BGuthrie Photos: WW2 -- Various pictures of the Mall during the Tribute to A Generation: Natl World War II Reunion

WW2 -- Various pictures of the Mall during the Tribute to A Generation: Natl World War II Reunion:

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Same Event: Wait! There's more! Because I took too many pictures, photos from this event were divided among the following pages: [Display ALL photos on one page]:

2004_DC_WW2_Dedication_040529: DC -- Natl World War II Memorial -- Event: Dedication ceremony (18 photos from 2004)
2004_DC_WW2_Surigao_040528: WW2 -- Battle of Surigao Strait: Sen. John Warner and Adm. J. L. Holloway. Moderated by Dave Winkler (4 photos from 2004)
2004_DC_WW2_Eagles_040528: WW2 -- Creating, Crafting, and Installing the Memorial’s Bronze Eagles: Raymond Kaskey (Sculptor, Kaskey Studio), Larry Welker, Owner (Laran Bronze), Patrick Oakes (Executive Vice-President, Apex Piping Systems, Inc.). Moderated by John Vlach. (9 photos from 2004)
2004_DC_WW2_Monument_040527: WW2 -- Designing the Memorial: Architecture and Sculpture: Friedrich St. Florian (Design Architect, Natl World War II Memorial) and Raymond Kaskey (Sculptor, Kaskey Studio). Moderated by John Vlach. (6 photos from 2004)
2004_DC_WW2_Blacks_040528: WW2 -- Experience of African Americans in World War II: Ossie Davis (Army) and William J. Powell (Army). Moderated by Linda Wertheimer. (6 photos from 2004)
2004_DC_WW2_DDay_040527: WW2 -- Eyewitness to D-Day: Sam Gibbons. Moderated by Gary Rhay. Introduced by Beverly Lindsey. (6 photos from 2004)
2004_DC_WW2_Internment_040530: WW2 -- Internment of Japanese Americans in Wyoming: Norman Mineta (Secretary of Transportation) and Alan Simpson (former U.S. Senator from Wyoming). Moderated by Marc Pachter (12 photos from 2004)
2004_DC_WW2_Nissei_040527: WW2 -- Japanese Americans in World War II: Grant Ichikawa (Military Intelligence Service), Norman Ikari (442nd Regimental Combat Team), and Jean Kariya (Internment Camp Survivor). Moderated by Franklin Odo. (6 photos from 2004)
2004_DC_WW2_Navajo_040528: WW2 -- Navajo Code Talkers: Sam Billison, Keith Little, and Sam Smith. Moderated by Jeff Anthony (11 photos from 2004)
2004_DC_WW2_Tuskegee_040527: WW2 -- Tuskegee Airmen: Lee Archer, Thomas Lowery, and Charles McGee. Moderated by Thomas Doherty. (9 photos from 2004)
2004_DC_WW2_Holocaust_040530: WW2 -- U.S. Army and the Holocaust John Dolibois (interrogator of Nazi War Criminals at Nuremberg) and John Withers (aided Holocaust survivors in Germany). Moderated by Jeff Anthony. (11 photos from 2004)
2004_DC_WW2_Mall: WW2 -- Various pictures of the Mall during the Tribute to A Generation: Natl World War II Reunion (83 photos from 2004)
2004_DC_WW2_Pres_040527: WW2 -- Veterans as Presidential Candidates: Bob Dole (Army, 10th Mountain Division) and George McGovern (Army Air Forces). Moderated by Marc Pachter (12 photos from 2004)
2004_DC_WW2_Baseball_040530: WW2 -- World War II Veterans as Baseball Players: Bob Feller (Navy and Cleveland Indians), Monte Irvin (Army and New York Giants), and Buck O’Neil (Navy and Kansas City Monarchs). Moderated by Liane Hansen. (8 photos from 2004)
2004_DC_WW2_Film_040530: WW2 -- World War II Veterans as Film Performers: Jack Palance (Army Air Forces). Moderated by Thomas Doherty (8 photos from 2004)
2004_DC_WW2_Journalists_040528: WW2 -- World War II Veterans as Journalists: Allen Neuharth (Army, USA Today) and Mike Wallace (Navy, CBS News), Moderated by Thomas Doherty (29 photos from 2004)
2004_DC_WW2_Review_040529: WW2 -- "Tribute to a Generation" (@ MCI Center) (39 photos from 2004)

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. WW2A_040527_059.JPG: This was the Veterans History Project tent. While presentations were going on onstage, veterans were having their recollections of the time recorded by volunteers.
