1 10 6 https://digitalcollections.museumofflight.org/files/original/7046bcce75e3f70a7a22623b881285e7.pdf 4dfa9f9d46f19c71e39c752a0ee4db3f PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ethyl Y. Dale Airman's World Annotated Book Description An account of the resource The Ethyl Y. Dale Airman's World Annotated Book is a small collection consisting of one book that Dale used as a travel diary from 1932-1969. The book is a copy of Airman's World published by William Morrow in New York in 1933. Dale recorded all the flights she took throughout the pages of the book. She noted in the page margins the origins and destinations of her flights, occasionally recorded the date, and had the flight crews, including pilots and flight attendants (stewardesses), sign the pages. Because the earliest entries date to 1932 but the book was published in 1933, some of the entries may have been entered retroactively. Many of her flights originated in Seattle, Washington at Seattle-Tacoma International Airport, but many other locations are also recorded, especially cities on the West coast of the United States but also a few international locations. Not every flight entry includes the name of the airline flown, but among those recorded are Northwest Airlines, Pan American World Airways, United Airlines, and Western Airlines, among others. A few pieces of printed ephemera from various airlines and some photographs and clippings are affixed to some of the pages as well. Dale also underlined and made notes on some of the passages of text in the book. Digital Materials: The collection has been digitized in its entirety. Date A point or period of time associated with an event in the lifecycle of the resource 1932-1969 Creator An entity primarily responsible for making the resource Dale, Ethyl Y. Source A related resource from which the described resource is derived <a href="https://archives.museumofflight.org/repositories/2/resources/683">Guide to the Ethyl Y. Dale Airman's World Annotated Book</a> Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. The Museum of Flight Archives Rights Information about rights held in and over the resource Permission to publish material from the Ethyl Y. Dale Airman's World Annotated Book must be obtained from The Museum of Flight Archives. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The Ethyl Y. Dale Airman's World Annotated Book/The Museum of Flight Identifier An unambiguous reference to the resource within a given context 1982-02-11-A Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource [Travel diary of Ethyl Y. Dale] Description An account of the resource Travel diary of Ethyl Y. Dale, circa 1932-1969. Originally a copy of "Airman's World," published by William Morrow, New York, 1933. Dale added personal notes, photographs, and other ephemera to the book documenting her flights. Date A point or period of time associated with an event in the lifecycle of the resource 1933-1969 Subject The topic of the resource Dale, Ethyl Y. Western Airlines; United Airlines Seattle-Tacoma International Airport Scandinavian Airlines System Pan American World Airways, Inc Northwest Airlines Corporation Flight attendants Flight crews Creator An entity primarily responsible for making the resource Dale, Ethyl Y. Morrow, William Extent The size or duration of the resource. 1 book (227 pages) : illustrations ; 8 x 9 in Format The file format, physical medium, or dimensions of the resource scrapbooks books diaries Source A related resource from which the described resource is derived The Ethyl Y. Dale Airman's World Annotated Book (1982-02-11-A) Language A language of the resource English Rights Information about rights held in and over the resource In copyright Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The Ethyl Y. Dale Airman's World Annotated Book/The Museum of Flight Identifier An unambiguous reference to the resource within a given context 1982-02-11-A_text_001 https://digitalcollections.museumofflight.org/files/original/c022d5219a5b9c5e76c6e250e680f29f.jpg f3c2e24c1a9a81848693aa940a25ce88 https://digitalcollections.museumofflight.org/files/original/42fa300fef049717dc78458df8559c50.mp4 e1109fc03976997269a35122dea1c193 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource John Wegg Commercial Airlines Collection Description An account of the resource The John Wegg Commercial Airlines Collection consists of printed ephemera, photographs, documents, and other materials pertaining to the aviation journalism and writing career of John Wegg, from approximately 1929-2004. The bulk of the collection consists of ephemera collected from commercial airlines from around the world. There is also a large number of photographs taken by Wegg, with a total of 294 photographic prints of various sizes. The materials are divided into two series: Commercial Airlines and Personal and Professional Work. The first series consists of documentation of commercial airlines from around the world from 1929-2004 with the bulk of materials from circa 1960s-1990s. It includes various types of ephemera such as brochures, decals, menus, safety cards, tickets and ticket holders, and, most predominantly, timetables. The series also contains 299 photographic and photomechanical postcards, ranging in date from the 1950s-2000s and depicting aircraft from a wide range of airlines, as well as some airports. It also contains four films depicting various commercial airline flights, including Western Airlines, National Airlines, Capital Airlines, United Airlines, Mid-Continent Airlines, and Northwest Airlines: <ul><li>Commercial airliners at unidentified airfield, circa 1950s</li> <li>Mid-Continent Airlines aircraft at an unidentified airfield, circa 1950s</li> <li>Northwest Airlines aircraft at unidentified airfield and aircraft crash site, circa 1940s-1950s</li> <li>Aircraft, aerial views, and travel scenes, circa 1940s-1950s</li> </ul>The second series is a mix of materials related to Wegg’s professional work with some personal items. It contains notes and articles relating to stories written by Wegg or the publications these were printed in, including Pacific Flyer Magazine. Though he was a prolific writer, the collection only contains a minimal amount of items related to his writing. This series is predominantly photographs with a total of 237 photographic prints and four transparencies of Martin Company aircraft dating from the 1940s-1980s, mostly shots of Martin 404s and 202s, including both military and commercial aircraft. There are also two folders containing various photographic and other materials, including microfiche. This series contains one film containing footage of trains and railways, circa 1930s-1960s. Digitized Materials: The film materials have been digitized from this collection. Please note that materials on TMOF: Digital Collections are presented as historical objects and are unaltered and uncensored. See our <a href="https://digitalcollections.museumofflight.org/disclaimers-policies">Disclaimers and Policies</a> page for more information. Date A point or period of time associated with an event in the lifecycle of the resource 1929-2004 (bulk dates circa 1950s-1990s) Creator An entity primarily responsible for making the resource Wegg, John Source A related resource from which the described resource is derived <a href="https://archives.museumofflight.org/repositories/2/resources/511">Guide to the John Wegg Collection</a> Language A language of the resource Many pieces of printed ephemera from various airlines are in languages such as Finnish, French, German, Japanese, Korean and Turkish. All other materials are in English. Rights Holder A person or organization owning or managing rights over the resource. The Museum of Flight Archives Rights Information about rights held in and over the resource Permission to publish material from the John Wegg Commercial Airlines Collection must be obtained from The Museum of Flight Archives. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The John Wegg Commercial Airlines Collection/The Museum of Flight Identifier An unambiguous reference to the resource within a given context 2014-09-12 Audiovisual Audiovisual items that are not an oral histories, such as personal film footage. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 2014-09-12_AV_004_01 Title A name given to the resource [Aircraft, aerial views, and travel scenes, circa 1940s-1950s] Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The John Wegg Commercial Airlines Collection/The Museum of Flight Creator An entity primarily responsible for making the resource Wegg, John Description An account of the resource Film footage of aircraft, aerial views, and travel scenes, circa 1940s-1950s. The footage contains several segments filmed at unidentified airfields showing various aircraft, mostly commercial airliners, parked, taxiing, and taking off. Airline livery visible in the footage include Mid-Continent Airlines, Wisconsin Central Airlines, Northwest Airlines, Capital Airlines, and American Airlines. Specific aircraft identified include: 00:00:11 - Mid-Continent Airlines Douglas DC-3 00:00:17 - Wisconsin Central Airlines Lockheed Model 10-A Electra 00:00:27 - Northwest Airlines Martin Model 202 (tail number N93061) 00:01:05 - Northwest Airlines Martin Model 202 (tail number NC93037) 00:11:25 - Capital Airlines Douglas DC-3 (wing number N45379) 00:14:14 - Capital Airlines Douglas DC-4 00:14:14 - Capital Airlines Douglas DC-4 00:14:17 - Mid-Continent Airlines Douglas DC-3 (foreground) and Capital Airlines Douglas DC-3 (background) 00:14:26 – American Airlines Convair 240 Other segments feature a mix of aerial views filmed from unidentified aircraft and on-the-ground travel footage of various cities. Filmed locations include Washington, D.C., Chicago (Illinois), Minneapolis (Minnesota), Saint Paul (Minnesota), Milwaukee (Wisconsin), Kansas City (Missouri), and Duluth (Minnesota). The footage is in color and is silent. Some scenes are overexposed. Label on container: "Washington, Mpls, St. Paul, Milwaukee, Kansas City, Chicago / Duluth Superior / Norfolk / Washington / Milwaukee / Kansas City." Format The file format, physical medium, or dimensions of the resource 8mm (photographic film size) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Illinois Wisconsin Minnesota Missouri Washington (D.C.) Subject The topic of the resource Aeronautics, Commercial Northwest Airlines Corporation Airlines Commuter aircraft Martin (Glenn L.) Model 202 (2-O-2) Family Airports Mid-Continent Airlines Wisconsin Central Airlines Capital Airlines Douglas DC-3 Family American Airlines Lockheed Model 10-A Electra Douglas DC-4 Family Convair 240, 340, 440 Family Source A related resource from which the described resource is derived The John Wegg Commercial Airlines Collection (2014-09-12) Extent The size or duration of the resource. 