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History
United States
Name:USS Vesuvius (AE-15)
Namesake:Mount Vesuvius
Launched:26 May 1944
Commissioned:16 January 1945
Decommissioned:20 April 1946
Recommissioned:15 November 1951
Decommissioned:14 August 1973
Struck:14 August 1973
Honors and
awards:
2 battle stars (World War II)
2 battle stars (Korea)
10 battle stars (Vietnam)
Fate:scrapped, 1974
Badge:USS Vesuvius (AE-15) insignia, circa in the 1960s (NH 71935-KN).png
General characteristics
Length:459 ft 2 in (140 m)
Beam:63 ft (19.2 m)
Draft:28 ft 3 in (8.6 m)
Propulsion:
Geared turbine
1 × shaft
6,000 shp (4.5 MW)
Speed:16 knots (30 km/h)
Capacity:7,700 long tons (7,800 t) deadweight
Complement:267 officers and enlisted
Armament:4 × 3"/50 caliber guns
The fourth USS Vesuvius (AE-15) was laid down under a Maritime Commission contract (MC hull 1381) by the North Carolina Shipbuilding Company, Wilmington, N.C.; launched on 26 May 1944; acquired by the United States Navy on 4 July 1944; and commissioned on 16 January 1945, Comdr. Flavius J. George in command.
Service history
World War II, 1945–1946
The ship underwent builder's trials out of Brooklyn, New York, and then began shakedown out of Hampton Roads, Virginia, in Chesapeake Bay. On 17 February, she sailed to Earle, New Jersey, to load ammunition. She then headed for the island of Ulithi, via the Panama Canal, on 5 March. She reached her destination on 5 April and promptly unloaded and took on more cargo. Vesuvius departed for Okinawa on 10 April where she became part of Service Squadron 6. In this role, she replenished ammunition to the Fleet in the waters around Okinawa. In July 1945, Vesuvius joined a rearming group off Honshū, Japan, to support raids on Japan by the 3rd Fleet. She detached on 2 August and set sail for Leyte Gulf, Philippines. While there, word of the Japanese capitulation was received on 15 August 1945. The ship remained in the Philippines until 28 October, when she left for the United States.
After transiting the Panama Canal, Vesuvius joined the Service Force, Atlantic Fleet. The ship arrived at Yorktown, Virginia, on 14 December 1945. Vesuvius departed Yorktown on 10 January 1946, bound for Leonardo, N.J., to discharge her cargo and ship's ammunition to the Naval Ammunition Depot. On 7 February, she headed for Orange, Texas, arriving there on 13 February to commence her pre-inactivation overhaul. Vesuvius was placed out of commission, in reserve, at Orange on 20 August 1946.
Korean War, 1951–1952
In response to the needs imposed by the Korean War, Vesuvius was recommissioned on 15 November 1951. She remained at Orange and Beaumont, Texas, for outfitting and readying for sea until 7 January 1952, when she departed for San Diego. Having arrived on 14 February, the ship conducted exercises and loaded ammunition at Port Chicago, California, before sailing on 22 March for Sasebo, Japan. She arrived at Sasebo on 3 May 1952 and, after voyage repairs, began supplying ammunition to the ships of Task Force (TF) 77 on patrol off the east coast of Korea. On 1 December, Vesuvius headed for the United States, arriving at San Francisco on 18 December for overhaul.
Pacific Fleet, 1953–1967
Over the next decade, Vesuvius was to make 11 more extended deployments to the western Pacific where she serviced units of the 7th Fleet. These operations were interspersed with port visits to Japan, Okinawa, Taiwan, the Philippines, and Hong Kong. Periods on the west coast of the United States were spent in overhaul and in the conduct of underway training.
On 24 June 1963, Vesuvius commenced her 13th post-World War II deployment to the western Pacific, making stops at Pearl Harbor and at Guam for repairs and arriving at Yokosuka on 4 August. She serviced the 7th Fleet throughout August. In October, she visited Sasebo and Kagoshima, Japan; Subic Bay, Philippines; and Buckner Bay, Okinawa. In November, she visited Hong Kong and spent the entire month of December 1963 in and out of Yokosuka, Japan. She also visited Beppu, and Komatsushima, Japan. (1st American Navy ship to visit since end of World War II).
