Executed photos on Flickr

CBP executes planned readiness exercise at San Ysidro Port of Entry by U.S. Customs and Border Protection

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CBP officers from the Office of Field Operations and agents from the U.S. Border Patrol and Air and Marine Operations execute a planned readiness exercise at the San Ysidro Port of Entry. The exercise is designed to evaluate readiness and assess the capabilities of CBP facilities to make necessary preparations. November 22, 2018. CBP photo by SCPBO Luis Angulo.

CBP executes planned readiness exercise at San Ysidro Port of Entry by U.S. Customs and Border Protection

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CBP officers from the Office of Field Operations and agents from the U.S. Border Patrol and Air and Marine Operations execute a planned readiness exercise at the San Ysidro Port of Entry. The exercise is designed to evaluate readiness and assess the capabilities of CBP facilities to make necessary preparations. November 22, 2018. CBP photo by Shawn Moore.

ps1288 by Joe Robinson

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Germany and Turkey went at it, over oil about 2 months before the armistice.

b. Reserve-Jäger-Bataillon Nr. 1

R

Aufgestellt in Freising v. 1. b. Jg.-Btl. Unterstellung: 5. b. Res.Div. Kommandeur:Major Düwell

fromRick L.

Bavaria's 1st Reserve Jäger Battalion and the Prussian 10th Sturm Battalion (217th Infantry Division) were the first troop units dispatched from the Crimea, arriving in Poti harbor on 8 June 1918 at the request of the Menshevik regime in Tiflis. The original post-1917 Transcaucasian Federation had collapsed into ethnic bickering, and sauve qui peut panic, Muslim populations accepting Ottoman blandishments to join a delusional "Pan-Turanian Empire." Georgia's immediate peril was from a Turkish occupation, but in Moscow Lenin thundered that if Germany allowed Baku's oilfields to fall into Turkish hands, the Brest-Litovsk truce was off, and Bolshevik Russia would re-enter the war against Germany.

Within days, the German troops, reinforced by released German and Austrian ex-POWs and former tsarist Balts, with a sprinkling of local Georgians, was in action against Turkish regulars and their co-religionist hill tribesmen.

This © BWA photo (Positiv-Bildsammlung Ostfront Nr. 607-oben) I could identify from the 15th Jäger regimental history as the Tiflis funeral of 2nd Company, 1st Bavarian Reserve Jäger Bataillon Oberjäger Alois Hitzler, mortally wounded in a scrap at Emir on 13 June 1918, who died on 8 July.

Behind the hearse next to the elderly Georgian officer is German Mission General Staff chief Jenö von Egan-Krieger (later a Luftwaffe Generalleutnant) and the tall officer with hands clasped behind his back, wearing the first version Order of Saint Tamara awarded to him in 1917 as commander of the Muslim-deserter "Georgian Legion" is Hauptmann der Reserve Friedrich W. Graf von der Schulenburg (German Ambassador to the Soviet Union when Hitler invaded, and later executed for involvement with the 20 July 1944 plotters).

Washington DC: National Museum of American History - Greenough's Washington by Wally Gobetz

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This 11-foot, 4-inch marble statue of George Washington was executed by Horatio Greenough in 1840. The piece was commissioned by Congress on July 14, 1832, to commemorate the centennial of Washington's birth. It arrived from Italy on July 31, 1841 and was installed in the Capitol Rotunda in December 1841. Due to its weight and lighting concerns of the dimly lit interior, the statue was moved outdoors to the east lawn shortly after its installation, and on May 22, 1908, a joint resolution from Congress authorized its transfer to the Smithsonian Institution. It remained at the Castle until 1964, when it was moved to the new Museum of History and Technology (now the National Museum of American History).

Greenough's sculpture depicts a seated figure of George Washington dressed in a classical robe and sandals with his right arm held up in the air and holding a sheathed sword in his left hand. He is nude from waist up. As soon as it arrived in the Capitol City, it attracted controversy and criticism. Greenough modeled his on a classical Greek statue of Zeus, but many Americans found the sight of a half-naked Washington offensive, even comical. After the statue was relocated to the east lawn, some joked that Washington was desperately reaching for his clothes, on exhibit at the Patent Office several blocks to the north.

The National Museum of American History (NMAH), administered by the Smithsonian Institute, collects, preserves and displays American heritage in the areas of social, political, cultural, scientific and military history. The museum, which first opened in 1964 as the Museum of History and Technology, is located on the National Mall in one of the last structures designed by McKim, Mead & White. It was renamed in 1980, and closed for a 2-year, $85 million renovation by Skidmore, Owings & Merrill LLP from 2006 to 2008.

The Smithsonian Institution, an educational and research institute and associated museum complex, administered and funded by the government of the United States and by funds from its endowment, contributions, and profits from its shops and its magazines, was established in 1846. Although concentrated in Washington DC, its collection of over 136 million items is spread through 19 museums, a zoo, and nine research centers from New York to Panama.

