components photos on Flickr

Sony ES Components by mastercontrolmedia

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Belgian Land Component - Iveco M250 - Medium Heavy Truck

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Here are the main sections of the Banshee. When transporting this for shows, this is probably how I'll do it - otherwise it'll just get banged up and pieces will go everywhere.

2014 Charles R Drew Mural by Susan Schwerin

Dr. Charles Richard Drew Mural 2014 by Susan Schwerin

Dr. Drew can be seen on the left, rising out of the fog (symbolizing his neighborhood, Foggy Bottom, in DC where he was born). He is holding a test tube of blood that has been separated into its individual components: plasma (55%), platelets (1%) and red blood cells (44%). Next to him is a microscope with a microscopic view of each blood element in the background. The red blood cells are marked for the various blood types (A+,A-, B+,B-, O; however, in 1 drop of someone’s blood all of the red blood cells would be the same type, I have only mixed them here to exemplify that there are different types). Plasma, however, is not very different across people making it a better candidate for transfusions, plus it does not need to be refrigerated and lasts a long time.

Dr. Drew’s steps to “SUCCESS” are created by his education and training:

First he went to Stevens Elementary where he was received medals for swimming2 (“S” of success with silhouette of swimmer).

Next he went to Dunbar high school where he lettered in track (hurdles), football, baseball and basketball1(“U” of success with silhouette of hurdles, football, baseball, basketball).

Then he was off to Amherst college where he was captain of the track team and was the most valuable player on the baseball team, star halfback, national high hurdles champion5(“C” of success with silhouette of baseball, football and hurdles).

After graduating he started saving for medical school by teaching biology and chemistry and coaching football and basketball at Morgan State University in Baltimore1. During his two years at Morgan, his coaching transformed its mediocre sports teams into serious collegiate competitors1 (“C” of success with silhouette of an instructor and a coach, a football and a basketball).

He then went to McGill Medical School where he earned a Doctor of Medicine degree (MD) and a Master of Surgery (CM)2. He joined the Omega Psi Phi fraternity where he helped to pen their fraternity hymn, “Omega Dear”3. He was also inducted into the medical honor society Alpha Omega Alpha2. He won a neuroanatomy award2 and continued to excel competing in hurdles (“E” of success with silhouette of music notes, brain, hurdles).

He then went to work as a surgeon and teacher at Howard University, where they were trying to get and/or train their faculty to be competitive in their fields (“S” of success with silhouette of instructor and surgeon).

Dr. Drew got a Rockefeller Foundation research scholarship to get his doctorate at Columbia University where he wrote a thesis titled, ”Banked Blood”2 (“S” of success with silhouette of researcher at microscope and thesis).

World War II broke out. There is a world map at the bottom of the mural where the different countries are colored according to whether they were on the side of the Axis (blue-primarily Germany, Italy, Japan, and also Slovakia, Romania, Hungary, Bulgaria, Libya, Ethiopia, Somalia, Thailand, Taiwan, Korea, Irag, Finland) or the Allies (green: primarily United Kingdom, France, China, Soviet Union, United States and also Australia, New Zealand, Canada, Belgium, Brazil, Czechoslovakia, Denmark, Estonia, Greece, India, Latvia, Lithuania, The Netherlands, Norway, Poland, South Africa, Yugoslavia with light green being countries that joined the war late: United States, Mexico, many South American countries, Liberia, Turkey, Iran, Saudi Arabia, and Phillipines) or Neutral countries (gray-primarily Ireland, Portugal, Sweden, Switzerland, Spain, and also Sahara, Angola, Mozambique, Yemen, Afghanistan, Tibet, Estonia, Latvia, and Lithuania).

After the war started, Dr. Drew was requested to organize the Red Cross Blood for Britain program (represented by the blood transfusion line spelling out Blood Bank, which then enters the top of the Red Cross symbol in the middle of the mural), where his attention to detail and doctorate research on blood banking enabled him to effectively collect blood, separate out the plasma and ship it to wounded British soldiers (represented by the yellow plasma transfusion line leaving the Red Cross symbol and going to the soldiers in the bottom right of the mural). The plasma transfusion line makes the shape of an EKG heart beat signal before getting to the soldiers, showing that it is giving life (giving heart beats). Beneath the soldiers is an open box with open cans, this is the box they received from the Red Cross with the dried plasma and distilled water which they combined to reconstitute the plasma to give to the soldier on the battlefield. Behind the soldiers is the British Flag. After the US joined the war, Dr. Drew led the National Blood Donor Service as well (represented by the American Flag on the far right of the mural).

In order to meet the huge demand for plasma, Drew initiated the use of "bloodmobiles" - trucks equipped with refrigerators6.

Unfortunately, the irony of his work was that the Red Cross would only accept blood from white donors. (This is shown in the mural by the 5 hands at the top. The center hand is Caucasian and is the only hand, whose blood drop has a Red Cross symbol on it, even though all the blood drops look the same, no matter what color hand is holding it). Dr. Drew publicly stated that the blood from different races was no different; however the Red Cross continued to exclude black donors. They eventually began allowing black donors, but kept the blood segregated for the recipients.

The NAACP gave Dr. Drew the Springarn award for "the highest and noblest achievement" by an African-American "during the preceding year or years” for his blood banking accomplishments2 (The medal and ribbon are at the top of the mural, just under the hands). This award bolstered Dr. Drew into becoming more of an advocate for black rights4.

Dr. Drew had a personal commitment to excellence as well as an expectation of excellence of his black medical students who frequently scored among the highest in nationwide medical exams (represented by the word “EXCELLENCE” in the mural). Dr. Drew continued to teach at Howard University where he was known by his students as ‘Big Red’ because of the color of his face when he was upset4 (represented in the mural by the Howard University Bison Logo with the words “Big Red”).

Dr. Drew died in a car accident in 1950 at the age of 45 (represented by the car in the upper right hand corner of the mural).

While attending a conference in April 1939, Drew met Minnie Lenore Robbins, a professor of home economics at Spelman College in Atlanta. They married in September of that year, and had three daughters and a son (represented on the mural by the house with the family inside, just under the Red Cross).

Dr. Drew’s one leisure activity was gardening, especially Canna Lily flowers4, which are featured at the base of the mural under SUCCESS.