1 film reel (15 min., 58 sec.) : silent, color ; 8 mm Rights Information about rights held in and over the resource In copyright https://digitalcollections.museumofflight.org/files/original/ade38fe1a0c8dec7a3cc4fcd65ba3fd7.jpg b40c25b914e1c1a4c0c1f780b916c227 https://digitalcollections.museumofflight.org/files/original/c69c687820aa577024901784dfbe33df.mp4 a3532e325ab260050a55bd68ed656148 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource John Wegg Commercial Airlines Collection Description An account of the resource The John Wegg Commercial Airlines Collection consists of printed ephemera, photographs, documents, and other materials pertaining to the aviation journalism and writing career of John Wegg, from approximately 1929-2004. The bulk of the collection consists of ephemera collected from commercial airlines from around the world. There is also a large number of photographs taken by Wegg, with a total of 294 photographic prints of various sizes. The materials are divided into two series: Commercial Airlines and Personal and Professional Work. The first series consists of documentation of commercial airlines from around the world from 1929-2004 with the bulk of materials from circa 1960s-1990s. It includes various types of ephemera such as brochures, decals, menus, safety cards, tickets and ticket holders, and, most predominantly, timetables. The series also contains 299 photographic and photomechanical postcards, ranging in date from the 1950s-2000s and depicting aircraft from a wide range of airlines, as well as some airports. It also contains four films depicting various commercial airline flights, including Western Airlines, National Airlines, Capital Airlines, United Airlines, Mid-Continent Airlines, and Northwest Airlines: <ul><li>Commercial airliners at unidentified airfield, circa 1950s</li> <li>Mid-Continent Airlines aircraft at an unidentified airfield, circa 1950s</li> <li>Northwest Airlines aircraft at unidentified airfield and aircraft crash site, circa 1940s-1950s</li> <li>Aircraft, aerial views, and travel scenes, circa 1940s-1950s</li> </ul>The second series is a mix of materials related to Wegg’s professional work with some personal items. It contains notes and articles relating to stories written by Wegg or the publications these were printed in, including Pacific Flyer Magazine. Though he was a prolific writer, the collection only contains a minimal amount of items related to his writing. This series is predominantly photographs with a total of 237 photographic prints and four transparencies of Martin Company aircraft dating from the 1940s-1980s, mostly shots of Martin 404s and 202s, including both military and commercial aircraft. There are also two folders containing various photographic and other materials, including microfiche. This series contains one film containing footage of trains and railways, circa 1930s-1960s. Digitized Materials: The film materials have been digitized from this collection. Please note that materials on TMOF: Digital Collections are presented as historical objects and are unaltered and uncensored. See our <a href="https://digitalcollections.museumofflight.org/disclaimers-policies">Disclaimers and Policies</a> page for more information. Date A point or period of time associated with an event in the lifecycle of the resource 1929-2004 (bulk dates circa 1950s-1990s) Creator An entity primarily responsible for making the resource Wegg, John Source A related resource from which the described resource is derived <a href="https://archives.museumofflight.org/repositories/2/resources/511">Guide to the John Wegg Collection</a> Language A language of the resource Many pieces of printed ephemera from various airlines are in languages such as Finnish, French, German, Japanese, Korean and Turkish. All other materials are in English. Rights Holder A person or organization owning or managing rights over the resource. The Museum of Flight Archives Rights Information about rights held in and over the resource Permission to publish material from the John Wegg Commercial Airlines Collection must be obtained from The Museum of Flight Archives. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The John Wegg Commercial Airlines Collection/The Museum of Flight Identifier An unambiguous reference to the resource within a given context 2014-09-12 Audiovisual Audiovisual items that are not an oral histories, such as personal film footage. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 2014-09-12_AV_003_01 Title A name given to the resource [Northwest Airlines aircraft at unidentified airfield and aircraft crash site, circa 1950s] Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The John Wegg Commercial Airlines Collection/The Museum of Flight Creator An entity primarily responsible for making the resource Wegg, John Description An account of the resource Film footage of Northwest Airlines aircraft at an unidentified airfield, possibly at Minneapolis Airport (Minnesota), and at aircraft crash site, circa 1950s. The footage is mostly comprised of scenes of NWA aircraft landing, taxiing, taking off, and being towed. One segment, which begins at 00:01:38, features scenes from the crash site of an unidentified NWA flight, showing debris in a field and people inspecting the site. Specific aircraft identified in the footage include the Douglas DC-4, Martin Model 202 (tail number NC93056), and Boeing Model 377 Stratocruiser. The footage is in color and is silent. Several shots are blurry and/or jittery. Label on container: "NWA / Martin 2-0-25 / DC-4-5 / Stratocruiser / 2-0-2 Wk -[illegible]." Format The file format, physical medium, or dimensions of the resource 8mm (photographic film size) Subject The topic of the resource Aeronautics, Commercial Northwest Airlines Corporation Airlines Commuter aircraft Martin (Glenn L.) Model 202 (2-O-2) Family Aircraft accidents Douglas DC-4 Family Boeing Model 377 Stratocruiser Family Source A related resource from which the described resource is derived The John Wegg Commercial Airlines Collection (2014-09-12) Extent The size or duration of the resource. 1 film reel (5 min., 25 sec.) : silent, color ; 8 mm Rights Information about rights held in and over the resource In copyright Date A point or period of time associated with an event in the lifecycle of the resource 1950s circa https://digitalcollections.museumofflight.org/files/original/931367f19b7ee0a5bae5b179c7fae981.jpg a5e38966c77bf3ecfcb249c28e012622 https://digitalcollections.museumofflight.org/files/original/e14040f92a483eccce364a549975701a.mp4 189f84c358051e693edb62e84bf3762d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Series II - Films, 1930s-1940s Description An account of the resource Films, 1930s-1940s Identifier An unambiguous reference to the resource within a given context 1998-05-05-B, Series II Audiovisual Audiovisual items that are not an oral histories, such as personal film footage. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 1998-05-05-B_AV_013_01 Title A name given to the resource [Aerial views of Alaskan landscape, circa 1930s-1940s] Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The Robert L. Simons Collection/The Museum of Flight Creator An entity primarily responsible for making the resource Simons, Robert L. Description An account of the resource Film footage depicting aerial views of the Alaskan landscape, circa 1930s-1940s. The footage begins with shots of a harbor, then transitions to aerial views filmed from an unidentified aircraft, showing mountains, tundra, buildings, and clouds, presumably in Alaska. A wing is visible in some of these scenes, which displays Northwest Airlines markings. At 00:07:30, there is a brief scene filmed from inside the aircraft as it takes off from an unidentified airport. No exterior shots of the aircraft are present in the footage. The footage is in color and is silent. Some of the scenes are underexposed. Label on film container: "Alaska." Format The file format, physical medium, or dimensions of the resource 8mm (photographic film size) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Alaska Subject The topic of the resource Aeronautics, Commercial Northwest Airlines Corporation Date A point or period of time associated with an event in the lifecycle of the resource 1930s-1940s circa Source A related resource from which the described resource is derived The Robert L. Simons Collection (1998-05-05-B) Extent The size or duration of the resource. 1 film reel (9 min., 39 sec.) : silent, color ; 8 mm Rights Information about rights held in and over the resource In copyright https://digitalcollections.museumofflight.org/files/original/a9d643e61619ed55c224f369dc0a77dc.jpg 03ac336ddbfdb70f5558f196ed59cff0 https://digitalcollections.museumofflight.org/files/original/4951f7493e26f1bd27464bacb103c2c9.mp4 7f5d56a52f8cca166a8bbd851b450ee5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Series II - Films, 1930s-1940s Description An account of the resource Films, 1930s-1940s Identifier An unambiguous reference to the resource within a given context 1998-05-05-B, Series II Audiovisual Audiovisual items that are not an oral histories, such as personal film footage. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context 1998-05-05-B_AV_008_01 Title A name given to the resource [Airport activities and aerial views, circa 1939] Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The Robert L. Simons Collection/The Museum of Flight Creator An entity primarily responsible for making the resource Simons, Robert L. Description An account of the resource Film footage of airport activities and aerial views, circa 1939. The footage is mostly comprised of shots taken at an unidentified airport and aerial views taken from aircraft in flight. The airport scenes show airliners taking off and landing, passengers embarking and disembarking, and flight and ground crews at work. Identified aircraft include: 00:00:20 - Prototype Douglas DC-4E 00:03:27 - "Flagship Connecticut," an American Airlines Douglas DC-3 00:04:17 - Douglas DC-2 (wing number NC13728) 00:04:32 - Northwest Airlines Lockheed Model 14 Super Electra 00:04:41 - "Flagship Arkansas," an American Airlines Douglas DC-3 The aerial views show cities, towns, mountains (possibly the Cascades), and other terrain. A wing is visible in some of these scenes, which displays the initials "NWA" (Northwest Airlines). The footage also includes a brief clip of boating activities. At the end of the footage is a 1933 Mickey Mouse cartoon, "Mickey Goes Courting," which has been removed from the access copy. The footage is in color and is silent. Format The file format, physical medium, or dimensions of the resource 8mm (photographic film size) Subject The topic of the resource Aeronautics, Commercial Air pilots Airlines Airports American Airlines Aviation ground crews Commuter aircraft Douglas DC-2 Family Douglas DC-3 Family Douglas DC-4 Experimental (DC-4E) Flight crews Lockheed Model 14 Super Electra Family Northwest Airlines Corporation Airplane occupants Date A point or period of time associated with an event in the lifecycle of the resource 1939 circa Source A related resource from which the described resource is derived The Robert L. Simons Collection (1998-05-05-B) Extent The size or duration of the resource. 1 film reel (17 min., 10 sec.) : silent, color ; 8 mm Rights Information about rights held in and over the resource In copyright https://digitalcollections.museumofflight.org/files/original/c3887cf811b24ed40022b61f0c4caa6e.mp4 ef1e6de5e60f7af8eeb9af386aed2093 https://digitalcollections.museumofflight.org/files/original/6546f9db4e39312001225d1d210b4545.pdf dcda44c4ccf67beb7b3980ff9a3f9549 PDF Text Text The Museum of Flight Oral History Collection The Museum of Flight Seattle, Washington Anne Simpson Interviewed by: Dan Hagedorn Date: January 13, 2016 Location: Seattle, Washington This interview was made possible with generous support from Mary Kay and Michael Hallman 2016 © The Museum of Flight �2 Abstract: Retired airline captain and Museum of Flight Trustee Anne Simpson is interviewed about her 37year career in the commercial airline industry. She discusses her experiences as a pilot for Northwest Airlines and Delta Air Lines, where she flew the Boeing 727, Airbus A320, and Boeing 747-400. She also discusses her status as one of the first women pilots to be hired by a major American airline and describes challenges and accomplishments from her career. The interview concludes with an overview of Simpson’s work at The Museum of Flight, including her involvement in education programs and her leadership role in the campaign to acquire the Museum’s Lockheed Model 10-E Electra. Biography: Anne Simpson is a retired airline captain and member of The Museum of Flight Board of Trustees. She was born in 1955 in Seattle, Washington to William Hunter Simpson and Dorothy Lewis Simpson. Her father worked for IBM (International Business Machines Corporation) and later started Physio-Control, a Seattle-area business. Her mother was a stewardess for Pan American Airlines during the late 1940s. Simpson matriculated at Mills College (Oakland, California) in 1971. In her sophomore year, she enrolled in flight training as part of a January term project and earned her private pilot’s license in a month’s time. In 1976, she transferred to the University of California, Berkeley to participate in the women’s crew team. She graduated in 1978 with a bachelor’s degree in physical education and coaching. She also continued her flight training during this time and earned her flight instructor qualifications. Following her graduation from college, Simpson began applying for pilot positions with commercial airlines. In the interim, she taught flight instruction at Boeing Field (Seattle, Washington) and flew charter and commuter flights in Texas and Oklahoma. In January 1981, she was hired by Northwest Airlines, becoming the third woman pilot to be hired by the company and one of the first 30 women to fly for a major American airline. While at Northwest, she served as flight engineer and first officer on the Boeing 727 and as captain on the Airbus A320 and Boeing 747-400. In 2008, Northwest merged with Delta Air Lines, where she continued to serve as captain aboard the A320 and 747-400. She also served on the company’s pilot selection team. She retired from Delta in 2018 after a 37-year career in the airline industry. Following her retirement, Simpson returned to the Seattle area and joined The Museum of Flight’s Board of Trustees. Her work at the Museum includes co-chairing the Women Fly program, co-chairing the campaign to acquire the Museum’s Lockheed Model 10-E Electra, serving as the first Chairwoman of the Board, and helping to start Amelia’s Aero Club. She is still an active Board member as of 2016. 