Wien, 8. Bezirk (l’arte di fare giustizia di Vienna), Landesgericht (regional court, tribunale, tribunal) für Strafsachen (matière pénale, criminal matters, materia penale, sprawach karnych (Frankhplatz/Landesgerichtsstraße) by alfred lex

Zum Gedenken an die hier während der NS-Zeit aus politischen Gründen hingerichteten Frauen und Männer (in memoriam to the here during the Nazi era for political reasons executed women and men)

Vienna Regional Court for Criminal Matters

The Vienna Regional Court for Criminal Matters (colloquially referred to as "landl" (Landesgericht)) is one of 20 regional courts in Austria and the largest court in Austria. It is located in the 8th District of Vienna, Josefstadt, at the Landesgerichtsstraße 11. It is a court of first respectively second instance. A prisoners house, the prison Josefstadt, popularly often known as the "Grey House" is connected.

Court Organization

In this complex there are:

the Regional Court for Criminal Matters Vienna,

the Vienna District Attorney (current senior prosecutor Maria-Luise Nittel)

the Jurists association-trainee lawer union (Konzipientenverband) and

the largest in Austria existing court house jail, the Vienna Josefstadt prison.

The Regional Criminal Court has jurisdiction in the first instance for crimes and offenses that are not pertain before the district court. Depending on the severity of the crime, there is a different procedure. Either decides

a single judge,

a senate of lay assessors

or the jury court.

In the second instance, the District Court proceeds appeals and complaints against judgments of district courts. A three-judge Court decides here whether the judgment is canceled or not and, if necessary, it establishes a new sentence.

The current President Friedrich Forsthuber is supported by two Vice Presidents - Henriette Braitenberg-Zennenberg and Eve Brachtel.

In September 2012, the following data have been published

Austria's largest court

270 office days per year

daily 1500 people

70 judges, 130 employees in the offices

5300 proceedings (2011) for the custodial judges and legal protection magistrates, representing about 40 % of the total Austrian juridical load of work

over 7400 procedures at the trial judges (30 % of the total Austrian juridical load of work)

Prosecution with 93 prosecutors and 250 employees

19,000 cases against 37,000 offenders (2011 )

Josefstadt prison with 1,200 inmates (overcrowded)

History

1839-1918

The original building of the Vienna Court House, the so-called civil Schranne (corn market), was from 1440 to 1839 located at the Hoher Markt 5. In 1773 the Schrannenplatz was enlarged under Emperor Joseph II and the City Court and the Regional Court of the Viennese Magistrate in this house united. From this time it bore the designation "criminal court".

Due to shortcomings of the prison rooms in the Old Court on Hoher Markt was already at the beginning of the 19th Century talk of building a new crime courthouse, but this had to be postponed because of bankruptcy in 1811.

In 1816 the construction of the criminal court building was approved. Although in the first place there were voices against a construction outside the city, as building ground was chosen the area of the civil Schießstätte (shooting place) and the former St. Stephanus-Freithofes in then Alservorstadt (suburb); today, in this part Josefstadt. The plans of architect Johann Fischer were approved in 1831, and in 1832 was began with the construction, which was completed in 1839. On 14 May 1839 was held the first meeting of the Council.

Provincial Court at the Landesgerichtsstraße between November 1901 and 1906

Johann Fischer fell back in his plans to Tuscan early Renaissance palaces as the Pitti Palace or Palazzo Pandolfini in Florence. The building was erected on a 21,872 m² plot with a length of 223 meters. It had two respectively three floors (upper floors), the courtyard was divided into three wings, in which the prisoner's house stood. In addition, a special department for the prison hospital (Inquisitenspital ) and a chapel were built.

The Criminal Court of Vienna was from 1839 to 1850 a city court which is why the Vice Mayor of Vienna was president of the criminal courts in civil and criminal matters at the same time. In 1850 followed the abolition of municipal courts. The state administration took over the Criminal Court on 1 Juli 1850. From now on, it had the title "K.K. Country's criminal court in Vienna".

1851, juries were introduced. Those met in the large meeting hall, then as now, was on the second floor of the office wing. The room presented a double height space (two floors). 1890/1891 followed a horizontal subdivision. Initially, the building stood all alone there. Only with the 1858 in the wake of the demolition of the city walls started urban expansion it was surrounded by other buildings.

From 1870 to 1878, the Court experienced numerous conversions. Particular attention was paid to the tract that connects directly to the Alserstraße. On previously building ground a three-storey arrest tract and the Jury Court tract were built. New supervened the "Neutrakt", which presented a real extension and was built three respectively four storied. From 1873 on, executions were not executed publicly anymore but only in the prison house. The first execution took place on 16 December 1876 in the "Galgenhof" (gallow courtyard), the accused were hanged there on the Würgegalgen (choke gallow).

By 1900 the prisoners house was extended. In courtyard II of the prison house kitchen, laundry and workshop buildings and a bathing facility for the prisoners were created. 1906/1907 the office building was enlarged. The two-storied wing tract got a third and three-storied central section a fourth floor fitted.

1918-1938

In the early years of the First Republic took place changes of the court organization. Due to the poor economy and the rapid inflation, the number of cases and the number of inmates rose sharply. Therefore, it was in Vienna on 1 October 1920 established a second Provincial Court, the Regional Court of Criminal Matters II Vienna, as well as an Expositur of the prisoner house at Garnisongasse.