The hand in the upper left corner of the mural that is punching through the wall is a representation of this quote by Dr. Drew and symbolizes how his accomplishments (the blood bank) knocked a hole out of the wall:

“Whenever, however, one breaks out of this rather high-walled prison of the "Negro problem" by virtue of some worthwhile contribution, not only is he himself allowed more freedom, but part of the wall crumbles. And so it should be the aim of every student in science to knock down at least one or two bricks of that wall by virtue of his own accomplishment.”

References:

1.The Charles R. Drew Papers. Profiles in Science. National Library of Medicine. profiles.nlm.nih.gov/ps/retrieve/Narrative/BG/p-nid/336

2.Bio. www.biography.com/people/charles-drew-9279094#early-life

3.Omega Psi Phi Fraternity, Inc. Website www.omegapsiphifraternity.org/about_omega.asp

4.One Blood: The Death and Resurrection of Charles R. Drew By Spencie Love books.google.com/books?id=JF3sSgLA_AC&printsec=frontc...

5.http://web.stcloudstate.edu/lstripp/charles-drew.htm

6.http://www.pbs.org/wnet/redgold/innovators/bio_drew.html

[SOON] UV MAP EXPLORER TOOL FOR EVS COMPONENTS by Everett Stromfield

UV TOOL HUD for Everett Stromfield Full Perms Components.

This tool is intended on the purpose of help the content creators that use Everett Stromfield's building components improving their texturing process speed by understanding the mesh's uvs.

Please note to avoid copyright issues with other brands, this tool is only compatible with Everett Stromfield's full perms mesh assets. Get it for free on Marketplace.

SHOW/HIDE UV BLEEDING: Show/hide the uv island bleeding

MESH: Show Mesh object name

TEXTURE: Show current texture name (if available)

LINK #: Show current link number

FACE #: Show current face number

HUD - +: Rescale HUD size

COLOR FACES: Highlight available faces on the linkset

COLOR TEXTURES: Hightlight unique textures on the linkset

REMOVE SCRIPT: Remove helper script from the current mesh.

ZOOM LEVEL: Select the zoom level.

U.S. Africa Command C4ISR Senior Leaders Conference, Vicenza, Italy, February 2011 by U.S. Army Southern European Task Force, Africa

U.S. Army photo by Sgt. 1st Class Kyle Davis

U.S. Africa Command (AFRICOM) hosted its second annual C4ISR Senior Leaders Conference Feb. 2-4 at Caserma Ederle, headquarters of U.S. Army Africa, in Vicenza, Italy.

The communications and intelligence community event, hosted by Brig. Gen. Robert Ferrell, AFRICOM C4 director, drew approximately 80 senior leaders from diverse U.S. military and government branches and agencies, as well as representatives of African nations and the African Union.

The conference is a combination of our U.S. AFRICOM C4 systems and intel directorate,” said Ferrell. “We come together annually to bring the team together to work on common goals to work on throughout the year. The team consists of our coalition partners as well as our inter-agency partners, as well as our components and U.S. AFRICOM staff.”

The conference focused on updates from participants, and on assessing the present state and goals of coalition partners in Africa, he said.

“The theme for our conference is ‘Delivering Capabilities to a Joint Information Environment,’ and we see it as a joint and combined team ... working together, side by side, to promote peace and stability there on the African continent,” Ferrell said.

Three goals of this year’s conference were to strengthen the team, assess priorities across the board, and get a better fix on the impact that the establishment of the U.S. Cyber Command will have on all members’ efforts in the future, he said.

“With the stand-up of U.S. Cyber Command, it brings a lot of unique challenges that we as a team need to talk through to ensure that our information is protected at all times,” Ferrell said.

African Union (AU) representatives from four broad geographic regions of Africa attended, which generated a holistic perspective on needs and requirements from across the continent, he said.

“We have members from the African Union headquarters that is located in Addis Ababa, Ethiopia; we have members that are from Uganda; from Zambia; from Ghana; and also from the Congo. What are the gaps, what are the things that we kind of need to assist with as we move forward on our engagements on the African continent?” Ferrell said.

U.S. Army Africa Commander, Maj. Gen. David R. Hogg, welcomed participants as the conference got under way.

“We’re absolutely delighted to be the host for this conference, and we hope that this week you get a whole lot out of it,” said Hogg.

He took the opportunity to address the participants not only as their host, but from the perspective of a customer whose missions depend on the results of their efforts to support commanders in the field.

“When we’re talking about this group of folks that are here — from the joint side, from our African partners, from State, all those folks — it’s about partnership and interoperability. And every commander who’s ever had to fight in a combined environment understands that interoperability is the thing that absolutely slaps you upside the head,” Hogg said.

“We’re in the early stages of the process here of working with the African Union and the other partners, and you have an opportunity to design this from the end state, versus just building a bunch of ‘gunkulators.’ And so, the message is: think about what the end state is supposed to look like and construct the strategy to support the end state.

“Look at where we want to be at and design it that way,” Hogg said.

He also admonished participants to consider the second- and third-order effects of their choices in designing networks.

“With that said, over the next four days, I hope this conference works very well for you. If there’s anything we can do to make your stay better, please let us know,” Hogg said.

Over the following three days, participants engaged in a steady stream of briefings and presentations focused on systems, missions and updates from the field.

Col. Joseph W. Angyal, director of U.S. Army Africa G-6, gave an overview of operations and issues that focused on fundamentals, the emergence of regional accords as a way forward, and the evolution of a joint network enterprise that would serve all interested parties.

“What we’re trying to do is to work regionally. That’s frankly a challenge, but as we stand up the capability, really for the U.S. government, and work through that, we hope to become more regionally focused,” he said.

He referred to Africa Endeavor, an annual, multi-nation communications exercise, as a test bed for the current state of affairs on the continent, and an aid in itself to future development.

“In order to conduct those exercises, to conduct those security and cooperation events, and to meet contingency missions, we really, from the C4ISR perspective, have five big challenges,” Angyal said.

“You heard General Hogg this morning talk about ‘think about the customer’ — you’ve got to allow me to be able to get access to our data; I’ve got to be able to get to the data where and when I need it; you’ve got to be able to protect it; I have to be able to share it; and then finally, the systems have to be able to work together in order to build that coalition.

“One of the reasons General Ferrell is setting up this joint information enterprise, this joint network enterprise . . . it’s almost like trying to bring together disparate companies or corporations: everyone has their own system, they’ve paid for their own infrastructure, and they have their own policy, even though they support the same major company.

“Now multiply that when you bring in different services, multiply that when you bring in different U.S. government agencies, and then put a layer on top of that with the international partners, and there are lots of policies that are standing in our way.”

The main issue is not a question of technology, he said.

