Friday, November 14, 2014

Veterans, obelisk honor sailors killed 100 years ago in disaster that forged bond between city and the Navy

Fort Rosecrans National Cemetery in San Diego,...
Fort Rosecrans National Cemetery in San Diego, California, USA. (Photo credit: Wikipedia)
July 17, 2005

A century ago, on a slightly overcast Friday morning, San Diego
was visited for the first time by catastrophe. A Navy gunboat,
the Bennington, blew up in the bay, and 65 sailors were killed.

The city had known death before, of course, but it was a stranger
to the kind of disaster that makes national headlines and alters
a community's physical and emotional landscapes.

Today, the Bennington is the stranger. Not many people know its
story, or how, amid the horror and the suffering, a bond was
formed, helping San Diego become a Navy town.

A few years after the explosion, a 60-foot-tall granite obelisk
was built on Point Loma to honor the fallen, at what later became
Fort Rosecrans National Cemetery. The monument was a city
landmark then, discernible for miles and featured on post cards.

But it, too, has been obscured by time and all that has grown up
around it. You have to look for it now.

This Thursday marks the 100th anniversary of the Bennington
explosion. Some local veterans have organized a ceremony at the
monument, where 35 of the dead rest beneath simple white
headstones marked with individual names and a shared identifier:
"U.S. Navy."

At 10:38 a.m., the exact time when the Bennington's boilers
exploded, there will be a moment of silence. Then the names will
be read, speeches made, and for a while, anyway, people will

"Never let it be said that we failed to do the obvious and
recognize the souls lost on the Bennington," said Ed Coffer, who
is coordinating the ceremony.

Up the coast, at the private Santa Catalina prep school in
Monterey, a historian named Broeck Oder will be looking at his
watch for the exact moment, too. He grew up in San Diego hearing
tales of the Bennington from his father, a Navy hospital
corpsman, and when he went to the University of San Diego, he did
his master's thesis on the event and its aftermath.

"Proportionally, Bennington is still the worst disaster in San
Diego history, because we're talking about 65 deaths in a town
with about 20,000 people," he said.

"If a proportionally similar accident struck San Diego today, God
forbid, the death toll would be approximately 4,000 people,
greater than the number of souls lost in the World Trade Center
on Sept. 11."

Oder said when he encounters people who know about the
Bennington, they tend to remember certain myths – that the
explosion was caused by drunken sailors, for example. He thinks
that's unfortunate.

So even though work commitments will keep him from attending
Thursday's ceremony, he's glad it's happening.

"For some years, I've thought that just a few of us historians
might be the only ones who knew the centennial of the disaster
was approaching, so I am happy beyond expression that
Bennington's men are now being remembered and honored in the city
which so embraced them."

World War One role of luxury liner RMS Mauretania

Launch of RMS Mauretania

RMS Mauretania was launched on the River Tyne amid great fanfare in 1906

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RMS Mauretania, one of the most famous ships to be built on Tyneside, was launched amid great fanfare in 1906.
The luxury liner was famous for its speed, for many years holding the record for the quickest trans-Atlantic crossing.
What is less well known is the vital role it played in World War One.
During the Gallipoli campaign it served as a troop carrier and hospital ship, later transporting soldiers across the Atlantic when America joined the war.
RMS Mauretania was built for Cunard at the Swan Hunter yard in Wallsend, and launched in 1906, with the maiden voyage taking place the following year.

