Adolf Hitler and Hermann Goering walk together up the steps of Hitler's Berghof residence in Berchtesgaden, Bavaria, Germany. Inside the two walk about and converse. Views of them in several different rooms of the building. Hitler and Goering silhouetted against the large windows in one room, containing a long table and a world globe. Change of scene showing Nazi foreign minister, Joachim von Ribbentrop, being greeted by Soviet Union Minister of Foreign affairs, Vyacheslav Molotov, in Moscow, Russia, where they negotiated a Nazi-Soviet non-aggression pact (also called the Molotov-Ribbentrop Pact) in August 1939. Von Ribbentrop is seen seated with Soviet negotiators. Various newspapers reflect mixed world wide views. Some question whether war or peace is ahead. Another notes that the Reichstag supports the diplomatic initiative. Another suggests that England and France must decide. One headline says Chamberlain will want war. Next, Polish forces are seen on parade being reviewed by General Wladyslaw Bortnowski. Among forces parading are mounted cavalry, marching infantry, a formation of PZL P.11 fighter planes, Tk-3 tankettes (Tankietka), 120 mm wz. field guns, CP7 Ursus artillery tractors pulling wagons, antiaircraft guns mounted on trucks, and army trucks carrying soldiers. Scene shifts to German airmen loading bombs on aircraft; arming machine guns; refueling; and testing functionality of aircraft elements, such as turrets. Pilot in cockpit as engines start on a Dornier Do 17 bomber. Ground crew pull chocks and aircraft taxis out. A Heinkel He 111 bomber taxiing. Two of them take off. A Do 17 takes off, followed by more He 111s. Closeup of one flying low over the camera on takeoff. A mixed formation of German aircraft aloft, including several fighters flying top cover; nine Dornier Do 17s; and other bombers. Aerial closeup of a Do 17 seen from adjacent wingman. Closeup of several He 111s in formation. Closeup of gunner in turret. View from above of three camouflaged Do 17s flying far below. Closeup of pilot in cockpit of He 111 with wingman off to left side. More views of Do 17s flying over patchwork of farmlands. Gunner preparing in his turret. Clouds from antiaircraft fire seen from plane cockpit. Bombs falling and exploding on city below. Succession of bomb craters in a line across a flat area of land. View from aircraft of damaged Polish aircraft on an airfield. Scenes of devastation on the ground including destroyed buildings and Polish aircraft. Waves of German Junkers Ju 87 (Stuka) dive bombers taking off; in formation; and peeling off to dive on targets. View from cockpit of one, through rotating propeller, as it dives to bomb a railroad marshaling yard, and view back as it pulls out, showing clouds of smoke rising in its wake. Several German officers peruse damage at rail site. Destroyed Bridge and shipyard. The German battleship, Schleswig-Holstein bombarding the Polish base at Danzig's Westerplatte on September 1st, 1939. German artillery firing in Poland. Formation of Do 17 bombers overhead. Damaged and abandoned wooden wagons at side of road traveled by Polish civilians evacuating in a horse-drawn wagon and herding their cattle to safety. Destroyed Polish artillery and equipment and horses during German invasion. Men dig graves and bury dead Polish soldiers. Vies from air of bombed out part of Warsaw. Polish citizens gathered in places seeking assistance. German forces on parade in Warsaw, including German soldiers goosestepping. Closeups of Adolf Hitler reviewing them. Location: Warsaw Poland. Date: September 1, 1939.

PENTAGON WILL REBUILD INSIDE AS WELL

WORLD TRADE CENTER - PART FOUR

INTVS W/ RESIDENTS OF WHITE HOUSE, TEXAS ABOUT WHO THEY WILL VOTE FOR IN THE UPCOMING PRESIDENTIAL CAMPAIGN. 10:00:10 SOUNDBITES OF CUSTOMERS INSIDE A COFFEE SHOP DISCUSSING THEIR POLITICAL VIEWS. 10:11:25 EXT SHOTS OF THE COFFEE SHOP. FTG OF TRUCKS PARKED OUTSIDE THE SHOP. SU JOHN MCWETHY. CI: BUILDINGS: COFFEE SHOP. INDUSTRIES: RESTAURANT. POLITICS: PRESIDENTIAL CAMPAIGN, 1992 (ABOUT).