“The boxes are the same — a Cisco router is a Cisco router; Microsoft Exchange server is the same all over the world — but it’s the way that we employ them, and it’s the policies that we apply to it, that really stops us from interoperating, and that’s the challenge we hope to work through with the joint network enterprise.

“And I think that through things like Africa Endeavor and through the joint enterprise network, we’re looking at knocking down some of those policy walls, but at the end of the day they are ours to knock down. Bill Gates did not design a system to work only for the Army or for the Navy — it works for everyone,” Angyal said.

Brig. Gen. Joseph Searyoh, director general of Defense Information Communication Systems, General Headquarters, Ghana Armed Forces, agreed that coordinating policy is fundamental to improving communications with all its implications for a host of operations and missions.

“One would expect that in these modern times there is some kind of mutual engagement, and to build that engagement to be strong, there must be some kind of element of trust. … We have to build some kind of trust to be able to move forward,” said Searyoh.

“Some people may be living in silos of the past, but in the current engagement we need to tell people that we are there with no hidden agenda, no negative hidden agenda, but for the common good of all of us.

“We say that we are in the information age, and I’ve been saying something: that our response should not be optional, but it must be a must, because if you don’t join now, you are going to be left behind.

“So what do we do? We have to get our house in order.

“Why do I say so? We used to operate like this before the information age; now in the information age, how do we operate?

“So, we have to get our house in order and see whether we are aligning ourselves with way things should work now. So, our challenge is to come up with a strategy, see how best we can reorganize our structures, to be able to deliver communications-information systems support for the Ghana Armed Forces,” he said.

Searyoh related that his organization has already accomplished one part of erecting the necessary foundation by establishing an appropriate policy structure.

“What is required now is the implementing level. Currently we have communications on one side, and computers on one side. The lines are blurred — you cannot operate like that, you’ve got to bring them together,” he said.

Building that merged entity to support deployed forces is what he sees as the primary challenge at present.

“Once you get that done you can talk about equipment, you can talk about resources,” Searyoh said. “I look at the current collaboration between the U.S. and the coalition partners taking a new level.”

“The immediate challenges that we have is the interoperability, which I think is one of the things we are also discussing here, interoperability and integration,” said Lt. Col. Kelvin Silomba, African Union-Zambia, Information Technology expert for the Africa Stand-by Force.

“You know that we’ve got five regions in Africa. All these regions, we need to integrate them and bring them together, so the challenge of interoperability in terms of equipment, you know, different tactical equipment that we use, and also in terms of the language barrier — you know, all these regions in Africa you find that they speak different languages — so to bring them together we need to come up with one standard that will make everybody on board and make everybody able to talk to each other,” he said.

“So we have all these challenges. Other than that also, stemming from the background of these African countries, based on the colonization: some of them were French colonized, some of them were British colonized and so on, so you find that when they come up now we’ve adopted some of the procedures based on our former colonial masters, so that is another challenge that is coming on board.”

The partnership with brother African states, with the U.S. government and its military branches, and with other interested collaborators has had a positive influence, said Silomba.

“Oh, it’s great. From the time that I got engaged with U.S. AFRICOM — I started with Africa Endeavor, before I even came to the AU — it is my experience that it is something very, very good.

“I would encourage — I know that there are some member states — I would encourage that all those member states they come on board, all of these regional organizations, that they come on board and support the AFRICOM lead. It is something that is very, very good.

“As for example, the African Union has a lot of support that’s been coming in, technical as well as in terms of knowledge and equipment. So it’s great; it’s good and it’s great,” said Salimba.

Other participant responses to the conference were positive as well.

“The feedback I’ve gotten from every member is that they now know what the red carpet treatment looks like, because USARAF has gone over and above board to make sure the environment, the atmosphere and the actual engagements … are executed to perfection,” said Ferrell. “It’s been very good from a team-building aspect.

“We’ve had very good discussions from members of the African Union, who gave us a very good understanding of the operations that are taking place in the area of Somalia, the challenges with communications, and laid out the gaps and desires of where they see that the U.S. and other coalition partners can kind of improve the capacity there in that area of responsibility.

“We also talked about the AU, as they are expanding their reach to all of the five regions, of how can they have that interoperability and connectivity to each of the regions,” Ferrell said.

“(It’s been) a wealth of knowledge and experts that are here to share in terms of how we can move forward with building capacities and capabilities. Not only for U.S. interests, but more importantly from my perspective, in building capacities and capabilities for our African partners beginning with the Commission at the African Union itself,” said Kevin Warthon, U.S. State Department, peace and security adviser to the African Union.

“I think that General Ferrell has done an absolutely wonderful thing by inviting key African partners to participate in this event so they can share their personal experience from a national, regional and continental perspective,” he said.

Warthon related from his personal experience a vignette of African trust in Providence that he believed carries a pertinent metaphor and message to everyone attending the conference.

“We are not sure what we are going to do tomorrow, but the one thing that I am sure of is that we are able to do something. Don’t know when, don’t know how, but as long as our focus is on our ability to assist and to help to progress a people, that’s really what counts more than anything else,” he said.

“Don’t worry about the timetable; just focus on your ability to make a difference and that’s what that really is all about.

“I see venues such as this as opportunities to make what seems to be the impossible become possible. … This is what this kind of venue does for our African partners.

“We’re doing a wonderful job at building relationships, because that’s where it begins — we have to build relationships to establish trust. That’s why this is so important: building trust through relationships so that we can move forward in the future,” Warthon said.

Conference members took a cultural tour of Venice and visited a traditional winery in the hills above Vicenza before adjourning.

To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil

Official Twitter Feed: www.twitter.com/usarmyafrica

Official YouTube video channel: www.youtube.com/usarmyafrica

803 Vacuum Tube (back) by Nick Ames

The back of a 803 transmitting vacuum tube.