2. WW2A_040527_080.JPG: The Art of the Memorial A talented team joined forces to create the artistry of the memorial. Rhode Island architect Friedrich St. Florian designed a powerful space on the National Mall. Sculptor Ray Kaskey crafted the symbolic elements in bronze to add an emotional impact and a more organic feel to the surrounding stone. Stone carvers Nick Benson joined the team to design the typeface and carve the narrative inscriptions. Landscape architects Oehme, van Sweden & Associates, Inc enhanced the memorial's natural setting with plants, trees, and flowers. Horton Lees Brogden Lighting Design added an element of the magical when the memorial is viewed in the evening by accentuating key elements, most notably the wall of gold stars and the memorial arches. Leo A. Daly, the project's architect of record, coordinated the architectural and engineering project requirements.
3. WW2A_040527_082.JPG: Memorial Elements The Arches: Memorial arches standing forty-three feet above ground level on the north and south side of the plaza visually and symbolically anchor the memorial. The tallest and most remarkable features of the memorial, they represent victory on the Atlantic and Pacific fronts. Inside each memorial arch, four bronze eagles perched atop columns hold ribbons that suspend a victory laurel in mid-air. This entire structure is reminiscent of the classical baldacchino, a decorative canopy within a larger arch. The Field of Gold Stars: During the war, families of fallen servicemen and women received gold stars and American flags from the government. The memorial's wall of stars harkens back to that powerful symbol of sacrifice. Each of the four thousand stars represents approximately one hundred American deaths. State Pillars: Fifty-six pillars form the shape of the memorial. The pillars, representing the states, territories, and the District of Columbia, are positioned in the order in which the states and territories became part of the United States. Bound together by a sculpted bronze rope, they symbolize the unity of the nation. Memorial Wreaths: Bronze oak and wheat wreaths alternate on the front and back of the pillars. Oak symbolizes the military and industrial strength of the country during the war, while the wheat represents the contributions to the war made by farms in the United States. Telling The Story Planners added human figures and quotations to the granite to provide emotion and narrative content. Twenty-four bronze bas-relief sculptures document the mobilization of the United States for the war effort. Quotations from military and political leaders who served during World War II embellish the walls of the memorial plaza. Planners selected these sculptures and inscriptions for the themes they convey about the nation's unity, the struggle and sacrifice in battle and on the home front, the contributions of U.S. allies, and the meaning of freedom and democracy. Bas Relief: Ray Kaskey used wartime photographs from the National Archives as the inspiration for the bas reliefs. The model for these panels is the bas-relief sculpture by Caspar Buberl that encircles the Pension Building (now the home of the National Building Museum) in Washington DC. These friezes, influenced by similar work on the Parthenon in Greece, are isocephalic, meaning that all the figures' heads align horizontally. This design emphasizes the human figures more than any other element and thus honors the contributions of individual Americans to the war effort.
4. WW2A_040527_084.JPG: Design Evolution Between the competition and the final memorial, architect Friedrich St. Florian's design evolved as he responded to comments and recommendations from the American Battle Monuments Commission and the National Park Service. He also considered comments from the public review process of the Commission of Fine Arts, the National Capital Planning Commission, and Section 106 of the National Historic Preservation Act. St. Florian reduced the size of the memorial and replaced the earthen berms with pillars that allowed visitors to see through to the natural landscape of the Mall. Water and landscaping, made even more prominent, countered public criticism that the memorial would pave over the Mall's natural landscape and park-like setting. The memorial is now monumental enough to commemorate the significance of the war, while remaining respectful of the open Mall vistas. The Rainbow Pool: The American Battle Monuments Commission embraced the opportunity to build the memorial around the Rainbow Pool on the Mall's central axis. The Rainbow Pool received its name from the rainbow effect created when sunlight hit the spray of the fountains. Within decades of its creation, however, the Rainbow Pool stopped working properly. St. Florian's design made the Rainbow Pool the centerpiece of the memorial plaza and returned its fountains to their former glory. Lowering the plaza and pool six feet below grade and reducing the pool by fifteen percent allowed the memorial to work harmoniously with the site. Split pillars: St. Florian designed the memorial so that visitors can see the Lincoln Memorial from every position except when standing directly in front of the wall of stars, when their focus is on the 400,000 Americans who died in the war.