9/11 Memorial. The memorial, consisting of two voids where the World Trade Center stood,on a summer day in 2022

Tattoo Artist Gill Monti Interview GIL MONTE INTERVIEW GIL MONTE: The whole culture of it, did he, did he show you the bullet holes and stuff? DAVID ELLIS: No. No, though, I have to say, when we wrapped up for the day we were in the back room there packing stuff up and I guess it was maybe six o'clock and his nighttime guy was coming on and he walked by me, well, no, I've got to put this down to describe this. I was talking to Rick and I heard [SOUND OF ROUND] a round being chambered... DAVID ELLIS: I've been talking to all the tattoo artists and my voice will get cut out of all this stuff, I'm trying to let the artists themselves and people speak for themselves and tell their own story - so, I'm asking everybody sort of the same kinds of questions about the world of tattooing. So, Rick Walters might say, I mean, one of the questions was WHAT ACTUALLY IS A Tattoo and he talked about the ink and how it sticks in and where... OKAY, THE GIL "THE DRILL" MONTE. How many years have you been tattooing and what made you get into it? 10:30:44.15 GIL MONTE: Crime didn't pay. I started tattooing by hand about 19, late 1969, early 1970, right around in there. And I got into it because I was, grew up, I never really had much or never kept much, family moved, my mother and father were alcoholics, they're just like always around, one school for months, so on, so, I, ceh, ended up in North Hollywood at this time and there was a motorcycle club that lived on the corner and, I mean, these guys had tattoos and it just made them look so cool, basically, and, you know, they would always, you know, it's like a tattoo, you, you'll always have it, you'll never lose it, they can't take it away from you, because, like, my whole life as a child, whatever I had, I lost in the move or it was taken from me, you know, like the tattoo's that one thing that's always personally yours and you'll always have it, it's like wake, you know, like putting on a pair of sunglasses or a hat and looking in the mirror, you know, and just liking that look and saying, man, I feel great today, you know, and, uh, and you get that tattoo, you get it and you keep it, you just want to have more of it. DAVID ELLIS: What are the tattoos you remember receiving in your early years that you liked, that meant something to you? 10:32:01.28 GIL MONTE: Every one of them. You know, a tattoo is like, it's taking you inside and putting it on your outside, you know, it's, it's a subliminal message for, eh, that you're, that you're, seh, you're documenting your life, it's your own personal diary. You know, you bleed for it, you go through pain for it. I mean, a lot of people have different reasons for getting tattooed, uh, but mine, it was just like, eh, every tattoo marked a particular time and space in my life. You know, I could almost tell you who I was with, the time of day, who did it, and, like I say, it, it's, it's all for me, you know, it's all mine and I'll always have it, no matter where I move or who takes what from me or, eh, you know, who tries to get me, I'll always have my tattoos. Whatever I have, I'll go out with, you know, and it's, so, I can't think of any particular time [SIGHS] that really stands out more than the other because every time was special. You know, I love the ritual of tattooing, you know, it's not important to me just to rush out to get tattoos -- I've been getting tattooed, again, since, like I say, sixty-nine, seventy, um, and that guy, eh, you know, we, we cut school, we were sniffing glue in class, ditched school, got, seh, went to TG&Y, stole some India ink, you know, went home played some music and we just, we tattooed each other so we'd be like these fellows that was living on the corner, this club. You know, that was a very cool time and I can't think of any particular time, I mean, if I had like $50.00 burning a hole in my pocket and I still went into a tattoo shop, I just wanted to get tattooed, you know, that it wasn't special at that time. DAVID ELLIS: TELL THEM THAT THIS IS GIL MONTE'S INTERVIEW, SO... GIL MONTE: DON'T MAKE ME COME OUT THERE... IT'S PROBABLY ANGIE... DAVID ELLIS: We did a lot of little mini-interviews out on the floor today, there's some really... GIL MONTE: Yeah...be a ... DAVID ELLIS: That's actually something I... GIL MONTE: Well, we'll get there, I can run... DAVID ELLIS: Since the ritual is so important to you, how do you help make newcomers relate to that when they come in, uh, the studio. 10:34:00 GIL MONTE: The newcomer's whats, I mean, eh, new, somebody coming to get their first tattoo or somebody who's just started tattooing? DAVID ELLIS: No, somebody who's coming in to get their first tattoo. 10:34:11. GIL MONTE: Um, you know, it, it's kind of bizarre, it's like I don't get a whole lot of people getting their first tattoo. I get a lot of people who've been getting tattooed. Um, and those that I do get, they come in the shop, uh, I basically try to get them to believe in what they're doing. You know, I'm, in my shop, I mean, if a guy comes in and he's been drinking, got a little bit of a buzz on, get with some buddies and they want to get tattooed, you know, you know, I don't mind doing that, I think it's important, if it's their first tattoo, you know, I support that. You know, if they're, they, you know, they come in, and first thing you hear them say in the tattoo shop, this drunk guys walking in, like, man I get, like, dickhead right across my forehead, well, you know, that, they may, you know, I'd discourage that, you know, and that kind of behavior, or what the, it at, actually offends me, and I get rather loud about it because this is something I believe so strongly in, you know, and carrying this with you for the rest of your life. Um. I just try to make them, basically, as comfortable as they could be and make sure that they know what they’re doing [CLEARS THROAT, excuse me] and that they're getting something that they know is going to be with them for the rest of their life and that they'll always be able to relate to. Like, say, somebody comes in and, well, they'll tell me, "You know what, if you was me what would you get," I said, oh, man, "I don't have a clue. You know, I don't, I'm not you." "Well, you're the professional and I'm getting my first tattoo, what would you pick out for me," I say, "I don't know, I can't answer that question, I mean, what are you a bowler or a golfer, I mean, what do you like, where do you come from, you know, I don't know, this is your skin, you have to wear it. You know, I walk in my shoes, you walk in your shoes, you pick out your tattoo and I'll pick it in, you know." But I'll help guide them into that direction of what they might like, that might be, what