Living room villa 6107 / St. Kitts Marriott Resort by Richard Johnson

St. Kitts Marriott Resort and Royal St. Kitts Casino, 858 Frigate Bay Road, St. Kitts

Canadian Vic De Zen turned a small Woodbridge, Ontario plastics company into a worldwide empire in the 1990's known as Royal Group Technologies Ltd. He built it up over the course of 30 years into a publicly traded company with about $2 billion in annual sales and 9,000 employees around the world. While growing the plastics company Vic De Zen met another Toronto developer, Mr. Archie Zuliani, who owned a small hotel on the island of St. Kitts. Zuliani needed a source for building supplies on St. Kitts and on De Zen's first trip to St Kitts the two hit it off and immediately started plans for a resort project featuring Royal Group's products and also a retirement villa for De Zen and his family. According to Zuliani, De Zen wanted the project to be built entirely of plastics! In 1996 a joint venture agreement was signed between Vic De Zen and Archie Zuliani for a $50 million development including hotel, conference center, golf course, casino and an internet gambling operation. In short order the project costs rose to $120 million. Within a year Zuliana became uncomfortable with De Zen's ambitious project and he was happy to accept a $4 million buyout from De Zen in 1998. Mr. De Zen and his brother in law, Fortunato Bordin, who used to work at Royal Group, borrowed $114-million from Scotiabank between 1996 and 2004 to fund construction of the Caribbean resort which when built out cost upwards of $330 million.

On November 3, 2000 a signing ceremony was held involving St Kitts Prime Minister Denzil Douglas, Mr. Vincent Morton, Chairman of the Frigate Bay Development Corporation and Mr. Vic De Zen. The announcement stated that the world class resort was being built by Technologies Limited of Canada. Denzil Douglas was the longest-serving Prime Minister of the Federation of St. Kitts & Nevis, having held the position between 1995 and 2015. He led the Saint Kitts and Nevis Labour Party. Douglas transformed his country’s formerly sugar-based economy into a service-oriented one driven by tourism, offshore medical education, small farm agriculture and the manufacture of electronic components. Prime Minister Douglas succeeded in establishing St. Kitts and Nevis as a tourist destination, giving as evidence his promoting of De Zen's 600-room Marriott hotel project.

Royal Group Technologies growth allowed De Zen vast liberties in pursuing side-bar projects and the doling out bonuses to family and friends. The line between Royal Group Business and De Zen's personal business became a complete blur. De Zen owned over 80% of the shareholders votes. With Zuliana bought out De Zen took the St Kitts project to new heights. He brought in his brother, Angelo De Zen, to head up the construction and Joey Cecchini was in charge of the design build of the Royal St. Kitts Beach Resort & Casino. The architect was Claudio Rabaglino from Toronto. According to the Toronto Mail and Globe "the resort became so important to De Zen that he turned over one of Royal Group's Boardroom - dubbed the war room - to the project. As construction progressed, 16 contractors were involved and about 3,000 shipments of products were made from Toronto. By 2000, roughly 700 workers were on site, some of them connected to Royal Group."

Marriott International announced a soft opening of their 471-room resort, St. Kitts Marriott Royal Beach Resort & Spa, on February 22, 2003. It is the tenth property in Marriott and Renaissance Offshore Resorts’ portfolio. John Toti was the resort's opening General Manager. Marriott said the resort is owned by Royal St. Kitts Beach Resort Ltd. Marriott's opening announcement said the resort’s five-story main building has 237 guestrooms. Between the main building and the beach, a series of three-story garden houses, surround the swimming pools, house an additional 234 rooms. Guestrooms are oversized and well-appointed with most including large, private balconies. Each bathroom of the houses will have a whirlpool bath.

For dining and entertainment, the St. Kitts Marriott Royal Beach Resort has six restaurants, two bars and a disco: La Cucina, an Italian restaurant; Royal Grill Steakhouse, offering outdoor seating; BLU, a seafood restaurant; Bohemia Beach Bar & Grill; Calypso, a family style restaurant, Golf Club House Restaurant; Lobby Bar; Keys, a cigar and rum bar; and Tigers, a disco. Recreational amenities include a 15,000 square foot spa, three swimming pools, tennis courts, retail shopping, Kids Club and a 35,000 square foot casino. A newly-designed 18-hole golf course, operated by Marriott Golf. For conferences and social events, the St. Kitts Marriott Royal Beach Resort & Spa has 12,000 square feet of flexible meeting space, including a 7,100 square foot ballroom that is divisible into three sections; meeting rooms offering 5,000 square feet of space; and a board room and terraces for pre-function receptions and events.

In hindsight Vic De Zen gained a Caribbean luxury resort but lost his billion dollar company. In February 2004 the St Kitts development became the subject of an extensive Ontario Securities Commission and Royal Canadian Mounted Police criminal probe into whether Mr. De Zen used Royal Group money or assets on a private development project. It seems the Royal Group shareholders new virtually nothing about the massive resort project on St Kitts! Vic De Zen was ousted as board chairperson of Royal Group in 2004 after an internal investigation. Two years later, the company was sold to United States-based Georgia Gulf Corp. for $1.7 billion. The RCMP (Royal Canadian Mounted Police) charged De Zen and other former executives with defrauding the company of more than $29 million.

The trial respecting the allegations made against Mr. De Zen and others commenced in April 2010. On December 10, 2010, at the conclusion of the five-month trial, the trial judge acquitted the defendants of the two charges they faced. The trial judge found overwhelming evidence supporting the defense that no fraud, no deceit, no dishonesty and no concealment had taken place. Indeed, the judge indicated that it would be a "travesty of justice" to wait even one day before pronouncing the verdict of not guilty.

Mr. De Zen formed a new company, ZZen Group, which includes the Marriott beach resort that has become the Caribbean island’s largest employer. When Mr. De Zen travels to ZZen’s resort in St. Kitts – his favorite way to relax is to work on small repairs. Joseph Sgro, an assistant to De Zen says he actually has a tool belt when he is at the resort … walking around the resort grounds and he fixes things and talks to the landscapers.

Georgia Gulf Corporation, a large PVC raw-material manufacturer, completed its acquisition of Royal Group on October 3, 2006 for $1.6 billion.

***********

Vic De Zen and his partners Fortunato Bordin and Domenic D’Amico have supported the people of St Kitts and Nevis since their first agreement in 1997 to build the Marriott Resort. This first initiative produced strong economic and social growth within the Federation of St. Kitts & Nevis. Vic De Zen's group continues with investments that have created the following St. Kitts businesses and organizations which collectively employ more than 1,000 persons in the Federation:

*St. Kitts Marriott Resort;

*Marriott Vacation Club;

*Marriott Residences;

*Royal Beach Development Group;

*Royal Beach Casino;

*Royal St. Kitts Golf Club;

*Royal Utilities Limited

***********

The St. Kitts Marriott has had 4 General Managers.