5. WW2A_040527_087.JPG: A Chance Encounter In 1987, Roger Durbin, a World War II veteran, approached Congresswoman Marcy Kaptur at a fish fry in Jerusalem Township, Ohio. Durbin asked why there was no national memorial to the war in which he had fought. With so many memorials and monuments in the capital city, how could there not be a national memorial to represent an event so crucial to the history of the nation? That year, Kaptur introduce a bill to create such a memorial. Congress considered similar legislation for years. On May 25, 1993, President Clinton signed the law authorizing the American Battle Monuments Commission to establish as World War II Memorial.
6. WW2A_040527_088.JPG: Making It Happen The American Battle Monuments Commission was responsible for building the World War II Memorial. Congress established the ABMC in 1923. ABMC is an independent agency of the executive branch of the federal government which commemorates the sacrifices and achievements of the armed forces of the United States where they have served overseas. It also establishes memorials within the United States when directed by Congress. ABMC has raised more than $195 million for the World War II Memorial. Over half a million private citizens, many of them veterans, joined with corporations, foundations, veterans groups, civil, professional and fraternal organizations, states, schools, and the federal government to support the memorial.
7. WW2A_040527_115.JPG: Section of wall of stars: Stars like these, made of bronze with a gold finish, are installed in the World War II Memorial's Field of Stars to commemorate fallen soldiers. Sculptor Ray Kaskey created many types of stars, each with a slightly different level of "distressing." Some look more worn than others.
8. WW2A_040527_129.JPG: The was Reunion Hall, where veterans could get together and leave notes for one another.
9. WW2A_040527_150.JPG: M5A1 Tank, Light (Stuart) The M5A1 Stuart tank first appeared in combat in North Africa in early 1943. It served as the standard light tank for reconnaissance forces until 1945. Twin Cadillac engines and an automatic transmission made it fast and easy to operate. Although its armor was vulnerable to German tanks and anti-tank guns, its 37mm main gun was effective against enemy light armored and soft-skinned vehicles, as well as enemy strong points. In the Pacific theatre, it was very effective against Japanese armored vehicles.
10. WW2A_040527_161.JPG: M4A3 Tank, Medium (Sherman) Designed to support infantry and not to fight other tanks, the M4 series was the backbone of the U.S. armored forces in World War II. Built between 1942 and 1945, it was produced in greater numbers (over 54,000) than any other tank in U.S. history. Its success was due to its reliability, simplicity, and ease of handling and maintenance.
11. WW2A_040527_166.JPG: 1939 Piper L-4 The Piper L-4 was the military version of the famous "Piper Cub." When William Piper offered the Cub for military use, only minor modifications were needed; larger Plexiglas windows, a rear-facing rear seat, and olive drab paint. The L-4 was able to take off and land from short, unimproved grass fields, roads, and even ships. Because the L-4 was easy to fly but difficult to shoot down, it was the ideal vehicle for a variety of military missions, including reconnaissance, transporting wounded personnel, delivering supplies, and artillery spotting.
12. WW2A_040527_200.JPG: GMC, DUKW-33 "Duck" (1944) The "Duck" was created in 1942 by GMC for the purpose of transporting troops and cargo from ships to shore without having to change vehicles. The British 8th Army first used it during the invasion of Sicily, and over the course of the war, this vehicle proved invaluable in both the European and Pacific theaters. For land maneuvers, the vehicles employed six driving wheels and a steering-gear assembly. In the water, a propeller drove it. Although the Duck is no longer used for military purposes, it now transports tour groups in Boston and Washington, DC. What does DUKW stand for? D = First year of production code, "D" is for 1942. U = Utility truck K = Front-wheel drive. GMC still uses that on trucks today (K5 Chevy Blazer) W = Two rear driving wheels
13. WW2A_040527_214.JPG: Ford M-8 Armored Car (1943) Prior to 1942, the U.S. Army hesitated to use armored vehicles because so many armored tanks were available for various military operations. However, since each of the foreign allied forces used armored vehicles, the Army commissioned the development of the M-8 light armored car. Over 8,500 were produced between 1942 and 1943. These vehicles proved to be very useful for patrol, escort, and reconnaissance missions in both Europe and Japan because of their light weight, relative speed, armored protection, and mobility.
