurice "Sonny" Clavel

Stan Gomoll

Box 98 Wauchula. F L 33875

1042 90th Lane, N.E. Minneapol is, MN 55434

THE VINTAGE AIRPLANE is owned exclusively by Antique Classic Aircraft, Inc. and is published monthly at

Hales Corners. Wisconsin 53130. Second "class Postage paid at Hales Corners Post Office, Hales Corners, Wisconsin 53130. Membership rates for Antiqu e Classic Aircraft, Inc. at $14.00 per 12 month period of which $10.00 is for the publication of THE VINTAGE AIRP tl ANE. Membership is open to all who are interested in aviation.

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ON THE COVER

Dale Browders' Fairchild in a Flor ida setting. See article page 3.

PICTURE BOX (hck Cover)

Tattered leather vest, helmet, gog gles, boots, grease smeared britches - every inch a barnstormer. (Pilot unknown) Photo Courtesy of Bob McDaniels,

Some thtmghts on Ilairchild PT

~4ircraft

19/2:J/26

(Uncredited Photos furnished by author) By:

Ed Escallon 335 Milford Dr. Merritt Island, FL 32952

The Fairchild PT Series Trainers are in a metamor phous stage between being a commonplace, unwanted airplane, and a sought-after, practical antique for general sport flying activity. My love for them grew quickly some five years ago, when I purchased Nl175N at Arlington Field in Washington State, and has reached proportions of an inseparable friendsh ip between ven erable air machine, and affectionado. My first thoughts on the aircraft proved correct in that it is a fairly complex, not too economical machine, as compared to my background in owning Taylorcrafts. Because of its military necessities and overweight air frame, it is a rugged airplane. The control system, typical of many Fairchilds, is a joy to manipulate, and leaves you a friend at first flight. The aircraft was well suited for its purpose of Primary/ Basic flight training as stu dents could feel that the airplane was und er their control from the onset, and consequently become more atten tive to other matters, as learning the particulars of flying the aircraft. Earning the reputation of being "the Cradle of the Air Force", the Fairchilds did some fine work for many allied nations in their training role. This initial feeling of confidence in the airplane has proven to be the undoing of several PTs within my brief Dale Browder & his wife Juanita and ''The Taintsville Air Corps" acquaintanceship with the breed. Essentially, the prob lem is common to many heavier aircraft with high wing Accidents of these sorts are completely preve ntable hops will prove to ail observers present, that the landing loadings and low power loadings, coupled with such items as slotted split flaps, and low breakout stick with proper airspeed control. As long as 80 MPH IAS is gear just isn't that tall! Stalls are normal and break forces. The pilot has either gotten the airplane on the maintained on final approach all the way down to about evenly, with little tendency to falloff on a wing. Rudder backside of the power required curve on approach, or 3 to 5 feet off the gound, there will be no surprises, even control, from this oversized surface is excellent. Stall they have fancied themselves fighter pilots, and stalled under the most adverse conditions. But with the light recovery is good, but the altitude loss, especially in a out of a pull-out, done at low altitude. Fortunately, in controls, it is very easy to nudge a few MPH off the ship well developed stall can be considerable, especially if a all the instances I'm familiar with, the airframe has that require prompt, attentive action to replace. The secondary {or acce lerated stall} follows the first. The proven rugged enough to protect the pilots with minimal nose-low appearance of the cowling, and a healthy secondary caused the other portion of accidents for injuries. Unfortunately, in all cases, the airframe proved descent rate seems to encourage pilots to start flaring 25 unex pecting low-l eve l fighter pilots. I've been doing a feet off the ground. The subsequent series of bounding considerable amount of flight training in what Wichita beyond economical repair.

would like to call a trainer these days, and it is often very educational to show a new private pilot an accelerated stall oc curing at 120 MPH lAS out of the back side of a loop with the airplane in a ver tically nose-down attitude. This is no air plane to be doing low level acrobatics in, and this should be respected by all. Many old wives tales arise out of the Ranger engine. While I am by no means the most experienced Ranger expert in the world, I've made it a point to listen carefully to what the "old salts", and a host of other self proclaimed experts have had to say, and my conclusion is that the Ranger is an exceptionally fine vintage engine. My first Ranger was ready for removal at 10 hours time, despite a supposed major overhaul. Later inspection showed that it never belonged on an airplane in the first place. With such faults as galled thrust bearings, improperly installed rod bearings, plugged oil passages and alike, it is a testament to the engine that it held together. My luck wasn't much better with the second engine, purchased from a commer cial operator of Grumman Widgeons. Not too long after a most enjoyable trans continental flight, this Ranger developed a severe case of low compression (which I was tempted to overlook), but even worse, a random low frequency vibration which was finally attributed to the crank shaft having over 1/8" endplay in it. I haven't disassembled this engine yet to find out the whole story, but I suspect it is serious. Once again, significantly, this engine did not give up in flight despite major internal problems. With this background of trouble (and expense), I very carefully overhauled the third Ranger myself (under A & P super vision), doing everything my Mechanical Engineering background demanded of an Apollo Spacecraft. Some 900 hours later this Ranger runs like a top, with no in

ternal work, good compression, and clean screens, despite several thousands of take offs and landings, and an occasional over speed at the hands of an acrobatic stu dent. There are a few minor items that will help the operation of the engine. First, is to run the 200 HP version of the engine on 100 low lead aviation gasoline. This engine was originally designed for 87/91 Octane fuel, and 80/87 has been known to cause detonation under hot days, climb-out conditions, and cylinder failure can result. Typically, even with this malady, enough power is available out of the other five to get you home, with a not too comforting trail of smoke marking your path. The 175 HP version of the Ranger can be run acceptable on 80/87, although finding it can be a little academic these days. During overhaul of the engine, im proved results can be obtained by the simple addition of intake valve guide seals. These are nickel-and-dime items from local auto parts stores, sold under Perfect Circle No. 2014. Additionally, some individuals have added exhaust valve seals as well, but my preference would be otherwise, as their tendency to "d ry up" this adequately clearanced passage could result in coking the lubri cant, and cause sticking valves. Another highly recommended change is sealing up the sludge plugs in some manner superior to the chill-fit originally specified. These plugs are intended to centrifically sep arate impurities in the oil, but with the use of modern Ashless Dispersant oils, their importance is diminished greatly. Long term engine operation loosens these plugs and causes excess flow from the pressure oil pump, and proportionately increases its consumption. Two ways of sealing up these plugs are to "Locktite" them in place upon installation, or to send the whole lot out to Bob Yates, in California, where he will machine an "0"