Vesuvius began 1964 in Yokosuka making final preparations for her homeward passage. On 7 January, she got underway for San Francisco via the great circle route. She arrived on 31 January and spent February and March moored to the pier at Port Chicago. A brief trip to San Diego and participation in an exercise with other units of the 1st Fleet occupied April, and Vesuvius spent May in an upkeep status at Concord, California. On 6 July, she was underway for coastal operations. August and September saw the ship in and out of port, training and providing services to the Fleet Training Group. In October, she participated in operations with members of the 1st Fleet. On 20 November 1964, Vesuvius returned to Concord for upkeep and a holiday leave period. She got underway on 18 December for the Mare Island Annex, where she spent the holiday season.
Vietnam, 1965–1972
The ship made a brief trip to San Diego beginning on 4 January 1965 before returning to Concord on 13 January. She began reloading cargo in preparation for deployment and got underway for the Far East on 1 February. Vesuvius reached Subic Bay, via Pearl Harbor and Guam, on 28 February. She then began operations in the South China Sea interrupted by brief returns for the onload of cargo in Subic Bay. In July 1965, she received a respite from her duties in Hong Kong. After a week there, she resumed operations. Having made 182 underway replenishments during the deployment, Vesuvius returned to Concord, California, on 28 November.
Vesuvius began the year 1966 by steaming on 3 January to the Puget Sound Naval Shipyard at Bremerton, Washington, to undergo repairs for six weeks. After leaving Bremerton, the ship headed south to Concord to onload ammunition. On 5 March, she sailed for San Diego for refresher training. Shortly after arrival, a 26-inch crack in one of her hull plates was discovered. She promptly began transferring her load of ammunition to other ships. By 26 March, the ammunition had been successfully offloaded; and, on 28 April 1966, Vesuvius proceeded to the Bethlehem Steel Shipyard in San Francisco. On 14 May, Vesuvius deployed for the western Pacific. From 13 June through 27 November 1966, Vesuvius conducted replenishment operations between the Philippines and the South China Sea. In December, she stopped at Pearl Harbor on her way home, where an unusual cargo was embarked — $9,700,000 was brought on board for a special currency lift back to the United States. Shortly before Christmas, Vesuvius reached Concord.
The year 1967 found the ship berthed at Mare Island preparing to undergo her first major overhaul since 1962. Following completion of overhaul at the Mare Island Naval Shipyard and underway training, Vesuvius departed for the western Pacific on 15 July 1967, bound for Subic Bay. Except for brief periods in Hong Kong, Vesuvius came off the line in the South China Sea only long enough to fill her hold with more ammunition.
Near the end of January 1968, Vesuvius sailed to Yokosuka on her return trip to the United States, only to be recalled to the seas off Vietnam following the Pueblo Incident to support Operation Formation Star. Vesuvius finally returned to the San Francisco Bay area on 17 March 1968, offloaded, proceeded to the Naval Shipyard at Mare Island and, on 4 April, entered the Triple A Shipyard in San Francisco for extensive repairs and upkeep. Repairs were completed on 10 May, and the ship began refresher training in June. Following inspections and loadout, Vesuvius deployed again on 31 July 1968. She reached Subic Bay on 20 August for receipt of ammunition, then began operations in the Vietnam area. She remained on line through 3 December, when she left for a period of rest and recreation in Hong Kong. She departed there on 10 December to return to Vietnam.
Vesuvius remained on line through January and February 1969. In late February, she sailed into Bangkok, Thailand. From Bangkok, the ship went to Subic Bay to commence her final loadout before heading home. After a brief stop in Hawaii, Vesuvius arrived in Concord on 1 April 1969. In late April, the ship underwent six weeks of restricted availability at a commercial yard in San Francisco. Late in June, she steamed for San Diego and refresher training and exercises. By 23 July, she had returned to San Francisco and began three weeks of loadout for yet another deployment. Vesuvius departed for the western Pacific on 17 September 1969. After stopovers in Pearl Harbor and Yokosuka, she touched at Subic Bay for a few days before starting her line period off Vietnam.