might be suitable for them, something, uh, say, you know, research, you know, what your hobbies are, what you like, what your life means to you, uh, maybe you robbed a bank back in seventy-two and you would like to make that statement on your skin, but you want to do it subliminally, so you say, I had a guy robbed a bank in 1972, you know, and then worked out a design with this person. You know, I just want it to be a religious experience for them. No matter what, even if they're getting, like, a happy face out there, it's got to be important, you should want to be wearing a happy face. DAVID ELLIS: When did you... how long did it take you to learn how to tattoo and then, when did you realize you actually were good at it and artistic with it? 10:36:49 GIL MONTE: Well, I've been learning tattoos since that first time I poked one in the skin, when I first started, I'm still learning. Uh, it's an amazing business, there's, there's anything can be done on the skin that can be done on any other form of canvas. Um. I like pencil, more black and white work, but I don't disregard color, I like it also, I, just not very good at it. Um. I mean, I struggle, like I said, I always wanted to learn... My thing about tattoos is I never wanted to do the greatest tattoo, I wanted to be a good tattooer, I wanted to be one of them guys that I remember when I would walk into a tattoo shop and that guy would be back behind there, like, bigger than life, would have these, like, tall tales and, like, these long stories that would keep you enthralled for hours. You know, these people were magical to me, I, I'd, I realize that they were like saying something, you know, that they were, they were preaching something that I could relate to, and I wanted to be one of those guys. So, as, when I first broke in professionally, after a little bit of time, I, I broke, feh, broke loose and I went out, and I went out and I tried to go around everybody who'd I read about or had heard about because it, it, back in them days, there really wasn't a lot of print on tattooing. You just had stories that where one tattooer talked about another guy doing this crazy thing back in, like, North Carolina in a carnival back in the thirties or forties, you know, and I, I wanted, I wanted to meet these people, I wanted to talk to them, I wanted them to tattoo me, I wanted to get that blood transfusion, you know, I wanted a part of that, in me, you know, because I wanted to be a tattooer, you know, I wanted to be able, because I realized with this job, what you're doing is when people come in and you tattoo them, you're altering their life, you know, they're going to walk out a different person, you know, because, no matter what, once the skin is marred, it'll never be changed and when they get tattooed, when they look at that, it's always going to say, BINK, back then, when you got this, remember this, you know. So, I wanted to be able to preach this religion which is the only religion that I believe in. You know, I wanted to, to feel worthy of this, you know, and I still go through all the dues or, or whatever it takes, you know, to pay my respects for it and to, to feel myself worthy as being a tattooer. You know, sometimes, I mean, it's like, I even ask myself, am I bored or hypocritical about it or not, I don't think so. It's strong. I mean, I, I've, I've watched the tattoos change people's lives over and over and over, you know. You, for instance, if you don't have one tattoo, you walk in and you get a tattoo, when you walk out you're different, same with your second tattoo. So, it was just important to me to feel it in me and I still learn, you know, I still seek, I don't, if somebody's been tattooing for a week or, if they don't even tattoo and they come up and they have some advice on it. I listen to everything and I try it once or twice, or three times, so I mean, it's, it's always a learning process because, you know, the, it, it, there's something, there's no rules here. So, and I'm just, I'm just a fledgling artist, you know, but I go through the soul and I believe that. DAVID ELLIS: I noticed something interesting about your newest art, that you have a couple of different, you don't seem to be limited by subjects. MORE QUIET OUTSIDE. There were skulls, but there were masks, there were sort of a total, I don't know if they were total opposites, but, somewhere in your soul you're able to and interested in creating different images. Where does that come from? 10:40:50 GIL MONTE: Um... Too many acid trips before the age of nine, basically. You know, um, I go through life, hopefully, with my eyes wide open, as wide as they can possibly be. You know, you know, like, Bert Grimm told me one time, that a tattoo artist becomes a master of expression. You know, because when you sit there and you're tattooing somebody, you hear it all, and you take some of that home with you every day. You know, like a hairdresser, they say only their hairdresser knows for sure. Well, when you're charging them money and you're making them bleed and hurting them, and you still want to send them out with a smile on their face -- they're telling you everything, you know, to me, a tattoo shop is a place where, like, the underworld meet the elite, you know, everybody's there, everybody's congregating, everybody's talking, you know, and you're absorbing all this and... you're getting, it's not like, it's a bloody ritual because they're very clean, antiseptic business, um, but, when I say, when, as I'll make the statements, as you go through it, you get their blood on you, you know, I just don't mean blood, but I mean, what they're saying, the conversations that spill over from the other side of the rail that the people are talking about, you know, it all goes into your head, it all saturates you, you know...so... DAVID ELLIS: It's sort of an intimate experience...IT DOES, HUH HUH. LET'S MAKE AN ADJUSTMENT... ANOTHER DRINK... 10:42:53 GIL MONTE: Actually, I could introduce it through any time, I could bring it in okay. You know what I mean...Just so you know I'm doing this. DAVID ELLIS: You were going to tell me how, in your soul, totally different kinds of art and images come out. 10:43:12 GIL MONTE: Oh, good, I was wondering because I kind of forgot. DAVID ELLIS: I mean, most people know you as like... 10:43:18 GIL MONTE: A skull guy. DAVID ELLIS: A tough guy, a skull guy, interesting, Gil is the pirate and there was art on that flash that, I don't you that well, but it's interesting, it's totally different. 