Jacques Hamou, General Manager, ( 2012 - ) St. Kitts Marriott Resort & Royal Beach Casino appointed Jacques Hamou as General Manager in February, 2012. Hamou’s career in the hospitality industry spans 30 years. He joins the property from Montreal where he served as general manager for the Montreal Marriott Chateau Champlain for thirteen years. Previously, Hamou was at Fortis Hospitality Corporation in Sydney, Nova Scotia, where he held the position of director of operations for Delta Sydney, Holiday Inn Sydney and the Sydney Inn.

Flor Van Der Vaart, General Manager (2008 - 2011) - Flor van der Vaart was appointed General Manager of St. Kitts Marriott Beach Resort on July 6, 2008. Flor began his career with Marriott in 2004 as the Resident Manager of the Aruba Marriott Resort & Stellaris Casino. Prior to joining the Aruba Marriott Resort, Flor was the Operations Manager at the Hyatt Dorado Beach Resort & Country Club in Puerto Rico. Van der Vaart received his Master’s Degree in Business Administration from The University of Phoenix. He received his Bachelor’s Degree from The University of The Hague – Haagshe Hogeschool in Holland.

George Landa, General Manager (2006 - 2008) - St Kitts Marriott Resort & the Royal Beach Casino appointed Cuban-born George Landa as General Manager in April 2006. Most recently he was general manager at the Curacao Marriott Beach Resort & Emerald Casino from 2003-2006. Previously he also served as General Manager of the Intercontinental Hotel in Valencia, Venezuela.

John Toti, Opening General Manager ( 2002 - 2006 ) John Toti was named general manager, responsible for overseeing all aspects of operations at the new St. Kitts Marriott Resort. Most recently, Mr. Toti was the general manager at the Guatemala City Marriott. During his 25-year career with Marriott, Mr. Toti held positions in various aspects of hotel operations. In the food and beverage departments, he served as executive chef for Marriott Hotels in the Orlando World Center, Panama City and Puerto Vallarta, and was director of food and beverage at the Marriott Plaza Hotel, Buenos Aires, Argentina. Mr. Toti later went on to work in the operations segment, becoming area director of operations for Marriott's Caribbean region and assisting on short and long-term projects for resorts in St. Thomas, Jamaica, Caracas & Costa Rica. He served as director of operations at the Guatemala and Lima Marriott Hotels as well. Mr. Toti was also director of groups and conventions at the Marriott in Puerto Vallarta. Toti is now retired and lives in Naples, Florida.

Wayne Michaelson is the current Executive Chef, (2015 - ) - Executive Chef Wayne Michaelson, previously from the Macon (Georgia) Marriott City Center, is in charge of overseeing daily operations of the resort’s eight onsite restaurants as well as catering for special events. Before his previous job in Macon, where he supervised seven kitchens, a catering facility for 2,500 people, Chef Michaelson owned and operated his own restaurant for a decade. After graduating from the Culinary Institute of America, Chef Michaelson began his career in hospitality at Omni Hotels & Resorts in 1984 in Alabama as an Executive Chef. He then moved to Puerto Rico in 1986 where he worked for prominent hotels such as the Caribe Hilton Hotel & Casino, the Hyatt Regency Cerromar Resort, the Hyatt Dorado Beach Resort & Golf Club, and the El San Juan Hotel & Casino, a Waldorf Astoria Collection hotel.

Arun Maharajh is the Vice President Operations at the resort's Royal Beach Casino. Maharajh started at the casino in 2005 as the Financial Controller. Previously he was a business analyst at the Ontario (Canada) Lottery and Gaming Corporation.

Compiled by Dick Johnson

February, 2016

803 Vacuum Tube (inside) by Nick Ames

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The insides of an 803 transmitting vacuum tube. The number n the center column is 96393. One of the leads is wrapped in what appears to be asbestos.

September ATC #1 by Donetta Farrington

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Components to include an aster, a vintage photograph, and something sapphire blue

Mascots by Megan Potter Concept Artist

Refined ideas for a mascot competition.

Refinery Components by Lex Machina

7 4

034/365 polyptych

Some shots from an abandoned refinery in CA. There are technically 4 photos in this image including the texture which was shot in the same location.

lexmachina365.tumblr.com/

Prints available from lexmachine.etsy.com

components by Maya

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maya*made

Cristina D'Avena & Gem Boy - Carroponte - 11 luglio 2013 - © Mairo Cinquetti-27 by Mairo Cinquetti

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Cristina D'Avena & Gem Boy

Carroponte - Sesto San Giovanni - Milano

11 Luglio 2013

Cristina D'Avena nasce a Bologna lunedì 6 luglio 1964 da Alfredo, medico, e da Ornella, casalinga. All'età di 3 anni e mezzo esordisce cantando "Il valzer del moscerino" alla decima edizione della rassegna canora per bambini Zecchino d'Oro; il brano si aggiudica il 3º posto. Dopo l'esperienza allo Zecchino d'Oro, rimane all'Antoniano come componente del Piccolo Coro fino al 1976, ma continuerà a frequentarlo per altri 5 anni accompagnando la sorella Clarissa, nata 10 anni dopo di lei e anche lei diventata nel frattempo componente del coro.

Nel 1981 Cristina è una diciassettenne studentessa di Liceo Classico che vede il canto solo come un hobby. In quel periodo, Alessandra Valeri Manera, l'allora responsabile della tv dei ragazzi della neonata Canale 5, era alla ricerca di una voce femminile che potesse interpretare la sigla della serie animata giapponese "Pinocchio": per questo motivo interpellò Augusto Martelli, direttore artistico-musicale della rete nonché figlio del maestro Giordano Bruno Martelli. Fu proprio Martelli padre, tramite il figlio, a segnalare a Valeri Manera il nome di Cristina D'Avena, avendo egli avuto modo di frequentarla fino a poco tempo prima presso il Piccolo Coro dell'Antoniano. Dopo essere stata sottoposta ad un provino discografico, Cristina, ancora minorenne, firma un contratto di esclusiva (a cui è legata ancora oggi) con l'etichetta discografica di Canale 5, la Five Record (in seguito ridenominata RTI Music, oggi inglobata in RTI s.p.a.), e diviene così l'interprete della canzone "Bambino Pinocchio" composta da Martelli figlio che di lei all'epoca disse: « Diventerà una grande cantante ». Il successo commerciale del relativo 45 giri diede effettivamente inizio alla carriera di Cristina: da allora non ha mai smesso di incidere e, grazie alla quantità di sigle da lei registrate, è l'unico personaggio dello spettacolo la cui voce è presente sulla tv italiana ininterrottamente dai primi anni '80 almeno una volta al giorno, 7 giorni su 7, 365 giorni l'anno.