14. WW2A_040527_215.JPG: Plymouth, P-11 Staff Car (1941) When the United States entered the war, American automobile manufacturers converted their factories for military operations. This four-door sedan was the last new car model available until after the war. Reconfigured as an Army staff car, it features "suicide" rear doors (so called because they were hinged at the rear instead of the front and could fly open easily) and a six-cylinder engine. The P-11 was used widely by the Army for transporting VIP's and for many other tasks, such as courier service, military police, and general behind-the-lines transportation. The P-11 was used in the European and South Pacific theaters. The Navy primarily used the P-11 for transportation of flag officers at various naval bases. Production of this model was very limited.
15. WW2A_040527_221.JPG: M3A1 Carrier, Personnel, Half-Track Produced from 1941 to 1943, 12,499 of the M3 series of half-tracks were made by White, Diamond-T, and Autocar. A total of over 40,000 half-tracks in more than 50 different variations were produced during World War II. They were used by all of the Allied forces in multiple roles: reconnaissance, personnel carriers, ambulances, communication vehicles, and as weapons platforms. in the last role they were fitted with machine guns, anti-aircraft weapons, mortars, and even howitzers.
16. WW2A_040527_239.JPG: Willys, MB, Jeep In 1940, The U.S. Army Commissioned those automobiles companies with mass production facilities, such as Willys-Overland and Ford, to build a "universal military vehicle." ... These vehicles, recognized for their mobility, durability, and mechanical simplicity, fulfilled a host of duties including transporting military officials and carrying out reconnaissance missions. ... At Ford, the vehicle was commonly called a general-purpose vehicle, or GP for short. When spoken quickly, GP sounded like "jeep," and the name stuck. Between 1941 and 1945, Willys-Overland produced 360,000 of the model MB jeeps, out of the over 630,000 jeeps manufactured in World War II. The parts used on Ford GPW's and WIllys MB's were completely interchangeable because the companies' designs were almost identical. These vehicles, recognized for their mobility, durability, and mechanical simplicity, fulfilled a host of duties.
17. WW2A_040527_246.JPG: Dodge, WC54 Ambulance This was the workhouse ambulance of U.S. forces in World War II. Part of a series of tough and reliable three-quarter-ton vehicles, these Dodge trucks could be used as command cars, weapons carriers, and carryall/communications vehicles. More than 26,000 of the ambulances were produced from 1942 to late 1944. They accommodated four stretcher cases or seven sitting patients, plus the medical attendants and their gear.
18. WW2A_040527_260.JPG: Dodge, WC-57 Command Car (1942) Built in Detroit from 1942 to 1944, the three-quarter-ton Dodge Command Car was used both for transporting high-ranking military officials and for conducting front-line reconnaissance missions. Its production was soon phased out, however, because it was too easily identified by enemy troops. The WC-57 command car was almost identical to the WC-56 except that it was equipped with a winch. Of the more than 24,000 Dodge Command Cars that were produced during the war, only a few hundred exist today.
19. WW2A_040527_271.JPG: Dodge, WC-51, Weapons Carrier (1942) The WC (Weapons Carrier) 4x4 three-quarter-ton truck, developed in 1942, was an improvement over its sister vehicle, the half-ton truck. The U.S. Army needed a heavier and larger truck for general hauling purposes. Both the Army and Navy used this vehicle to carry large weapons in the European and Pacific theaters.
20. WW2A_040527_283.JPG: Dodge,WC-1, Pickup (1940) Part of the G-505 series of 4x4 half-ton trucks, the WC-1 had a noticeably military appearance, unlike its predecessor, the VC series. It was distinguished by rounded brush guards, in addition to a flat grille and sloped hood hinged in the center. Nevertheless, the WC-1 was effectively a pickup with an express-type body and a closed cab. It was equipped with a machine-gun mount for shuttling troops and cargo in combat zones.