One of the most important trials of the interwar period was the shadow village-process (Schattendorfprozess - nomen est omen!), in which on 14th July 1927, the three defendants were acquitted. In January 1927 front fighters had shot into a meeting of the Social Democratic Party of Austria, killing two people. The outrage over the acquittal was great. At a mass demonstration in front of the Palace of Justice on 15th July 1927, which mainly took place in peaceful manner, invaded radical elements in the Palace of Justice and set fire ( Fire of the Palace Justice), after which the overstrained police preyed upon peaceful protesters fleeing from the scene and caused many deaths.

The 1933/1934 started corporate state dictatorship had led sensational processes against their opponents: examples are the National Socialists processes 1934 and the Socialists process in 1936 against 28 "illegal" socialists and two Communists, in which among others the later leaders Bruno Kreisky and Franz Jonas sat on the dock.

Also in 1934 in the wake of the February Fights and the July Coup a series of processes were carried out by summary courts and military courts. Several ended with death sentences that were carried out by hanging in "Galgenhof" of the district court .

1938-1945

The first measures the Nazis at the Regional Criminal Court after the "Anschluss" of Austria to the German Reich in 1938 had carried out, consisted of the erection of a monument to ten Nazis, during the processes of the events in July 1934 executed, and of the creation of an execution space (then space 47 C, today consecration space where 650 names of resistance fighters are shown) with a guillotine supplied from Berlin (then called device F, F (stands for Fallbeil) like guillotine).

During the period of National Socialism were in Vienna Regional Court of 6 December 1938 to 4th April 1945 1.184 persons executed. Of those, 537 were political death sentences against civilians, 67 beheadings of soldiers, 49 war-related offenses, 31 criminal cases. Among those executed were 93 women in all age groups, including a 16-year-old girl and a 72-year-old woman who had both been executed for political reasons.

On 30 June 1942 were beheaded ten railwaymen from Styria and Carinthia, who were active in the resistance. On 31 July 1943, 31 people were beheaded in an hour, a day later, 30. The bodies were later handed over to the Institute of Anatomy at the University of Vienna and remaining body parts buried later without a stir at Vienna's Central Cemetery in shaft graves. To thein the Nazi era executed, which were called "Justifizierte" , belonged the nun Maria Restituta Kafka and the theology student Hannsgeorg Heintschel-Heinegg.

The court at that time was directly subordinated to the Ministry of Justice in Berlin.

1945-present

The A-tract (Inquisitentrakt), which was destroyed during a bombing raid in 1944 was built in the Second Republic again. This was also necessary because of the prohibition law of 8 May 1945 and the Criminal Law of 26 June 1945 courts and prisons had to fight with an overcrowding of unprecedented proportions.

On 24 March 1950, the last execution took place in the Grey House. Women murderer Johann Trnka had two women attacked in his home and brutally murdered, he had to bow before this punishment. On 1 July 1950 the death penalty was abolished in the ordinary procedure by Parliament. Overall, occured in the Regionl Court of Criminal Matters 1248 executions. In 1967, the execution site was converted into a memorial.

In the early 1980s, the building complex was revitalized and expanded. The building in the Florianigasse 8, which previously had been renovated, served during this time as an emergency shelter for some of the departments. In 1994, the last reconstruction, actually the annex of the courtroom tract, was completed. In 2003, the Vienna Juvenile Court was dissolved as an independent court, iIts agendas were integrated in the country's criminal court.

Prominent processes since 1945, for example, the Krauland process in which a ÖVP (Österreichische Volkspartei - Austrian People's Party) minister was accused of offenses against properties, the affair of the former SPÖ (Sozialistische Partei Österreichs - Austrian Socialist Party) Minister and Trade Unions president Franz Olah, whose unauthorized financial assistance resulted in a newspaper establishment led to conviction, the murder affairs Sassak and the of the Lainzer nurses (as a matter of fact, auxiliary nurses), the consumption (Konsum - consumer cooporatives) process, concerning the responsibility of the consumer Manager for the bankruptcy of the company, the Lucona proceedings against Udo Proksch, a politically and socially very well- networked man, who was involved in an attempted insurance fraud, several people losing their lives, the trial of the Nazi Holocaust denier David Irving for Wiederbetätigung (re-engagement in National Socialist activities) and the BAWAG affair in which it comes to breaches of duty by bank managers and vanished money.

Presidents of the Regional Court for Criminal Matters in Vienna since 1839 [edit ]

Josef Hollan (1839-1844)

Florian Philipp (1844-1849)

Eduard Ritter von Wittek (1850-1859)

Franz Ritter von Scharschmied (1859-1864)

Franz Ritter von Boschan (1864-1872)

Franz Josef Babitsch (1873-1874)

Joseph Ritter von Weitenhiller (1874-1881)

Franz Schwaiger (1881-1889)

Eduard Graf Lamezan -Salins (1889-1895)

Julius von Soos (1895-1903)

Paul von Vittorelli (1903-1909)

Johann Feigl (1909-1918)

Karl Heidt (1918-1919)

Ludwig Altmann (1920-1929)

Emil Tursky (1929-1936)

Philipp Charwath (1936-1938)

Otto Nahrhaft (1945-1950)

Rudolf Naumann (1951-1954)

Wilhelm Malaniu (1955-1963)

Johann Schuster (1963-1971)

Konrad Wymetal (1972-1976)

August Matouschek (1977-1989)

Günter Woratsch (1990-2004)

Ulrike Psenner (2004-2009)

Friedrich Forsthuber (since 2010)

de.wikipedia.org/wiki/Landesgericht_f%C3%BCr_Strafsachen_...

