View allAll Photos Tagged Contracting
-Contract work for The Solos Unit-
Event and Promotion poster for show in North Carolina.
Hand drawn and silk screened on 160 lb, acid free Arches watercolor paper.
12x19
2 color print
2005
CONTRACTS
Our first series of guides.
For those in law school facing loads of information that culminates in the bar exam.
A contract which governs the conditions of engagement of Bilbo Baggins in the role of a Burglar for Thorin Oakenshield.
This prop replica is created by Daniel Reeve, the same man responsible for the original contract as seen in The Hobbit: An Unexpected Journey.
Members of United Food & Commercial Workers (UFCW) Local 400 today voted overwhelmingly to ratify a new, three-year collective bargaining agreement with Giant and Safeway that preserves their health and retirement security and increases their wages.
Deborah (Ford) Hunter
ACC Strategic Initiative Group
U.S. Army Reserves
Staff Sergeant
71L Personnel
Fort Indiantown Gap, PA
Jan. 1982
A crowd of government contracting business development professionals watches the presentation and panel discussion about Government Contracting Best Practices.
American Trans Air—better known as ATA—was begun in 1973 with two Boeing 720s operating on behalf of the Ambassadair Travel Club. By 1981, it had amassed a fleet of eight Boeing 707s, enough that ATA relaunched itself as a charter airline, especially for US military contracts. ATA grew substantially during the 1980s, eventually replacing its ancient 707s with more modern McDonnell Douglas DC-10s, Lockheed L-1011s, and Boeing 757s. Its exemplary service during the First Gulf War in transporting American troops to the war zone earned it more lucrative US government contracts.
ATA’s management was wise enough to realize that government contracts would not save the airline, and as early as 1986 began scheduled flights between Indiana and Florida, catering to the Florida vacation tourist. In 1995, these operations included flights from Chicago to Hawaii and from London to Orlando. Though it billed itself as a low-cost “no frills” airline, in reality ATA maintained full service on its charter flights. Basing itself out of Chicago-Midway, by 2000 ATA placed a large order for next generation 737s to replace most of its aging fleet and allow ATA to continue to expand its scheduled service.
The post-9/11 airline downturn struck ATA at exactly the wrong time: the airline was overextended and already running at a loss due to the 737 purchase. Though it received a bailout from the US government and was able to continue its government charters (which were now even more important for moving American troops to Afghanistan and Iraq), ATA finally had to file bankruptcy in 2004. It shed two-thirds of its scheduled destinations and sold off about half its aircraft fleet, and along with a privatization package from ATA’s backers in 2006, was able to survive bankruptcy.
This proved only a temporary stay, however: ATA unwisely chose to replace its older L-1011 fleet with ex-Northwest DC-10s, but these aircraft were just as old and ATA could not truly afford the purchase; ATA also merged with World Airways and North American Airlines in an unsuccessful effort to save all three companies. Safety concerns led the US government to cancel its charter with ATA, which was the only thing keeping the airline afloat.
On April 2, 2008, ATA announced it was once more going bankrupt, but this time it also ceased operations immediately. This affected a number of travelers: so unexpected was the announcement that several ATA flights were in midair when it occurred, and more were stranded at airports, waiting for ATA flights that were now grounded. The aircraft were gradually disposed of, and Southwest Airlines acquired the rights to the American Trans Air brand.
This 757-300 shows ATA's final livery. N550TZ was delivered new to ATA in 2001; after ATA went bankrupt, it was picked up by Continental Airlines in 2010 as N73860, and as of this writing flies with United Airlines, after the merger with Continental.
Russian political activist and member of the anti-Putin punk rock group PUSSY RIOT, MARIA VLADIMIROVNA ALYOKHINA aka MASHA and MediaZona collaborator and reporter, ALEXANDRA BOGINO aka SASHA in Toronto as part of their conversation series. In picture: MARIA VLADIMIROVNA ALYOKHINA, ALEXANDRA BOGINO, DAMIAN ABRAHAM
A contract which governs the conditions of engagement of Bilbo Baggins in the role of a Burglar for Thorin Oakenshield.
This prop replica is created by Daniel Reeve, the same man responsible for the original contract as seen in The Hobbit: An Unexpected Journey.