During this deployment, Vesuvius conducted seven line runs in the South China Sea and the Tonkin Gulf in support of 7th Fleet operations. On 25 April, she left for home with stops at Kobe, Japan, and Pearl Harbor. She arrived at Concord on 23 May 1970. The ship entered a three-month upkeep in San Francisco from July to October followed by a pre-deployment inspection. On 9 November, Vesuvius departed the San Francisco area for intensive training in San Diego and, on 6 December, steamed back to Port Chicago for a holiday leave period.
Vesuvius again departed for the western Pacific on 4 January 1971. She arrived at Subic Bay on 25 January, and, one week later, was underway for her first line run of the deployment. On 20 February, she pulled into Singapore and then proceeded shortly thereafter to the Philippines for a 15-day upkeep period. Vesuvius then resumed her assignment of providing ammunition logistics support to the 7th Fleet and Royal Australian Navy units off the coast of Vietnam. On 2 August 1971, Vesuvius left Subic Bay for San Francisco, arriving on 1 September. After offloading ammunition at Concord, the ship moved to the Mare Island Naval Shipyard for a month of stand-down. On 4 October, she entered a six-week upkeep. Upon completion, she returned to Concord on 19 November. Vesuvius departed Concord on 29 November for refresher training off San Diego, returning to Mare Island on 4 December.
Vesuvius got underway on 3 January 1972 and, on 5 January, commenced refresher training in San Diego. She returned to Concord on 29 January. Preparations for deployment began immediately, and the ship left California on 14 February. Upon arrival at Subic Bay, Vesuvius again supported combat operations for the 7th Fleet. On 29 June, she began upkeep and returned to action on 18 July. Her duties were interrupted for short trips to Hong Kong and Bangkok in August and October. In December, she entered drydock at Subic Bay to replace her propeller, but she promptly returned to Vietnam and ended the year in the combat zone.
Decommissioning, 1973
The ship returned to Concord on 3 March 1973. After offloading ammunition, the ship moved to Mare Island. The ship was scheduled for upkeep from April to July. However, a message was received from the Chief of Naval Operations in July to prepare the ship for decommissioning. On 14 August 1973, Vesuvius was decommissioned and transferred to the Inactive Ship Maintenance Facility at Mare Island for further disposition and was struck from the Navy List. Vesuvius was reported to have been used for target practice, shortly after decommissioning.
Awards
Vesuvius received two battle stars for World War II, two battle stars for the Korean War, and 10 battle stars for her service in Vietnam.
Naked August Strindberg grabbing his tits while surrounded by diggers at the Stockholm City Hall park on an Autumn afternoon.
Prompts can also be poetic - when something is to visualize emotions, you may need to use a different 'language' than the engineer-like prompt language - haikus has been used here - to achieve a desired result
3x Haiku's:
Venice in tilt-shift,
Doge's Palace, Salute stands,
Miniature dream land.
Santa Maria's grace,
Canals weave through time and space,
Sharp midst soft embrace.
Enchanted city,
Waterways whisper secrets,
New angle reveals.
Holy crow, that was a long prompt break. About 7 weeks left in my year at home and 49 prompts left...that's 49 prompts in 49 days?! Oh...oh boy. I better get MOVING!
Also, if you'd like a copy of that silly game board IM me! It doesn't work obviously, but it made me laugh while I was putting it together.
Prompt: Greeting card text " Merry Christmas ", A festive whimsical 3D watercolor Christmas scene with a beautifully decorated Christmas tree adorned with sparkling lights. Beneath the tree, a cute Pug dog wearing a Christmas hat sits peacefully, with a joyful and cozy atmosphere. The background fades into a soft white, creating a warm, magical feel. The entire image should have a cheerful, holiday vibe with soft lighting and a sense of winter wonderland, in the artistic style of Marjolein Bastin --ar 4:5 --personalize ec7oxrb --v 6.1
Prompt 6: I love how each day is soo different in this challenge - I'm totally loving it. It's good therapy to look back and review my journal - eventhough it's only been a week - it's amazing how much I ignore my feelings - with this journal challenge there's no escape and that's a good thing!!!