World War One at Home

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Maritime historian, Ken Smith, said: "She represented all that was best on Tyneside; skills, energy, technical know-how. 
'Very expensive'
"But she was a also a very special ship because she held the Blue Ribbon for the fastest crossing of the Atlantic longer than any other early 20th Century liner.
"In fact, she was built with a government grant because it was intended that she would serve as an armed auxiliary cruiser should war break out.
"That never happened, but she still proved to be immensely useful."
Ian Whitehead, keeper of Newcastle's Discovery Museum, said that it was a while before the vessel was pressed into the war effort.
"She was very fast but also very expensive to run, so really only came into her own when you wanted to move a lot of people very quickly over long distances.
Construction of RMS MauretaniaThe vessel was build at Tyneside's Swan Hunter shipyard
"So she was not working until 1915 when there was a requirement to take troops to the Dardenelles for the Gallipoli campaign.
"Then rather sadly, once the campaign had failed, she was kitted out as a hospital ship to bring the casualties back, as they had so many they couldn't evacuate them fast enough."
'Dazzle camouflage'
This role required adaptations to the liner's interior and exterior.
"She had large green bands along her side and huge great red crosses to indicate she was engaged in peaceful and humanitarian mission", he said.
"They actually covered up a lot of her lovely elaborate wood carvings and woodwork with protective metal and wood.
"Her top accommodation was converted into wards and the wounded men were accommodated as high up in the ship as possible in swing cots so they can get to the boat decks if there was an emergency, such as a torpedo strike."
On return to duty as a troop carrier, RMS Mauretania was painted in a striking blue and white diamond pattern, one of the dazzle camouflagedesigns.
These were devised to make it difficult for U-boat commanders to gauge the ship's direction of travel and speed, so they were more likely to miss their target.
RMS Mauretania in dazzle camouflageLate in the war the vessel was painted with dazzle camouflage to make it a less easy target
RMS Mauretania made a number of Trans-Atlantic runs, transporting first Canadian then American soldiers, returning them home at the end of the war.
The vessel then returned to duty as a luxury liner, and was retired in 1935.
Ken Smith said: "I think the fact that she was a Blue Ribbon holder, that part of her history is always emphasised.
"But really she proved herself a very useful ship to Britain during the First World War, and carried a lot of troops without the loss of a single man."

Thursday, November 13, 2014

Stakeholders of Naval History: Veterans Day 2014

navyneedsWhat forces a man or woman to enlist in the Navy? What compels them to accept a commission as a naval officer? Where does that kind of dedication come from? When the sounds of gunfire can be heard on the horizon, why do they selflessly march towards it and meet it head on?
Many of us will ponder each of those questions today. Veterans Day is a time when Americans can reflect on the service and sacrifice of our nation’s military men and women.
For historians, it is vital for these questions to remain open-ended. If we had all of the answers now, what need would there be for studying history?
  • When defeat seemed inevitable, what compelled John Paul Jones to stick it out against HMS Serapis?
  • What forced John Lawson to continue the fight against Tennessee at Mobile Bay, even though he was badly wounded?
  • What forced CDR Evans to take on a Japanese battleship of David and Goliath proportion during World War II?
  • When all seemed hopeless, how did our prisoners of war keep the faith while waiting in camps in Vietnam?
I don’t want to talk about how great and wonderful the Navy is or was. From my experience talking to veterans, the experience continues to stay at an even keel. What matters to me is that you veterans did it.
It’s all about stakes. At the time of the American Revolution, independence was at stake. During the American Civil War, slavery was at stake. For World War II, the preservation of democracy hung in the balance. Today, the Navy endeavors to remain a global force for good, while at the same time remaining the pointed tip of the spear in the name of what is right and just.
U.S. Navy USS Arizona survivor, retired Lt. Cmdr. Joseph Langdell pauses to collect his thoughts during an interview by a FOX News correspondent as he visits the USS ARIZONA Memorial Visitors Center. One hundred Sailors and Marines assigned to the Arleigh-Burke class guided-missile destroyers USS PAUL HAMILTON (DDG 60) and USS RUSSELL (DDG 59) and part of Combat Service Support Group 3, made up the honor cordon, which rendered honors to the survivors as they entered the USS ARIZONA Memorial Visitors Center at Pearl Harbor, Hawaii.
U.S. Navy USS Arizona survivor, retired Lt. Cmdr. Joseph Langdell pauses to collect his thoughts during an interview by a FOX News correspondent as he visits the USS ARIZONA Memorial Visitors Center. One hundred Sailors and Marines assigned to the Arleigh-Burke class guided-missile destroyers USS PAUL HAMILTON (DDG 60) and USS RUSSELL (DDG 59) and part of Combat Service Support Group 3, made up the honor cordon, which rendered honors to the survivors as they entered the USS ARIZONA Memorial Visitors Center at Pearl Harbor, Hawaii.
Thankfully, our stakeholders are our veterans – Those who looked danger head on and answered the call. Today is for those who consistently choose service and sacrifice over themselves.
There are many things you can do today if you are a veteran. There are countless deals on meals around the country. Maybe somebody will buy you a free drink. For vets, coffee at Starbucks is free tomorrow, as is the film Fury. That is only a small portion of thanks we can give to you. We owe you our lives.
Congress originally wanted to raise an Army in an emergency. There was always a need for a Navy to be present. As an island nation, we rely on the Navy to protect us at home and abroad. This cannot be done without the hard work and dedication of our sailors. The United States Navy will continue to be there so long as our veterans remain as the core and elite set of truly American men and women.
In the most humble way (and with most humility), I want to personally thank every man and woman who has served in our armed forces. For going above and beyond the call of duty. To do what I cannot. I salute you. We salute you. Thank you for your contributions to naval history.
Stakeholders of Naval History: Veterans Day 2014 was published by the Naval Historical Foundation and originally appeared on Naval Historical Foundation on November 10, 2014.