Sempre da questo periodo inizia a pubblicare numerosi singoli ed album, che complessivamente venderanno un totale di circa 6 milioni di copie: nel 1983, infatti, Five Record dà vita a "Fivelandia", il primo volume di quella che diventerà una longeva collana destinata a contenere le sigle dei cartoni animati in onda sulle reti del biscione; un appuntamento fisso dell'autunno a cadenza annuale, a cui si aggiungerà, a partire dal febbraio 1987, la sua versione primaverile anch'essa a cadenza annuale dal titolo "Cristina D'Avena con i tuoi amici in tv". Tra le canzoni di maggior successo dei primi anni, particolare menzione per "Canzone dei Puffi" del 1982 (grazie alla quale verrà premiata con il suo primo Disco d'Oro per le oltre 500.000 copie vendute) e "Kiss me Licia" del 1985 (Disco di Platino per le oltre 100.000 copie vendute del relativo album): quest'ultima è la sigla a cui la cantante dichiarerà più volte di essere maggiormente legata.

A partire dal settembre 1986 raggiunge, tuttavia, una popolarità ulteriore a quella già acquisita in 5 anni con la sola interpretazione delle sigle, nonché una notevole visibilità, quando interpreta il ruolo di Licia nella prima di 4 serie di telefilm per ragazzi intitolata "Love me Licia": la serie è basata sulla protagonista e sui personaggi del cartone animato giapponese "Kiss me Licia" (che aveva fatto il suo debutto 12 mesi prima), del quale questa produzione italiana con attori in carne e ossa prosegue idealmente le vicende. È così che quella che fino a questo momento era quasi soltanto una voce (quel timbro così particolare che milioni di bambini italiani avevano già imparato a riconoscere) diventa di fatto un volto, il volto di una ragazza dall'aspetto più giovane dei suoi 22 anni che l'intero pubblico, anche quello più adulto, ora conosce e apprezza già. A "Love me Licia" seguiranno "Licia dolce Licia" nella primavera 1987, "Teneramente Licia" nell'autunno 1987 e "Balliamo e cantiamo con Licia" nella primavera 1988; le serie vengono trasmesse il lunedì, il mercoledì e il venerdì alle ore 20:00 su Italia Uno in diretta concorrenza coi telegiornali Rai e raggiungono insperati ascolti record.

Nel 1987, mentre i brani da lei incisi ammontano già ad un centinaio, Cristina registra un brano in lingua francese: si tratta della versione francofona della sigla italiana "Lovely Sara" (da lei già interpretata pochi mesi prima), destinata ad accompagnare la messa in onda di "Princesse Sarah" che sarà il primo cartone animato ad essere trasmesso su La Cinq, rete televisiva francese di proprietà di Silvio Berlusconi costruita sul modello di Canale 5. Grazie a questa sua incisione la cantante, che per la prima volta vide apparire il proprio nome sulla copertina di un disco pubblicato e distribuito esclusivamente all'estero, è conosciuta e ricordata ancora oggi dai bambini francesi degli anni '80.

Conclusasi la saga di Licia nella primavera 1988, dall'autunno Italia Uno decide di mettere in scena proprio Cristina e la sua realtà quotidiana, costantemente impegnata tra gli studi universitari alla Facoltà di Medicina e il lavoro di cantante. Non a caso, durante l'ultima puntata dei telefilm di Licia, Cristina D'Avena compare nel ruolo di se stessa annunciando la sua intenzione di metter su una band musicale. Pochi mesi dopo viene infatti trasmessa su Italia Uno "Arriva Cristina", a cui seguiranno "Cristina" nell'autunno 1989, "Cri Cri" nell'autunno 1990 e "Cristina, l'Europa siamo noi" nell'autunno 1991. "Cri Cri" si compone di due serie da 36 episodi l'una, mentre "Cristina, l'Europa siamo noi" viene trasmessa da Retequattro anziché da Italia Uno e alle ore 19:00 anziché al consueto orario delle 20:00. Come già avvenuto per le 4 serie di Licia, per ognuno di questi telefilm Five Record pubblica un disco contenente la sigla e tutti i brani cantati all'interno degli episodi: i primi tre album diventano Dischi di Platino.

Tra i suoi concerti più riusciti quelli realizzati nel novembre 1989 e 1990 al PalaTrussardi di Milano, a cui assistettero un totale di circa 20.000 spettatori, e quello del 1992 al FilaForum di Assago (13.000 persone in sala e 3.000 all'esterno) i cui incassi sono stati interamente devoluti alla Associazione Italiana per la Ricerca sul Cancro.

Con alle spalle la stessa autrice-produttrice degli esordi ed una casa discografica che, grazie solamente alle sue canzoni, nel 1991 ottiene un fatturato di oltre 9 miliardi di lire, negli anni '90 la cantante prosegue, regolarmente e senza interruzioni, ad incidere nuove sigle e a pubblicare CD; numeri, i suoi, che tanti artisti blasonati, ancora oggi, le invidiano. Persino la cantante Mina, nel 1994, inciderà ed inserirà in uno dei suoi album una cover di una canzone di Cristina del 1988 dal titolo "Sempre attento al regolamento"; per l'occasione, testo e titolo furono modificati e la canzone divenne "Tu dimmi che città".