2016 © The Museum of Flight �3 Biographical information derived from interview and additional information provided by interviewee. Interviewer: Dan Hagedorn served as Senior Curator and Director of Collections at The Museum of Flight from 2008 until his retirement in 2016. Prior to his tenure at TMOF, he was Adjunct Curator and Research Team Leader at the National Air and Space Museum in Washington, D.C. Hagedorn is a graduate of Villa Maria College, the State University of New York, and the Command and General Staff College, and served in the U.S. Armed Forces for almost three decades. He has written numerous books and articles about aviation history in general and Latin American aviation in particular. For his work in documenting Latin American aviation history, he received the Orden Merito Santos-Dumont from the Brazilian Government in 2006. Since his retirement in 2016, Hagedorn has served as a Curator Emeritus at the Museum. Restrictions: Permission to publish material from The Museum of Flight Oral History Program must be obtained from The Museum of Flight Archives. Videography: Videography by Peder Nelson, TMOF Exhibits Developer. Transcript: Transcribed by Pioneer Transcription Services. Reviewed by TMOF volunteers and staff. 2016 © The Museum of Flight �4 Index: Introduction and personal background............................................................................................ 5 Early aviation influences................................................................................................................. 6 Flight training.................................................................................................................................. 7 College crew team........................................................................................................................... 8 More flight training and time as a flight instructor ......................................................................... 9 Career as a commercial pilot......................................................................................................... 12 Challenges as a woman pilot......................................................................................................... 13 Northwest Airlines camaraderie ................................................................................................... 16 Career overview and experiences with various aircraft ................................................................ 16 Balancing family and career ......................................................................................................... 18 Memories of September 11, 2001 ................................................................................................. 20 Flying the Boeing 747 ................................................................................................................... 21 Merger with Delta Air Lines ......................................................................................................... 22 Involvement with The Museum of Flight ..................................................................................... 24 Favorite aircraft ............................................................................................................................. 25 Advice for future generations ....................................................................................................... 25 The Museum’s Lockheed Model 10E Electra and closing thoughts ............................................ 26 2016 © The Museum of Flight �5 Anne Simpson [START OF INTERVIEW] 00:00:00 [Introduction and personal background] DAN HAGEDORN: It’s Wednesday, 13 January 2016. We’re at the Great Gallery, the T. A. Wilson Great Gallery at The Museum of Flight at historic Boeing Field. In our presence today is Captain Anne Simpson, Delta Airlines, Retired. And we are also in the presence of one of the Museum’s most beautiful aircraft, the Lockheed Model 10-E Electra, for which I believe Captain Simpson has a special affinity. Captain Simpson, we’d like to first ask you if you would please pronounce your name for us the way that you prefer to have it pronounced and then spell it for us. ANNE SIMPSON: My name is Anne Fielding Simpson. I go by Anne, and it’s A-N-N-E, F if you want to use the initial, Simpson, S-I-M-P-S-O-N. DH: And can you tell us where you were born? AS: I was born at Seattle Children’s, I think, right here in Seattle, in 1955. DH: You’re a Puget Sound native. AS: I am. I didn’t spend all my years here, but I’m back and I think I’ll be here for the rest of my life. DH: Very good. And can you tell us your parents’ names please? AS: My mother is Dorothy Lewis Simpson, and my father is Hunter—well, actually William Hunter Simpson, but he went by Hunter. And he passed away about 10 years ago. My mother is alive at 92. DH: Very good. Do you have any brothers and sisters? AS: I have an older brother, Brooks Simpson, and a younger sister, Christine Simpson Brent. DH: So you grew up in the Puget Sound area? AS: We moved a bit. My father worked for IBM, and actually, we moved about every two years when he was kind of working his way up the ranks there. We came back to Seattle in 1961, and he decided that he wasn’t going to move anymore and continued to work for IBM for a few years and then changed jobs and started a company pretty well known in the Seattle area called Physio-Control. 2016 © The Museum of Flight �6 DH: Did you finish your schooling—high school here in the— AS: I did. I went—actually, I was back by the time I started first grade, and I went through the Mercer Island school system, one through twelve. DH: So you attended Mills College? AS: Yes. DH: And that’s located in…? AS: Oakland, California. DH: And you attended that what years? AS: I started at Mills in 1973, and I was there two years, through the spring quarter of 1975. 00:02:40 [Early aviation influences] DH: And when you first started your collegiate education, what were you bound for? What was the direction you were intent on taking? Or had you made that decision yet? AS: I hadn’t actually made that decision. I had been given the opportunity when I was in high school to take flying lessons. For some reason, my parents saw in me, I don’t know, that kind of look in my eye or whatever. But I was a busy kid. I was very involved in sports and social activities as well as my education and just never really had time. So when I went to Mills, I wasn’t sure what I wanted to do. You know, I was looking for—really, my family stressed liberal arts education. An education, at least getting a college degree, if not beyond that. DH: Having traveled so much, you probably had been on board aircraft prior to going to college, had you not? AS: A bit. My mother was a stewardess for Pan American Airlines back in the late ‘40s and actually got her pilot’s license prior to that at the end of World War II and wanted to fly for the WASPs, but that program ended before she actually had the minimum hours required. And I think that’s where a lot of my inspiration came from because it’s—it was a favorite part of her life, to tell that story. Next best opportunity for her was to become a stewardess, which she loved and she got to hang out with a lot of pilots in the earlier days of aviation. And then my father actually got his private license—pilot’s license—which I am positive was because my mother had hers. [laughs] “Got to keep up with Dottie” was a pretty big theme in our home. And they never really flew airplanes as pilots after we were born, but it was always kind of family lore. 2016 © The Museum of Flight �7 DH: So we’ve got a genetic trend shaping up here. AS: I think so, yeah. And they both loved aviation, regardless of whether they were actually behind the—in the cockpit or not. And anyway, I guess kind of back to where I was, I was given that opportunity but just never had the time to take advantage of it when I was in high school. 00:05:00 [Flight training] DH: So you did something rather extraordinary while you were at Mills. I don’t think I’ve ever heard of anyone achieving this in quite this way. You became a private pilot and went through the entire curriculum in one month’s time? Do I have that right? AS: Actually, I think it was probably like 29 days. Mills, as many colleges still do, had a great program where you had two semesters and then a January term, and January term had a variety of options. There were classes on campus, you could do something off-campus, an independent study. You really didn’t even have to go to school at all if you wanted to just take the month off. As a freshman, I did an environmental study program. And as a sophomore, as I’m starting to think, “Well, what do I want to do with the rest of my life,” I come up with this plan to—“I think I ought to try this pilot thing.” And I wanted to get credit for it and actually have it part of my educational record. So I worked it out that—I found a flight school, and I talked to them about could I do this if I flew a couple of times once or twice a day and did all the studying. They said yes. The next piece was to go back to the college and find out who would sponsor me so that I could get a credit for it. And I think I went to a couple of different departments, like—I don’t know—the science, education, and a few others, and nobody was willing to sponsor it for me. So I ended up going to the physical education department. I was on the crew team and had kind of a relationship there. And she said, “Well, give me a pretty structured list of what it’s going to entail.” I did and she said, “Okay, I’ll sponsor this.” And it was very challenging month, but I loved it. I was flying at least once a day, doing my studying. And I also had to write a paper because that was required for this project. So I interviewed some women pilots and got a C initially, but I went back in and talked to the teacher who had sponsored me and explained what I had done in that month, and I ended up getting an A. So even though the paper wasn’t the greatest, I did have my license. DH: We’d love to see that paper sometime. Do you still have it? AS: [laughs] I might have it. That might be one of the ones—it probably isn’t very good. DH: That would be fascinating. 2016 © The Museum of Flight �8 AS: I was pretty busy. DH: Do you happen to remember the name of your instructor pilot? AS: [pauses] He’s in one of pictures that I have. I believe it was Ted or Jim. It was actually a very small FBO in Hayward, California. They were out of a trailer. And I was value shopping, and I think it was $350 for my private pilot’s license. And I flew a Cessna 150. I got a little bit of time in a Citabria, I think, after I had my license. But there were two guys that owned it, and they had two flight instructors. One was the mechanic, one was the flight instructor, and then they had two additional flight instructors. It was probably the smallest place on the airport. [laughs] DH: Do you remember—I think most pilots would have to say that they do—but do you remember your solo day and can you describe your experience that day for us? AS: Well, I’m going to have to say it must have been pretty uneventful because I don’t specifically remember it. And maybe it was partly because I was doing everything so quickly. My solo day was just probably one of two flights that day. I remember I got out and made three—or the instructor got out, I made three touch-and-goes—or two touchand-goes and then came to a full stop landing and picked him up, and we probably went on and did something else. I did teach after this, and I have to say I told all of my students, “You are far better saving up enough money to just pay for the whole thing and go bang, bang, bang through your course than going once every other week.” And I think that was why I was able to do it in a month. Everything just layered nicely on top of the lesson from the day before. DH: That’s phenomenal. I think that would be well advised. It took me almost two years to do the same thing. [laughs] AS: Yeah. And so I got my license, I believe I was at—and because it wasn’t an approved Part, I think, 141 school, minimum of 40 hours, and I believe I was at 41 or something. So, again, I think a lot of it had to do with the fact that it was just continuous training. There were no big breaks to forget stuff. 