PT-LHS "Cutaway"

ring groove in them, and supply you with the appro priate pre-formed packings for a nominal fee. There is a low oil consumption factory bulletin No. 116, detailing methods of reducing main bearing clear ances and alike, but I am not personally acquainted with the report. One modification I would not recommend, is the use of the Cadillac Oil Control Rings. These were highly touted as the cure for oil consumption a few years ago, but our experience in Florida is that the oil scraper ring tends to work its way out of the piston's groove, gouges the cylinder walls, and provides unwanted parts in the crankcase. Most who acclaim th is modification have not personally run a Ranger over a couple hundred hours. It is also said the FAA "frowns" on Cadillac ring usage. Go ahead and put a quart or two an hour in your Ranger, and figure that's part of the 'cost of dancing'. Many owners have become disgruntled to hear results of differential compression tests on apparently good run ning Ranger engines. Ofttimes carbon particles under the valves will cause indications of valve problems. It is suggested that seating surface areas be kept on the small side during valve work. For apparent valve problems during compression checks, it is recommended that you take the airplane up and "wring it out" then re-check the compression while the engine is hot. At the very minimum, this will work some of your frustrations out! Quite often, the numbers will come out in your favor on the second test. Cylinder work on Rangers is quite expensive due to the extent of disassembly required. Air-frame-wise, the Fairchild is a rugged bird, with large box spars that would look good in a Douglas Dolphin. Being of partially wood construction, outdoor storage and long periods between flights do not agree with it. Most owners find some small work to be done every year along trailing edges, or around fittings. Center section drainage is not especially good and it is impor tant that AD note No. 48-45-1 be complied with, and that moisture not be allowed to build up thru prolonged sitting. While the Fairchild had few wartime problems, poorly done repairs and deterioration in th is area have caused wings to come off. Frequent inspections, good repairs, and flying the aircraft within the published limitations can avert any unpleasant surprises. There have been persistant rumors of a metal center section replacement, but the nearest th ing I've found is the We a ther~y Ag Plane, built in Hollister, California, largely around the configuration of the PTs fuselage. Its

Above. PT over Tainstville FL. Photo by Frank Belle design includes a thick, constant chord aluminum construction wing of considerable proportions. Dave Hamilton, of Anderson, Indiana is building new wood center-sections to factory drawings, and this would be my choice for any major rework of a PT. Manuals of repair are still available for the aircraft, and these go into great depth in the maintenance of the PT. However, if you don't plan on doing at least a portion of it yourself, choose your mechan ic with care, as wood, fabric and inverted engines are rapidly becom ing unknown around the old airdrome these days. Brakes and tail wheels give some of the more typical day-to-d ay probl ems on the aircraft. Keep the inflation on the tailwheel to about 60 PSI, and use a channel tread tire to cut down on shimmy. On the Hayes Expand er Tube Brakes, use only automotive fluid, or Lockheed No.5 Brake Fluid, and expect to occasionally cut down the pucks with some coarse sandpaper when the brakes start bind ing up on you. FI ightwise th e old standard C I GAR "C" and GUM P checklists will cover all the particul ars. Warm

Below. PT Rolling. Photo by Frank Belle

the Ranger up for a few minutes, especially in colder climates, before you put a big load on it. Heavy weath ercocking tendencies, and high apparent torque suggest the stick "full back" for the start of the takeoff run, expecially in a left crosswind . Lots of rudder pressure can be expected on takeoff and climb out, and it is best to hold the tail down hard till 45 MPH lAS. Rotation can be effected at 65 MPH lAS, with prompt accelera tion following to a Best Rate of Climb of 80 MPH lAS. Other than the low speed, high power rudder pressure, the controls are all very smooth, light, well balanced and responsive. Rolls of all sorts are just plain good fun!!! Full flap landings should be made only after consid erable experience is gained in the airplane, as the descent rate and angle would make a Tri-pacer blush. It is very important to maintain 80 MPH lAS till the ground is not far below. At this speed the elevator response will be quite adequate to arrest the sink rate. The drag of full flaps increases that of the basic airplane by several hundred percent. With experience, you can make an 80 MPH wheel landing and turnoff at the same intersection as the Cubs, in 300' or less. With the narrow profile fuselage and underslung power plant, visibility out the front , hole is comparable to a jet fighter. The rear seat visibility is obstructed by the wing, but is fair looking forward because it is designed to be a little higher than the front. Takeoff and landing visibility is excellent in the front, and the back seat is not indecent during landings with flaps down. The Fairchild PT Series was designed to a specifica tion series of nu mbers generated by the Army Air Corps in the late 30's. Performance, limiting speeds, and other factors are quite comparable to its sister aircraft such as the Stearman, Ryan, Waco and others. However, the Fairchilds are placarded against certain rather wild maneuvers, capably performed in some of the others. Comparison amongst the PTs will no doubt lead to end less controversy as to which is superior. In overall, consideration of long range, high speed cruising, ex cellent maneuverability, docility and tolerances to strong crosswinds, the Fairchild would generally come out favorably. Many have asked about how the PT 19/26 Ranger powered version compares to the PT 23 Continental 220 HP powered aircraft. From my limited experience with the PT 23, it is probably a Iittle more of a work horse, with superior upper cylinder cooling. However, it has the greater vibration typical of a radial, a louder exhaust

system, and the acceleration and glide performances are markedly reduced. My Fairchild is equipped with a Hartzell Controllable Propeller, wh ich makes takeoff and cl imb performance quite good, pulling slightly in excess of rated power (2450 RPM) at the Best Rate of Climb. At cruise, a power setting of about 1700 to 2000 RPM and 20" Hg. can be used with apparent noise reduction, smoothness, and low oil consumption. One other minor point is that the Hartzell goes supersonic at the tips at takeoff, and while not adding measurably to thrust, it provides a gesture of contempt to those in the modern world who WOuld try to muffle this beautiful aircraft sound . I also have a Curtiss Reed Prop for the ship, for use during overhaul periods on the Hartzell. With this prop, several crankshaft resonances are apparent in the idling and gl id ing RPM ranges, and takeoff performance is not as ~~.

While I have been intentionally brief in my remarks, Table 1 lists some good thorough references for the enthusiast/owner, and I should be happy to assist in whatever way I can personally to preserve th is breed of (F airch ild) horse. The Fairchilders have a Type Club, which can be joined for a very nominal fee ($3/Year) by writing the Editor of the Fairchild Flier, Mr. Don Coleman at 2750 Broadway, Highland, I L. 62249.