New wall at USS Arizona Memorial dedicated on Veterans Day

USS ARIZONA MEMORIAL, Hawaii — The members of AMVETS consider themselves “keepers of the wall” for this principal World War II memorial in Pearl Harbor. And on Veterans Day, they showed everyone what that means.
That veterans’ service organization, along with the nonprofit Pacific Historic Parks, raised $350,000 to rebuild the marble wall of names listing the 1,177 sailors who died on the Arizona during the Dec. 7, 1941, surprise attack by the Japanese.
“We stand here today to rededicate this wall of remembrance on this Veterans Day here at Pearl Harbor knowing that collectively we have made a difference,” said John Mitchell, Jr., a past national commander who provided a brief keynote address for the ceremony.
The memorial’s Shrine Room is built over the sunken remains of the Arizona in the harbor and is accessible to visitors only by boat. The wall of names was last constructed in 1984, but weather and saltwater spray had badly eroded it.
“The Shrine Room wall represents the completion of the visitors’ expectations when they come to Pearl Harbor,” said Paul DePrey, superintendent with the National Park Service, which oversees the Arizona memorial, during the ceremony.
“When they get to see the names on the wall, that’s the most important part of their visit. They get a full impression of the tremendous sacrifices memorialized in this monument, and to care for this structure is one of the most meaningful aspects of this site for many rangers, for the volunteers and our partners.”
The Arizona sank after a massive explosion of its forward ammunition during the 1941 attack, and it burned for two days. Most of the bodies of sailors killed on the ship remained entombed in the ship, and it was designated a national memorial in 1962.
“Twelve hundred of our shipmates rest silently below, but a day doesn’t go by where their spirit doesn’t ring very loud in all of our hearts, especially we sailors here in Pearl Harbor,” Rear Adm. Rick Williams, commander of Navy Region Hawaii and Naval Surface Group Middle Pacific, told the ceremony.
“We do march to their drumbeat. We do get inspired by this very important memorial.”
The Shrine Room wall was built with about 140 marble panels mined in a Vermont quarry.
The new wall is the second of three phases of upgrades for the memorial. The first phase replaced skylights, railing, doors and exterior paint. The final phase will replace the terrazzo flooring.
“It’s kind of a once-in-a-career opportunity to be involved in something like this,” DePrey said after the ceremony. “The last time it was done was 30 years ago. Personally, it’s very meaningful for me to be involved in this project.”
He acknowledged that it was a big funding project for AMVETS to undertake.
“But they really pulled it together and were able to help us out in getting this taken care of,” he said. “The preservation of the wall and the memorial is an ongoing effort, but that’s part of the reason we’re here. If it was easy, then someone else would have done it.”
Mitchell said this was the largest project ever taken on by an AMVET national commander.
“To raise that amount of money in a relatively small group is amazing to me,” he said. “It was a joy to do.”

Beyond boots and guns: A new look at the horrors of war - WWI

(Chloe Dewe Matthews)
(Chloe Dewe Matthews)
A new exhibition of war photography at Tate Modern looks beyond gory realism. For Remembrance Day, Alastair Sooke takes a closer look. 