00:09:48 [College crew team] DH: You were apparently an accomplished athlete during this period as well. AS: I had two passions at that point in my life. One was aviation, and one was rowing crew team. School was more of a means to an end. I knew I needed a college degree. I liked school, but the other two were my dreams, actually. My passions. DH: And I understand you were on a nationally ranked crew? 2016 © The Museum of Flight �9 AS: Well, it was a collegiate crew, University of California, but yes, we were definitely nationally ranked. We were one of the best collegiate crews in the country. I think my senior year we were third at nationals, but that also included non-collegiate crews that we competed against. DH: So you were actually recruited from Mills to go to University of California, Berkeley for the rowing crew on a scholarship? Or how did that— AS: Not a scholarship. There were no scholarships at that point. DH: Okay. AS: But I knew I wanted to row for a program that was more significant than the Mills program, which was still just a club. And Cal had a crew program that had just started the year before, an absolute direct result of Title IX. I am a huge fan of Title IX and what it’s done for women and women athletes. And many crew programs were started in the mid70s because of that. So at nationals that year, where I was part of a club team, I talked with the coach and was told and invited to apply to Cal, that he absolutely would help with that application and that I could join the crew team, which is what I did and I pursued that and loved my years of rowing for the Cal crew. I’m still very supportive. DH: Do you think your athleticism contributed to your competence as an aviator? AS: I have no doubt. I think that athletics for all young children as they’re growing up play a huge part in their confidence, their leadership skills, and their followership skills. That’s one of the things that I think is just phenomenal about crew. It’s not only being a leader, but it’s knowing how to follow well. And you see all eight of us. [laughs] 00:12:04 [More flight training and time as a flight instructor] DH: So during the time that you were at Berkeley, you continued your flight training? AS: I did. So I would—I did most of my concerted training during the summer times, during vacation. But my father was adamant that if he was going to foot the cost—and I was very lucky that my parents felt that this was, like, maybe a graduate degree—that I would fly at least once a week. There was absolutely no allowance for me to let some of that skill slip by taking weeks off at a time. I won’t say I did actually fly once a week, but I was pretty close to it. I’d just go out and zip around the pattern or something like that to stay proficient. DH: Must’ve been during that time that you probably fell in love with aviation and aircraft? 2016 © The Museum of Flight �10 AS: I think it was before that. I think I actually always thought aviation was pretty darn cool—again, going back to my mom. But it certainly took a different turn. When I started my flying, it was a little bit like, “Well, am I going to like this? Is this going to work for me?” So the first few lessons—and it only took, really, the first 10 minutes before I thought, “Yup, this is me.” And then I just—I love the challenge. I loved pretty much everything about it. Operating in three dimensions is pretty special. DH: So you actually progressed right rapidly through the normal sequence of events that has to happen en route to a commercial pilot’s license. AS: I had a goal. I was raised in a family where my father—I’d be in junior high, and my dad would—I’d have some my friends, my guy friends over and he’d always be asking, “Well, what’s your five-year plan? What are your goals in life?” And we were raised with that kind of philosophy, so I had a goal. I had a plan. And I knew that when I graduated from college, this was my chosen profession. I was a PE physical education major in college, which was kind of my backup plan in case something happened to me physically where I was unable to fly. Crew was my second passion. And I thought, “Well, I can be a crew coach or go into physical therapy or something.” But I was pretty single-minded about this. So by the time I graduated from college, I had all the ratings I needed to become a flight instructor or maybe go to work for what they had back then, which would be the check-haulers or something like that. But I was offered a job at the flight school—in the summer times I moved back here, flew right here at Boeing Field—and I was offered a job upon graduation at the FBO that I flew with here at Boeing Field. DH: I see. Did you make any other applications during that period towards the airlines? AS: I did. And actually, I had 350 hours, which was the minimum requirement at United. And before I graduated—I think in the spring of my senior year—I was invited to come interview and go through the process at United Airlines, which was actually quite a horrendous process. I mean, I had to take—what was it—the stanine test. And we didn’t hear back for a long time, and it was—I was not prepared for that with 350 hours. And plus, coming up the ranks as a young woman, not having worked on cars and doing some of those mechanical skills, I was very ill prepared to take some of the testing that they required. Not that it’s necessary to be a pilot that you know how a motor works. You’re not going to climb out on the wing. But that’s the way it was in 1981. So I was not offered that job. And in retrospect, it was probably the best—one of the best things that happened to me along my career path. It was much better getting hired by Northwest a few years later with much more experience and coming in the middle of my class of all men than going in with the least experience as an initial woman in a class of guys that had multiple times. 2016 © The Museum of Flight �11 DH: So the time you spent here at Boeing Field was exceptionally educational towards that goal? AS: It was. And it was wonderful. I worked with a great group of young instructors. That tends to be your peers when you’re working at a flight school like that. Most of us are trying to work our way up the ladder. Learned a lot from them, but learned the most from my students. I mean, teaching—as any teacher, anybody who’s taught, will tell you, is the best way to learn. DH: Do you have any idea how many students you instructed? AS: I was there a little over two years, and I would say that I probably had maybe 10 that went all the way through their license and ended up with either a private or a commercial or an instrument license. And there probably were another maybe 50 or so that just came for their annual recurrent or were getting checked out in an airplane. Not a whole—it wasn’t a huge group. But when you’re spending a lot of time with one person—and Seattle area is not that conducive for private pilot training in the winter time. [laughs] There were lots of times where I’d call my student and said, “Nope, you’ve done enough touch-and-goes and we can’t get out and do cross-country today.” So… DH: Any memorable moments while you are an instructor with any of your students that you can recall that stand out? AS: Well, I had several students who were just lots of fun to work with. And especially the commercial students, when they would have to take their long cross-country with a flight instructor, we did some kind of fun things. I mean, they would have family in California or one, whose father was actually a Northwest pilot, had family in Montana. And we took a bigger airplane because they have to get that kind of experience, and he took a friend and I took a friend, and so those were always fun. I think, as I alluded to before, one of my most memorable experiences was talking with an older gentleman who wanted to learn how to fly. He’d always wanted to learn how to fly. And he was saving up money every two weeks to come in for one lesson, and I really had to sit down and tell him, “This is not the best way for you to do this.” Every two weeks, he would come in and he would’ve forgotten half of what he’d learned the first time. And I know I was very disappointed for him. But he did—he went home and saved up for six months and came back and soloed. I don’t think he ever completed the program. But he might not have even done that. DH: What type of aircraft were you instructing in? AS: Mostly Cherokee 140s, was that—was the trainer for—it was a Piper dealership, and that was the trainer that they used for the primary students. 2016 © The Museum of Flight �12 00:19:28 [Career as a commercial pilot] DH: So the big day came when you got notification from Northwest Airlines that you had been hired on board? AS: Well, and that’s a little bit of an interesting story. I was—right as I was getting ready to leave my flight instructing job—and I knew I had done about as much there as I could, and I was just going to go to travel to the south, down to Texas, where there are more business aviation jobs. And I was called back to interview with Northwest. And they liked me enough that they brought me in to fly the simulator the next day, and it was a nice, pleasant experience. And then I got a call about two weeks later saying that they had—were on a hiring freeze, that they weren’t going to be hiring anybody. This was in, like, November of 1979, I believe. And—no, January of ‘80. And they just said, “Keep us in touch.” So I took that opportunity then and ended up with a job down in Oklahoma City. Well, first flying charter in Dallas, flying charter out of Dallas, and then a commuter job in Oklahoma City. And kept them in touch, kept them up to speed with what I was doing and my qualifications as they increased and stuff like that, and then was hired, actually, in January 1981. So it was a little over a year, but that year was the best experience and brought me up to speed with my classmates. I flew copilot on a twin-engine commuter airline instead of just having the single-engine experience that I would’ve gone with otherwise. And it didn’t change my seniority any because they didn’t hire anybody else. And if you’re an airline pilot or want to be an airline pilot, seniority is pretty much everything. [laughs] DH: Do you have any idea how many other women pilots were hired at the same time that you were during that—is it regarded as a class? Or how is it viewed? AS: Well, in the country? No, I don’t know that exact number. I was the third hired at Northwest. And Northwest was behind the rest of the major airlines in that they hadn’t hired—until 1979, they had not hired any pilots for 10 years. So American, United, and the smaller airlines that no longer exist—Frontier—had been hiring women for about five years. And this is—there is an organization that keeps track of this, and I’ve—but it’s not exact. I think I was right in the top 30 of the women hired in—with the major airlines when I was hired. So early on. DH: So this really started almost a quarter of the century of flying for Northwest Airlines? AS: Yes, it did. And it went by so quickly. It’s just boggling. It’s just mind-boggling to me. 2016 © The Museum of Flight �13 DH: Looking back on it, was there a progression? Was there an evolution that took place? I know that the airline industry itself has transformed itself in the meantime. Did you feel that while you were moving through it as an ever-more-experienced pilot? AS: Oh, absolutely. And I’m probably—most people will tell you this about your industries, but the airline industry, as I think everyone knows just from reading the paper, is extremely volatile. It’s up-and-down, up-and-down. And I had I think probably three lows and four highs as far as where the airline that I was working for was going. When I actually hired on with Northwest again, they had not hired anybody for a long time, so most of the people that I worked with—I was the second officer flight engineer—were at least 10 years older than I was. And they were all so extremely happy to see—it didn’t matter who you were, just somebody coming in on the bottom of the pile so they could move up. And