10:43:35 GIL MONTE: Well, I mean, the pirate thing and all that, that comes from, I mean, I, I ride motorcycles and, you know, I just, I leh, I live life and I live it as being a tattooer, you know, where "the customer’s never right," a quote from Alto, um... My art, like when I juh, I just drew this last set of d-designs, it was the last one I had done since 1989 and that set in 1989 I called my Heartbreak Set because, uh, my wife, at the time, had fallen in love with my best friend and I was shattered, you know, and if you look at all the stuff, it's just all, just like, "Woe is me." And then I hadn't drawn it, for one, it, it's a heck of a lot of work, to do a set of flash, and I haven't drawn on paper, basically, since 1989, you know, I keep my eye focused on the skin. Like when I do, uh, when I tattoo, I mean, if I'm not sitting there and I'm not doing something that the customer comes in and would like something off the wall, um, I don't use no research material, I draw everything out of my mind, on the skin, with a pen. You know. So, and, now, back to the flash and, and the artwork there is, I hooked up with a new lady, Angie, and she made my world a different place to be and seemed to have opened up some barriers because, I mean, after, again, now, in this job of so much of going in and doing artwork or drawing and tattooing and taking so much home with you, if you're like, you know, I kind of just fell into a, seh, a meh, a, a slump, you know, artists' block, whatever you want to call it, and I wasn't really producing. I mean, I was tattooing enough to keep my head above water, you know. Um, but, now, since, my life has seemed to have taken a change, and, feh, you know, done a "360" and, uh, I started drawing, I actually did one set for somebody to, you know, to sell out of a catalogue that they were a compilation set with other artists and, uh, I was drawing, just like all this stuff was coming out of my hands that I didn't even know existed that I could draw. So, and then, with the need of money, I went to producing a set of flash and, as I was drawing, and just coming up with these ideas, I mean, it was just bam, bam, everything was just like falling right out, it was right there. And I even said I feel like, well, look at this, man, I said, I can't believe I'm doing this, or somebody'd come up and go where'd you get that from, I said, I don't have a clue. But, you know, you, you go through and you look and you see things and, especially if you're involved in the art world and you look at special technique or form or how somebody's doing something and, evidently, you still are this, you know. I think that's what worked for me, because I mean, it's like I had no idea where these ideas and stuff was coming from and, as far as like the skulls or all that, I mean, I'm known for doing skulls, um, I like to do them and people want them and that's all that matters to me and that they're happy with them. You know, if I never did anything else besides a skull, well, I mean, well, I guess that would be okay with me right now. You know, I don't feel like changing, but I like to do anything and I'm capable of doing anything, I mean, I could draw anything I've ever seen, you know, some, eh, things I draw better than others of course, but, uh, it just, all of a sudden it's just like I went through a life change, you know, and everything is just kind of open for me and the art is just, eh, there. DAVID ELLIS: How many years have you been tattooing... 10:47:17 GIL MONTE: What time is it? DAVID ELLIS: 30? 10:47:18 GIL MONTE: Well, like I said, I started like in late sixty-nine early seventy, I can't quite pinpoint the date, um... DAVID ELLIS: Do you remember a time when you did a tattoo somewhere in those early days and you said, "Wow, I think I'm starting to get a handle on this?" 10:47:37 GIL MONTE: Phew. There was a time when I thought I was the greatest thing that's ever hit this industry, you know, I thought, man, whew, ain't I something, you know, um, so, yeah, but, I mean, it's just like that saying, you know, the more I learn, the, the more they change the rules or as soon as I think I know they change the rules. Um. Again, like I come from a place when tattooing was fairly traditional in our country for the aspect of panthers, roses, eagles, your name, you know, things like that and I thought I was breaking all kinds of new ground by doing a skull in a top hat, you know, but, uh, whoa, I just didn't see or there wasn't as much exposure for tattooing as, as there is now for people to see. But, uh, yeah, I definitely, uh, I had some leaders, you know, there's been great tattooers, um, I LOST THE TRACK OF IT. DAVID ELLIS: It was eloquent -- PAUSE FOR A SECOND - want to tell Gil a story... GIL MONTE: ...he didn't get that from heh, from his other tattoos, it was just a ________, but when I 10:48:55: GIL MONTE: tattooed him he, juh, he, you know, he'd feel like he engulfed this power, you know. DAVID ELLIS: It's an interesting thing that, as you said, people will walk out of your studio with your work and with every tattoo they're changed in some way. I mean, we saw... 10:49:11 GIL MONTE: Yeah, but you understand, you change, too. You can't help it. You change, too. You know, because, I mean, even if they're talking to theirself, you're still taking this all in, I mean, you're not in a glass bubble, they're talking and you're hearing, even though you're concentrating on what you're doing, you're still hearing what they're saying and all this is going in your brain. These people aren't, these people are being, hur, eh, it hurts a little bit, it stings, it's a burning sensation, you know, and, at times, it becomes very uncomfortable, right, and they start babbling, they say things, they talk about their wives, they talk about their jobs, they'll talk about their motorcycles, they'll talk, they'll tell you anything, like I said, we mentioned earlier, they'll tell you anything, anything, you know, but their soul basically pours out on a table in front of you and this all goes into you and you can't help, when you go home at the end of the night, taking some of that home. DAVID ELLIS: Is that for better or for worse? 