Prompt: In the artistic style of vintage Norman Rockwell illustration of a young boy, white westie puppy, 1940s era, standing in a flower shop buying flowers. The boy is looking up at the shopkeeper, who is holding a bouquet of white and red flowers. Westie's ears perked up. The shop has large windows displaying various bouquets of flowers. The background shows the interior of the shop.
this digital fine are was created using Meta AI
created in NIGHTCAFE - Stable Diffusion
the prompt included Giger, Arcimboldo, Wonderland, Taxidermy
Adaption of the "Cryptid Taxidermy" prompt by including 'Family Reunion from Hell' in the Text. Works exceedingly well in SDXL 1.0
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PROMPT:
"Family Reunion from Hell in Cryptid Taxidermy in post apocalyptic wonderland, in heaven everything is fine by lady in the radiator and brothers quay, stopmotion cinema photograph by H.R. Giger, by Giuseppe Arcimboldo, Hieronymus Bosch, Art Nouveau, intricately detailed, hyperrealism, fantasy, imperial colors"
"Been experimenting with AI for image creation while taking an online AI class!
I know there are mixed feelings about AI-generated art among photographers, but I wanted to explore tools like DALL-E, MidJourney, and Firefly to see what they could do.
Ended up creating about 40-50 images and I will share many of them here.
Curious to hear your thoughts—both positive and negative. Feel free to throw your comments at me!
Prompt: beautiful winter scene of a Forrest in the night time with a camping tent, fire lit with some wood, near a lake, moonlit, embers around fire. --ar 4:5 --quality 2 --style raw --v 6.1
Sorry I've taken along time to upload these photos. I have been doing the prompts each day I just haven't been taking the photos and uploading them each day.
Prompt #10 from Janel of "Run with Scissors" Journal prompts
Journal Prompt 10: This prompt is all about collections. I am such a collector. I have too many collections but I love them all. I am definitely the type who moves on though to new collection depending on my mood and the seasons in my life. What do you collect? If anything. Do you collect buttons, clothes, shoes, friends, parking tickets, whatever!! Illustrate your collections. This will be fun to look back on someday and see how your collections have grown or have moved on :)
I have a lot of collections :)
Inspired(?) by something from Danny Gregory's maniacs, I offer these "Prompts." In most cases I followed their suggestion of combing an adjective and a verb and a noun. Sometimes I did not.
PROMPT:
Create a high-quality photograph-like image in a 16:9 wide format that could be featured in a magazine article about the serene life in the countryside. The scene is set in a quaint village along a river in the northwest of Avignon, with an ancient Roman bridge not leading into a house but onto a path or similar structure, emphasizing the bridge's historical significance and rustic charm. Surround the area with old, weathered houses, including a café with a 'TABAC' sign, embodying a rustic and inviting atmosphere. Outside the café, depict two elderly men in well-worn summer attire, showing character and a life well-lived, and two young women, around 18 years old, in simple, slightly worn white summer dresses, engaging in a conversation with expressive and clear faces, highlighting the vibrant community spirit. The entire composition should exude warmth, authenticity, and a high level of detail, capturing the essence of a close-knit community's daily life in the countryside.
Prompt: Create an ultra-realistic digital fine-art image depicting the U.S. Navy tugboat USS KOKA (AT-31) during the historic incident on 7 December 1937, when the vessel ran aground off San Clemente Island in storm conditions.
Preserve absolute vessel accuracy based on the reference image: correct hull shape and proportions, steel gray paint scheme, red anti-fouling waterline, round portholes, deck fittings, lifeboats, life rings, railings, masts, rigging, antennas, wheelhouse configuration, and the single funnel emitting dark smoke. Maintain authentic 1930s U.S. Navy tugboat details, weathering, and materials with no modern alterations. The scene shows Koka heavily stressed in rough seas, her hull partially grounded on submerged rocks while powerful waves crash against her port side. The sea is dark, turbulent, and wind-driven, with whitecaps, foam, spray, and swirling water interacting realistically with the hull. The tug is slightly canted, conveying danger and instability. The sky is storm-laden and overcast, with heavy gray clouds, mist, and rain bands reducing visibility. Wind visibly affects the smoke plume, rigging, and flags. Lighting is moody and dramatic, with cold, diffused daylight breaking through clouds, subtle highlights on wet steel surfaces, and deep shadows enhancing tension and realism. Camera perspective: wide-camera cinematic view, eye-level to slightly low angle, emphasizing the tug’s length and mass against the hostile sea. Composition is horizontal, balanced, and dynamic, with the vessel as the clear focal point and no visible shoreline, only open water and hidden rocks beneath the surface.