it was a great place to be because everyone was so excited about new hires. And my outlook changed as my career progressed pretty quickly because I got married and had kids. And when I got hired by Northwest, I’m like, “Great, an international airline. I’m going to be flying those big jets around the world as soon as I can.” Well, a family changed that, and I wanted to stay a little bit closer to home. I wanted to maintain my seniority so that I could be home for Christmas instead of working. And so I stayed as a domestic pilot for many more years than most of my peers and my classmates did. But it worked out extremely well. I have the—I guess, the very—kind of small fish—or bigfish-in-a-small pond story of, “I was the number one flight engineer on the 727,” which is like the bottom of the pile, but I was number one on it. [laughs] And it worked out very, very well for me that way, and I got in 15 years of fantastic international travel at the end of my career when I was senior and could pick and choose. One of the great things about that profession is you can make those choices. You don’t just have to move up to the next available position or be left behind forever. Wherever that number fits in whenever you’re ready, as long as you can do the training and pass the check rides, you just get to slot right in. 00:25:03 [Challenges as a woman pilot] DH: There must have been—for a young woman, who I think must have been an attractive young woman at the point that you were at in your career, there must have been acceptance issues. Can you speak to that? Were you ever challenged in any way by the older male establishment within the airline? AS: Well, again, it was interesting because my first several years, they were all so excited it didn’t matter. And I think they looked at the few of us women who were coming on board as an example of what their daughters or nieces could be and very accepting. When 2016 © The Museum of Flight �14 we had one of these big downturns, and it was very prevalent with the airlines to start what was called a B scale, so the new pilots were hired on at a lower pay scale than the current pilots. And there was no upward mobility because it was stagnating. I did run into some issues at that point in my career. I was a senior 727 copilot, and I think there was a lot of animosity on some of the guys—and it was a very small piece of the population. Most of the pilots were just very excepting, and they got the fact—seniority and it’s timing and what the heck, it’s luck for all of us. DH: They recognized ability? AS: Well, and a lot of it is just you’re lucky that day when they—you’re the right age, you’ve got their right qualifications, and if you were three years younger—darn, you know. But it had nothing to do with that person, and that person was qualified. But there was some animosity on the part of the newer hires on a B scale stuck sitting sideways as a second officer and looking at me five years younger—or the other women because we tended to be a little bit younger, five years younger—we didn’t have 800 hours in some fighter jet and how could we possibly be qualified to do this job? And there was some animosity, and I did run into a few issues during that. There was also a fair amount of pornography in the aircraft. And this had been prevalent for years before the women came on board. It was kind of a boys-will-be-boys attitude, I guess, amongst a portion of the pilot population, and it was just either accepted by— participated in by the crewmembers or just ignored. Not going to make waves. And most of it was pretty innocuous. But during this time of a little bit of animosity towards some of the women, it became, in my opinion, almost accusative and was meant to be hurtful to the women and in places that were very public. We had a little—one of the favorite places to put this was we had a little button that we pushed up overhead where the escape rope—the rope to escape out the side window came down. So you popped the button, and it would open up a door, and there would be some pornography in there. And I had got to a point where I just found this very annoying. I probably should have earlier in my career, but it just got worse. So I decided that I was going to take a stand on this, and I went to our professional standards and said, “I don’t care what these guys actually do when they’re there, but this is my office space, and for the three or four hours that I’m in the aircraft, this is my space. And I should not have to deal with another person’s mess, whether it’s that they’re leaving their gum wrappers there or they’re putting pornography.” And it got blown up, actually, probably to a level that it should have. But I became known around the airline for a while as the person who was kind of taking the fun out of the job, maybe. That actually lasted for a while. I ended up making more of an issue about it than just kind of quietly going behind the scenes. It went to the very top levels. And I think more than anything that cleared it up was the fact 2016 © The Museum of Flight �15 that the airline started doing better. People progressed. There was not this chip-on-theshoulder second officer. But it was not an issue just at Northwest. It was prevalent throughout the airlines. The ground workers who were the baggage loaders who were doing the same thing—and now this was integrated, men and women—there was lots of pornography there. I think now I’m not in the job—and it never existed on the bigger airplanes. It was more the new. I think it was the attitude of the new people coming in who, again, had kind of chips on their shoulders. But it was a pretty horrendous couple of years. It took a lot of strength on my part to not feel very, very persecuted as one individual and threatened. But I did not want to stop my career because of this. DH: This was a different kind of pioneering. AS: It was. And fortunately, I think it’s partly because I don’t remember stuff like this a lot and it just didn’t even exist for the rest of my career. I mean, I let it go very easily. I didn’t have to work at letting it go. I just was like, “Okay, that was then. This is now.” And even though I didn’t get a lot of support from people at that time, I was—it was acknowledged afterwards by some of my women friends who said, “You know, Anne, thank you for doing that. I really feel badly that I didn’t jump in there and stand with you, but I couldn’t take the heat. I did not want to be that person that was targeted.” DH: A special kind of courage. I admire you for that. I think that’s—I think probably looking back on it, it’s not one of the elements of your career that most people would recognize as having been a significant contribution, but I think in retrospect it almost has to be viewed that way. AS: Well, thank you. I hope so. And I think it is because I think it’s probably a nicer atmosphere. And during that time I also had plenty of people that said, “Working with a woman pilot is the best thing.” I mean, people would say that so often, the men, just because of our—CRM, Crew Resource Management, was started during my early years. I think about when I was ending my first office—my flight engineer into my copilot years. And there was some resistance to it by the captains who, you know, “I finally made it here,” but not very much. And there were so many people that I worked with that would say, “You women get this just kind of naturally.” And that’s a very broad statement. But we do tend to be—and I think it’s because of the whole nurturing motherhood and we just—that’s just part of most women’s makeup. We tend to be more collaborative, and that’s what Crew Resource Management is all about. 00:32:27 2016 © The Museum of Flight �16 [Northwest Airlines camaraderie] DH: I’ve heard it said that Northwest had a peculiar culture of—a camaraderie, a sense of belonging that a lot of airlines—other airlines have not been able to emulate. Do you feel that was true for you? Did you feel an affinity for the line? AS: Well, it’s interesting, not having worked for another airline during that time and then becoming part of Delta. I think a big piece of that was—because there was always so much tension between the pilot ranks and management that, yes, the pilots really did stand together. And so maybe it’s one of the good things that came out of it. Because the company was very successful. We’d go through these terrible negotiation contract negotiations. In the end, usually it worked out okay, even if we ended up going on strike. But the pilot group, yes, was very close. And safety—and every airline will tell you this, but I really think that our flight operations at Northwest Airlines was the best in the industry. I mean, we were really leaders in pioneering—like Pan American, pioneering routes, turbulence, and doing the turbulence plots and knowing areas of where you’re going to come—mountain wave. I mean, we developed that. Also—gosh, it’s been—I haven’t flown for a year. All the terms are losing—but as far as our fuel planning, where we would short release the airline. So we didn’t have to carry fuel all the way across the ocean, we would short release to a destination and then make sure at that point we had enough. And carrying fuel costs fuel, costs money. And especially as fuel prices got so extraordinarily high. 00:34:32 [Career overview and experiences with various aircraft] DH: You must have flown an incredible—I’d love to see your logbook sometime. AS: I didn’t actually even keep one after a while. I know, it’s terrible. [laughs] DH: Tell us by the progression of aircraft types that you piloted and when you moved from the right seat to the left seat. AS: So I started off on a Boeing 727. Loved, loved, loved that airplane. Of course, it was my first commercial jet and just was so fond of it. Sitting sidesaddle at the desk, flight engineer, I look back and there are no aircraft any longer flying with the major airlines like that that was such a great place to start. Because, yes, you had lots of responsibilities, manage all the systems, but it was the big picture on the industry. I mean, I learned so much from working with captains and copilots before I actually had to sit into a flying— got to sit in a flying seat. 2016 © The Museum of Flight �17 I moved from that position after about five years and two kids to the copilot seat on the 727. Loved it over there. Just such a wonderful spot. And as we used to joke about, the copilot had all the fun and none of the real responsibilities. Because you got the flight engineer doing the systems, you got the captain taking all the responsibilities—we just got to fly. It was great. Actually hand-flew that airplane a lot. We’d put the autopilot on at cruise, but basically, top of descent, you’d click it off, hand-fly it down. And then I really wanted to fly captain on the airplane, but because of the way our progression was working at Northwest, that was going to be an opportunity that was quite a bit in the future for when I wanted to check out as captain. We had just taken on—we just had the Airbus A320s come on board, first domestic carrier to have that airplane. They were flying out of Detroit initially, and then I think it was a couple months later they came to Minneapolis, where I was based. So I went through that training program, so I moved from right seat on the 727 to left seat on the Airbus, which was—I was kind of worried about this. And I went in and talked to the director of flight training on the Airbus about it, you know, how was that going to be. Because right seat 727 to left seat 727—I’d worked with a lot of guys that made that transition, and it’s from going like this to going like—[laughs]. And they got it. But it was a little bit of a struggle, changing your hands around. And this director of flying was, “Oh, it’s such a piece of cake. You just won’t have any issue.” And that’s true. The side stick was an absolute non-event. It was a very simple transition. The huge challenge—and it was—just the training was very, very difficult because all the things that you learn in traditional airplane you might as well just kind of have thrown away. And Northwest, being one of the very early operators of that aircraft, trained us kind to the extreme, which made sense at that time. But we really had to understand all kinds of things that they don’t even teach now, that we have no control over, that if you just have kind of a vague idea of, “Oh, yeah, we’re going from direct law to normal law to backup law,” it doesn’t really matter what that—how