10:50:06 GIL MONTE: Well, I mean, I believe it creates a wise man, they say you could gain knowledge at school, but you would gain wisdom through travel, you know. Like, in, in my life, if, is tattooing, I've tattooed some of the most interesting people that ever existed, you know, I'm kind of related as a hoodlum tattoo artist, you know, um, therefore, I have people who come to me who feel safe if they say something or want to say something to me and I carry all this, you know what I mean, they give this to me and, to me, it just makes me another day older, another day wiser, you know, but, even if you're not concentrating on that, you're still getting input from every person you tattoo is giving you something to take home. DAVID ELLIS: PAUSE FOR A SECOND - COME IN... 10:51:00 GIL MONTE: Well, like, eh, when I've mentioned before, you know, it's like, I've talked to people you know, it's like, when I get up, when I get ready to go to work or go to the shop to do my thing, you know, I don't know from one minute to the next who's going to walk through that door and what they're going to ask me, you know, you think you heard it all, you think you've seen it all, it never fails, everyday there's something new, you know, uh, I've tat, eh, like I said, I, seh, I, my clientele is, I probably have one of the most interesting clientele lists in the business, I would say, but that's just me, you know, I think our people are special to me and there's a large variety of celebrities: athletes, criminals, you know, just all, you know, everybody gets tattooed, so, you're sitting in a chair, and just, you just can't tell who's going to walk through that door, you know, my biggest day that I can remember, as far as who came through the door, was when Ringo Starr come through, my whole life I wanted to meet one of the Beatles, and Ringo comes in with his wife and his daughter, you know, I mean, it's, like, I thought I've never been floored, but I was floored, you know, I mean, and the ironic thing was, it's like my whole life of buying Beatle records, posters and tapes and any other stuff that they were selling, I was buying, um, putting that money out, it's a Beatle brought me that money back, see, those are the things that make me believe in this. You know, a Beatle brought me my money back. I might even have made, gained interest on it [CHUCKLES]. DAVID ELLIS: Well, you've already sort of touched on this, but, after 28 years of meeting all kinds of different people, I don't mean to reduce this all to a short sound bite, but, what are some of the things you've learned about human nature through watching people walk in the door -- are there any things, I mean, I know that life is unpredictable... 10:53:04 GIL MONTE: It takes all kinds of people to fill a freeway, you know, and, the only thing I know for sure, you know, is that today is Wednesday, you know, it's, people are very unpredictable, you know, I quit trying to, like, early in this job, like, eh, like we asked or we talked, eh, touched bases on, uh, [CLEARS THROAT excuse me] People come in and their first tattoos or try to steer them in a direction, well, I quit trying to pick them out, you know.... You just don't know what they're going to do it, what they want, where they're going to get it and...people just blow my mind in all honesty. There's just no, I don't know, I can't, eh, I just can't even touch on this. [CLEARS THROAT] DAVID ELLIS: It's interesting that every tattoo artist is different, everybody has skills in different areas, everybody, you know, thinks about stuff differently and I think that if you were to, to, I mean, ask somebody who doesn't know you at all, just knows that you're a famous tattoo guy, they'd say, well, Gil Monte is that tough, famous guy who does skulls and the weird truth is, as it always is, it's much more complicated than that. You know, I mean, anybody who's listening to this is going to say, well, if that's, if this is Gil Monte who just does skulls, I mean, he's a tattoo philosopher, really. There's a lot of stuff going on in your brain that nobody, necessarily, knows about. Maybe when they're sitting in your chair they get a sense of that. 10:54:50 GIL MONTE: You know, what I found through this business is, after you've tattooed somebody, if you've been fair with them, you've treated them right, you treat them with the respect that they deserved, a lot of times these people come back for a tattoo fix and for your fix. They come back to gain a little comfort or insight or hear some of your philosophy, I mean, that's what's, jeh, s-steered me in this direction, you know, basically, is that there are wise men, you know, and I believe a tattoo should be a wise man. I'm highly offended by, uh, tattooers who just treat it as a nickel and dime trade, uh, bastardize it, basically, is what I say, you know, it's very important. Now, [CLEARS THROAT] I mean, I don't, cuh, I don't know, I don't know, as tough as I am, how tough I am, I don't know, you know. I've grown up in a manner and had enough stuff taken away from me to where I had, I ain't going to allow it again, uh, if I'm right, I'll go all the way with it, you know, I, I'll die for a cause, I have that tattooed on me, "To Die For a Cause" you know, it's all, all I have is my heart, you know, because the way I tattoo and go about it, you see, me, I don't make a lot of money at it, you know, I just, it's labor of love for me, you know, so, there's, I'm impressed, I mean, I'm known as being around a long time and people, some people have respect for that, some people don't, some people don't like the way I feel about the business, some people do. Um, you know, I just do my thing, I like motorcycles, I like riding them, I like, I like me and my lifestyle, you know, and it fits into certain brackets of life with other people, that's cool, you know, I don't try to be something I'm not, I'm not a good liar. Um. And how people feel about me or look at me, well, that, you know, get a job, get a life, you know. I have, I have a lot of fans in this business who think of me as a certain way, that's cool, we meet, they feel differently, you know -- I'm the first guy to cry at the movies, you know, I'm not an unbearable thug, you know, I have a big heart, you know, all my money I’d give away trying to help somebody out, you know, all my personal possessions, is my, it's my motorcycles, I was like, I gave it all away to help somebody out, you know, I just like to tattoo, I like to make people happy and, you know, ride my motorcycles. DAVID ELLIS: Can I take you back to the early years when you told me you were sort of roaming around trying to learn from some of the great people and you ran into Bert Grimm in Vegas and I guess you met other people. What were some of the important lessons that those early great guys told you or showed you? 10:58:17 GIL MONTE: Well. To believe in what I was doing, for one. To believe [CLEARS THROAT] To believe in, in the tattoos...um, and the power that being heavily tattooed..presented. Bert Grimm told me one time, in Las Vegas, he goes, "Man," he says, "You never throw stones at heavily tattooed people." See, now, we're coming from a time when being heavily tattooed wasn't a very popular or a cool thing, you know, you were, you were, you were kind like the human freak, like on sideshow carnivals and circuses or, one of the most common questions, "you must have been in prison," or "you were in the navy." It couldn't just be you're just an artist or you're just wearing your life story on you, you know, you had to come from some kind of waterfront with a dingy lit bulb hanging over head, you know, you couldn't possess anything else of any pizzazz, you know, you had to be criminal or in the Navy. Um, but they told me this, like, it's just so important, you know, to believe in this, and to make a couple bucks, and to put a couple bucks under your mattress because you don't have life insurance now, you know, you don't have a dental plan or you don't get eye glasses, you know, so, you've got to make hay while the sun shines, you know, and, basically, you know -- get it. DAVID ELLIS: What do you figure happened - WANT TO MAKE A CHANGE? OKAY... DAVID ELLIS: So, 28 years and in those 28 years society has, I think, changed a lot in how it looks at tattoos, what are the things that you've noticed about those changes in all the years you've been working? 