All'attività musicale e discografica si aggiunge l'attività di conduttrice e co-conduttrice televisiva (nonché radiofonica) iniziata già nel 1989 col varietà del sabato sera di Canale 5 "Sabato al circo", esperienza grazie alla quale Cristina, insieme a tutto il cast del programma, si aggiudicherà il Telegatto nella categoria "Programmi per ragazzi". Il programma andrà avanti per quattro anni, fino al 1992, quando cambia titolo, rete e giorno di programmazione e diventa "Il Grande Circo di Retequattro", in onda per 16 settimane da mercoledì 7 ottobre. Assieme a Gerry Scotti presenta per due anni lo speciale di Capodanno di Canale 5, in onda il 31 dicembre 1989 con il titolo "L'allegria fa 90" e il 31 dicembre 1990 con il titolo "Evviva l'allegria". Dall'8 novembre 1992 conduce su Italia Uno "Cantiamo con Cristina", la versione per bambini del "Karaoke" di Fiorello che va in onda alle ore 20:00 della domenica: in ogni puntata si affrontano due squadre che si sfidano sulle note delle sigle di Cristina. Nella stagione 1993/94 farà parte del cast della sesta edizione di "Buona Domenica", al fianco di Gerry Scotti e Gabriella Carlucci: qui, tra le altre cose, conduce la rubrica "Radio Cristina" dove commenta lettere e fax inviati dai più piccini e si esibisce in alcuni numeri musicali e di danza (in questi spazi avrà anche modo di eseguire le canzoni dell'album "Cristina canta Disney" fresco di pubblicazione). Avrà poi il ruolo di inviata speciale in giro per l'Italia nella quinta edizione di "La sai l'ultima?", in onda su Canale 5 nella stagione televisiva 1995/96 e condotta da Gerry Scotti assieme a Paola Barale. A partire dal 15 settembre 1996, invece, conduce per due anni di seguito, alternandosi settimanalmente col doppiatore ed amico Pietro Ubaldi, il contenitore di cartoni animati e giochi telefonici "Game Boat", in onda tutti i giorni nel preserale di Retequattro; in questo periodo, tra l'altro, viene pubblicato il quattordicesimo capitolo di "Fivelandia", premiato con il Disco di Platino per le oltre 100.000 copie vendute. Nel 1998, nel 1999 e nel 2000 ritorna allo Zecchino d'Oro in qualità di co-conduttrice al fianco di Cino Tortorella e Milly Carlucci. Nell'autunno 1998 è chiamata da Fabio Fazio per condurre con Andrea Pezzi il varietà del venerdì sera di Rai Due "Serenate", ideato dallo stesso Fazio che inizialmente doveva esserne il conduttore. Su Rai Uno, invece, condurrà il tradizionale "Concerto di Primavera", sia ad aprile 1999 che ad aprile 2000, oltre che lo special natalizio "Buon Natale a tutto il mondo" di cui sarà la presentatrice sia nell'edizione del 1999 che in quella del 2000.

Nel 1998 debutta anche al cinema, seppur con un cameo: interpreta infatti se stessa in una scena del film "Cucciolo" di Neri Parenti accanto a Massimo Boldi, con il quale aveva già lavorato ai tempi di "Sabato al circo".

Nel dicembre 2002 Cristina festeggia ufficialmente 20 anni di carriera (sebbene l'incisione di "Bambino Pinocchio", la sua prima sigla per un cartone animato, risalga al secondo semestre del 1981) con la pubblicazione di un doppio CD dal titolo "Cristina D'Avena: Greatest Hits" (ma il titolo inizialmente previsto è "Cristina D'Avena: Vent'anni"), che raccoglie i più grandi successi della cantante (il CD 1 è relativo agli anni 1981-1990, il CD 2 agli anni 1991-2002) e include una nuova versione, riarrangiata e reinterpretata per l'occasione, della sua prima sigla. Proprio nel giorno d'uscita del disco, il 6 dicembre, dall'auditorium di Cologno Monzese la rete televisiva satellitare Video Italia le dedica, in prima serata e in diretta contemporanea su Radio Italia, una puntata di oltre 2 ore della sua trasmissione "Serata con...", durante la quale la cantante esegue dal vivo gran parte dei brani dell'album, in quella che si rivela essere una vera e propria festa-concerto a cui prendono parte fan storici, amici e collaboratori di vecchia data.

Il suo nome per oltre 20 anni è stato professionalmente associato in modo indissolubile a quello di Alessandra Valeri Manera: responsabile dei programmi per ragazzi delle tv del biscione dal 1980 al 2001 e a conti fatti talent scout e creatrice del personaggio "Cristina D'Avena", Valeri Manera è stata anche ideatrice, autrice, direttrice artistica e produttrice di tutti i lavori della cantante alla quale è legata da una sincera amicizia, sebbene dal 2001 la sua attività si sia ridotta ad una composizione saltuaria dei testi di sigle. In coppia con Valeri Manera, nel 2002 Cristina firma per la prima volta come autrice una sua canzone dal titolo "I colori del cuore". Nel 2007 firma da sola il testo di una sua sigla per un cartone animato (il titolo del brano, e della serie, è "Dolce piccola Remì") e da allora, di tanto in tanto, alcune delle sigle da lei interpretate portano il suo nome come unica autrice delle parole.

Il 14 aprile 2007, al Roxy Bar di Bologna, Cristina celebra 25 anni di successi con un grande concerto, accompagnata dall'irriverente gruppo dei Gem Boy con il quale inaugura una collaborazione che dura ancora oggi. In questa occasione riceve da Red Ronnie il prestigioso riconoscimento "Gandhi 9.11", un totem luminoso creato dall'artista Marco Lodola e destinato a quei personaggi che si sono maggiormente distinti come portatori di pace. Nello stesso anno, poi, si verifica un vero e proprio record per la cantante: alla cifra di 1.210 euro si chiude l'asta online del CD del 1989 "Cristina D'Avena e... i tuoi amici in TV 3", venduto sul portale eBay il 10 settembre. La vendita viene resa nota e definita dalla divisione italiana del sito come « il primato mai raggiunto online da un CD in Italia »; non a caso, la versione CD dell'album è considerata uno tra i pezzi più rari nella produzione discografica della cantante, non tanto per le 14 sigle in esso contenute (reperibili comunque su altre pubblicazioni successive) ma poiché, nella sua versione digitale, venne stampato in un numero limitatissimo di copie rispetto ai classici formati utilizzati all'epoca (sebbene per ancora pochi anni), vale a dire l'LP e l'MC. Il record è stato addirittura superato il 10 novembre del 2011, quattro anni dopo, quando un'altra copia messa all'asta è stata venduta alla cifra di 3.010,00 euro.

In questa fase della sua carriera, nonostante da tempo non abbia più un programma tutto suo, la cantante continua a farsi vedere dal pubblico televisivo accettando l'invito di numerose trasmissioni Rai o Mediaset che la chiamano per intervistarla o per vederla esibirsi; nella puntata del 16 febbraio 2008 del programma di prima serata di Rai Uno "I Migliori Anni" si registrerà un picco di ascolti pari a 7.618.000 telespettatori proprio nel momento della sua partecipazione al programma in cui dal vivo canta la sigla di "Kiss me Licia". Nello stesso anno pubblica due libri per bambini, di cui la cantante è autrice e narratrice, dal titolo "Le fiabe di Fata Cri: Fata Cri e i draghetti pasticcioni" e "Le fiabe di Fata Cri: Fata Cri e il ballo degli scoiattoli": quest'ultimo venderà 37.500 copie.