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PT 19/26 CAA Aircraft Type Certification Number A-724 US Army Air Corps Technical Orders No. 01-115GA-1, -2, -3,-4. Airworth iness Directives: 43-7-1 47-7-4 46-14-1 47-7-5 iI 46-14-2 47-7-6 47-7-2 48-45-1 47-7-3 Ranger Overhaul Manual Ranger Parts Manual iI

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The Scene Stealers Some of the wildest, most daring, death-defying aerial stunting ever seen took place in the movies during the twenties and early thirties. The stunt pilots, whose exploits were featured in such great films as "Wings," "Lilac Time," "Hell's Angels," and in hundreds of serials and adventure movies, were Barnstormers and veterans of the air circus. These magnificent stunt pilots beat death with split-second coordination and precision movement. A mysterious unity of man and machine seemed to take place during their stunting. Many of them are now legend, Dick Grace, Frank Clarke, Dick Cur wood, Ormer Locklear, Art Goebel, AI Johnson, Frank Tomick, Ivan Unger, Bobby Rose, Paul Mantz. But aerial stunting in the cinema was a lot more than spectacular aerobatics and dogfights. It was running on the top wing of a biplane in flight. Or a man-to-man brawl on the top wing of an aircraft in flight. Midair transfers from one plane to another without a parachute . It was dropping from an aircraft onto a galloping horse or a speeding train. Crashing planes into the ground, water, or walls. Being dragged through the sea on the end of a flying rope ladder. Midair ex plosions. Flying a plane off the top of a building . Aerial stunting in the cinema was a deadly, dangerous business. Many stunt pilots lost their lives; most suffered injuries. Why did they do it? Money? The thrill of danger? The desire to prove they were the best? There doesn't seem to be an easy answer. But millions of Americans in the twenties and thirties went to the movies and escaped into a world of adventure and excitement created by the daredevils of the sky-the Stunt Pilots.

Roman

By:

Ray Cocking 3468 Barnaby Ct. Riverside, CA 92504 Photos furnished by author

During an overcrowded bicentennial year, an unheralded 50th anniversary celebration was taking place at Flabob airport, near Riverside, California. The event, on June 13, 1976, was celebrating the 50th anniversary of the Cowboy pilot, Roman Warren, who, in 1926; catapulted into international publicity over足 night, by flying under the center span of the Santa Ana River Bridge, in Riverside, Calif. He was a little known, and slightly hungry pilot, who was trying to scratch out a living with a small airport, giving plane rides to paying customers with a fare ranging from $2.50 to $10.00. Warren explained that during those times, the north winds blew so hard sometimes that he couldn't take off, and when he didn't fly, he didn't eat. One day in 1926 the news reported on the national wire system, that a Frenchman had been killed in an unsuccessful attempt to fly his plane under the Arch of the Eiffel Tower in Paris. The news struck Warren with an idea. While the news was sti ll hot, he announced he would fly under the center span of the Mission Bridge, which didn't allow

Upper Left. Roman Warren flying under Mission Bridge june 73,7926. Below Left. Roman Warren and Ethel Berry, who later became Mrs. Warren, Riverside Fairgrounds, 7927 or 28.

Warren

Right. Roman Warren on horse by his Thomas Morse Scout. but bare feet on either side, top and bottom, much less clearance than the Eiffel Tower offered the Parisian . Warren said that he never doubted his own ability to make the flight, but suspected that the great crowd of 5,000 people that congregated., were there to see nothing more than the crash. Posed under the bridge, waiting for Warren to do his thing, was Bob Bennett with his news camera, representing Pathe, World News, a very popular news reel company of the day. With the wires screaming at about the same pitch as the female voices in the crowd of 5,000 people, with the Tommy Morse's LeRhone Rotary whining, Warren made his infamous dive under the bridge successfully, probably pulling out and doing a salute and snap roll , as was his custom, over the airport. Bennett, the newsreel cameraman who stood under the bridge with his camera posed, recalls that in order to get the best shot of the bridge flight, he had to put himself in mighty close proximity to the bridge opening, in what some people might have thought was a very dangerous

Right. Roman Warren flying under arch at Riverside Fair in 7927. Note Ethel Berry standing on top waving hat.

position, but he said he "never had any doubts that Roman would make it", and he stood his ground and got his newsreel footage. The event hit the National newsreel screens, and b r 0 u gh t international fame to Riverside for first performing such a stunt. How Warren came to be in Riverside is a story in itself. His connections go back to 1922 when the barn storming pilot made a forced landing on a street in the town of Riverside in July 1922 on a plot of ground, which is now part of the University of California at Riverside. The aviator spent the next two days giving plane rides to curious Riversiders, to whom aviation was still a novelty. The ride business was so good that Warren decided to come back to Riverside a few weeks later. After trying several different locations around the city, he picked a permanent base at the foot of Mt. Rubidouix, famous for its Easter services, and just over the Santa Ana River from the downtown section. He thus established Riverside's first airport, and the beginning of a legend. A later newsreel coverage that added further fame to Warren's stature was footage covering the horseback· marriage of Warren and his bride Ethel, which took place in the Santa Ana River bottom, shortly after the bridge flight in 1926. The bride was Ethel Berry, a well known female rodeo star. One of Warren's other accom plishments than flying, was being an excellent horseman, which probably contributed to the attraction between the two. They were actually married astride their horses, and through this publicity, he became known as "The Cowboy Aviator". Sunday, June 13, 1976 was officially proclaimed Roman Warren Day, 50 years to the day from the time he flew his little Tommy Morse Scout under the center span of the Santa Ana River Bridge. At a young 84, he is held in reverence by all who

Upper Left. Roman Warren racing against car at

Riverside Fairgrounds, 7927.

Lower Left. Ethel Berry and Roman Warren pose with Thomas Morse Scout, under the arch he flew under at Riverside Fairgrounds, each day for 2 yrs.

remember his many flying feats of the 20's and 30's. The center of festivities for Roman Warren Day was the Flabob Airport. The operator there, and many of his friends, planned a long day of festivities, and the airport restaurant even named a sandwich after him, "The Roman Warren Special ". The activities for the day included multiple runnings of both the footage of news足 reel film on the Tommy Morse Scout, with its rotary engine, skimming under the bridge, and the marriage film. The original newsreel photographer was on hand to show it. It is estimated that nearly 2000 people attended during the day, and many acquaintances were renewed. Earlier Warren had said "I wonder how many of the people who saw the original flight will be there?". "I hope they'll all come". Many did of course. The remark "You gave me my first plane ride" or "I saw you fly under the bridge" was repeated time and again during the day. Warren's quotation after the affair was that he never dreamed that so many old friends would come out to greet him. Entertainment for the event included precision flying by Debbie Garey and Tim Lasley, plus a parachute event. There was also a band, the Scorpions, which played throughout the day. Mr. Warren was presented with 3 plaques commemorating his flight. They included a framed proclamation that it was "Roman Warren Day", presented by the County Supervisor, a beautiful original photo of the bridge was presented to him by Lois Evans, and an inscribed silver plaque depicting the flight under the bridge, presented by Ray Cocking, the latter on behalf of the Antique Group from the airport, who are all Warren's close friends. For a big finale, to finish the festive day, Roman and his wife Ethel went for their first helicopter ride. There is little doubt that this was one of the biggest days in Roman Warren's life, and the old time twinkle of Daring Dos was prevelent on h is face throughout the day.

Inset. Roman Warren - Cowboy Aviator at 84 yrs. standing by Ray Cockings replica, Thomas Morse Scout.

Right. Roman Warren snap rolls his Thomas Morse Scout. Bridge he flew under is in lower right corner. His airport is visible at left of road. Light streak in grass worn by landings.