that happens. It just matters that you know how to operate it when it—and that’s not quite true, but the details were not really necessary. So I went through that training and lost 10 pounds, and it was a tough time. But the best thing was I was paired with a woman copilot. And it was 100% because of our seniority. It had nothing to do— DH: Was that the first time that had happened? AS: Possibly. And we had merged with Republic, so she was a Republic pilot previously, and I was Northwest. And I didn’t know her. I had seen her, but we weren’t mingling fleets except for, like, on this new airplane. So we were both the most senior in our class, and that’s why we were paired together. And it was such a wonderful experience having her 2016 © The Museum of Flight �18 there. But she’s still a very close friend of mine and brilliant. And together we just kind of got ourselves through that, and it was so nice. Not that I wouldn’t have worked great with a guy, but there were just those things where we could kind of let our hair down a little bit more. And so I got through that. It was very challenging and then spent—wow, that’s—I spent a long time on that. So flew the Airbus captain for about 10 years, got very senior on it, and then moved back to a Boeing aircraft, to Boeing 747-400. DH: Was there another transition in all there? AS: Yes, but at that point—so I had gone from copilot not only to a new aircraft, new flying, but also to a captain position. And most copilots will tell you, “Well—” And you’ll tell the copilots, “Well, you know how to fly that airplane. It’s not that big a deal.” But there is really a lot of things going on when you’re captain that you don’t—aren’t aware of. Even though you think you have all this responsibility—and you do as the copilot— there’s just another layer added onto it. And even though you don’t consciously think about the fact that you’ve got an airplane full of people who are counting on you and crew who are counting on you, even though you’re not thinking about that kind of at the front of your mind, it’s always there. And honestly, for my first year as an Airbus captain, it weighed heavily on me. Not consciously, but I would come home mentally fatigued from those trips. So now my transition to the 747 was—I think that was the harder transition, from being a copilot to a captain, than actually learning the airplane, especially in this case. Now, I had to learn international operations, but copilots—and usually there’s two full crew, so I had another captain and two copilots. There is so much backup on that airplane. I loved it. I mean, I really liked the fact that I had not just people who are working for me but a true 100% peer and a captain and most of the time somebody senior to me, who if everything got really bad I could defer to him. Or her. Always a “him,” though. 00:41:04 [Balancing family and career] DH: Well, let’s back up a little bit before I get into some more questions about the 747 experience. You became a mother. AS: I did. Twice. [laughs] DH: And during that point of time, at any point did you feel like this was a compromise that you had to make for your career? Was it something that you felt might put your forward progression in jeopardy? In other words, were you able to, in fact, have it all? 2016 © The Museum of Flight �19 AS: I think I had it all. I will say that through my career I’ve had lots of times where I’ve been early. I’ve been one of the first X number. But I was the first woman at Northwest Airlines to have a baby. And when I went in to tell the chief pilot, I think it was just an absolute shock to him that pilots could have babies. And he’s like, “What? How can this happen? We’ve never had a person—a pilot have a baby.” DH: Was there a policy that governed it? AS: No, there was no policy. So I actually worked very close with the union before— Northwest doesn’t—well, there’s no Northwest—they don’t know this. Before I actually even went in and told the company, I said, “This could possibly be precedent-setting.” And there was a huge range across the industry, because I wasn’t the first pilot, but the first Northwest pilot. In Canada, they—I think it was Air Canada or Canadian or one of them—you had to take your leave your first trimester, you could work your second trimester, and then you had to go back on leave the third trimester. One of the other U.S. carriers, as soon as you found out you had to tell the airline and you had to go on leave. They just really didn’t know. I mean, which is kind of ridiculous. They’d had flight attendants having babies for years, decades. So I spent a long time working with first the union, saying, “How do you want—” And they’re kind of like, “Well, we don’t know. What do you want to do?” I said, “Well, I’d like to work as long as possible and then take a leave.” So I went in and talked to the chief pilot. And it was actually very strategic. I did it over the Christmas holidays, told them just before Christmas holidays. I was supposed to work on Christmas and New Year’s. And we were very short pilots, and I thought if there’s ever a chance they’re going to let me work and once they’ve said… So the way the policy evolved was we were allowed to continue to work. We had to get a note from our FA physician, who would talk to our OB/GYN, saying that we were fit to fly. And then when we wanted to take our leave or when our doctor said we should, we would just turn that note in. And we had to have that every month before bidding. But there was no uniform, so I worked until my pants were too darn tight—[laughter]—which was, I think, about seven months. And then I actually—I guess with the second child, another pilot had had a baby in between and she went to work in the training department, not actually as an instructor but just sitting as a support pilot. And so I did that for a few months before the second one was born. DH: And your children were boy and girl? Two boys? AS: Well, I have an older boy and a younger girl. They are now—let’s see—it’s 2016, and my kids are 31 and 33. DH: Any genetic down the road for them? 2016 © The Museum of Flight �20 AS: No, neither—so their father was also a Northwest pilot, and as much as I think they should have looked at the fact that we were—maybe we were home too much. Maybe that’s—[laughs]—looked at our lifestyle compared to the lifestyle of their friends who had two working parents, I would have thought both of them would’ve jumped on it. But, no, neither have seemed to have had any interest in it. DH: There’s still time. AS: There’s still time. Right. I’m not sure, but as far as having it all, I—I think one of the reasons that—there’s still—it’s still a very small percentage of women airline pilots. And you know this as well, which is why we have this beautiful Electra here. I think part of it is that girls growing up and maybe young women who want to have families don’t think that it’s the best career to have a family. And I would counter that by saying it was the best career. I would—I have little babies who’d be waking up three or four times—and I took several months off for each of them—they’d be waking up in the middle of the night, I’d have to get up. My friends who did that were always tired. I could go away for three days, two nights, get a really good night sleep, eat in a restaurant—it was all paid for by my per diem—come home feeling great, and then I would have—if I did a threeday trip every week, I’d have four entire days with my kids from the beginning of the day. DH: That’s wonderful. AS: And then when they got to be teenagers, I could go away and leave them. [laughter] And actually, it was the kids that would be saying at that time, “Mom, when are you going back to work? You’ve been home a long time.” Good childcare is the big piece of that, though, so… 00:46:28 [Memories of September 11, 2001] DH: Where were you at on 9/11? AS: I was home in Minneapolis. I had just gotten home two days before, flown right over Gander, which is—we talked about earlier—where so many aircraft went and the Newfoundlanders took such good care of those people. So I was home. I was supposed to be—I was on vacation the next day, and I was supposed to be going to Europe on the 2nd of September, which, of course, didn’t do. But it was a very traumatic time for everybody. And I had many friends, domestic and international friends, who were stuck in places that dealt with it a lot more than I did, except for—just my empathizing with the whole country on that. 00:47:21 2016 © The Museum of Flight �21 [Flying the Boeing 747] DH: So you transitioned from the Airbus A320 to the Boeing 747-400? AS: Yes. DH: Was that the—something that you welcomed or—these are decidedly different sized airplanes. AS: Yes. DH: Was this something that you anticipated, looked forward to with enthusiasm? Trepidation? How did you feel about it? AS: Oh, I was very excited about it. You know, for—we had DC-10s at that point, and most of my peers, my classmates, went 727 second officer, copilot, captain, DC-10, maybe do something in between. And I missed the DC-10 completely, which saddens me a little bit. My friends who flew the DC-10 just loved that airplane. And it had some of the best flying—the route structure that Northwest had for that DC-10 was fabulous. But, no, I was very excited to get into the 747. Of course, like any transition, you wonder how it’s going to work, how hard is it going to be, what is it going to be like moving from 20 feet off the ground—or probably not even that much—up to three stories. And actually—and I tell this story often—the first time I was in the cockpit of a 747, the very first time—well, maybe actually flying—no, 400, the very first time I was actually flying it, I had an instructor pilot sitting next to me. But the simulators in—this was 19—was it 2001? Yeah, I guess it was 2001. Yes. The simulators were so good at that point that they had been approved for all your training right up to your initial operating experience. And so I still really didn’t know because the peripheral vision is the piece in the simulators that you don’t really understand. So I still really didn’t know what it was actually going to feel like. And I think one of the things about the bigger airplanes is everything’s— they’re still in the same relationship. So you go from an airplane that’s this high but the cockpit’s this big or this big, then you go to an airplane that’s this high but the cockpit is this big and the seats are that big. So everything feels like it is working pretty well. And it wasn’t that hard. This airplane is the best landing airplane in the whole world. Those big truck gears that they have—we had center gears—it was almost hard to make a bad landing. I mean, not such a great landing maybe, but it was—you could make beautiful landings fairly easily on that airplane. It was—I loved it. DH: Describe for us the day that you became the captain in command of a 747-400 for the first time. 2016 © The Museum of Flight �22 AS: Gosh, I guess it’s not really good to say it was just another day at the office because it wasn’t. It wasn’t. I think the biggest things to walk—well, this was on my OE because by the time I got off the OE, I—you just don’t have somebody there, but you also have people there who are very experienced as your copilot. But walking up to the airplane is the most unbelievable experience because it’s so big. And then when you’re doing that, even though as captain you don’t do the physical exterior preflight, you do it when you’re doing your training so that you get out and look at it. And that—I mean, the smaller airplanes, you kind of walk around. It doesn’t take very long. To walk around a 747 takes a lot of time. And there’s four engines you’ve got to look at and extra wheels and all of that stuff. And you walk up to one of those nacelles, and you’re just like—even though you kind of know they’re huge, it’s just unbelievable. And by the time you get back to the back of the airplane, you want to stop and have a drink of water, it’s so far back there. DH: [laughs] So how many hours do you think you had in the 747? AS: Oh my gosh. I should’ve looked all this stuff up. I think I have—let’s see, I have about 22,000 hours. Gosh, could I just exaggerate and say—[laughs]. Let’s say— DH: I guess what I’m looking for is proportionately— AS: Okay. I was doing about 500 hours a year for eight years. Four thousand. DH: Wow. AS: And it’s interesting the way you’d do your hours when you get into a big airplane like this, is you’ve got two pilots—two captains—so I did not