The Chosin Few

The Chosin Few

During the Korean War, the First Marine Division met the enemy at Chosin mountain reservoir in subfreezing temperatures.  Out of ammunition, Marines called in for 60mm mortar ammo; code name “Tootsie Rolls.”  The radio operator did not have the code sheets that would tell him what a “Tootsie Roll”  was, but knew the request was urgent; so he called in the order.  Soon, pallets of Tootsie Roll candies parachuted from the sky to the First Marine Division!  While they were not ammunition, this candy from the sky provided well needed nourishment for the troops.  They also learned they could use warmed Tootsie Rolls to plug bullet holes, sealing them as they refroze.

Over two weeks of incessant fighting, the 15,000-man division suffered 3,000 killed in action, 6,000 wounded and thousands of severe frostbite cases.  But they accomplished their goal and destroyed several Chinese divisions in the process.  Many credited their very survival to Tootsie Rolls.  Surviving Marines called themselves “The Chosin Few.”

Ghost Army

Ghost Army

The Ghost Army was a United States Army tactical deception unit during World War II officially known as the 23rd Headquarters Special Troops. The 1100 man unit was given a unique mission within the Allied Army: to impersonate other Allied Army units to deceive the enemy. From a few months after D-Day, when they landed in France, until the end of the war, they put on a “traveling road show” utilizing inflatable tanks, sound trucks, fake radio transmissions, scripts and pretence. They staged more than 20 battlefield deceptions, often operating very close to the front lines. Their story was kept secret for more than 40 years after the war, and elements of it remain classified. The unit was the subject of a PBS documentary The Ghost Army in 2013.

The visual deception arm of the Ghost Army was the 603rd Camouflage Engineers. It was equipped with inflatable tanks, cannons, jeeps, trucks, and airplanes that the men would inflate with air compressors, and then camouflage imperfectly so that enemy aerial reconnaissance could see them. They could create dummy airfields, troop bivouacs (complete with fake laundry hanging out on clotheslines), motor pools, artillery batteries, and tank formations in a few hours. Many of the men in this unit were artists, recruited from New York and Philadelphia art schools. Their unit became an incubator for young artists who sketched and painted their way through Europe. Several of these soldier-artists went on to have a major impact on art in the post-war US. Bill Blass, Ellsworth Kelly, wildlife artist Arthur Singer, and Art Kane were among the many artists who served in the 603rd.

The 3132 Signal Service Company Special handled sonic deception. The unit coalesced under the direction of Colonel Hilton Railey, a colorful figure who, before the war, had “discovered” Amelia Earhart and sent her on her road to fame.

Aided by engineers from Bell Labs, a team from the 3132 went to Fort Knox to record sounds of armored and infantry units onto a series of sound effects records that they brought to Europe. For each deception, sounds could be “mixed” to match the scenario they wanted the enemy to believe. This program was recorded on state-of-the-art wire recorders (the predecessor to the tape recorder), and then played back with powerful amplifiers and speakers mounted on halftracks. The sounds they played could be heard 15 miles (24 km) away.

To complement existing techniques, the unit often employed theatrical effects to supplement the other deceptions. Collectively called “atmosphere”, these included simulating actual units deployed elsewhere by the application of their divisional insignia, painting appropriate unit insignia on vehicles and having the individual companies deployed as if they were regimental headquarters units. Trucks/Lorries would be driven in looping convoys with just two troops in the seats near the rear, to simulate a truck full of motorized infantry under the canvas cover. “MPs” (military police) would be deployed at cross roads wearing appropriate divisional insignia and some officers would simulate divisional generals and staff officers visiting towns where enemy agents were likely to see them. A few actual tanks and artillery pieces were occasionally assigned to the unit to make the “dummies” in the distance appear more realistic.

November Small Batch

November Small Batch

Every month, HBN Design will be creating a featured small batch of items. These items will only available for a limited time, or until they’re sold out! 

This month, we took an authentic, vintage, suitcase, and used it to embellish a total of 6 jackets, 2 pillows, 5 coolies, and 2 hats. Each is unique and one of a kind, like all of our items; but this type of embellishment won’t be seen from us again!

So take a piece of the collection home with you while you can, or if you’ve already claimed a piece, let us see! Post a picture using the hashtag #hbnsmallbatch. 

Thanks so much for your support!

Rosie the Riveter

Rosie the Riveter

Rosie the Riveter is a cultural icon of World War II, representing the women who worked in factories and shipyards during World War II, many of whom produced munitions and war supplies. These women sometimes took entirely new jobs replacing the male workers who joined the military. Rosie the Riveter is used as a symbol of American feminism and women’s economic advantage. Similar images of women war workers appeared in other countries such as Britain and Australia. The idea of Rosie the Riveter originated in a song written in 1942 by Redd Evans and John Jacob Loeb. Images of women workers were widespread in the media as government posters, and commercial advertising was heavily used by the government to encourage women to volunteer for wartime service in factories.

According to the Encyclopedia of American Economic History, “Rosie the Riveter” inspired a social movement that increased the number of working American women from 12 million to 20 million by 1944, a 57% increase from 1940. By 1944 only 1.7 million unmarried men between the ages of 20 and 34 worked in the defense industry, while 4.1 million unmarried women between those ages did so. Although the image of “Rosie the Riveter” reflected the industrial work of welders and riveters during World War II, the majority of working women filled non-factory positions in every sector of the economy. What unified the experiences of these women was that they proved to themselves (and the country) that they could do a “man’s job” and could do it well. In 1942, just between the months of January and July, the estimates of the proportion of jobs that would be “acceptable” for women was raised by employers from 29 to 85%. African American women were some of those most affected by the need for women workers. It has been said that it was the process of whites working alongside blacks during the time that encouraged a breaking down of social barriers and a healthy recognition of diversity.