11:00:16 GIL MONTE: With tattoos? Well, I mean, there, there's a lot more preh, there's a lot more press, there's a lot more attention focused on it, I mean, coming from a point of more celebrities got tattooed, there's tattoo magazines, um... DAVID ELLIS: What changed in society that all of a sudden, you know, everybody is now interested in tattooing? 11:00:37 GIL MONTE: You know, I have a philosophy on this and it's like, whenever this history repeats itself, when society or, is in its form of decadence, when things ain't going all that great for everybody. You know, nobody's got money, there's no longer no middle class, you know, you either got money or you don't. Um, people try to be able to hold on to what little bit of things they have, you know, and tattoos have always been that, that, that thing that people could get that, ain't nobody going to take away, ain't going to be the tax man, no, no man going to get it, uh, Johnny Crack-head ain't going to, uh, break in your house and steal it, you know, so, as things are going rough, people start grabbing onto things that they can hold on to, things that make them feel better. You know, I mean, I've seen people come in and actually try to talk some people out of spending, you know, coming in with their wife or something and spending her last fifty cents on a tattoo, you know, because this guy needed this, this guy needed this, to bring him up so he could start functioning again, you know, well, [IMITATES NAGGING] "we got no milk, we go no bread, we got no cheese," you know. He says, "look, I need this," or vice versa, she needs this, you know, "you know, my tits are sagging, I would like to feel better about myself," you know, "I'm going to spend this last fifty cents to get my breast job," you know, I just think things have gone a little astray and gone down and I think people are grabbing onto tattoos to feel a lot better about themselves, I think people have become much more tribal. You know, I look at my business, now my business is well, sixty percent black. If you would have told this several years ago I would have laughed in your face, you know, but we get this large influx now and there's, there's a lot of blacks that are being tattooed, you know, because it's, it's, it's very tribal, it's, it's part of their history, you know, it's bonding, you know, but the key word, I think, being, is tribal. You know, and, and understand it's like, I'm not a tattoo historian by no means, you know, it's all like, leh, just how, how I see it. DAVID ELLIS: LET'S PAUSE FOR A SECOND...11:02:52 TAPE CHANGE GIL MONTE -- continued DAVID ELLIS: We've had a lot of 16-hour days. TC_______ GIL MONTE: Yeah, it's funny, it's just like I watched, uh, the Devil's Advocate the other night. I thought the way it was filmed it was just, s-so spectacular, you know, I couldn't wait to... DAVID ELLIS: Camille Claudel? TC_______ GIL MONTE: Yeah, they get killed, I'm the guy on the weight pile, or in the carrot, carrot eater. Um, but his average was like 30 scenes per take, but... 30 takes per scene, yeah, I'm sorry, but I don't know if you've ever seen it, The Devil's Advocate, NO. Man, it is just, it's just, it's incredible the way he did it. DAVID ELLIS: Did you see it in a theater or a video... TC_______ GIL MONTE: No, the, it's on TV upstairs, on the pay-per-view box, you know. But the artist died. You know it's like Angie wants to learn how to be a ph, eh, she wants to be a photographer, you know, and, I mean, I just take pictures because I'm there and I just take pictures, I just, but I, I use an artist eye with it, what I have, my, my, my idea of an artist eye, uh, okay. And, I, I'm trying to like direct or help her out a little bit, you know, and I'll say, hey, now that would be a nice shot, you know and it got to, eh, be a little bit where she was like, oh, just leave me alone, let me figure this out, you know, and I said, "Look, we're just trying to have something in common, I'm just trying to, like, direct you a little bit." Um, she goes, "Well that's your opinion of art, that's not my opinion." Well, I thought abo, I had to think about that, you know, because, like I said, you know, what, when we talked about, what have you ever learned about people is that everybody's different. You know, really, no two people are the same, so, there's no rules, who's to say. You know, when she says, that's your opinion, let me figure it out on my own, and I figure, well, my I'm an artist, I'm trying to tell her, well, wait a second here, you know, maybe she's the artist. DAVID ELLIS: Let me ask you something about tattoos... TC_______ GIL MONTE: Not that again. DAVID ELLIS: You've travelled a lot, you know tons of people with different kinds of tattoos, is there a bad kind of tattoo? TC_______ GIL MONTE: Well, I don't know how to answer that, because, you know, to me, see, this business has become saturated with suppliers, you know, and anybody can get a tattoo kit and tattoo their brother, you know, without understanding, uh, sterilization or anything that has to do with it and I think somebody who just goes in and gets a tattoo from them is getting a bad tattoo, but, you know, then, again, it just marks, I think, if you like cut yourself and, you know, gets some powder in your arm and it leaves a mark, is a tattoo, and I, you know, sometimes that's okay, you know. A tattoo, eh, is not exactly looking at a eagle above an anchor or a heart with mom, you know, it's a mark on your skin, you know, that, you remember that means something to you. DAVID ELLIS: I wonder, is there a certain kind of tattooing that turns you off? I mean, you've got a daughter, do you ever see young people, is there some kind of image that you wish people weren't using or... TC_______ GIL MONTE: WELL [CLEARS THROAT] I have my personal preferences of what I think, eh, of things that I like, but, again, who am I? You know. I do my thing, you do your thing. Now, I mean, I might not like what this person is doing, like, I have, there's somebody in the business that does a lot of demonic stuff and, you know, anti-Christ stuff, you know, now I'm not a religious man, I don't