Vintag

Men and Th ,

Vintage Albl. H. Glenn BUI

878 W. CrocJ

qrZS'ing can be beautlfuZ-

Upper left. Myrtle Brown (License No. 7707), formerly of Omaha, Nebr., sister of Mrs. Guiseppe (Dorothy) Bellanca, learned to fly at the Bellanca factory field, Wilmington, Del., and afterwards operated her own airport at Panters Cross Roads near Concordville, Pa. She is pictured here with an OX足 Waco in which she trained. Lower left. Louise McPhetridge Thaden (License No. 7943), preparing to leave Santa Monica ~n the '29 Derby with her j-5 Travel Air. She won the race to Cleveland that year and also the '36 Bendix Trophy Race, in a Stagger wing Beechcraft, New York to Los Angeles ..... currently lives at High Point, N.C.

Below. josephine Wood Wallingford, left, (License No. 9729) and her sister Frances, both formerly of Vernon, Texas, with their instructor, Burdette Fuller, during training at jim Granger's operation, Clover Field, Santa Monica. One of the early-day sister-flying teams, 99-charter member josephine now lives in the Dallas area.

Album

Vintage Machines furnished by '!Iton, Assoc. Editor t St. Sea]tle, WA. 98779 -.

. .,..---束'"-=::;.:....:--. ..

7tZ-g1'n g PQ1'sons can OQ too! Upper right. Gladys Lloyd O'Donnell (License No. 6608) sur足 rounded by race officials at the '29 Derby start in Santa Monica, by the /-5 Waco in which she finished second. She won the '30 Derby, Long Beach to Chicago in a Waco Taper足 wing, and served as second Vice President of the Ninety-Nines. Lower right. Ruth Rowland Nichols (License No. 326), form足 erly of Rye, N. Y., by the Rearwin Ken-Royce as an entrant in the 7929 First National Women's Air Derby. Ruth headed up the Constitution Committee during the founding of the Ninety-Nines.

Below. Edwyna McConnell Thro (License No. 7500), first woman licensed pilot in Fort Worth, with an OX-Curtiss Robin, served as airport secretary to Manager Bill Fuller at Meacham Field. She currently resides in Wichita Falls, Texas.

SILVER

over it all later, we concluded that the Sikorsky, being so large, whipped around quite violently, throwing AI out before he was ready." After a moments' silence in reflection, I asked ... "Clint, do you know of many other Hell's Angels pilots who may be still living?" "I don't really know of any, though there could be a few" ...he answered. "Chubby Gordon, I know is gone ... Frank Tomick, we knew him as Swacco...may still be around. Garland Lincoln may also still be living because I know he quit flying. Of course, Roscoe and Frank Clark have passed on, as you know." "The succeeding years saw me as either a camera pilot or doing stunts. Occasionally I'd have an acting part as a pilot. Faintly reminiscent of the rugged flying in Hell's Angels, was an incident which occurred during the filming of 'Lilac Time'. I was hired as a camera pilot, flying a By: Robert G. Elliott (Associate Editor) low wing monoplane. It was rigged for photography 7227 Oakwood Ave. through the floor as one certain scene called for a Daytona Beach, Fla. 3207 4 German plane to rise underneath me...burst into flames (Photos Courtesy of c.£. Herberger) from 'gun fire' and spin down out of control and out of (continued from january 7977 Issue) camera frame. We were flying from a small field in Culver City Directing my attention back to his photograph of the which had a dog leg layout. One day I cranked up for Sikorsky, Clint continued to say ... "This was made near takeoff, was barreling down the field, when suddenly the the end of the picture showing some of the pilots. You plane turned . It shook me up and I thought. .. "Maybe know...that thing was so heavy the fuselage would lit I'm not as good as I think I am"...so later, after the erally sag in the middle while on the ground, and in the filming, I came in to land and as I slowed up... air, the tail would drop a bit. Angle iron formed the WHAM ... 1 turned again. This went on for about two main fuselage framework, together with wire truss days till one of the boys standing in front of my ship members. exclaimed ..."Good Lord, Herb ... Iook at those wheels We had shot all the sequences around the plane but "...and both were chocked sideways. Someone had they decided on an added scene showing it spinning landed pretty hard earlier and actually bent the axles so down from a cloud bank. None of our pilots had spun it both wheels pointed off to one side. That was one time that I began to doubt my ability." as we were somewhat leery of its size. Clint kept passing prints from his collection and I Finally AI Wilson decided he could do it. A mechanic was to ride in the passenger compartment and operate a couldn't help but pause over one. "Isn't this Clark Gable smoke generator. Keep in mind now . .. that the pilots' in his younger days?" ...to which Clint replied ..."You bet it is. That was made when he and I were in theatre, cockpit was open and quite far back in the fuselage. Well . ..with all camera planes in position, the before he began his film career. We were playing in Sikorsky began to spin. Quite soon we saw one chute, 'What Price Glory'. Clark was Corporal Kiper and my but after breathless minutes none other appeared. By role was the Red Cross man. I had particularly wanted a then the 'Gotha' bomber had crashed with the mechanic role in this, as the script had some real salty lines for those days... but the producer fooled me, as my role inside. AI was a particular friend of mine and because I had had the most proper language of the play. We had a lot known him so long, I'm convinced he would not have of fun in that show and shared a dressing room bailed out intentionally leaving a crewman inside. Going throughout its run."

Eagle

PART II

CLINTON E. HERBERGER

Clark Gable, during his theatrical career, in the role of

Corporal Kiper in 'What Price Glory'. (Photo courtesy of

C. £. Herberger)

Clinton £. Herberger in a studio portrait used to publi cize the pilots who received credits during the filming of 'Sky Bride' by Paramount. (Photo courtesy of c.£. Herberger) PART II OF A SILVER EAGLE The Florida Chapter has honored these men with a membership and the distinctive title to go with it. Robert Elliott (Cont. Edit.) has put in many hours researching and gathering these articfes, we will look forward to more of them in the future.

PILOTS

CHIEF PILOT - - - - FRANK CLARKE

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FRANK TOMI CK EARL W.GORDON

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A page from the opening night program of Hell's Angels, May 27, 7930, presented by Howard Hughes at Graumann's Chinese theatre in Hollywood, Cali fornia. These were the pilots who received screen credits for their spectacular flying during the months of production, Clinton "Herb" Herberger has auto graphed this copy. It would be interesting to have a story on others in this group. If you know anyone who can write such a story, encourage them to do so. (Photo by R.G. Elliott) "Speaking of portraits"...Clint continued ..."how about this one of Frank Clark? You may not know it, but Frank was half Indian. About the only time it showed though, was when he had imbibed heavily. He'd lower his head and glare at you through those eye brows with an expression that almost lifted your scalp." Here's a photo one should appreciate,"... Iaughed Clint as he passed me a full figure shot of someone standing in front of a plane. I asked ..."Who is that?" ...and he replied laughingly ... "That's me, one of the