Radio City Music Hall by Emilio Guerra

Radio City Music Hall is the popular heir to the aristocratic Opera, planned but never executed at Rockefeller Center. It is one of four theaters originally envisioned for the complex by RKO, and the sole survivor of the two actually constructed. With 6,200 seats, the Music Hall was, upon its completion in 1932, the world' largest indoor theater.

RKO was formed in late 1928 by RCA's David Sarnoff and Joseph P. Kennedy (father of the late John and Robert F. Kennedy) who had controlling interest in the 7ilm Hooking Office (F30) production agency. Through a series of mergers between the Keith-Albee-Orpheum vaudeville chain, and later with Pathe Pictures (of which Kennedy was a major stockholder), Radio-Keith-Orpheum (RKO) emerged as one of the six leading producers of motion pictures in America.[2]

Created on the eve of the Depression and encouraged—at least initially---by its distraction-seeking audiences, RKO intended to construct at Rockefeller Center two small theaters for drama and comedy and eventually television as well as a large movie house and an even larger showcase for two-a-day vaudeville spectaculars.

The grand scheme ripened as a result of Samuel Lionel Rothafel ("Roxy"1) who left his new namesake theater (located just one block west of Rockefeller Center) to join RKO.

Born in 1892 in a small Minnesota town, Roxy was the son of Gustave Rothafel, a shoemaker. His parents moved to New York when he was twelve, and after working in a department store as a cash boy, he entered the Marines. Seven years later Roxy traveled as a house-to-house peddler and ended up in Pennsylvania where he met his future wife. While working in his father-in-law's bar, Roxy transformed the large dancing hall at the rear into a movie house.

He bought a second-hand screen and projector, rented 200 chairs from an undertaker, hired a pianist and charged a nickel admission. He then moved on to Minneapolis and later Milwaukee, introducing such innovative entertainments as music and dance performances to movie theaters.

Roxy returned to New York City in 1913 to manage the Regent Theater at 116th St. and Seventh Avenue (generally recognized as the first "movie palace") where he improved the traditional program with novel lighting effects and a 100-piece orchestra. In the following years Roxy moved on to the newly completed Strand, then to the Rialto and Rivoli theaters, and in 1923 to the Capitol heater from which he broadcast "Roxy and his Gang," one of the most popular radio shows in America.

Roxy's brilliant theatrical reputation reached a peak in 1927 when he assumed management and gave his name to William Fox's Roxy Theater at West 50th St. and Seventh Avenue. With nearly 6,000 seats this opulent movie house was the largest in the world. Roxy allegedly intended to further enlarge the theater as a center for varied entertainments but when negotiations with William Fox failed, he found a most cordial welcome at Rockefeller Center.

By luring the impresario away from Fox, RKO won over its most serious competition. In return Roxy was made vice president, producer and manager of RKO's theaters at Rockefeller Center. Roxy's only rival was his record of past theatrical achievements. He surpassed it brilliantly, especially at Radio City Music Hall, where he realized "the aspirations of a lifetime."[5] Roxy brought in the noted theater architects C.W. and G.L. Rapp to advise on the Music Hall's design.[6] And while it was actually built by the Associated Architects, the Music Hall everywhere bore the influence of Roxy's own imagination and comprehensive knowledge of theater design.

On December 21, 1931, construction began on the "RKO Roxy" (rechristened in 1934 as the "Center Theater"). located to the south of the RCA Building on the southeast corner of 49th Street and Sixth Avenue (site of the present Simon & Schuster Building addition), this 3,700 seat house was Roxy's "intimate" theater.[7] It was designed for a mixed bill of motion picture and stage entertainment. Work was simultaneously undertaken on the "International (later Radio City) Music Hall," located on the other (north) side of the RCA Building on Sixth Avenue between 50th and 51st Streets. It was built in conjunction with the RKO Building which was partially constructed over the Music Hall's lobby.[8] In 1938 the Music Hall's east wall was abutted by the newly constructed Associated Press Building.

The exteriors of the two theaters were similar in their low-lying limestone massing, a feature dictated by the building code then in effect which forbade construction above theater auditoriums. The (121 foot) high Music Hall, however, was almost twice as large as the RKO Roxy and considerably more decorative. Its exterior sculpture reflected the unique kind of entertainment which Roxy intended to showcase. Unlike his previous theaters which featured a mixed bill of stage and screen entertainment, the Music Hall was designed as a center for diverse and sophisticated entertainments such as legitimate drama, ballet and opera, combined with jazz, a revival of rapidly waning vaudeville and precision dances by the "Roxyette" chorus girls.

The more popular entertainments of the Music Hall were represented toy six bronze plaques over the entrance and side of the theater's vestibule on Sixth Avenue. The series was designed by Rene Chambellan and is closely related to that which he executed for the doors of the Grand Foyer on the theater's interior. The series shows scenes from International vaudeville acts. Heading from left to right are five Russian minstrels who accompany a gypsy dancer, two Black banjo players and a tap dancer, a seated German accordionist and saxophonist who play as a patient cat listens, five American precision dancers (the "Roxyettes"), an old French cellist and female violinist who play as a dog (in clown costume) sits upright, and finally a seated Jewish drummer with a tuxedo clad singer/dancer.