21. WW2A_040527_295.JPG: Ward La France Wrecker M1A1 (1944) The production of the first Ward La France Heavy Wrecking Truck, Model 1000 Series 5, began in May 1943. Because of its powerful winch and crane, this model worked well as a recovery vehicle, though it often had trouble on rough terrain. Debris and stones would become embedded in the tired, and replacement of those tires was often very complicated. As a result, this model wrecker was used less than its contemporaries.
22. WW2A_040527_338.JPG: The Ink Spots
23. WW2A_040527_383.JPG: This veteran proudly told me that her uniform still fit her, 60 years after the fact.
24. WW2B_040528_05.JPG: A model for the stars representing the dead
25. WW2B_040528_14.JPG: This is the final realization of the ropes connecting the fifty-six pillars in the memorial.
26. WW2B_040528_19.JPG: Landscaping: Grass, trees, plants and flowers, as well as pools and fountains, contribute to the park-like setting of the memorial. Water and landscaping, including three large lawn panels on the ceremonial entrance, cover two-thirds of the site. The outer part of the memorial includes shaded pathways for visitors to stroll, benches, and a contemplative area for rest and reflection. Lighting: Designers from Horton Lees Brodgen Lighting Design created a lighting scheme that highlights artistic features of the memorial without intruding on the reflection of the Washington Monument in the Reflecting Pool. The designers seamlessly blended the lighting of the memorial with the overall design through careful color. These artistic decisions allow the lighting to unobtrusively highlight artistic features such as the ceremonial wall of stars and fountain sprays. By lighting architectural features to accentuate dark and light spaces, designers created a heightened illusion of depth, known as chiaroscuro.
27. WW2B_040528_21.JPG: Material Considerations: Many of the designs for the memorial were tested using small scale models and computer simulations. Sometimes, seeing their designs constructed from raw materials in full-scale can make artists change their plans. The transition from plan to memorial can introduce new information that changes the realization of the design. Rope Design: In the plans for memorial, the balustrades (railings) connecting the state pillars were ornamented with an intertwined rope sculpted from the same granite as the pillars and the frame of the balustrades. Once these plans were translated into stone, J. Carter Brown, the late chairman of the Commission of Fine Arts felt that this realization of the design did not make the ropes prominent enough. Ray Kaskey tried again. This time, he made the rope in a different material -- a bronze to match the wreaths. The revised balustrades were closer to the vision, but not yet quite right. Finally, Kaskey again constructed the balustrades in bronze, but made them multidimensional and free floating. Now the rope stood out as a separate sculptural element. Voila! Memorial Lettering: Stonecarver Nick Benson spent months designing a unique typeface for the memorial. He created a Roman-style letter than complemented the content and style of the memorial as well as the nature of the stone. The large grain of the Kershaw granite influenced how Benson chose to engrave the letters. The classic style of carving is a "V" cut where the carver hand chisels a "V" shape into the stone. While experimenting with the granite, Benson discovered that a "U" cut, where the carver hand chisels a rounded shape, would be easier to read.
28. WW2B_040528_23.JPG: Upkeep: With the dedication of the memorial, the American Battle Monuments Commission completed its job. When new memorials on the Mall are completed, they become part of the National Park system and the National Park Service assumes responsibility for their operation and maintenance.
29. WW2C_040530_004.JPG: World War II Tribute on the Mall
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2004 photos: Equipment this year: I bought two Fujifilm S7000 digital cameras. While they produced excellent images, I found all of the retractable-lens Fuji models had a disturbing tendency to get dust inside the lens. Dark blurs would show up on the images and the camera had to be sent back to the shop in order to get it fixed. I returned one of the cameras when the blurs showed up in the first month. I found myself buying extended warranties on cameras. Trips this year: (1) Margot and I went off to Scotland for a few days, my first time overseas. (2) I went to Hawaii on business (such a deal!) and extended it, spending a week in Hawaii and another in California. (3) I went to Tennessee to man a booth and extended it to go to my third Fan Fair country music festival. Number of photos taken this year: 110,000.
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