What are the most powerful images of the 20th Century? For many people, the likeliest candidates would come not from the world of fine art, with its obvious contenders such as Picasso’s Guernica or one of Bacon’s screaming popes, but from the sphere of photography. More specifically, it is the photography of war that has yielded some of the most searing and indelible images of the past hundred years.
Robert Capa’s blurry, black-and-white shots documenting the landing of American troops on Omaha Beach in 1944; the naked nine-year-old girl screaming in terror and running down the middle of a highway following a napalm attack during the Vietnam War in 1972. Visceral and in-the-moment, war photography often transports the viewer unforgettably into the midst of conflict. Confronted with chaos, it is the skill or good fortune (or both) of a successful photojournalist to illuminate a moment of telling clarity within the general fog of war.
Don McCullin
Classic photojournalism - Don McCullin's famous image of a shell-shocked American marine (Don McCullin)
Yet not all photography about war has to look like this – as Conflict, Time, Photography, a new exhibition opening at Tate Modern in London later this month, suggests. Although the show will acknowledge classic photojournalism, including Don McCullin’s well-known image of a shell-shocked American marine sitting huddled and wide-eyed while pitifully clutching the barrel of his gun, as he contemplates the cost of the battle for the Vietnamese city of Hue, this will be the only example of the genre. “This isn’t an exhibition of war photography so much as an exhibition of work by artists about conflict,” explains the show’s curator, Simon Baker. “And that’s a different kind of thing: the reflection on events, rather than the recording of events.”
The limits of realism
So how can photographers respond to conflict if not by employing strategies commonly found in photojournalism about war? One alternative approach is to focus less on documenting the heat of battle and more on remembrance – something that feels relevant this year, which marks the centenary of the start of the World War One.
Some of the most moving evocations of the Great War were captured by commercial photographers who arrived in northeast France in the wake of the conflict, when people began travelling to the region in order to see for themselves the extent of the devastation of local villages, towns, and cities. There was enormous appetite for images recording the destruction, available in the form of cheap guidebooks and postcards.
A postcard of the devastated city of Reims
A postcard of Reims in 1927 - 300 million were sent by people visiting the western front after World War One (Pierre Anthony-Thouret)
“This is one of the first episodes of mass tourism in the history of the world,” explains Baker. “There were 300 million postcards sent from the western front, for instance by people visiting the places where their relatives had died. And the photographers had to make these incredible compromises: making photographs of places that weren’t there anymore.”
In the case of Craonne, which was entirely obliterated by artillery, the village had to be rebuilt on a nearby site, while the ruins of the original settlement were abandoned to nature. As a result, the only way for photographers to identify Craonne was by providing a caption.
“The idea of photographing absence became really important,” says Baker. “War is about destruction, removing things, disappearance. A really interesting photographic language about disappearance in conflict emerged and it is extremely powerful. How does one record something that is gone?”
Seeing what can’t be seen
This is a challenge still faced by photographers today. Two years ago, the British documentary photographer Chloe Dewe Mathews set about creating a series of her own responding to the World War One. Called Shot at Dawn, it expresses her shock upon discovering that during the conflict around a thousand British, French and Belgian troops were condemned for cowardice or desertion before being executed the following morning by firing squads consisting of comrades from their own battalions. “I never knew this happened,” she tells me. “Until quite recently, no one really talked about it, because the subject was so contentious and taboo.”
Researching her series, Dewe Mathews worked closely with academics to locate the forgotten places along the western front where these unfortunate combatants had been shot. She then travelled to each spot and set up her camera there at dawn, recording whatever could be seen a century after the executions had taken place.
The results are eerie and elegiac – otherwise unremarkable, empty landscapes infused with a powerful sense of mourning, outrage and loss. Commissioned by the Ruskin School of Drawing and Fine Art at the University of Oxford as part of 14-18 NOW, a cultural programme in the UK marking the centenary of World War One, the final series contains 23 images, which have been published together as a book. Five of them will be included in the new exhibition at Tate Modern.
Shot at Dawn
For her Shot at Sawn series, British photographer Chloe Dewe Mathews revisited the locations of World War One executions (Chloe Dewe Matthews)
“This is the complete antithesis of photojournalism,” Dewe Mathews explains. “Arriving 100 years late to an event – it’s absurd. Frequently, in the mornings, I was thinking: ‘This is ridiculous.’ Getting up in the darkness and driving off to some ditch in order to set up my camera – passing farmers would ask, ‘What the hell are you doing?’”
As the series progressed, though, any lingering sense of absurdity receded. “Suddenly I would be drawn to some dank bit of earth, and I would feel this sense of this person who had stepped there in the past. It was a visceral, physical thing. By taking these photographs, I wanted to stamp the presence of those people back onto the environment.”
Simple yet eloquent, Shot at Dawn is testament to the notion that the photography of war doesn’t have to be about carnage and bloodlust – at least, not overtly. “Our world is saturated with [photojournalistic] images of war,” Dewe Mathews says. “They don’t work anymore – certainly, they don’t feel meaningful to me. Seeing a dynamic composition, or extreme emotion on someone’s face: images like that engage us for one or two seconds, but then we pass on. With Shot at Dawn, it was nice to have the opportunity to think about something very quietly, rather than going for the guts.”
The irony is, Dewe Mathew’s ‘quiet’, poetic approach still gets you in the guts just the same.
Alastair Sooke is art critic of The Daily Telegraph.
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Wednesday, November 12, 2014