The more legitimate stage arts were depicted in a classically-inspired series of metal and enamel plaques installed 60 feet above West 50th Street on the Music Hall's sprawling south facade. Designed by Hildreth Meiere and executed by Oscar B. Bach, these L8 foot roundels represent a major technical and artistic achievement. They were fashioned from copper, bronze, aluminum, chrome nickel steel and vitreous enamels. Although polychromed metals had been used before, most notably in Sweden, they were largely ignored by American artists.

Meiere not only introduced the technique, but did so at unprecedented scale.[9] She drew on her skill as a painter and mosaicist to brilliantly enliven the r:usic Hall's wall and achieved, in the words of a Rockefeller Center spokesman, "a striking relief from the usual severe [mural] surfaces of theater buildings."

Meiere also drew on her previous success in Bertram Goodhue's Nebraska State Capitol and especially his National Academy of Sciences in Washington where Meiere painted similar inhabited roundels on the pendentives of its dome.

Dance is located at the far left of the wall, closest to Sixth Avenue- The plaque is dominated, as are the two companion plaques, by nude or semi-nude figures whose skin tone changes from matte nickel to a glowing metallic white, varying with the position of the sun.

Dance is represented by an animated female, copper symbols in her raised arms, who leaps across the wall as her brown-red hair flies upward over the geometrically patterned metal and enamel frame. Behind is a copper helmeted matte silver foot soldier (in a black and gold enamel moderne-patterned uniform). He attempts to catch the bacchanalian dancer in a blue and gold drape which billows around her and emphasizes the circular composition of the plaque.

Drama, the middle plaque, is represented by a monumental Athena-like figure, draped in a shiny patterned silver chiton with copper bodice. She radiates on the wall, particularly in the glare of afternoon sun. The muse wears an enormous fan-shaped copper and enamel crown, and is framed by a brown and red drape (with gold details and dark blue enamel trim). Her drape falls in angular cascades in a splendid Art Deco design, 'he muse is flanked by two crouching females who raise large comic and tragic masks (shiny silver with copper mouths and blue enamel hair).

Song returns the viewer back to Sixth Avenue as a dorsal performer prances west, her green and blue shawl flapping behind. A brown-draped, piper is seated to her left on a silver Greek stool. He plays while three shiny silver birds flutter around the animated singer.

The decorative aspect of the Music Hall's exterior is furthered by its two moderne verticals and marquee which wraps around the theater's southwestern corner, only to be continued In three additional segments along West 50th Street. The theater's north and south facades are also relieved at ground level by a variety of bronze-framed display windows and screens.

Above, and to the right of Hildreth Meiere's medallions, are eight long vertical screens. They mask with a diaper-like pattern the fire escapes that mar the exteriors of so many other theater theaters, Similar screens appear on the W. 51st Street facade which, facing away from the entertainment complex, is somewhat less decorative.

The Music Hall had its gala opening on December 27, 1932 with performances by twenty different entertainers including Martha Graham, Harold Kreutzberg and ids ballet, the contralto Vera Schwartz, comedians Weber & fields, the Tuskegee Institute choir singing Negro spirituals and more. Vet despite the varied program, the entertainment was disappointing.

It hardly mattered, as it was the theater itself that stole the show. As one critic wrote, "...the new -Music Hall need[ed] no performers... its beauty and comforts alone [were] sufficient to gratify even the greediest of playgoers. Rockefeller himself found it "beautiful, soul satisfying, inspiring beyond anything [he] dreamed possible.

Technically advanced and lavishly embellished through the unique collaboration of some of the finest decorative artists of the day, the Music Hall was nonetheless a tremendous financial disaster, for the first time in his thirty year career Roxy had misjudged his audience. To his ruinous dismay, there was no interest in his supra-vaudeville revival.

Within two weeks of its opening the Music Hall abandoned Roxy's entertainment policy, adopting in its place the film-and-stage show format of the smaller RAO Roxy (which had premiered just two days after the Music Hall). The change effectively eclipsed--and ultimately killed - the RKO Roxy. In subsequent years it showcased films, then musicals, later ice skating marvels, and finally television before being demolished in 1954.

The switch to a combined film-and-stage show policy in early 1933 barely sustained the sumptuous but unprofitable Music Hall, now suffering in the throes of the Depression.

The situation only worsened when RKO went into receivership in late January of the same year. A joint RCA-Rockefeller Center committee of six replaced the disgraced and now physically ailing Roxy in management of the Music Hall, extracting his resignation within the year.

The theater limped through 1934; for a time it even accepted "IOUs" in lieu of its $.35 - $.55 admission fees. But by mid-decade audiences were attracted to the Music Hall's varied bill, most movie palaces having abandoned live entertainment. By the early 1940s it had become one of Mew York's greatest attractions with first run Hollywood films and spectacular precision dancing by the Rockettes (previously named the "Roxyettes" but renamed after Roxy's resignation).