Before graduating on Saturday, December 15th with their MA in Culturally Responsive Leadership and Instruction from Drake University, the second cohort of DMPS BLUE contract teachers showcased their classroom-based research projects at the Drake University Collier Scripps building on December 14th.
Volvo / Caetano BV66 WOJ of Go South Coast is seen here wearing National Express contract livery about to turn into The Hard, Portsmouth on 28th February 2017. New to the operator in September 2016, the vehicle passed to Catteralls of Southam in Warwickshire in the Summer of 2021.
Russian political activist and member of the anti-Putin punk rock group PUSSY RIOT, MARIA VLADIMIROVNA ALYOKHINA aka MASHA and MediaZona collaborator and reporter, ALEXANDRA BOGINO aka SASHA in Toronto as part of their conversation series. In picture: MARIA VLADIMIROVNA ALYOKHINA, ALEXANDRA BOGINO, DAMIAN ABRAHAM
"One of my units was infiltrated some time ago and the spy managed to collect data on various jobs I'd personally lined up around the globe. The Iron Grendaiers have been unable to tract him. Moves too fast and hides far under the radar. Further down than the scum you conceal yourself with."
Kill him! The voices whisper load as thunder in Zartan's head. But curiosity takes the best of him and little by little he's anxious to hear more.
"You and I... We don't really play this hitman game. You've generally got some violet clad henchman to take care of errands."
"Slowly and steadily I'm cutting my ties with Cobra. Firefly and Bludd cannot be trusted and I can't afford to be seen as seeking to terminte this spy."
"Which is it Joe is it?"
"Oh, it's no Joe. It's Billy."
"As in Cobra Commander, Billy."
"The same. He's been off the map for years. No one can latch to little bastard. But you... YOu've studied at leat partially the ways of the Arashikage. You'd know places to search that no one would know. And I can make the payoff, shall we say, substantial."
Never one to shake on a deal Zartan turns to exit the room and Destro realize he's got the mercenary in his pocket. Having diverted the Dreadnok's anger by playing to his bounty hunting side. Just another pawn to be controlled.
As he exits Zartan calls, "Dead or alive?"
"Chef's choice."
"Have my money ready. This won't take long."
A contract which governs the conditions of engagement of Bilbo Baggins in the role of a Burglar for Thorin Oakenshield.
This prop replica is created by Daniel Reeve, the same man responsible for the original contract as seen in The Hobbit: An Unexpected Journey.
-Washington, D.C., 13, May 2018. During the 30th annual Candlelight Vigil the names of the law enforcement officers who were killed in the line of duty were read aloud as candles were lit by the thousands in attendance. U.S. Attorney General Jeff Sessions and former Attorney General John Ashcroft spoke on the sacrifice made by law these officers and the importance of officer safety. The Attorney General and Concerns of Police Survivors National President Brenda Donner began lighting of candles and U.S. Marshals Service acting Deputy Director David Anderson read the name of DUSM Kenneth “Kenny” Doyle, who died in the line of duty on July 26, 2017, as a result of cancer contracted after the terrorist attacks on September 11, 2001.
Photo By: Shane T. McCoy / US Marshals
I’ve been trying to catch all aspects of the harvesting of the forage crop locally this year. It’s been a very good year for growing grass with a wet spring followed by warmth. Silage barns are overflowing with the surplus being baled and wrapped for stacking outside.
On Monday six tractors and trailers started hammering up and down past our yard carrying silage from above Meltham to Hinchcliffes farm off Linfit Lane. Initially I went down to the farm and got photos of all six tractors coming and going. As I was leaving I spotted Tom Roberts in his John Deere spreading fertilizer, I ran down the fields to grab a few shots and tell him that I had six A4 prints for him from the previous weeks baling, another satisfied victim of my camera.