Veterans Day commemorated at American cemetery in France

ST. AVOLD, France — The sun lit up the Lorraine American Cemetery and Memorial on Tuesday as veterans and family members gathered for a Veterans Day ceremony.
Located just outside the town of St. Avold, the cemetery fans out over 113.5 acres. With its 10,489 graves, it is where the largest number of American dead from World War II rest in Europe.
The cemetery is about 50 miles from Ramstein Air Base, Germany, and most of those in attendance came from there, though the ceremony was organized by the American Legion Department of France.
Representatives from the American Legion, Veterans of Foreign Wars and others laid wreaths during the brief ceremony. There were a few informal remarks by organizers and others who expressed thanks to those who have served.

100 Years After World War I Began, Europe Remembers Its End

LONDON — In Britain, there were commemorative poppies by the hundreds of thousands, bright red ceramics that filled the moat of the Tower of London.
In France, there were names, hundreds of thousands of them, too, engraved in a solemn ring on a hillside that was once a theater of war.
In Belgium, schoolchildren and military pipers joined others in a procession to the memorial marking the onetime killing fields of Flanders.
On Tuesday, Europeans paused on the 11th hour of the 11th day of the 11th month to remember the moment the guns fell silent to end World War I in 1918. In London, the clock of Elizabeth Tower, better known as Big Ben, signaled the beginning of two minutes’ silent reflection that stopped traffic as crowds gathered in Trafalgar Square.

This year, because it is the centenary of the beginning of the war, the remembrance was particularly poignant, culminating in months of preparation, exhibits and re-examination of a murderous conflict that redefined the very notion of mechanized carnage and killed millions.

Continue reading the main story

On Veterans Day, Tales of Heroism and Loss 

Descendants of veterans of World War I share their families’ stories, and describe their efforts, 100 years after the start of the Great War, to verify tales of bravery and tragedy.

And perhaps because of that milestone, magnified by more recent wars in Iraq and Afghanistan, a familiar debate over the nature of remembrance and the place of the past and of patriotism itself in modern society seemed more intense than ever.
“British society divides at this time of year,” the columnist Alex Stevenson wrote in the newspaper Metro, referring to divisions over wearing a commemorative lapel poppy sold by the nonprofit British Legion, and complaining about the social pressures brought to bear by politicians and charities to display one.
“Remembrance is important,” he said, “but it’s something that should happen all year around, not just when a national charity campaign tells you to.”
It is, of course, a debate not confined to Europe. World War I drew in combatants from the United States and the farthest reaches of empires.
In London, the installation of the ceramic poppies around the Tower of London was intended as a memorial to the 888,246 British and colonial soldiers who died. The poppies have already been sold for 25 pounds each, around $40, to raise money for charity. Initially, the installation, called “Blood Swept Lands and Seas of Red,” by the artist Paul Cummins and the set designer Tom Piper, was supposed to be dismantled starting on Tuesday.

Continue reading the main story

A 100-Year Legacy of World War I 

World War I demolished empires and destroyed kings, kaisers and sultans. It introduced chemical weapons and aerial bombing. It brought women into the work force and hastened their legal right to vote.

But such was the crush of people who wanted to see it that parts of the display will remain until the end of the month.
For many years, Armistice Day has been celebrated by nations with a focus on their own dead, but the poppies, like the so-called Ring of Remembrance in northern France, offer a broader sense of participation in the war and in loss.
“New generations must understand that the fight for peace is never over,” President Fran├žois Hollande of France was quoted as saying in an interview with a newspaper in northern France, where the newest memorial was unveiled on Tuesday at the Notre-Dame-de-Lorette military cemetery, near Arras.
The monument tallies the names of 579,606 fallen soldiers, but, unusually, it cuts across national identities, and even the parameters of the war. It records the names of military personnel from France, Britain, Germany and other nations on hundreds of gold steel plates, without alluding to their nationality or rank.
The unveiling, Mr. Hollande said, aimed to be “a profoundly human gesture as well as a message of hope for all who today fight so that peace and law triumph everywhere in the world.”
For many, too, the day was one to recall the poem written in 1915 by the Canadian military doctor Lt. Col. John McCrae, which cemented the poppy at the heart of the commemorations that were to come.