For decades the Music Hall remained "The Showplace of the Nation" before faltering perilously in the late 1960s and 1970s as a result of changes in popular entertainment habits. After closing for a brief period the house was revived in the late 1970s. Recently it has featured stage shows and popular concerts, ironically realizing Roxy's failed attempt to present varied live entertainment.

Radio City Music Hall is physically linked with No.1270 Avenue of the Americas, whose tower rises partially above the Music Hall's lobby. The Music Hall's main entrance at the northeast corner of Sixth Avenue and 50th Street is recessed under the lower wing of No.1270, and an enormous marquee and twin vertical signs are attached to this frontage, which is therefore being described with the Music Hall.

This wing rises five stories above the entrance, to a major setback, behind and above which rises the tower of No.1270, which turns the corner at 51st Street and continues east for seven bays. The south elevation of the complex, rising six and eight stories from the lot line, and the north elevation, proceeding eastward from the eighth bay, form the remainder of the Music Hall's exterior.

The major entrance to Radio City Music Hall is through a recessed rectangular areaway at the northeast corner of Sixth Avenue and 50th Street. It is covered by a giant marquee which is supported on three polygonal piers faced in polished granite. In the long, north-south wall of the areaway are set a wide central pair of double-doors, a single double-door to its north, and two single double-doors to its south.

These are separated from each other by thick piers faced in polished bronze, with polished granite bases and bronze-enframed announcement boards, capped by a horizontal, modernistic banding with abstract floral ornament. Above these doorways are polished granite blocks serving as background for the series of bronze reliefs on entertainment themes (see p. 47 ). The north, short wall of the areaway is faced with polished granite, and holds a wide, ornamental bronze announcement board with one of the bronze entertainment reliefs above.

The enormous marquee over the areaway curves around the corner onto 50th Street, and continues along the street in three additional, separate segments which are cantilevered over the sidewalk. Their long vertical faces are divided into a wide upper zone and a narrow lower zone by three modernistic bands. These bands are formed by four narrow continuous metal strips, within which are set three neon tubes. The wide upper zone holds the words "Music Hall" in cursive neon lettering and the words "RADIO CITY" in bold neon capitals, repeating sequentially along the marquee. The lower band is reserved for changing announcements of current attractions.

Twin seven-story tall vertical signs rise at the north and south ends of the Sixth Avenue portion of the marquee; the northern vertical is placed perpendicular to the avenue, and the southern vertical parallel to it. Tall, narrow and rectangular, their narrow ends are faced with ridged metal plates, while their two wide feces hold the words "RADIO CITY" in vertically placed bold capital neon lettering, and, beneath, the smaller words "MUSIC HALL" in neon lettering on a diagonal. Each vertical is capped with a curving modernistic metal top. The top of the

northern vertical attaches directly to a seventh story setback, while the top of the southern vertical is continued down to the fifth-story setback of the adjoining lower facade.

The remainder of the Sixth Avenue elevation of Radio City Music Hall, in appearance an extension of No.1270's tower design, is treated in the standard Center manner of vertical window-spandrel bays alternating with limestone piers? spandrels are vertically ridged, and bays terminate in 2-eyelet foliage.

On 50th Street, the first three bays from the corner of Sixth Avenue are window-spandrel bays above the curve of the marquee. The marquee continues in three separate sections. Beneath it is a continuous polished granite wall, into which are inset, from west to east, a bronze-enframed double entrance, four bronze-enframed announcement boards continuing the decorative features of those in the areaway, and a series of bronze doorways.

Above the marquee, the wall is blank from the second through fifth stories, clad in limestone, and serves as a backdrop for three enormous polychromatic metal and enamel reliefs (see p. 48 ). Above the western end of this blank surface is one story of four window bays, while above the more extensive eastern end rise two stories of nine window bays, each bay combining windows, spandrels and grilles in an irregular order; these bays are topped with 2-eyelet foliage.

To the east of the large portion of blank wall is a set of eight four-story high vertical grilles at the second- to fifth-story level; these are continued in the stories above by triple spandrels, a single casement window, and terminal 2-eyelet foliage. The final ten easternmost bays revert to the typical window-spandrel bays set between limestone piers; these bays are grouped in a 2-3-2-3 pattern.

The ground level of this section contains, from west to east, three enormous bronze-enframed announcement boards with modernistic grilles and abstract floral ornament, and a series of intermingling smaller announcement boards and entrances. The entire treatment of the 50th Street elevation reflects the windowless auditorium of the Music Hall behind it.

The 51st Street elevation of the Music Hall is simply a smaller version of the 50th Street elevation. It includes a blank wall with no reliefs, and a six-story high vertical over a two-section marquee with curved corners and neon lettering. The ground-floor level is faced with polished granite, and contains bronze-enframed announcement boards and entrances. The portion of the elevation east of the blank wall and marquee is articulated with multi-story grilles similar to those on 50th Street; beneath them are large bronze-enframed announcement boards.

The final ten bays are treated with typical window-spandrel bays set between limestone piers. Towards the eastern end of the elevation at the ground floor level, two sets of

bronze-enframed doors are capped by an inventive grille based on conic-tragic masks symbolizing theater. There are also grilles on windows and on a pair of doors.