Dopo aver scritto e interpretato la sigla della serie animata "Twin Princess - Principesse Gemelle" che diverrà il suo primo singolo ad essere commercializzato come download digitale, nel 2009 realizza un disco che si distacca dalle sigle tv per le quali è da sempre conosciuta: per la prima volta infatti si rivolge al grande pubblico, non solo a quello dell'infanzia, e lo fa con un album dal titolo "Magia di Natale", in cui reinterpreta 12 brani della tradizione natalizia, classici e moderni, tutti arrangiati dal maestro Valeriano Chiaravalle. Il disco è anche l'occasione, per la cantante, di incidere per la prima volta in lingua inglese. Nell'album figura anche una cover di "Childhood", brano di Michael Jackson con il quale l'artista ha voluto rendere omaggio al Re del Pop.

Da giovedì 21 gennaio 2010 torna a lavorare in tv: è nel cast della seconda edizione del programma di prima serata di Italia Uno "Matricole & Meteore". Nello show, composto da 8 puntate e condotto da Nicola Savino e Juliana Moreira, ha il doppio ruolo di ospite fisso e inviata speciale nei panni di una principessa alla ricerca del Principe Azzurro; nelle varie puntate si esibisce anche in alcuni medley di sigle fra le tante incise nel corso della sua carriera. Dal 28 febbraio dello stesso anno è testimonial di Intervita ONLUS, organizzazione umanitaria internazionale impegnata in progetti di sviluppo nel Terzo Mondo attraverso il sostegno a distanza, per la quale registrerà 15 messaggi promozionali trasmessi da Canale 5. A partire dal periodo autunnale, le serie di telefilm che la videro protagonista tra l'86 e il '91 riacquistano visibilità nonché rinnovata fortuna grazie alla loro riproposizione da parte del canale Hiro di Mediaset Premium e, poco tempo dopo, anche per mano di La5 che le trasmette, tutte le sere, allo stesso orario della prima messa in onda, vale a dire alle 20. Visto il grande successo riscosso (la fascia oraria in cui vengono trasmessi risulta essere la più seguita per la rete), la casa discografica della cantante decide di ristampare, per la prima volta su CD e dopo oltre due decadi di assenza dal mercato discografico, le colonne sonore di ciascuna delle 8 serie, raccogliendole in due box multidisco intitolati "Licia e i Bee Hive Story" e "Arriva Cristina Story", che appassionati vecchi e nuovi accoglieranno con straordinario entusiasmo.

Anche nel nuovo millennio la cantante ha continuato e continua a tenere concerti in tutta Italia, sia da sola che accompagnata dal gruppo dei Gem Boy; uno dei suoi ultimi concerti più fortunati è sicuramente quello tenuto ad Avellino nel maggio del 2010 dove, tra bambini e adulti, ha raccolto oltre 15.000 spettatori.

Nel gennaio 2011 incide una sigla per la prima volta in duetto con una voce femminile: quella di Alessia Volpicelli, piccola paziente del C.R.O. (Centro di Riferimento Oncologico) di Aviano; il brano, di cui la D'Avena è anche autrice, si intitola "Emily della Luna Nuova". Nello stesso periodo firma anche il testo di una canzone per uno dei concorrenti del programma televisivo "Io Canto": si tratta del brano "Tutto quello che ho" incluso nell'album d'esordio di Simone Frulio dal titolo "Tredici".

L'anno successivo la cantante torna in tv e approda su Super!: per tutta l'estate è infatti la conduttrice di "Karaoke Super Show!", la prima produzione del canale televisivo per ragazzi edito da De Agostini. In onda nel week-end dalle più belle piazze della riviera romagnola, il programma prevede la partecipazione di due squadre composte da bambini, genitori e nonni che si sfidano interpretando i grandi tormentoni estivi, le canzoni dello Zecchino d'Oro più amate e naturalmente le più famose sigle dei cartoni animati di Cristina. Ma il 2012 è anche l'anno del 30º anniversario del debutto artistico di Cristina D'Avena: per festeggiare questa ricorrenza viene messa in atto una serie di celebrazioni a partire già dal dicembre 2011, quando apre il fanclub ufficiale della cantante che gli ammiratori chiedevano insistentemente da tempo. Ad aprile del 2012 i festeggiamenti proseguono con l'inaugurazione del suo negozio online, all'interno del quale è possibile trovare gran parte della sua sempre più abbondante produzione discografica oltre a tanti prodotti e gadget esclusivi, scelti e ideati direttamente da Cristina in persona. Le celebrazioni di questo importante traguardo si materializzano anche a livello discografico con la nascita di un grande progetto in due parti dal titolo "30 e poi...", che debutta nei negozi di dischi il 27 novembre 2012 con l'uscita del triplo CD "30 e poi... Parte Prima". L'album è composto da 3 CD che racchiudono un totale di ben 70 sigle originali dei cartoni animati più famosi degli anni '80, '90 e 2000; la scaletta è impreziosita dalla presenza di tre sigle inedite (una risalente al '95, una al '99 e un'altra ancora al 2009) qui pubblicate per la prima volta in assoluto e di una ora disponibile per la prima volta su CD, da una reinterpretazione di Cristina del classico natalizio "O Holy Night", da un megamix dei suoi storici successi anni '80 e infine da una cover del brano "L'anno che verrà" di Lucio Dalla, con la quale l'artista vuole rendere omaggio al cantautore suo concittadino. Il progetto "30 e poi..." prosegue quindi nel 2013 con una serie di iniziative a tema e si concluderà nell'autunno dello stesso anno con l'uscita di "30 e poi... Parte Seconda".

Symmetrical Components Seminar by Cushing Memorial Library and Archives, Texas A&M

Title: Symmetrical Components Seminar

Digital Publisher: Digital: Cushing Memorial Library and Archives, Texas A&M University, College Station, Texas

Physical Publisher: Physical: Graphic Services, Texas A&M University

Date Issued: 2011-08-17

Date Created: 1968

Dimensions: 4 x 5 inches

Format Medium: Photographic negative

Type: image

Identifier: Photograph Location: Graphic Services Photos, Box 21, File 21-155

Rights: It is the users responsibility to secure permission from the copyright holders for publication of any materials. Permission must be obtained in writing prior to publication. Please contact the Cushing Memorial Library for further information

C4ISR Senior Leaders Conference, February 2011 by U.S. Army Southern European Task Force, Africa

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Hosts and guests of the U.S. AFRICOM C4ISR Senior Leader Conference tour a winery in the hills above Vicenza, Italy, Feb. 3, 2011.

U.S. Army Africa photo by David Ruderman