Thanks again for coming down to the D-Day Museum. It was good having so many of you guys at the museum. It was also the busiest 6 June that we have had for several years (899 people). Here is a photo for you! Yes, it would be good to see you all again next year - we'll be in touch beforehand.
JUST A QUICK LINE TO SAY THANK YOU FOR LOOKING AFTER US TODAY ( 6.thJUNE, 2007 ). THE WEATHER WAS KIND TO US, AND, SO WERE YOUR STAFF. HOPE TO SEE YOU ALL NEXT YEAR. REGARDS.
knew anything regarding Civilian Employees working with the Corps of Engineers during WW11. well my little 'Doris Day,' this is right up your street...
Moose.
XX
I sent the following to "my Mikes" at the Corps of Engineers Office of History and Army Engineer Magazine.
Hello Mike and Mike: (maybe I should have addressed this to the department of redundancy department - ha-ha!)
I received a question from a new member of my forum. Her question was this; did I know anything regarding civilian employees working with the Corps of Engineers during WWII?
I'm sure this is a broad topic. Actually this was forwarded to me, so I can't fill you in with any other info regarding her question.
Can you suggest where I might direct her? Thanks in advance.
My best to both of you,
Marion
Received this response from Mike Morgan:
Try this for starters. There have always been civilians working for the Army Corps of Engineers and they make up by far the largest percentage of the work force in that major command. If you're talking about troop units, however, and women involved therein, that's a different story.
Actor Ken Olin directed this real-life story of five American Calvary soldiers who took a stand against General Douglas MacArthur and fought his 1930s plan to trade men on horses for tanks. After defying a direct order to destroy their horses, the men find themselves on the wrong side of military law fighting to survive. This made-for-cable movie was filmed on location in New Zealand and Australia.
My husband rented this movie from Netflix. It was definitely worth a watch. Well done but heed my warning; some scenes were really hard to watch. If you are an animal lover of ANY sort, it will be hard on the heart and soul. I was not familar with this story until he turned me onto it, and am glad that I watched it.
Received a letter from John Fallon of the 36th Combat Engineers this week. Enclosed was a letter and a photo that was submitted to him by a fellow 36th'er, Milber Walker.
This photo was taken during the Italian Campaign, and features an assortment of grenades, a bazooka, and what appears to be artillery shells, along with a radio. As John states, "The foxhole picture is very good but it is a shame that there is nobody in the scene..."
Altough the « femme tondue » (woman whose head was shaved for alleged collaboration) is a powerful image of the Liberation, few studies have analysed this issue. This practice was common and widespread on French territory in 1944 and 1945. During these head shaving incidents, women's bodies were actually put on display as a means of atonement. Beyond illustrating how thepublic took the law into its own hands, however, the description of « public shaving » reflects during this period how unclear the lines were between public and private life. This theatrical public display opened the way to fantasy and sexuality. Symbolically headshaving eoisodes represented the « sin » - collaboration -, the « punishment » - purification -, and finally a « vision of the future » - the reconstruction. This study allows us to understand why these episodes occured, as well as the underlying stakes in the reappropriation of the bodies of the « tondue », specifically, and of women's bodies, in general.
Click on the link of the video ;
French women who had too many german friends loose their hair as retaliation after WWII
One can understand the spirit of revenge but the way of doing it a little less. About or is the camp or one is , the respect of the person is important in my eyes. Humiliation in the joy of the spectators and the executants is , for me , disturbing.