*****

Significant features include but are not limited to:

SIXTH AVENUE FACADE

- Buff colored shot sawed Indiana limestone cladding

- Vertically ridged slate-gray aluminum spandrels

- Decorative pier terminations

- Polished granite base and polished granite entrance wall

- Polished granite polygonal piers

- Bronze-enframed entrances

- Bronze-enframed announcement boards

- Bronze banding

- Bronze abstract floral ornament

- 2/1 double-hung steel sash

- Terminal foliage of the 2-eyelet variety

- Six bronze entertainment reliefs (see p. 47 )

- Marquee with neon lettering

- Two vertical signs with neon lettering

50TH STREET FACADE

- Buff colored shot sawed Indiana limestone cladding

- Beveled and scalloped window sills (at the east end of the

first story)

- Vertically ridged slate-gray aluminum spandrels

- Decorative pier terminations

- Polished granite base along the entire ground-floor level

- Bronze-enframed entrances

- Bronze-enframed entrances with grille doors

- 2/1 double-hung steel sash

- Bronze-enframed announcement boards with modernistic grilles

- Bronze abstract floral ornament

- Three polychromatic metal and enamel reliefs (see p. 48 )

- Marquees with neon lettering

51ST STREET FACADE

- Buff colored shot sawed Indiana limestone cladding

- Vertically ridged slate-gray aluminum spandrels

- Decorative pier terminations

- Polished granite base along the entire ground-floor level

- Bronze-enframed entrances

- Bronze grilles with comic-tragic masks

- Bronze-enframed entrances with grille doors

- 2/1 double-hung steel sash

- Bronze grilles over windows at ground-floor level

- Bronze-enframed announcement boards with modernistic grilles

- Bronze abstract floral ornament

- Terminal foliage of the 2-eyelet variety

- Marquee with neon lettering

- Vertical sign with neon lettering

- From the 1985 NYCLPC Landmark Designation Report

CBP executes planned readiness exercise at San Ysidro Port of Entry by U.S. Customs and Border Protection

CBP officers from the Office of Field Operations and agents from the U.S. Border Patrol and Air and Marine Operations execute a planned readiness exercise at the San Ysidro Port of Entry. The exercise is designed to evaluate readiness and assess the capabilities of CBP facilities to make necessary preparations. November 22, 2018.

Photos by Mani Albrecht

U.S. Customs and Border Protection

Office of Public Affairs

Visual Communications Division

London - Queen Victoria Memorial. And Paul McCartney. by pepandtim

The Postcard

A postally unused National Series postcard that was published by M. & L. Ltd. The card, which was printed in Great Britain, has a divided back

The Victoria Memorial, London

The Victoria Memorial is a monument to Queen Victoria, located at the end of The Mall in London. It was designed and executed by the sculptor Sir Thomas Brock.

The memorial is placed in the middle of an architectural setting of formal gardens and gates designed by the architect Sir Aston Webb.

Designed in 1901, it was unveiled on the 16th. May 1911, though it was not fully completed until 1924.

It was the centrepiece of an ambitious urban planning scheme, which included the creation of the Queen’s Gardens to a design by Sir Aston Webb, and the refacing of Buckingham Palace (which stands behind the memorial) by the same architect.

Like the earlier Albert Memorial in Kensington Gardens, the Victoria Memorial has an elaborate scheme of iconographic sculpture. The central pylon of the memorial is of Pentelic marble, and individual statues are in Lasa marble and gilt bronze.

The memorial weighs 2,300 metric tonnes, and is 104 ft wide. In 1970 it was listed as Grade I.

Description of the Memorial

At the top of the central pylon stands a gilded bronze Winged Victory, standing on a globe, and with a victor's palm in one hand. Beneath her are personifications of Constancy, holding a compass with its needle pointing true north, and Courage, holding a club.

Beneath these, on the eastern and western sides, are two eagles with wings outspread, representing Empire. Below these, statues of an enthroned Queen Victoria (facing The Mall) and of Motherhood (facing Buckingham Palace), with Justice (facing north-west towards Green Park) and Truth (facing south-east).

These four statues were created from solid blocks of marble, with Truth being sculpted from a block weighing 40 tonnes.

Sir Thomas Brock described the symbolism of the Memorial, saying that:

"It is devoted to the qualities which

made our Queen so great and so

much beloved."

He added that the statue of the Queen was placed to face towards the city, while flanked by Truth and Justice as he felt that :

"She was just, and sought the truth

always and in circumstances.

Motherhood represents her great

love for her people".

At the four corners of the monument are massive bronze figures with lions, representing Peace (a female figure holding an olive branch), Progress (a nude youth holding a flaming torch), Agriculture (a woman in peasant dress with a sickle and a sheaf of corn) and Manufacture (a blacksmith in modern costume with a hammer and a scroll). The bronzes were restored in 2011.

The whole sculptural programme has a nautical theme, much like the rest of The Mall (Admiralty Arch, for example). This can be seen in the mermaids, mermen and the hippogriff, all of which are redolent of the United Kingdom's naval power.

At nearly 25 metres (82 ft) tall, the Victoria Memorial remains the tallest monument to a King or Queen in England.