worst makeup jobs I eve r had fro m a studio makeup man. It was intended to make me look like a fake Ori ental, and it truly did." " Now this photo, though in itse lf is not especially outstanding, was made on the picture 'Sky Bride' by Para mount. The significant poin t of it all was that the producers gave screen recognition to all us pilots for the spectacular aerial sequences. Screen credits for individual pilots were rare indeed and credit goes to Howard Hugh es for our early recognition in Hell's Angels. "Th is last photo from the 'old days' is a group of us in the last picture I mad e as a stunt pilot for the studios. Left to right are ... Frank Tomick , myself, Lyle Talbot the Star of the picture, Frank Clark and Rinaldi. It was call ed, 'Murder in the Cloud s' and was shot north east of San Bernadino. Shortly after this I entered Spec ial Effects work at Mascot Studios, which later beca me Republ ic Stud ios. Republic was independent at the time, about 1931, but Frank Clark, one of the film industries most flam was forced to become Union, so each of us received a boyant pilots, and Chief Pilot during the filming of Union Card for no fee. That's about th e eas iest way of Hell's Angels. (Photo courtesy of C. E. Herberger) joining I know." "About nine years later, at Universal Studios, my Spec ial Effects work brought me back to miniature plane Wright. It's something I treasure very greatly" ...offered crackups. Thi s model" .. .a photo which Clint was refer Clint. "To return briefly to the early Thirties, I recall long ring to... "was built to crac k apart in a pre-determined place. This method, called brea k-a-way, provided a pos ago, Clint. . .when we were discussing the Lockheed itive result as required by the script "and was certainly Vegas, that you had an unusual experience with one" more safe. Techniques and materials improvements over ... prompting Clint to continue..."Yes... 1 was flying the years allowed us to produce miniature effects which for an airline in Mexico known as C.A.T. whose equip defied detec tion from the real thing, if properly ex ment was primarily the wooden Vega. Well. ..one day ecuted." the owner of the line called me in and said ... "Herb, "I could go on and on telling you of the numerous someone made a hard landing and damaged a Vega . . .do Special Effects creations but that's drifting away from you think it can be fixed?" .. . You won't believe this, our prime interest in aviation. So, I'll conclude this but there was a crack just ahead of the stabilizer about phase of my career with a quick recap . Most memorable, two th irds of the way around the fuselage, on the I'd say, would be miniature animation for Walter Lantz bottom. on a pre-historic dinosaur picture ; a city within a moun "We had no means whatever of repairing anyth ing tain for the Flash Gordon series; manufacture and use of that serious so he asked ..."00 you think you could fly the Tesla Coil in the Frankenstein pictures; the church it to the factory in Burbank?" . ..and I said ... Yeah, I destruction in Jon Hall's 'Hurricane' and the twenty two think I can." foot long operating model of an ocean liner for 'History It was fueled, I got ready and climbed in. I set the is Made at Night'." brakes, cranked it up, revved it up .. .lifted the tail off Among Clint's various items of memorabilia, my in the ground, taxied to the end of the field, turned around and took off without ever letting the tail down. It was terest was drawn to a small card issued by the Federa tion Aeronautiq ue Internationale. "That's my license to an uneventful trip to EI Paso, my fuel stop. There, I fly, nu mber 397, issued in 1928 and signed by Orville repeated the tail up technique in landing, taxi to ramp,

Clinton E. Herberger, made up as an Oriental pilot during his career as an actor-pilot. (Photo courtesy of C. E. Herberger)

then gently letting the tail down. In the morning I flew it on into Burbank. The Lockheed field in those days was near an old ceram ics plant renovated for aircraft manufacture. When the engi neers came out to inspect the plane they were thunderstruck with the seemingly incredible flight. It should be noted for the younger pilots of today, that the Vega fuselage was molded of thin sheets of veneer combined with a special glue, laid up in a mold and cured under pressure. I wasn't able to stay around for the repairs because a new Vega had been prepared for me to fly back to Mexico." Early in WWII, the nation's theatres featured a film called, 'Air Force'. Clint had participated not only in the flying sequences but also had a part in script review, all of which prompted him to recall ... "We had 'A' and 'B' model B-17's at Hendricks Field in early 1942, using them as school planes. Having been formerly active in the Signal Corps for Air, I had been recalled back into active duty just prior to WWII. As it happened, the c.o. received a Department of Defense request to support the film production which was being filmed at Tampa, Florida...by sending a few planes over for the aerial sequences. My Commander, knowing I was from Hollywood, said ..."Herb, would you like to take the flight over?" ...and I replied ..."Yes, I'd love to, there'll probably be one or two people I might know." So ...we flew over, and being a big ham, we flew low over the field in'V' formation, then we broke into single line and landed. I had it pre-arranged that we'd all taxi to a stop in line, wing tip to wing tip, then on signal, we'd stop engines, get out and stand in front of our respective planes. Down the line came the Director and Cameraman. The Director was 'Wild Bill' Wellman for whom I had flown numerous times. As he hesitated in front of our plane he gave a double take and said to me.. . "What in hell are you doing in that uniform?" The Cameraman was another good friend, Jimmy Wong Howe. Within minutes, I learned that all the Special Effects people were old friends and associates. In a day or so, Wellman called me aside and said . . . "Herb . .. 1 want you to go through this script." Well .. . the writer wasn't all that familiar with airplanes, thus a number of errors were written in, which I had to correct technically. Another week's extension was arranged through the

Camera plane, ahead in foreground, with cameraman just visible to rear of upper wing, during a film se quence in which c.£. Herberger was flying the subject plane in the rear. (Photo courtesy of c.£. Herberger)

Above. c.£. Herberger, center, during the days at Universal Studios where he was engaged in Special Effects work with miniatures. (Photo courtesy of c.£. Herberger) Below. Last picture in which C.E. Herberger flew as a stunt pilot was called 'Murder in The Clouds '. Shown here are, left to right, ... Frank Tomick, Herberger, Lyle Talbot, Star of the picture, ... Frank Clark and Rinaldi. (Photo courtesy of c.£. Herberger)

-;:::;...--...

'--,

.:~ ", It was during the filming of "Glider Pickup" that a CG-4 glider crashed while attempting a landing in a clearing. (Photo courtesy of Robert G. Elliott) '~

