ARLINGTON CEMETERY
Tomb of the Unknown Soldier
1. How many steps does the guard take during his walk across the
tomb of the Unknowns and why?
21 steps. It alludes to the twenty-one gun salute, which is the
highest honor given any military or foreign dignitary.
2. How long does he hesitate after his about face to begin his
return walk and why?
21 seconds for the same reason as answer number 1
3. Why are his gloves wet?
His gloves are moistened to prevent his losing his grip on the
rifle.
4. Does he carry his rifle on the same shoulder all the time
and if not, why not?
He carries the rifle on the shoulder away from the tomb.
After his march across the path, he executes an about face
and moves the rifle to the outside shoulder.
5. How often are the guards changed?
Guards are changed every thirty minutes,
twenty-four hours a day, 365 days a year.
6. What are the physical traits of the guard limited to?
For a person to apply for guard duty at the tomb, he must be
between 5' 10" and 6' 2" tall and his waist size cannot exceed 30." Other
requirements of the Guard: They must commit 2 years of life to guard the
tomb, live in a barracks under the tomb, and cannot drink any alcohol on
or off duty for the rest of their lives. They cannot swear in public for the
rest of their lives and cannot disgrace the uniform {fighting} or the tomb in
any way. After two years, the guard is given a wreath pin that is worn on
their lapel signifying they served as guard of the tomb. There are only
400 presently worn. The guard must obey these rules for the rest of their
lives or give up the wreath pin.
The shoes are specially made with very thick soles to keep the heat
and cold from their feet. There are metal heel plates that extend to the
top of the shoe in order to make the loud click as they come to a halt.
There are no wrinkles, folds or lint on the uniform. Guards dress for duty
in front of a full-length mirror.
The first six months of duty a guard cannot talk to anyone, nor
watch TV. All off duty time is spent studying the 175 notable people laid
to rest in
and where they are interred. Among the notables are: President Taft, Joe
E. Lewis {the boxer} and Medal of Honor winner Audie Murphy, {the most
decorated soldier of WWII} of
Every guard spends five hours a day getting his uniforms ready for
guard duty.
ETERNAL REST GRANT THEM O LORD, AND LET PERPETUAL LIGHT SHINE UPON THEM.
In 2003 as Hurricane Isabelle was approaching
evening news, it was reported that because of the dangers from the
hurricane, the military members assigned the duty of guarding the Tomb of
the Unknown Soldier were given permission to suspend the assignment. They
respectfully declined the offer, "No way, Sir!" Soaked to the skin,
marching in the pelting rain of a tropical storm, they said that guarding
the Tomb was not just an assignment, it was the highest honor that can be
afforded to a serviceperson. The tomb has been patrolled continuously,
24/7, since 1930.
God Bless and keep them.
I don't usually suggest that many emails be forwarded, but I'd be
very proud if this one reached as many as possible. We can be very proud
of our young men and women in the service no matter where they serve.
IN GOD WE TRUST
Wednesday May 31, 2006By William Dart
There are many reasons to catch the Auckland Philharmonia Orchestra tomorrow night, but who could resist a programme that features not only the premiere of a local symphony but also the young Chinese virtuoso who swept off first prize in last year's Michael Hill International Violin Competition.
The Second Symphony of Ross Harris - who is in the last year of his APO residency - is a symphony with a difference. It incorporates Vincent O'Sullivan poems that tell of a New Zealand soldier executed for desertion during World War I.
The young man was discovered living with a French woman, and his story allowed O'Sullivan to "go against the conventions of warfare" and present "heroism of its own in the story, a stand for emotional certainty and freedom when everything else worked against it".
Harris says that from the beginning he realised the poems could be moulded into "a symphonic thing" and that, for all his literary credentials, O'Sullivan "can be a bit of a bloke".
"There's a vernacular aspect to his work that really interests me," Harris says, "images of rugby and playing fields which I like. That does ground it a little in Kiwiland. Not that I'm trying to be nationalistic - like we all did once upon a time."
Another justification for being at the Town Hall tomorrow night is mezzo-soprano Madeleine Pierard. She is Harris' singer of choice, and her winning the 2005 Lexus Song Quest secured the orchestra's interest.
With Pierard's innate musicianship, any misgivings about details in the vocal writing have been soundly worked through. Harris had worried that the opening phrase "might have sounded unnatural" but, with Pierard, there was no need for concern.
And he is thrilled about the ending of the work, when Pierard walks off stage in wordless song. Harris says that was a requirement of O'Sullivan's words: "My child, my love, my hero/Fill the earth and sky."
Harris says: "After that line, I felt that it had to take off, but not too much, being careful not to become sentimental. I did finally allow the harmony to settle but I do try to pull the plug on it before it becomes too comfy."
Harris points out the thematic connections throughout the symphony, including a launch theme from a "ripsnorting scherzo" that is first heard in a march from the first few pages.
He can't hold back from singing it himself.
"How the young men of Empire are crazy for war," he sings, eventually breaking into a jaunty whistle.
While Harris' Symphony takes us to the France of the Great War and beyond, Feng Ning visits the Scottish highlands for Bruch's Scottish Fantasy.
With 11 concerts in 18 days, Ning has a busy schedule. Two are concerto performances in Christchurch and Dunedin, the rest are recitals with Michael Houstoun.
Winning the Michael Hill International Violin Competition was "an unbelievable thrill" and despite many honourable mentions and places in other competitions, Ning says there is always something special about a first prize.
At 25, the young man already has precious memories. One was being a private student of Yehudi Menuhin.
"He invited me to play in Germany for the opening concert of his foundation. I asked him to write me a reference and, just a few days later, he passed away."
When it comes to influences, he is quick to cite two masters - Jascha Heifetz and David Oistrakh.
While Heifetz's brilliance is such that "the more you hear him, you almost can't believe he's human", when Oistrakh plays, "you feel one of the greatest of personalities telling you a story. He always seems to be right beside you."
Both violinists have left behind classic recordings of Bruch's Scottish Fantasy. "It's a magnificent piece, mainly based on Scottish folk songs, which are just beautiful," Ning says.
I try to draw him out on the Chinese fondness for concert music derived from folk songs. In response, he poses a riddle with a Confucian twist to it: "If it's national, it is always international."
He laughs and adds, "I love folk songs. They are the real thing, they come from the people. And that is where the art of music started."
* Feng Ning with the Auckland Philharmonia at the Auckland Town Hall, tomorrow, 8pm
* Feng Ning and Michael Houstoun at the Town Hall Concert Chamber, Monday, 8pm
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