FamilySearch Offers Free Online World War One Military Collections

Veterans Day is a time to recognize the veterans in our lives — to honor their service for our country and to show them that we appreciate their sacrifices made in our behalf.
In commemoration of Veterans Day, has announced the addition of three World War I collections containing information on the millions of American and British citizens who served and registered for military service between 1914 and 1920. The First World War, also known as the “Great War,” began 100 years ago and later ended on November 11, 1918. These vital genealogical resources are available in collaboration with the National Archives and Records Administration in Washington, D.C.; the National Archives in Kew, Surrey, England; and

These online resources include the free United States World War I Draft Registration Cards 1917–1918. This collection “acts like a national census,” said FamilySearch collection manager Ken Nelson, “because it includes over 24 million records representing almost half of the male population of the United States at the time." Out of those who registered, approximately 4.8 million served and 2.8 million were drafted.
Nelson said the draft registration cards include notables such as baseball great Babe Ruth, entertainer and musician George M. Cohan, immigrant Metropolitan tenor Enrico Caruso and silent film star Charlie Chaplin, who was a British enrollee.
FamilySearch has also made two additional significant WWI collections available online for free with the help of the National Archives in Surrey, England, and These resources include the United Kingdom WWI Service Records 1914–1920 collection and the United Kingdom WWI Women's Army Auxiliary Corps Records 1917–1920 collection. These two collections combined add more than 43,000,000 images to FamilySearch’s growing military databases while allowing users a unique glimpse into their connection to WWI.
FamilySearch International is the largest genealogy organization in the world. FamilySearch is a nonprofit, volunteer-driven organization sponsored by The Church of Jesus Christ of Latter-day Saints. Millions of people use FamilySearch records, resources and services to learn more about their family history.

Tuesday, November 11, 2014

U.S. Navy’s First Afloat Forward Staging Base Floated at NASSCO – PHOTOS

Lewis B. Puller (MLP-3) float-off. Photo credit: NASSCO
Lewis B. Puller (MLP-3) float-off. Photo credit: NASSCO
The future USNS Lewis B. Puller, the third ship in the U.S. Navy’s new Mobile Landing Platform (MLP) class, was launched into San Diego Bay last week at the General Dynamics NASSCO shipyard.
Lewis B. Puller is the first Afloat Forward Staging Base (AFSB) variant of the MLP-class. The ship is designed to perform core capabilities for the fleet, including aviation, logistics, and command and control.  It is optimized to support a variety of maritime missions.
“The maturity and stability of the Mobile Landing Platform shipbuilding program has allowed for the smooth transition to the afloat forward staging base variant,” said Capt. Henry Stevens, Strategic and Theater Sealift program manager, Program Executive Office, Ships. “Even with the design changes to accommodate the increased capability, this ship is on track deliver on cost and on schedule.”
Photo credit: NASSCO
The design of the AFSB variant adds a flight deck, berthing, fuel storage, equipment storage, and repair spaces to the MLP hull. With a rotating crew of civilian mariners and military personnel, the ship can operate forward almost continuously, providing a base of operations for everything from counter-piracy/smuggling, maritime security, and mine clearing to humanitarian aid and disaster relief.
During the float-off, the launching dock was flooded with water until the ship could freely float for the first time. Following launch, the ship will complete its construction and then go to sea in 2015 to complete a sea trials. The Lewis B. Puller is expected to be delivered to Military Sealift Command in 2015.
LINK: Military Sealift Command Jobs
The Military Sealift Command mobile landing platform, USNS Montford Point (T-MLP 1), is floated out of General Dynamics NASSCO shipyard in November 2012. U.S. Navy Photo
The Military Sealift Command mobile landing platform, USNS Montford Point (T-MLP 1), is floated out of General Dynamics NASSCO shipyard in November 2012. U.S. Navy Photo
Lewis B. Puller follows the first two Mobile Landing Platforms, USNS Montford Point (MLP 1), delivered in May 2013, and USNS John Glenn(MLP-2), delivered in March 2014.
USNS Montford Point in action. Photo credit: U.S. Navy
USNS Montford Point in action. Photo credit: U.S. Navy
The post U.S. Navy’s First Afloat Forward Staging Base Floated at NASSCO – PHOTOS appeared first on gCaptain Maritime & Offshore News.

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