A set during the filming of 'bombing' runs on the island of japan during WWII. This set, constructed on a closed stage at the former Hal Roach Studios was of extremely fine detail, and the use of the orientation films were considered extremely valuable in planning of aerial bombing missions from the Pacific bases during WWII. (Photo courtesy of Robert G. Elliott) efforts of the Base Commander and Wellman so I could complete my recommendations." With the film 'Air Force' a thing of the past, both Clint and I were to becom e members of the First Motion Picture Unit, located at the Hal Roach Studios in Culver City. The year was late 1942. "As you recall"...continued Clint..."our flight echelon was located at Van Nuys. Here's a group shot in front of one of our AT-11 's." The photo showed Tom Tutwiler on the left, holding an Eyemo camera, on his left an unidentified flight of ficer, Frank Clark in the center, Clinton Herberger and Captain Nolta on the right. A reliable, rugged Akeley camera, well suited for aerials, but now obsolete, topped

the tripod. "This foursome in chute harnass was made on loca tion in Laurenburg, N.C., while filming 'G lider Pickup' and 'Tactical Use of the CG-4 Glider' ...exclaimed Clint as he produced the next photo. On my left is the British technical advisor, whose name I have forgotten, Tom Tutwiler, and my co-pilot, Captain Nolta." Those action-filled days of that location came back into memory focus and I said ..."Clint. . .recall the day the glider crashed in the clearing?" ..."Sure...he re sponded ... "1 was overhead flying the AT-11 in prepara tion of filming the landing ...where were YOll?" "I was in a corner of the clearing tracking him with the Mitchell as he disconnected from the tow plane on the down wind leg. When that left turn onto the base leg was made, the left wing went straight down and the gl ider fell sideways from over five hundred feet. The whole thing was on film. Being a little closer to the crash than others of the crew, I was first on the scene and found both pilots severely injured." Interrupting me, Clint added ..."When I saw it fall I called the tower for an ambulance...and the site being so far in the boondocks, I had to direct them from the air." Later we learned that a soaking rain had filled the wood and fabric wing sections with water. It was still inside when flight began, and with the left wing down the water rushed to the tip. They had no chance under those conditions. Of all the film projects underway at FMPU during those war years, without a doubt the most important was th e activity related to th e miniature set on the closed stage. Special effects had designed and built a sectional relief map of important target areas of Japan. "Let me add right there" ... interrupted Clint .. .'that I was involved for two very good reasons. One .. . because of my extensive flying career for motion pictures and the other because I had been in Japan earlier. Initially, I flew the Special Effects crew along the entire California coast, concentrating on areas that were similar to those found in Japan. In this way the technicians could gain a vivid impression of how their miniature set was to appear. Using available maps and photography, they built six foot square sections that were mounted on table-like structures with casters. Contour projections were made onto masonite, cut out, mounted to create a general land

contour, then filled with plaster, Fullers earth, sponge, fabric and finally painted. When complete, the realism was magnificent. A regular house was about one eighth inch square, to give one an idea of scale. An overhead crane was devised to operate on tracks high above the set, while on a platform suspended from this crane was mounted the camera, which could traverse at ninety degress to the crane travel. Simulated bombardment missions would be 'flown' as they would appear from a B-29. The film would be rushed to all Pacific bases for briefing. A unique feature too, was that of creating similar damage to various areas after seeing strike photos, providing an illusion of continuity in the assault on Japan. The project was without a doubt one of the best kept secrets of the War. Intelligence people related later that by comparison of actual areas and our simulated sec tions, we were more than 80% accura te in the placement of important buildings." Clint, having been a friend of Frank Clark, was encouraged to relate, as he knew it, circumstances leading to that fatal accident which took Clark's life. "Frank Clark's tragic accident was really ludicrous. All that bunch of pilots were great practical jokers. "Frank Tomick, known as Swacco... Frank Clark, and a sound man from Warner Brothers, had a gold mine up in the mountains. Tomick was up there working the mine, when Clark and the sound man dec ided to fly up. They had a short landing strip nearby the mine, as they were often there. Frank Clark was flying a WWII training plane ... 1 think it may have been a BT-15 ... anyway . ..as a gag...they filled a large sugar sack with 'road apples'. Their intention was to buzz the mine site and bomb Swacco with it. The sound man was in the rear cockpit with the bag and as Clark brought the plane around into a dive, the sound man dropped the doggone bag down behind the stick. Wh en Frank went to pullout of the dive he couldn't and they went right smack into the ground. Tomick phoned me right away from up there and he was really sobbing. That's what happened to one of the greatest stunt pilots of all time. Frank Clark could get in a plane he had never flown .. .take it up . ..test it out... then put it through maneuvers it was never built to perform ... without straining the plane. I think he was the greatest natural born pil·o t I ever knew." Following WWII , CI int served a tour of duty in Korea

and later joined the staff of the Air Force Motion Picture studios in Orlando, Florida. While in Orlando, he was Officer in Charge of the Special Effects department. Outer space, 'Science Fiction'miniatures brought alive for camera under Clint's expert craftsmanship back in the late thirties were now being revitali zed in concept for our growing Space Exploration program. Films of fantasy had now become fil ms of fact. Most unfortunately, an accident occurred which brought about his entry into the life of retirement. Clint was on a ladder, in a room painted black, hanging a miniature spacecraft from a wire. Suddenly someone entered and spoke to him. In quickly turning around ... in this blackened void . ..he lost his visual reference and tumbled off the ladder. Several months of recuperation left him with a slight limp. The accident had become the deciding factor for his contemplated retirement. So it is then, that Lt. Colonel Clinton E. Herberger, in his leisure, says he's more busy now than before. What with travel, raising orchids, visiting the host of friends he and h is wife Virgin ia see weekly, along with h is regular coffee sessions with cronies at the Naval Base Exchange ...he is indeed rounding out a colorful, unusual, fas足 cinating, one-of-a-kind career as a former Hollywood motion picture stunt and camera pilot...and he never owned a plane.

Above Right. A part of the flight echelon of the First Motion Picture Unit during WWII days. Left to right are; Tom Tutwiler, an unidentified officer, Frank Clark, Herberger, and Capt. Nolta. They are standing in front of a Beech A T-7 7, converted for motion pic足 ture use. (Photo courtesy of C.E. Herberger) Center Right. The production crew from First Motion Picture Unit, A F, while on location at Laurenburg A FB, in North Carolina during 7944. Extreme left is R. G. Elliott, ... fifth from left, in trench is Captain

Ted McCord, who later won world acclaim for his

photography of 'Sound of Music '. (Photo courtesy of

Robert G. Elliott)

Below Right. On 'location' at Laurenburg A FB,

North Carolina during the filming of 'Glider Pickup'

Left to right are; Herberger, Chief Pilot for the pic足

ture, the British technical advisor, Tom Tutwiler, and

Capt. Nolta. (Photo courtesy of c.贈. Herberger)

9.~R.

By: Edward D. Williams, (Associate Editor) EAA No.5 7070, 77 3 Eastman Dr. Mt. Prospect, III. 60056 Photos courtesy of United Airlines The year 1976 was a big one in aviation as it marked the 50th anniversaries of a number of airli ne com足 panies. One of the lesser known early pioneers was Pacific Air Transport, established by a bus lines operator and which inaugurated the first scheduled air service along the West Coast on Sept. 15, 1926. On that date, a 90-mile-an-hour Ryan M-1 covered the 1,000 miles between Los Angeles and Seattle in 14 hours - - and six stops. Other cities on that first route were Bakersfield, Fresno, San Francisco, Medford (Ore.) and Portland. In contrast, airline jets today cruise at 550 miles an hour nonstop between Los Angeles and Seattle in just over two hours. But 50 years ago such schedules were not even in anyone's wildest dreams. Pacific Air Transport had 12 aircraft and 75 employees in 1926, and in the first six months of opera足 tion carried only a handful of passengers and cargo to足 taling only 34,000 pounds. The few passengers, who were not afraid to fly in an open cockpit plane, sat on mail sacks on flights between Los Angeles and Seattle and paid $132 for the privilege. Coach fares today between the two cities is only $93, in super comfortab le jets. The original PAT fleet consisted of seven Ryan M-1s, one Swallow, two Travel Airs, one Waco and one de Havilland DH-4, and the 1926 schedule called for one round trip daily between Seattle and Los Angeles or a total of 2,198 miles of flying daily.