believe in Heaven or Hell, I just think it puts out the wrong message, but, again, I mean, who am I. You know, there's a saying, "the only difference between tattooed people and non-tattooed people is tattooed people don't care if you're tattooed or not." You know, there's just, there's no rules here, it's art, it's tattoos, it's a permanent mark, you know, and if the person getting the tattoo and the person doing the tattoo are happy with it, you know, or as long as the per, bottom line, if the person gets a tattoo, if he likes it, that's really all that matters, you know, if he honestly likes and he gets through and he's happy with it, well, there you go. I mean, I could be down on suppliers for saturating the business or putting, you know these tools in the hands of children or whatever, the thing is, is there have been great people come up from that, you know, so, to answer the question, I mean, it's, you know, I think all tattoos are good tattoos, although there, I said again, india ink, big thick lines, um, John Loves Jane, you know, some people say, "Oh, that's ugly, I could fix that, let me cover that up, that looks cheesy, it looks like you've been in prison or whatever, you know, it's still what the tattoo means to that person when he got it. It might not look good when you're at the cocktail party with the boss, you know, he got this old, you know, handpicked tattoo, but, uh, it still means something. So, like, again, there, there's no answer to that question for me. DAVID ELLIS: Tell me something about Ink Slingers' Ball. TC_______ GIL MONTE: The Ink Slingers' Ball is convention that was started off, there was Randy Adams, uh, Fred Saunders, myself. Fred Saunders does production. I mean, he's really very good at it and we wanted, Randy and I wanted to have the unconventional convention, you know, it was, again, let's have fun with this, this, eh, tattooing was going through a time when everybody was building tattoo studios. Please come in my office and allow me to put this tattoo on you, you know, I'll make appointments six months in advance and I will step into your studio, you know, and you're going to mark me forever and there's just no personality there, it's just so...unclose, you know, it's just, you don't feel it, like, nothing there. I wanted to open it up, you know, make tattooing all fun again, you know, let people sit next to each other and laugh and share a memory, you know, play music. It had just become a too, tattooing had become too antiseptic, you know, there was no more personality, again of the ritual of what this person was doing with the other person, or, you know, the meeting of the minds and sharing this. Like my studio, you know, no walls, no, no, no private offices, you know, you sit right next to the other person and you get tattooed and you bleed all over each other, again, bleeding just means verbally or sharing their memories. Uh, we're having slingers, it's, this year, it's the 17th, 18th, 19th and 20th of September and we have it at the Hollywood Palladium where they used to do the Lawrence Welk show from, it's just a cool old hall, you know, and I remember I used to be tortured by having to watch Lawrence Welk and Mitch Miller as a child, you know, but, eh, they were having fun there and that's what it's always been, is like the little place to go and listen to music and have fun and party, so I wanted to have the Ink Slingers' Ball and it's, it's the unconventional convention, you know, there's a lot of people there that don't get boozed that like other shows, you know, tattooing took a turn where it just become the who's who, only those people get boozed, only that get boozed, you know, and there, there's a lot of people coming up who's been around, who don't like to rub all them shoulders, you know, that do great tattoos and like to have fun at it or feel, you know, like I do and that's basically what Ink Slingers is about, it's the unconventional convention, you know. DAVID ELLIS: Just a couple of more questions. I get the feeling that you like to mentor the people in your shop and you like to see new people come up. What is it that you try and teach people? TC_______ GIL MONTE: Ummm. First off, I think this business is already over-saturated with tattoo artists, I think there's too many. There's too many who don't take it serious, what happened was, like, is, I, again, when I come up through the business, you had to serve an apprenticeship, you know, you had to run and get the hot dogs, you had to cut stencils, you had to scrub the toilets, you had to mop the floor, you had to do whatever it took, I gave my motorcycle, you know, and just worked real hard to get here, you know, you had to really want to be here, you know, because the, this is a, uh, a job of a, pirates and they don't want you around, you know. It's like if you was the only 7-11 in, uh, all of L.A., you'd be doing all right, but there's one on every corner, you know. It looks like a, a job that, that's like easy money, you know, it's not, not easy at all, nothing easy about it. The only thing that's easy is getting the tattoo equipment because people don't care who they sell to, you know, they don't care who gets it, they don't care. Um. I'VE LOST IT. DAVID ELLIS: I guess my final question would be, what's the future of tattooing and what would you like young, skillful people to know for the future and are people going to get marked forever? TC_______ GIL MONTE: They always have, they always will. It's the oldest proven form of art known to man, tattooing, you know, and people will continue to get tattooed, you know, um, there will always be that culture. I could foresee a heavily tattooed society. I mean, there's more every day, it's, it's, it's like, uh, like, it's just taken over. People realize it's okay to feel good about yourself, to do something that's a little different, it's okay to make a, a permanent decision in your life, you know, it's okay. And I try, you know, like with, with people, I just try to get through to them, you know, eh, like, again, like I was told, man, hey, take what you're doing real serious, because it is real serious, you know. These people are going to walk out the door and they're going to go through their whole life with this mark, you know, make it special for them, you know, you know, good, and you've got to get right through it, you know, just don't break the skin, you've got to break into the soul, you know, to make them feel really good, you know, you know, I've always felt like, eh, that you could almost tattoo, you know, poop, you know, or something on somebody, and if, if, if you're, if you deliver right, if you're right about it and I like it, you know, it doesn't matter, you know, you just got to really feel like what you're doing is important or realize it is important.