log all of the—if it’s a 12 hour flight, I would only log half of it. When I started flying the Airbus where there was one captain and two copilots, I logged it all as PIC time. Even though I was in the bunk, I still was ultimately responsible. When there was another captain in the seat, I felt that I didn’t get to log that time. The FAA doesn’t seem to really care. 00:52:33 [Merger with Delta Air Lines] DH: You went through something that is increasingly common in the airline industry. You were with a major legacy carrier that merged with another legacy major carrier. What was that like? AS: Another—if you go back to my Airbus challenge, it was probably a similar challenge to that. We knew something was going to happen. And actually, at Northwest, we always kind of felt that it might be with Delta. Our CEO Richard Anderson left for a couple of years and then became CEO of Delta, and it all just kind of made sense as the mergers 2016 © The Museum of Flight �23 were going on. Delta was a little bit bigger and—I want to be a little bit careful what I say, but not really—but we on the Northwest side felt that it was a merger. The pilots on the Delta side felt very much that they bought us. And they were little bit bigger, so the transition became not quite as collaborative as it had actually with the Republic merger that we had back in the ‘80s. And they—we became—we had to learn how to operate the aircraft the way Delta operated their aircraft, which was a shock to us that it was so significantly different. I mean, truly a shock. We felt that our operations had to be pretty much the same because we were about the same, but their culture is very different. Their flight training was very different. And we went through a transition period of over a year because they were trying—and as management, it was beautifully executed because the whole—the goal was to have one operating—set of operating procedures, so we couldn’t be doing it our own way on different airplanes. And we had to learn their operating procedures, and so they would change us piece by piece on an every-other-month basis. We would get really big changes, have to learn them, and then have one—that month of learning them and then—maybe it was three months—and then a month or two before we got into the next big set of changes. And some of these changes had to occur a few times. Like, we would change when we did this and this change because it worked with that change, and then the change three months later, they would change the change that we had just learned to a different one. And really, the people who put it together—it was very good, but it was very exhausting for a year or year-and-a-half because every—I guess it was every three months, we would get this huge packet and just change our manuals and change our flow patterns and change the sequencing of things, changed how we—what we did in training. And I will say that what they did is squirreled away—and they told us this—“We’re going to squirrel away the best practices from Northwest, and once we have a single operating procedure, we will go back and look at these best operating procedures and we will begin to integrate them back into—but we need this single operating procedures.” And they have done that. And I’m proud to say that there have been many, many changes that have gone back to the former Northwest way, which was superior—and this is without bias— superior from the very beginning. DH: I think that’s almost without precedent in the airline industry, if I’m not mistaken. That’s wonderful. I’m glad to hear that. AS: It is. Well, with the Republic merger, they kind of did it right from the start. But it took a long time. So from the customer standpoint and the airline management and operations standpoint, it was—took more time and did not go as smoothly. From a pilot’s standpoint, it worked—it was easier to do. This one worked better, and that’s the way it should be. Customers didn’t have as many issues with it. 2016 © The Museum of Flight �24 00:56:41 [Involvement with The Museum of Flight] DH: Well, somewhere during this period of time while you were still with Northwest, you became one of our wonderful trustees at The Museum of Flight Board of Trustees. How did that happen? AS: I was living in Minneapolis. I was there for 23 years. And when my kids grew up and went off to college, I knew that I wanted to come back to the Northwest to be closer to my family and my parents as they were getting older. And my dad had been on the Board of Trustees, and I was lucky enough to be occasionally invited out to a gala. And just loved it, loved the Museum, loved the fact that he loved it. Again, showing his love for aircraft. And so when I came back to Seattle, I told him, I said, “One of the things that I really want to get involved with is The Museum of Flight.” And he said, “Well, it’s a great organization.” And the first thing I did was work with the Women Fly program here. And they had actually asked my mom to chair the committee for that the year before I moved back, and she said, “My daughter’s coming back next year. Wait until she comes back and we’ll co-chair.” Which we did. And so that got me involved with the education programs here right off the get-go. And then the next year I was invited to join the Board, which was truly an honor and it was unexpected to happen. I figured it would happen eventually but unexpected that it would happen so quickly. And I will also have to say that it totally changed that Women Fly experience, my thoughts on education and the Museum. I would come to these galas, and Bill Rex would stand up and say, “It’s all about education.” And I would think, “Oh, phooey. It’s about the airplanes. And I love the airplanes. Let’s just say it the way it is.” And it took me about 10 minutes to realize that the airplanes are here and they need to be restored and they need to be retained and shown for the future, but they are the perfect, perfect tool for education and inspiration. DH: Well, you are about to set yet another first in your career and certainly a first, I believe, in almost any major aviation and aerospace museum in the world. AS: I was wondering if you would know the answer to that. DH: You’re about to become the chairwoman of the Board of Trustees of The Museum of Flight, and I believe that that is without precedent. How do you feel about that? AS: I could not be more honored to take that position. And I have incredibly large shoes to fill, and I think about it often as this time is coming up. I’ll be following in the footsteps of Bill Ayer and Mike Hallman and just a long list of amazing chairmen before me. And 2016 © The Museum of Flight �25 they have a lot of confidence in me, so I’m feeling prepared. I’m feeling ready. And I’ve gotten to know this place very, very well, and I love it. And it is definitely my top priority and my passion, and I’m looking forward to the next couple of years of helping shepherd in our new Aviation Pavilion and all of the great things that we’re going to do in education. DH: You should know that the staff has great confidence in you, too. AS: Oh, well, that’s—thank you very much. I’m really excited. 01:00:09 [Favorite aircraft] DH: This is a question we ask all of our narrators. And I prepared you for it a little bit and I’m pretty sure I know the answer, but we want you to describe for us what your favorite airplane is and why. AS: I need to add one thing first, is that I did fly the Airbus A330 at the end of my career. And I wanted to come back to Seattle and be based in Seattle, and that was my only option. I would not have left the 747. So that’s kind of the segue into there’s only one real answer that, and that’s this baby right here—[picks up a scale model of a 747]. And I did fly it in the Delta colors, and it was absolutely gorgeous in the Delta colors. I remember seeing it the first time and thinking, “Oh, I don’t want to see my Northwest colors.” But it was beautiful in the Delta colors. And unfortunately, they’re all being parked. But it is the most beautiful airplane, and it is—and you remember, I think, the article that I wrote about the 747 being like a big, old puppy dog. It is. It just kind of lumbers along—yeah, it’s so fast. It’s the fastest airplane out there, commercial airplane. Going across the Pacific, we would just go right on by those 767s. But it just kind of—you just feel like it’s just this big, old puppy dog. But when you ask it to respond, like a big old, puppy dog that’s well trained and you say, “Sit,” or you say, “Go around,” it responds beautifully. And that’s really what I loved about it. I do need to say I loved the Airbuses, too. Both Boeing and Airbus make fabulous aircraft. And I really have enjoyed every single airplane that I’ve flown. 01:01:57 [Advice for future generations] DH: You brought a very special captain’s hat with you today. I’d like you to hold onto that for a minute. And as you mentioned earlier, we aspire to be the foremost educational air and space museum in the world. We would like for you to tell us what you would like to communicate to those who will follow us and what it will take for them to get that hat. 2016 © The Museum of Flight �26 AS: Desire. Hard work. I read an article in the paper today about grit. They were talking about the Seahawks. Having a goal and working towards it. Simple things like education. But that doesn’t matter what you want to do; you need to get an education. And you need to do well in your education. You need to work hard. The other little piece that I found out early on when I was instructing is—people say, “Well, what makes a good pilot?” I think somebody who has pretty good spatial awareness, how their body is in space. And maybe that’s more than you’re looking for in this question. But people—I’ve found that young people who are good drivers—and I have one of each. I have one who is a natural and one who is a fine driver, but it was not—it didn’t come as easy. But if you know where your body is in space without thinking about it, you probably will become—you can probably become a pilot more easily. I used to always say also that, like learning how to drive, pretty much anybody can be taught how to fly an airplane and become a good pilot. But if you have that natural sense, then a lot of the other things come more easily. It’s seat-of-the-pants. That’s the same thing, seat-of-the-pants. But to aspire to my position is—or what my position was—is you need to want it. And it is a fabulous career. I can’t imagine having done anything else. My office has the best view in the entire world. It’s one of the things that I miss most about retirement. Astronauts might disagree with me on that, and they probably are right. But you can get to the top of the tallest building in New York City, and you won’t see what I got to see. 01:04:20 [The Museum’s Lockheed Model 10E Electra and closing thoughts] DH: One of my favorite memories as the curator here at The Museum of Flight is the day that that aircraft that’s behind you was delivered to this museum and you stood up in that cockpit and were the spitting image of Amelia Earhart. AS: At 60. [laughs] DH: Did that send a chill up your spine, that moment? AS: Oh, it was one of the biggest thrills my life, was to get to taxi that aircraft. I wish I had gotten to fly it. But from the other side of the field over here, with Tom Cathcart [Director of Aircraft Collections and Restoration at The Museum of Flight] basically telling me the whole way what I needed to do. Because it’s really quite different than anything—and I don’t have much tail-dragger time and certainly none in the last 35 years. But it was so fabulous. It was just—and then to stand up and to have—there were throngs of people here for that event, and they are all dressed in period—or most of them—standing there waving and cheering. And I think I felt just a tiny bit like maybe 2016 © The Museum of Flight �27 Amelia felt when—and everywhere she went she had that. And for me, once was fantastic. I’m sure maybe she got a little bit overwhelmed by her celebrity, but—being such a celebrity. But I’m so proud to have that aircraft here. DH: I’ve often said that I would like to have had a cup of coffee with Amelia. How do you feel about having the opportunity to know her? AS: Well, the story goes back to really—and, of course, everybody in this country knows about—knows her name and knows her legacy, which is unfortunately losing her. But most people don’t know about the many, many things that she did. And I didn’t, until we started