Right. PA T ROUTE SUR VEYORS: Groundwork for the first Pacific Coast air transportation service 50 years ago was laid by Vern C. Gorst, (left), president of Pacific Air Transport, and T. Claude Ryan, president of the firm bearing his name. They are shown here on arrival March 78, 7926, at Sand Point Field near Seattle after a survey flight from San Francisco. PA T's Los Angeles-Seattle mail run began September 75, 7926, thus opening sche足 duled service along the Pacific Coast.

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Aids to flying such as are standard today were vir tually unknown 50 years ago . There were no suitable landing fields, and beacon lights, installed over portions of the route which were to be flown at night, consisted of second-hand automobile headlights mounted in clusters on revolving bases. Airway "weathermen" consisted of farmers, railroad station agents, roadhouse proprietors or almost anyone else who would answer a pilot's telephone call for weather information. Vern C. Gorst, pioneer operator of an Oregon stage line and other bus lines, was the prime mover in estab lish ing Pacific Coast air service in 1927. In 1928, Pacific Air Transport was acquired by the Boeing interests of Seattle which had started flying the San Francisco Chicago route in 1927. With this change in ownership, a fleet of Boeing 40-B-4's replaced the route's original planes. In 1930, San Diego was added to the run and in 1931, Ford tri-motored transports were placed in serv ice. In the latter year also, PAT became a part of United Airlines' nation-wide system. As with most aviation pioneers, Vern C. Gorst got into aviation early. In 1915, he bought a Martin sea plane, saying that "Flying sort of got me then." He and a partner in the bus lines business got Glenn L. Martin, who was located in Los Angeles at the time, to build them a seaplane with pontoons. They brought it up to Coos Bay and did a lot of flying, but they finally cracked it up. The partners were struggling to develop their little bus lines on a shoestring, so for the next ten years they were not able to afford the luxury of a plane, but Gorst said that he read everything in the magazines on aviation that he could find. Just before the post office advertised for bids on the air mail carrying contracts in 1925, a group of pioneer business men held a meeting in which they were discussing highway problems. Gorst tossed them a new idea, saying, "They will soon be flying right over your heads, carrying mail and passengers." He asked how many of them were interested in the new method of transportation, and all but one put up their hands.

Gorst proposed forming a company to investigate the possibilities of air transport and to determine whether or not they should bid on the air mail contracts. The money trickled in from the bus line owners and also from other investors. Vern Gorst went to San Francisco, where he rented a plane and employed a pilot named Pat Patterson of Santa Cru z to fly a survey trip of the proposed Pacific Coast route and to determine whether or not it was feasible to fly planes on schedule over the rugged moun tainous country. Gorst and Patterson picked out a number of possible landing fields between Los Angeles and Seattle, although the only established air strips at the time were in Los Angeles, Bakersfield, Fresno and Chrissy Field at San Francisco. Gorst got together about $250,000 cash for Pacific Air Transport, but the government wanted him to raise a

~~-..~~';-; .. '"~ ~>: .-.~

half million within a year. Gorst's own investment was about $50,000. Raising this sum forced him to sell his interests in all but one of his bus lines. For a time the post office hesitated about turning the contract over to him because of PAT's limited cash capital, but since no one else wanted to fly the line, they gave it to him.

Below: November, 7926. No.7 of the Ryan series pur chased by Pat. This was the second plane in this series built by Ryan, his first mass production venture. At left: unknown mechanic. Center: unknown passenger. Right: pilot George Allen. Picture taken at Angelus Mesa field. Schedule out of this field by PA T called for all night flights, leaving at 72:07 a.m. (providing planes were in shape). Incidentally, the first night-scheduled flights in the country were made by PA T. Note landing light on wingtip. This was battery-powered, as were navigation lights. Bowman says these would fade out after one land ing, as would the landing light.

Above. FIELD CONFERENCE: This 7926 view of the original Los Angeles airport, Angelus Mesa Field, shows a Ryan monoplane of Pacific Air Transport and (from left) an unidentified official of the pioneer airline, Pilot Art Starbuck, and jimmy Mushett, P.A. T. field manager.

PAT started out with whatever planes could be picked up, but settled on Ryans. Claude Ryan flew Gorst on a demonstration trip from Los Angeles to Seattle and back, and among Gorst's treasures is an old Seattle paper with their pictures on the front page, the photograph having been taken when they arrived in Seattle after their trip. Looking for the ideal mail plane, Gorst talked to Henry Ford and William B. Stout about the tri·motored Ford . He also saw Igor Sikorsky, but was finally persuad· ed that the Ryan, outfitted with the new Wright Whirl· wind JAs, was the plane to do the job. Gorst ordered ten of them and got the first seven of the new model that Claude Ryan built. Walter T. Varney of Varney Air Lines had had forty·two forced landings with his plane's, so Gorst loaned him the first four Wright Whirlwind powered Ryans to get started again. The Wright Com· pany ran an ad when Gorst ordered them, announcing it as the biggest order they had received. Gorst got the first ten Whirlwinds, Lindbergh got No. 16 for his Spirit of St. Louis, the plane that flew the Atlantic in 1927. That put the engine over. Lindbergh once told Gorst that the

successful use of the planes with this engine by PAT was what persuaded him to order the Spirit of St. Louis from Ryan. In the Seattle Times of March 10, 1926, was a photo of the survey plane of Pacific Air Transport with Vern C. Gorst and Claude Ryan standing beside it. On this survey, Gorst and Ryan flew an alternate route via Coos Bay. They started flying on November 21 and completed the survey on December 10. The 12 planes and motors PAT started with cost $73,097. Another motor was borrowed. Another cost item was the purchase of 11 parachutes for $3,665. Hangars were constructed at Los Angeles, Seattle, Vancouver, Wash., and Medford at a total cost of $7,408 in the beginning. Airway lights and beacons cost $19,235. Two Ford delivery trucks and three Ford road· sters were purchased for a total of $2,349.44. Pacific Air Transport was ready to go. At 12:01 a.m. September 15, 1926, the first north· bound plane left Los Angeles. Stops were made at Bakersfield, Fresno, San Francisco, Medford and Portland, where the plane arrived on time in a driving