I decided to shoot over to Wilshaw and get some photos of the tractors and forager working in the fields. Stuart Oldfield Agricultural Contracting was doing the job for Charlie Hinchcliffe, driving the Claas Jaguar forager himself. The field is 45 acres part of a 75 acre piece and they were hoping to finish for the end of the day. The tractors were still passing our house at going up to eleven. The heavy crop and distance they were carting meant that eight tractors could have been kept going. As ever Charlie – who is well into his 80’s had a ride around the field to keep an eye on things – nowt changes – as we say around here. I didn’t stay long but I was out and about doing some Tour de France landscape stuff in the Holme Valley and on Holme Moss and decided to drop in again, I’m glad I did. Conditions were better than earlier, the light, big rolling, clouds underpinned by a dark distant sky – it was raining elsewhere in Yorkshire apparently. Stuart Invited me onto the Forager and I hung on with one hand and fired away with the 5D in the other. The silage flying over my head didn’t do a lot for the hay fever but it was worth it. I got sat in the cab and had a good chat with Stuart, nice bloke, gets on with the job – no messing about I would guess. I’m uploading a large number of the photos I took on the day for the benefit of the people working hard in the pictures – I hope they like them and thanks for tolerating me charging around the field like a loony – I’ve spent a lifetime staying safe and keeping out of the way. I stayed until the sun disappeared and the light went, the orange glow is for real, with no help from Photoshop. I had a chat with Charlie, the first in many years, we used to do quite a bit of work for him a long time ago, no flies there, as sharp as they come. Multiple tractor pictures won’t be everybody’s cup of tea, but tough, more trucks and landscapes waiting to load.
To see more information about the 130 year history of J B Schofield and Sons, including their transport and 33 years gritting in the Pennines look here www.jbschofieldandsons.co.uk/
Russian political activist and member of the anti-Putin punk rock group PUSSY RIOT, MARIA VLADIMIROVNA ALYOKHINA aka MASHA and MediaZona collaborator and reporter, ALEXANDRA BOGINO aka SASHA in Toronto as part of their conversation series. In picture: MARIA VLADIMIROVNA ALYOKHINA, ALEXANDRA BOGINO, DAMIAN ABRAHAM
Considerable numbers of locally-owned PSVs, belonging to operators large and small, could be found every weekday afternoon during the late 1970s at Yate, near Bristol. Yate is now thought of as a New Town, but in its older parts, along the Badminton road, there were two large factories, "Newman's" and "Parnell's". Newman Industries, I know, is gone. The site became a supermarket ...Sainsbury, I think. I am unsure whether Parnell's is still there. During the war the firm had made aircraft gun turrets. The associated airfield had been sold as building land and eventually became the "aerodrome estate". But by now Parnell's had placed its efforts firmly behind Britain's peacetime consumerist prosperity; the firm made Creda washing machines.
So, at knocking-off time on Thursday 27th April 1978, the buses and coaches gathered as usual in the gravelled car park at the front of the factory, shortly to disperse throughout the north Bristol suburbs and the villages and small towns of South Gloucestershire. Among them was this vehicle belonging to Durbin, Patchway, who traded as Western Roadways. It is of a rather uncommon type, the Seddon Pennine VI, with 57-seat Plaxton bodywork. Durbin's did not long survive the date of this photograph. It was whispered that they had been closed down because Ministry inspectors had been dissatisfied with maintenance arrangements. The business was acquired by another Bristol independent, R. C., O. I. & A. J. Turner, but all trace of the Western Roadways name and fleet soon disappeared.
Russian political activist and member of the anti-Putin punk rock group PUSSY RIOT, MARIA VLADIMIROVNA ALYOKHINA aka MASHA and MediaZona collaborator and reporter, ALEXANDRA BOGINO aka SASHA in Toronto as part of their conversation series. In picture: MARIA VLADIMIROVNA ALYOKHINA, ALEXANDRA BOGINO, DAMIAN ABRAHAM
Italian postcard by Ballerini & Fratini, Firenze, no. 279. Photo: United Artists. Mary Philbin in Drums of Love (D.W. Griffith, 1928), also with Don Alvarado and Lionel Barrymore. The Italian release title was 'Romanzo della vecchia Spagna' [Romance of Old Spain].
Mary Philbin (1902-1993) was an American film actress of the silent film era, who is best known for playing the roles of Christine Daaé in The Phantom of the Opera (Rupert Julian, 1925) opposite Lon Chaney, and as Dea in The Man Who Laughs (Paul Leni, 1928), opposite Conrad Veidt.
