By Roger Branfill-Cook
The 'X' stood for experimental, however it may both have intended outstanding, unique or extravagant, as this huge submarine attracted superlatives--the world's biggest, such a lot seriously armed, and private diving submersible of the day. X.1 used to be a debatable undertaking conceived at the back of the backs of politicians, and may stay an undesirable stepchild.
This publication explores the ancient history of submarine cruisers, the personalities considering X.1's layout and repair, the undercover agent drama surrounding her release, the treason trial of a number one RN submarine commander, the ship's checkered occupation, and her political dying. regardless of genuine technical successes, she may ultimately fall foul of "black propaganda," geared toward persuading international naval powers that the cruiser submarine didn't paintings; even this day uninformed opinion repeats the parable of her failure.
Well-illustrated with technical drawings and ancient images, this ebook will pay belated tribute to the genuine value of the mysterious X.1.
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Extra resources for X.1: The Royal Navy's Mystery Submarine
12 The Fiesta planners thus merged Greek mythology, references to popular opera, Shakespeare, and Native American exoticism into their celebration of the city’s Mexican-Spanish roots, all for the beneﬁt of Anglo tourists and potential new residents. (For the record, it is highly unlikely that Native Americans were much involved in this representation, since their numbers had dwindled sharply with the coming of ﬁrst the Spanish and later the Anglos. ) There was more, of course. A Grand Fiesta Concert was offered by the Music Committee at Hazard’s Pavilion, with the Grand Fiesta Chorus and Orchestra directed by Mr.
23 That act of healing between the old and the new never took place. In addition to paying its members, Stamm’s Philharmonic represented a new departure in the orchestral sound heard in Los Angeles. It was the ﬁrst group to abandon the old high pitch used in bands (and commonly employed by the brass and wind players when they joined the strings), thereby taking on a more truly symphonic sound and taking an innovative forward step: “Up to the advent of the Philharmonic Orchestra organized by A. J.
The Tribune’s numbers were 24 / Music for the “People” higher. It seems reasonable to guess that for the seven performances, the total audience numbered on the order of twenty thousand and may well have been more. The city’s total population (including the very young and the very old) would not reach ﬁfty thousand for another three years (or one hundred thousand if the surrounding towns are included). 18 At least half the town’s adult population was “elite” for the week, if the claims to such status for opera are to be taken seriously.