Style: museum-quality ultra-realistic digital fine art, photographic realism, sharp focus, natural textures, realistic motion in water and smoke, accurate reflections, and fine detail that holds up at 200% zoom.
No people, no aircraft, no other vessels, no birds, no text, no logos, no watermarks, no stylization beyond realism. Output: single image, 4K resolution, horizontal aspect ratio, cinematic maritime realism.
This digital fine art was created using OpenAI Sora AI and Photoshop
Prompt: high definition medium format analog photography, portrait of a dishonest politician, raw, 8k
prompt - write an entry in code.
I don't know any codes, I'm too impatient to write them! But I saw this on a T Shirt once, and it amused me.
taking inspiration from keri smith's 100 Ideas list.
Prompt:
Enhance the image of a historical book titled "Old Lübeck Hansestadt". The book is now open with elaborate 3D images dramatically leaping out of its pages, depicting vivid scenes from Old Lübeck, a notable Hanseatic city, with rich details and textures. The denser mist surrounding the emerging images adds to the mysterious and enchanting atmosphere. The background should be dark and moody, creating a sharp contrast with the illuminated pages and lifelike 3D images. Aim for an ultra-realistic composition, filled with finer details that offer an immersive historical experience, as if the city's rich past is coming to life before the viewer's eyes.
6. Design an early warning system for mediocrity.
I'd like to start off by giving the information necessary to fully understand this system, and the reasoning for it. Mediocrity to begin with is an overly humanized concept that has in some way been programmed into most people as something that is "bad". It's generally defined in a very black and white manner, and the issue is that, this is not true. The "mediocrity principle", which is an aspect of the larger "Copernican principle", in my interpretation seems to say that essentially things are what they are. The stories we create for events are factually untrue, and really all there is, is science. Essentially humanity is not as special as we'd like to kid ourselves into believing, from our idealized views of events. This principle begins to create the reality that mediocrity will exist either way, and it is necessary for our society to survive. Mediocrity is like the glue that we need to bind two extremes together, and we can't survive without it. The real issue is that mediocrity is never viewed this way, since our society seems to believe that mediocrity is a threat. However, in reality the greater threat is extremes. Historically the biggest example of this is probably Communism, and the fall of Communism. The basic ideas of Communism seemed great, except for the fact that it perpetuated mediocrity to an extreme, which is a major reason for its failure. When mediocrity is pushed to any extreme, and when we fight it as an extreme, it will cause negative results. So my goal within this informational system is to inform humanity now, before extremes and humanized views of mediocrity become an actual issue.For this prompt my system is defined by a set of "rules" to warn informationally about mediocrity. For this prompt I felt that the idea of warning in a negative or confined way would make no sense, since that implies that mediocrity is a bad thing. As I have stated before mediocrity is a fact of life, and by definition it is neither good nor bad. So my warning system is created to inform about mediocrity and the threats that humanized, and altered visions of mediocrity pose to our society. The real issue is more the issues of extremes, since they are what create such black and white outlooks towards the world. So my system has identified this issue, and it poses an implied solution to stop fighting against something that causes no harm. Mediocrity is really like the necessary mid tones of life, and without mediocrity nothing would survive. It is the foundation our lives are built upon, and it poses no threat in moderation. So the system that I have created, is intended to inform our society early on about the importance of mediocrity, and the dangers that humanized extremes pose. My goal for my system is to not perpetuate any extreme, because as I stated it should be considered as simply what it is. However considering that I am human, this system may be slightly humanized by natural extremes, and this is unescapable with any system. Specifically the system I have created is a factual poster to inform the viewer of how mediocrity needs to be protected. My illustration on the left is meant to depict the Mediocrity principle as an astrological concept, although the moon drawn is the earth's moon my concept was not necessarily to depict one moon, but rather the concept of all moons. This illustration is created to portray the idea of another moon like ours, and the possibility of other life forms, which is part of what the mediocrity principal states. The "rules" of my system are specifically tea dyed to create an aged appearance, to show how the facts about mediocrity are actually old fragments that are in some ways older than we are. I wanted to create something of a lost warning to humanity from the past about our views of mediocrity, yet I wanted to still present these facts in a new light, and in a new way.