Mary Philbin was born in 1903, in Chicago, Illinois, to John Philbin and his first wife and namesake, Mary. The child was regarded as a little beauty from an early age and her mother was exceedingly proud of her and loved to show her off. Her mother was controlling and domineering, to the point of imprinting her strict religious beliefs on the child. Mary took after her shy, quiet, and reserved father, whom she adored. Emily Greene at IMDb: "Many of her contemporaries remarked how she didn't seem to belong to the current age; her personality was a throwback to the 19th century with her mannerisms and religious, quiet and very gentle nature. Being an only child, Mary grew up quite spoiled by her mother. Her father would take her often to see the plays at local theaters and even, on rare occasions, to see an opera at the Chicago Opera House." She fell in love with the stage and decided that she wanted a career in the theatre. She took up classical dancing (ballet and waltz) and was quite adept at playing the pipe organ and piano, although much to her chagrin, she could not sing. However, she did not train in an acting school and this would ultimately have impact on her later career.
Her best friend was Carla Laemmle, the daughter of Joseph Laemmle, brother of Universal Studios mogul Carl Laemmle. Through her friend's uncle, Mary became interested in films and put her stage career on hold. Upon seeing her first "Nickelodeon", she was bitten by the film bug and eagerly awaited any new ones that came out. She was particularly fond of the films of Erich von Stroheim, so much so that at the age of 16, when she heard that the director was making his new film Blind Husbands (1919) and a contest was set up to search for talent for the film, Mary tried to sign up. At first, she could not find the right photograph worthy of submission, but her mother had taken a picture and submitted it. The contest was held in Chicago at the Elks Club and was sponsored by her church, with Von Stroheim himself as the judge. The Teutonic director was smitten with her beauty and her eagerness to behave and speak well and gave her the leading role in one of his films.
When finding out she was to move to Los Angeles to make the film, Mary at first had reservations and consulted her parents. Her parents refused until they found out their old family friends, the Laemmle's, were moving out to Los Angeles as well, and they gave consent for Mary to go but only with her parents as her chaperons due to their fear that the 'sheiks' of Los Angeles would corrupt Mary's moral character. When arriving at the studio, she found out that she had been replaced in the leading role in Blind Husbands. Mary was deeply hurt at the time and felt cheated, and was considering going home had it not been for her friend Carla who recommended her to her uncle, the owner of Universal City, Carl Laemmle, and the man in charge of production, Irving Thalberg. Although Carl Laemmle had met Mary sometime earlier and always regarded her as an 'angelic, sweet, quiet' young lady, he was none too impressed with her at the time to consider her for a contract, owing mostly to her moralistic and reserved disposition. Thalberg held the same reservations about her.
However, after being persuaded by Mary's family and Carla, Carl caved and gave 17-year-old Mary her first big part: Talitby Millicuddy, the leading lady, in the melodrama The Blazing Trail (Robert Thornby, 1921) starring Frank Mayo. Mary caught on in films very quickly and was considered by the public, initially at least, in the same league as her bigger contemporaries - Mary Pickford, Florence Lawrence, Mae Marsh, and Lillian Gish, one of those 'child-woman' actresses particularly noted for her subtle but extraordinary ethereal Irish beauty. In 1922, Philbin was awarded at the first annual WAMPAS Baby Stars awards, a promotional campaign sponsored by the Western Association of Motion Picture Advertisers, which honoured thirteen young women each year whom they believed to be on the threshold of movie stardom.
After the moderate success of her first film, Mary Philbin was cast in Danger Ahead! (Rollin S. Sturgeon, 1921), the one-reel comedy Twelve Hours to Live (William Watson, 1921), and the Western Red Courage (B. Reeves Eason, 1921), starring Hoot Gibson. In all, she made six films in 1921. After seeing her work in Danger Ahead, Erich von Stroheim cast Mary in a small part as the crippled girl for his next film, Foolish Wives (Erich von Stroheim, 1922). It would become the most expensive production ever for Universal; the costs rising up to a million dollars. Mary can be seen in the film as the little girl on crutches with her back turned, and you only quickly get a darkened glimpse of her face through her curly ringlets. Although her role in the film was just a bit part, Mary relished being under Von Stroheim's tutelage and it was from him, as she always said, she learned about 'true' acting in comparison to stage acting. Emily Greene at IMDb: "It has always been said of Mary Philbin that when the director was really good (such as von Stroheim, Paul Leni, and William Beaudine), people noticed she could be equally as good an actress as her colleagues.