rain at 11:40 a.m . The plane finally touched down at Seattle at 1 :30 p.m. and everyone hailed the achieve· ment of delivery of mail from Los Angeles to Seattle in one day. The first south·bound plane left Portland at 5:45 a.m., made all of its required stops and arrived at Los Angeles at 5 p.m., on time. The Seattle POST·INTELLIGENCER the following day, Sept. 16, 1926, reported: "Eleven minutes ahead of schedule, the first consign· ment of mail over the new postal air route between' Los Angeles and Seattle arrived here (Seattle) yesterday afternoon (Sept. 15, 1926) in a plane piloted by Grover Tyler, superintendent of the Pacific Air Transport Company. "The significance of this newest contract air mail route, officially known as No.8, was df'monstrated when the six large pouches containing 12,000 letters and other matter landed in Seattle just 13 hours and 49 minutes after the first plane had left Los Angeles, 1,009 miles to the south. "All of the mail going to addresses within the city limits was delivered yesterday afternoon. "In a special delivery pouch was a package sent to the Post·1 ntell igencer from Los Angeles by International News Reel containing photographs covering the late developments in the Aimee Semple McPherson investi· gation." Fifteen years later, Grover Tyler, who died in 1966, recalled the early days of PAT. "Pacific Air Transport was awarded the contract early in the summer of 1926," he said. "The contract called for us to start operations on September 15 of that year, giving us a few short months to start from scratch. The company had the actual cash on hand to pay for just one of the five airplanes on order. We had to have funds, so two or three enterprising employees pounded pavements up and down the coast, rang doorbells, and urged people to buy one or more shares in a financial proposition which, even to its sellers, looked doubtful. "The planes we started with· . barely enough to keep the schedu les· . were of different makes, mostly second ·hand, all under-powered, with speeds ranging from 75 mph to 100 mph. They were in a dilapidated condition to begin with, and continued so for lack of cash with wh ich to maintain repairs. "There were no suitable landing fields and no emer·

gency fie lds whatsoever. It was necessary for the personnel to scout around, this time for field sites. The property for terminal fields was promoted from municipalities, but due to lack of appropriations, these were mostly makesh ifts. Many delays were occasioned by ships getting stuck in the mud of these fields, and many times it was necessary for a pilot to roust a farmer from his bed in the middle of the night to borrow a team of mules or horses to pull the ship out of the mud before he could continue his flight. Emergency fields were simply pastures or farms, consent to land in emergency having been secured from property owners," Tyler recalled. To comply with the requirements of the mail con足 tract, suitable beacon lights had to be installed over

Right. EARL Y DA Y AIR PASSENGERS: Speeds of about 700 miles an hour were reached by the Boeing 40-B-4. The plane, with the pilot in an open cockpit, carried only four passengers. Below. Fokker Universal, used briefly in 7927 by P.A. T. Taken at P.A. T. 's Field in Seattle in 7927

Upper left. PACIFIC COAST AIR PIONEER: The original single-engine open cockpit Ryan monoplane, "Old No.7," used in 7926 on the pioneer Los Angeles-Seattle route of Pacific Air Transport. Upper right; AIR MAIL BIRTH: Fresno, where this picture was taken, was along the

original route of Pacific Air Transport, which pioneered Pacific Coast air mail service with

a 74-hour flight from Los Angeles to Seattle on September 75, 7926. Shown (from left)

are Richard Downs, Chamber of Commerce manager of publicity; Postmaster Turner;

Vance Breese, pilot of PA T, second pilot and man on right unknown.

portions of the route that were to be flown by night. ahead of the informing telegraph. We then tried the tele足 PAT bought some second-hand automobile headl ights, phone, with what was then known as the phone code mounted them on a revolving base in clusters of three system, and this, from an operating standpoint, was and set up a revolving mechanism. more successful, but the cost was prohibitive." In addition to financial troubles, PAT had the weathGorst recalled events of his career in an interview in er hazard to put up with. There were no government- 1950. One of his recollections was that when he was in operated bureaus with personnel trained to give accurate and frequent weather reports. It was entirely up to the Washington, right after getting his contract, he was taken pilot's then unscientific weather knowledge, gained from over to see President Calvin Coolidge. "I never met a cocking his weather eye to the sky and noting the dif- more common man to talk with," recalled Gorst. ferent types of clouds, to make his decision as to whethOne of Gorst's unusual deals was the hiring of Ralph er or not he could get through with any degree of safety. Virden of Grass Valley. Virden had a DH Liberty plane, As a further aid to the pilot's judgment, a system of so Gorst had to make a special deal, hiring both Virden weather reporting was established with farmers, inn- and the plane. He recalled that most of the pilots got a keepers, roadhouse proprietors, and others along the dollar an hour for flying time and averaged about $250 a route at strategic points. month. Part of this was in cash and part in stock. Another of Gorst's innovations was buying a parA typical weather report for visibility would be that the observer could see the roof of the barn or the turn of achute developed by a California inventor. This was a the road (previously determined upon) and for ceiling, parachute for the plane rather than for the pilot. It was the white rock on a prominent hill 200, 300 or 400 feet designed to drop the plane easily in case of engine in altitude above the location of the weather reporter. failure. Gorst hooked it onto an old Jenny, then cut the "At the time we commenced operations," Tyler engine and pulled the cord. The drop broke only a recalled, "communication was carried on in several dif- propeller and a landing strut. He was able to patch up ferent ways. Our financial condition would not permit the plane and flyaway the next day. The parachute cost us to install a radio station-to-station code system . There $2000, but Gorst got it,as usual, at a bargain price of was no voice radio established for plane work at that $400. He wasn't able to sell the idea to his pilots, and time. We first used the telegraph system, but found this finally sold the entire parachute, made of silk, to a shirt足 to be very unsatisfactory due to doubtful delivery serv- maker for shirts. ice, as often-times a plane would reach its destination During the fifteen months that he ran PAT, Gorst and 4

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AIRMAIL m :GINNING

SEPT. 15.1976

his ten pilots, whom he picked from 200 barnstormers on a list, with Tyler as chief pilot, put up beacons up and down the air lane, most of them big auto lights, bought planes, and got the service well established. By the time Gorst sold out to Boeing, he had put up $19,000 worth of beacons. At the time the Richfield Oil Company was putting up beacons up and down the coast, but unfortunately, said Gorst, they put up the beacons where they could sell gasoline to motorists and not where the airmen needed the beacons. Gorst persuaded Standard Oil Company to paint the names of towns on their buildings. But even with this help the pilots sometimes had to buzz railroad stations in order to find out where they were. The death of so many of his associates finally persuaded Gorst to get out of the business, and when Bill Boeing came down from Portland with a check for $98,000, just about double what Gorst had in the air足 line, he took it. "That was a pretty nice looking check," he said. Gorst said that he spent all of the money pioneering an air line from Bremerton, Washington, to Juneau, Alaska, wh ich was about the same distance as the Los Angeles-Seattle run. He offered to carry mail for the government for $450 a trip, but for some reason couldn't get the contract and later folded up the Alaska line, but continued to operate a flying service for sports足 men. He died in 1953 at the age of 77, but his beloved airline, as part of the present-day United Airlines system, lives on.