the campaign to purchase this aircraft, which—sitting in the boardroom, they were talking about the opportunity to bring this airplane to the Museum, and there’s lots and lots of discussion going on. And I believe Doug [Doug King, former Museum of Flight President and CEO] said, “Well, Anne, how do you feel about it?” Because I hadn’t really weighed in on it. And I said, “Well, on behalf of the 42% of the population of this country—” Or, excuse me. “52% of the population of this country, I think we need this. And I think it should be part of a girl/woman-centric exhibit that we use to diversify and inspire the female population that come to the Museum.” So it started with that. And then I also raised my hand to lead the campaign—or co-chair the campaign to raise the 1.2 million dollars to purchase the aircraft, which was my first foray into development and fundraising. And I loved it about 90% of the time. There was that 10% where it was very challenging. DH: Well, bless you for doing it. I’ve been fortunate to be able to add about 16 aircraft to the collection during my tenure here as curator, but I have to tell you, the two favorites are sitting side-by-side: the Electra and the Stinson Model O. AS: Well, without your leadership in this, Dan, it wouldn’t have happened. And then your story—I know I’m turning the tables around a little bit here—but your story about having a picture of Amelia or the airplane. I’m not sure. Or both? DH: Both. AS: Since you were how old? DH: Seventeen and a half. AS: Seventeen and a half. And that just says so much right there about where your career progression and your passion for this—and you were an inspiration to me in working on this. But this airplane, I learned so much because I had to tell the story. And her story is unbelievable. And even for girls who want to become fashion designers—not that there’s anything wrong with it—but it is an inspiration. You can do so many things. All those hats we women wear, it’s right on top of Amelia’s head. 2016 © The Museum of Flight �28 DH: Did you think about her while you were sitting in that tiny, tiny cockpit? Imagine trying to fly that aircraft three-quarters of the way around the world, basically solo? AS: The whole time. The whole time. DH: Wow. AS: And we couldn’t get one of the engines started when we first were over there. [laughs] And I was thinking—and I wasn’t really even doing much because Tom was the guy who knew how to do it. And it’s like, “Oh, all those people are waiting over there and got to get this engine started.” And yeah, thinking about how much work that is to fly versus this with all—somebody brings me a cup of coffee and lunch. I don’t have to send something back by wire to the navigator. So… DH: Well, I’m so pleased that we also have Amelia’s Aero Club that has been fostered as a direct result of the acquisition of this aircraft. Have you been involved in that at all? AS: Initially, I worked with Melissa [Melissa Edwards, Director of Digital Learning at The Museum of Flight] to get that program started, and I’ve come to a couple of events. And I know it’s still growing. But it is so exciting. And we’re targeting—well, everybody, but with Amelia’s Aero Club, that kind of middle-school-aged girl that might at that point think that maybe sciences aren’t cool, boys are cooler or something. And boys are cool, but science is cool, too. So… DH: I sure hope we can nurture that. I love that program, and I think it’s something we really need to hang our hat on. AS: Yeah. And it’s one of the things I’m most proud about the Museum and my being able to take over this leadership role, with continuing Amelia’s Aero Club, Washington Aerospace Scholars, Michael P. Anderson Program, summer camp. I mean, just the amazing things—the high school—just the amazing things we do here. As well as maintain this fabulous collection that you do so nicely with. DH: Cut. 01:10:11 [END OF INTERVIEW] 2016 © The Museum of Flight � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Museum of Flight Oral History Collection Description An account of the resource The Museum of Flight Oral History Collection chronicles the personal stories of individuals in the fields of aviation and aerospace, from pilots and engineers to executives. This collection, which dates from 2013 to present, consists of digital video recordings and transcripts, which illustrate these individuals’ experiences, relationship with aviation, and advice for those interested in the field. By the end of 2019, approximately 76 interviews will have had been conducted. The interviews range in length from approximately 20 minutes to 4 hours and 45 minutes. Most interviews are completed in one session, but some participants were interviewed over multiple occasions. The personal stories in this collection span much of the modern history of flight, from the Golden Age of Aviation in the 1930s, to the evolution of jet aircraft in the mid-twentieth century, to the ongoing developments of the Space Age. The selected interviewees represent a wide range of career paths and a diverse cross-section of professionals, each of whom made significant contributions to their field. Among the many interviewees are Calvin Kam, a United States Army veteran who served as a helicopter pilot during the Vietnam War; Robert “Bob” Alexander, a mechanical engineer who helped design the Hubble Telescope; and Betty Riley Stockard, a flight attendant during the 1940s who once acted as a secret parcel carrier during World War II. The production of the videos was funded by Mary Kay and Michael Hallman. Processing and cataloging of the videos was made possible by a 4Culture "Heritage Projects" grant. Please note that materials on TMOF: Digital Collections are presented as historical objects and are unaltered and uncensored. See our <a href="https://digitalcollections.museumofflight.org/disclaimers-policies">Disclaimers and Policies</a> page for more information. Date A point or period of time associated with an event in the lifecycle of the resource 2013-current Creator An entity primarily responsible for making the resource Museum of Flight (Seattle, Wash.) Format The file format, physical medium, or dimensions of the resource oral histories (literary works) Source A related resource from which the described resource is derived <a href="https://archives.museumofflight.org/repositories/2/resources/6">Guide to the Museum of Flight Oral History Collection</a> Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. The Museum of Flight Archives Rights Information about rights held in and over the resource Permission to publish material from the Museum of Flight Oral History Collection must be obtained from The Museum of Flight Archives. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The Museum of Flight Oral History Collection/The Museum of Flight Identifier An unambiguous reference to the resource within a given context 2019-00-00.100 Oral History A resource containing historical information obtained in interviews with persons having firsthand knowledge. Transcription Any written text transcribed from an item <a href="https://digitalcollections.museumofflight.org/assets/Transcripts/OH_Simpson_Anne.pdf">View the transcript</a> Interviewee The person(s) being interviewed Simpson, Anne, 1955- Interviewer The person(s) performing the interview Hagedorn, Dan Biographical Text Anne Simpson is a retired airline captain and member of The Museum of Flight Board of Trustees. She was born in 1955 in Seattle, Washington to William Hunter Simpson and Dorothy Lewis Simpson. Her father worked for IBM (International Business Machines Corporation) and later started Physio-Control, a Seattle-area business. Her mother was a stewardess for Pan American Airlines during the late 1940s. Simpson matriculated at Mills College (Oakland, California) in 1971. In her sophomore year, she enrolled in flight training as part of a January term project and earned her private pilot’s license in a month’s time. In 1976, she transferred to the University of California, Berkeley to participate in the women’s crew team. She graduated in 1978 with a bachelor’s degree in physical education and coaching. She also continued her flight training during this time and earned her flight instructor qualifications. Following her graduation from college, Simpson began applying for pilot positions with commercial airlines. In the interim, she taught flight instruction at Boeing Field (Seattle, Washington) and flew charter and commuter flights in Texas and Oklahoma. In January 1981, she was hired by Northwest Airlines, becoming the third woman pilot to be hired by the company and one of the first 30 women to fly for a major American airline. While at Northwest, she served as flight engineer and first officer on the Boeing 727 and as captain on the Airbus A320 and Boeing 747-400. In 2008, Northwest merged with Delta Air Lines, where she continued to serve as captain aboard the A320 and 747-400. She also served on the company’s pilot selection team. She retired from Delta in 2018 after a 37-year career in the airline industry. Following her retirement, Simpson returned to the Seattle area and joined The Museum of Flight’s Board of Trustees. Her work at the Museum includes co-chairing the Women Fly program, co-chairing the campaign to acquire the Museum’s Lockheed Model 10-E Electra, serving as the first Chairwoman of the Board, and helping to start Amelia’s Aero Club. She is still an active Board member as of 2016. Biographical information derived from interview and additional information provided by interviewee. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context OH_Simpson_Anne Title A name given to the resource Anne Simpson oral history interview Language A language of the resource English Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. The Museum of Flight Oral History Collection/The Museum of Flight Source A related resource from which the described resource is derived The Museum of Flight Oral History Collection (2019-00-00-100), Digital Recordings Creator An entity primarily responsible for making the resource Museum of Flight (Seattle, Wash.) Description An account of the resource Born-digital video recording of an oral history with Anne Simpson and interviewer Dan Hagedorn, recorded as part of The Museum of Flight Oral History Program, January 13, 2016. Format The file format, physical medium, or dimensions of the resource oral histories (literary works) born digital Date A point or period of time associated with an event in the lifecycle of the resource 2016-01-13 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant California Minnesota Seattle (Wash.) Washington (State) Subject The topic of the resource Air pilots Airbus A320 Airlines Boeing Model 727 Family Boeing Model 747-400 Delta Air Lines Earhart, Amelia, 1897-1937 King County International Airport Lockheed Model 10-E Electra Museum of Flight (Seattle, Wash.) Northwest Airlines Corporation Simpson, Anne, 1955- Women air pilots Women in aeronautics Extent The size or duration of the resource. 1 recording (1 hr., 10 min., 11 sec.) : digital Rights Information about rights held in and over the resource In copyright Abstract A summary of the resource. Retired airline captain and Museum of Flight Trustee Anne Simpson is interviewed about her 37-year career in the commercial airline industry. She discusses her experiences as a pilot for Northwest Airlines and Delta Air Lines, where she flew the Boeing 727, Airbus A320, and Boeing 747-400. She also discusses her status as one of the first women pilots to be hired by a major American airline and describes challenges and accomplishments from her career. The interview concludes with an overview of Simpson’s work at The Museum of Flight, including her involvement in education programs and her leadership role in the campaign to acquire the Museum’s Lockheed Model 10-E Electra. Table Of Contents A list of subunits of the resource. Introduction and personal background -- Early aviation influences -- Flight training -- College crew team -- More flight training and time as a flight instructor -- Career as a commercial pilot -- Challenges as a woman pilot -- Northwest Airlines camaraderie -- Career overview and experiences with various aircraft -- Balancing family and career -- Memories of September 11, 2001 -- Flying the Boeing 747 -- Merger with Delta Air Lines -- Involvement with The Museum of Flight -- Favorite aircraft -- Advice for future generations -- The Museum’s Lockheed Model 10E Electra and closing thoughts