However, in the hands less talented directors such as Rupert Julian, who would partly direct her later in Merry-Go-Round (1923) and The Phantom of the Opera, her lack of acting training became a real handicap for her (this is clearly evident in some of her later films)." Mary began to get more notice from Carl Laemmle and Irving Thalberg, after Erich von Stroheim's high recommendation of her. After a minor film, The Trouper (Harry B. Harris, 1922) starring Gladys Walton, she was given the role of Ruth in Human Hearts (King Baggot, 1922). Mary began to get even further recognition, but her personal life was darkened by her father's divorce and remarriage to Alice Mead. Mary was shattered by the event, and as a result, became closer to her mother. Mary made two more films before she received her first big break as the heroine Agnes Urban, in von Stroheim's The Merry-Go-Round (1923). The casting for this film, set in the Austro-Hungarian Empire of the time of Emperor Franz Josef, was impeccable and in particular with her leading man, Norman Kerry, she would be reunited in several films. The production came to a standstill when the perfectionist von Stroheim insisted that some of the actors wear underwear embroidered with the Imperial Austrian Royal Family insignia, which infuriated Carl Laemmle. After an intense argument with Laemmle the wildly extravagant director was dropped from the picture. The cast was stunned and the two most affected were Wallace Beery (cast as Agnes' father) and Mary Philbin. Beery, infuriated with Laemmle's decision walked out, as did many others. Laemmle hired Universal actor Rupert Julian to direct. Not having met or worked with Julian before, Philbin decided to stay, and Cesare Gravina was re-cast in Beery's role. However, it became clearly evident that Julian was a novice compared to von Stroheim, and much of the original footage was cut or re-filmed upon its release. However, Merry-Go-Round (Rupert Julian, Erich von Stroheim, 1923) launched Mary as an official Hollywood star.
During this time, Mary met the love of her life, Universal Studio executive/producer Paul Kohner - through the Laemmles. Paul Kohner was only a year older than Mary and born in Teplitz-Schoenau, Austria-Hungary (now Teplice, Czech Republic). They were immediately smitten with each other - but due to Mary's parents' religion (Roman Catholicism) and the fact that Paul was a Jew - they kept their relationship, in the early years, secret as much as possible. Mary's film career took off with such films as the comic Western Where Is This West? (George Marshall, 1923), the drama The Age of Desire (Frank Borzage, 1923), the fantasy The Temple of Venus (Henry Otto, 1923), and the action-comedy The Thrill Chaser (Edward Sedgwick, 1923) with Hoot Gibson. Paul Kohner sometimes was the producer, which afforded her more time to be with him, under the protection from her parents' observance. But it wasn't until 1924 after she made good in the role of Marianne in The Rose of Paris (Irving Cummings, 1924) that Mary was to be cast in her next, most famous and best-remembered film role of her entire career.
In 1924, Carl Laemmle was searching among the elite list of Hollywood starlets for the role of the young Swedish soprano Christine Daaé in the film adaption of Gaston Leroux's novella 'Le Fantôme de l'Opéra' (The Phantom of the Opera) starring in the leading role of Erik, the Phantom of the Opera, was one of Hollywood's best actors Lon Chaney, fresh from his success in The Hunchback of Notre Dame (Wallace Worsley, 1923). Much to the concern of the cast and crew, the director hired for the picture was the temperamental Rupert Julian. Julian remembered Mary and Norman Kerry from Merry-Go-Round and hired them. Mary was cast in the key role of Christine, the chance of a lifetime. But the production was one of the most difficult for the cast to endure. Although Mary was working alongside of many of her former colleagues and friends (Norman Kerry, Cesare Gravina, and Carla Laemmle), she had never met Lon Chaney personally before and, in keeping with her nature, was initially very shy and nervous around him. During the filming Chaney and Julian exchanged heated arguments. Chaney would direct his own scenes including several scenes with Mary. Her big test with Chaney came for the climactic unmasking scene - there was a shot of Mary on the floor screaming after Christine unmasks the Phantom and is supposed to cry. Julian had gone through several takes of the scene with Mary, but all takes failed to satisfy Julian. This angered the cast and crew and Julian called it a day and they shut down early. But Lon Chaney remained behind and asked Mary and the crew to stay and reshoot the scene themselves. His approach was a success. From then on Chaney would always be on the set when Julian was directing Mary in future scenes, even if he was not in it. The Phantom of the Opera (1925) was Universal's biggest money maker of the decade, launching not only Chaney to stardom but Philbin as well.