History of the Memorial

King Edward VII suggested that a Parliamentary committee should be formed to develop plans for a Memorial to Queen Victoria following her death. The first meeting took place on the 19th. February 1901 at the Foreign Office, Whitehall.

The first secretary of the committee was Arthur Bigge, 1st. Baron Stamfordham. Initially these meetings were behind closed doors, and the proceedings were not revealed to the public. However the Lord Mayor of London, Sir Joseph Dimsdale, publicly announced that the committee had decided that the Memorial should be "monumental".

Reginald Brett, 2nd. Viscount Esher, the secretary of the committee, submitted the proposal to the King on the 4th. March 1901. A number of sites were suggested, and the King visited both Westminster Abbey and the park near the Palace of Westminster. Several ideas were rumoured at this time, including an open square in The Mall near to the Duke of York Column, and a memorial located in Green Park.

On the 26th. March 1901 the decision was announced to locate the Memorial outside Buckingham Palace which would involve slightly shortening The Mall.

It was estimated that the work would cost £250,000, and it was further decided that there would be no grant given by the Government for the construction.

A competition was conducted for the design, with five architects being chosen to develop designs. At the beginning of July 1901 the committee selected its primary choice for the construction, and took it to the King for approval. It was announced on the 21st. October 1902 that Thomas Brock had been chosen as the designer.

Funding and Construction of the Memorial

Funding for the memorial was gathered from around the British Empire as well as the public. The Australian House of Representatives granted a £25,000 contribution for the construction, and the New Zealand government submitted a cheque for £15,000 towards the fund.

By October 1901, £154,000 had been gathered. During 1902 a number of tribes from the west coast of Africa sent goods to be sold, with the proceeds going towards the fund. Alfred Lewis Jones arranged for these items to be brought from Africa to Liverpool free of charge on his ships.

Following the public and national donations towards the funds, there was more money collected than was necessary for the construction of the Memorial.

Funds were therefore diverted towards the construction of Admiralty Arch at the other end of The Mall, and a redevelopment to clear a path directly from that road into Trafalgar Square.

Sir Aston Webb was put in charge of this project; he built the Arch so economically that enough money was left over to re-front the entirety of Buckingham Palace, a job that was completed in 13 weeks due to the pre-fabrication of the new stonework.

The initial preparatory stage was to re-route the road and modify The Mall, and work on constructing the Memorial started in 1905. The lower half of the Memorial was revealed to the public on the 24th. May 1909. Thousands of people visited it on the first day.

Dedication and Inauguration

Following a practice ceremony on the 11th. March 1911 in the presence of Prince Arthur, Duke of Connaught and Strathearn, the dedication ceremony took place on the 16th. May 1911, presided over by King George V.

His first cousin, Wilhelm II of Germany, was also present. These two were the senior grandsons of Queen Victoria, and arrived, together with their families, in royal procession. Also in attendance were a large number of Members of Parliament, and representatives of the armed forces.

In his role as Home Secretary, Winston Churchill carried the text of the speeches. Lord Esher addressed the King and the gathered crowd, explaining the history of the Memorial. The King replied to this, referring to his involvement in the development of the monument to his grandmother.

The King talked of the impact of Queen Victoria and of her popularity with the public. In total, the ceremony went on for thirty minutes. Following this, it was revealed to the press that the King had decided that the sculptor of the Memorial, Thomas Brock, was to be knighted.

Later Uses of the Memorial

As part of the celebrations of the Golden Jubilee of Elizabeth II in 2002, the Victoria Memorial (along with areas in Green Park and Buckingham Palace) was used as a platform for a fireworks display which lasted fourteen minutes, with a total of two and three-quarter tonnes of fireworks being used.

In addition, water jets were added to the fountains in the Victoria Memorial, which fired water 40 feet (12 m) up into the air. This display followed a concert held in the Palace forecourt.

It was announced in February 2012 that the Victoria Memorial would form the centrepiece of the stage for Queen Elizabeth II's Diamond Jubilee Concert on the 4th. June 2012.

Platforms were built around the memorial at a cost of £200,000. A number of performers appeared from across the sixty years of Queen Elizabeth II's reign, including Gary Barlow, Tom Jones, Elton John, Jessie J, Madness, Dame Shirley Bassey and Paul McCartney.

Tickets were free, and allocated by public ballot; and in addition to being seen live by the 10,000 fans in attendance, the event was broadcast by the BBC, with highlights being shown in the United States on ABC.

Later in 2012, the Memorial marked the end of "Our Greatest Team Parade" on the 10th. September 2012. This parade celebrated the successes of the British teams at the 2012 Summer Olympics and Paralympics. There were 21 floats holding a total of around 800 athletes, and it was estimated that around a million members of the public cheered them on.

The area from Admiralty Arch to the Victoria Memorial down the Mall was reserved for ticket holders. After the arrival at the Victoria Memorial, there was a flypast by helicopters of the Royal Air Force, as well as a British Airways jet and a flight of the Red Arrows.

During the games, the Mall and the Victoria Memorial had been used as the finishing point for the Marathon, as well as being on the triathlon route.

The Memorial was damaged by anti-austerity protesters during the "Million Mask March" on the 5th. November 2013, which took place in central London. During the following year's protests, the Memorial was guarded by police officers.