Her next big role was the dual part of Stella Maris/Unity Blake in a remake of Mary Pickford's Stella Maris (Marshall Neilan, 1918). The new version, Stella Maris (Charles Brabin, 1925), was received with moderate success with Mary being complimented on her ability to change from the beautiful Stella into the hideous outcast Unity Blake so well that many didn't recognise her. When Mary was filming The Man who Laughs in the role of the blind girl Dea, her secret fiance Paul Kohner was acting as production supervisor and interpreter for Conrad Veidt who played Gwynplaine. On opening night, the film was hailed as a box-office success and Mary was praised for her the role as Dea. It was then that Mary announced her engagement to Paul Kohner. But her family was outraged at the news and called a meeting to meet Kohner. Paul admitted then he was a staunch Jew and Mary's mother would have none of it. In the end, Mary gave the devastated Paul back the ring. Mary also was devastated, even so much that she would never marry. At the dawn of talkies, Mary's film career nose-dived along with her personal life. Because of the inadequacy of early recording equipment - Mary's voice recorded as high pitched and squeaky. However, she did dub her own voice when The Phantom of the Opera was given sound and re-released in 1929. New scenes with Norman Kerry were intercut with footage of the 1924 version with Chaney. In retrospect, all of her post-Phantom films were mediocre. She received good notices in D.W. Griffith's otherwise pathetic Drums of Love (1928), co-starring Lionel Barrymore and Don Alvarado. Her final film was the sound film After the Fog (Leander De Cordova, 1929). Mary decided to abandon her film career and took up a life of self-enforced celibacy, becoming a virtual recluse in her father's home. Mary virtually vanished off the face of the earth and Hollywood forgot her.
In the 1960s, it was discovered that Philbin was still alive, living in the very same home in Huntington Beach, she had bought in the 1920s. She had never married and had spent much of her life looking after her parents. It was remarked at how youthful and beautiful she still looked even though she was in her 60s and how her voice still had that youthful girlish quality. She had been a faithful member of her parents' church and only went out to visit friends and family, shop, and go to church. During that time, she admitted that she refused interviews and photo shoots, although she replied to her fans and sent them autographs. In the late 1970s, Philbin experienced the first symptoms of Alzheimer's Disease.
In 1988, Mary made her first public appearance since 1931 at a memorial service for Rudolph Valentino. Another blow came when it was announced Paul Kohner had passed away. Shortly after his death, workers cleaning out his office at his agency found Mary's love letters close at hand in his desk, more than 60 years later. When she was informed, Mary cried and revealed the letters Paul had sent to her and even a few after the 'family incident'. After that Mary's memory lapses grew worse, and her old friend Carla Laemmle came to help her. At her insistence - Mary made two more public appearances - the first at the Los Angeles opening night of Andrew Lloyd Webber's musical 'The Phantom of the Opera'. And the second to help promote author Philip Riley's study 'The Phantom of the Opera'. After that, Mary was never seen in public again. In 1993, Mary Philbin died of complications from pneumonia. The original Christine Daaé was dead at age 91.
Mayor Bill de Blasio delivers remarks at a contract rally for 32BJ held at Baruch College on Tuesday, February 11, 2020. Michael Appleton/Mayoral Photography Office
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If Effingham County can do it, why not Lowndes? Meeting documents
Pictures by for Lowndes Area Knowledge Exchange (LAKE), Valdosta, Lowndes County, Georgia, .
www.l-a-k-e.org/blog/2013/05/if-effingham-county-can-do-i...