COLOR SYNC Patriotic images - people with flags and hats showing flags around NYC - parades, moving shots of people lining parade route and their faces with emotion, tears, heads lowered in prayer, people from all over world seen, street theater. Ground Zero Ceremony - flags on sides of buildings, sign ""We will never forget"", people signing a car wtih notes of remembrance, views of the car covered with people's notes, Street sign ""Liberty Street"" and ""west street"" , Washington Square Park 9/11/02 - group of BUddhists hold memorial prayer service - Tree of life planted in NYC Washington Square Park in memory of victims of 9/11. Washington Square Park candle lighting ceremony - dusk 9/11/02 - very large crowd assembled - WS and CU stringed orchestra playing 00:30>>>Tiles for America - West Village - 9/11/02 - commemorative tiles on display - all hung on display on a fence - thousands on view - INT shots of where people can come to make the tiles, people making tiles, 00:33>>>Ground Hero Kids - Tribecca - (Lafayette Street) 9/11/02 - EXT Engine 31 - sign for QUilt Show - INT views of quilt show - numerous quilts on display showing tribute to those killed on 9/11 00:36>>>9/11 Memorial Murals - Pelham Parkway, Bronx - huge murals painted along the sides of buildings, some full length of a block, in memory of 9/11, FDNY, NYPD, and all the people. Some incredible art work 00:50>>>New York City phone booth with patriotic ad on its side ""United We Stand"" 52:09>>>O'Hare. Chicago airport 9/11/02 - moment of silence - everyone standing still - very dramatic moment and then the playing of The Star Spangled Banner on the loudspeaker - people then solemnly contiue wtih their business 00:54>>>United Airlines flight announcement - from inside airplane while in flight - pilot of airplane asks all those on board to take a moment to reflect on those victims of 9/11 00:55>>>Newark Airport - Gate A-17 memorial (gate that United AIrlines FLight 81 departed from on 9.11) - there is an American flag, memorial wreath and names of crew members and passengers who lost their lives on display. A whiteboard is set up on the desk where people are writing memorial notes - The neon sign behind the desk says ""We Will Remember"

Aerial view of Moscow city and office business buildings.

00:02:27 - 00:06:30 - Burning North Tower of World Trade Center after first plane hit, WS as 2nd Plane hits. 00:06:30 - 00:09:59 - CU Burning South Tower - pan over to show both towers burning - pull out to wide shot of both Towers burning. 00:10:00 - 00:10:21-WS of WTC Collapse and CU from ground looking up at first Tower collapse, WS both Towers with No Tower burning, CU North Tower, shot of second plane approaching and hitting South Tower which is obscured behind North Tower but fireball seen as impact is made. 1:10:22 - 00:10:30 -NYC - Ground Aftermath - debris and people and EMS workers walking through debris. 00:10:39-00:13:53- WS South Tower collapse, ground shots of Tower collapse and dust cloud. Tower Collapse. Various views of Firefighters, emergency workers and people running from dust cloud after Tower collapse - WS along West Street with dust cloud in distance.CU on dust cloud to ZO to wide shot as people walk away from collapsed Towers and other just staring in disbelief and then moving on away from dust cloud, emergency vehicles and truck leaving scene of collapse. 00:13:52 - 00:14:12 - WS along West Street with 2 firefighters in foreground and dust cloud coming towards camera in distance, Dramatic POV walking through debris and dust cloud after collapse seeing NYPD trucks and fire trucks. Various people and firefighters and police covered with debris. 00:15:35 - 00:19:45 - Slow ZI from New Jersey looking towards lower Manhattan and the burning and rising cloud of smoke covering all lower Manhattan. ZI and hold on the site engulfed in smoke and then ZO to WS and back in again. Statue of Liberty is in mid ground. 00:19;20 - 00:19;45 - People running towards camera as debris cloud takes over and camera goes black. 00:19:45 - 00:22:14 - EMS worker being escorted to ambulance. View from across West Street of Tower collapse, people running up West Street to escape the dust cloud. View towards dust cloud coming across West Street, lines of people streaming away from the dust cloud. Good shot of young woman's face reacting. Man in hardhat covered with debris. Views of people carrying injured man. Two women, arm in arm, walk up West Street. 00:22:14 - 00:23:40- Several debris covered firemen sitting on a concrete road divider along West Street, one with blood streaming down his face and rinsing mouth with water. Views of debris covered streets littered with dust and papers, people walking with scarves covering their mouths, others taking pictures. The dust cloud still blowing through and not yet settled. Views of cars covered with inches of dust. MCU of fireman covered in dust, some with head in hands, others with looks of disbelief. 00:24:54 -00:25:46 Brooklyn bridge evacuation - WS to ZI of people seen streaming from lower Manhattan towards the bridge from all directions and roads. MCU of police boat racing towards scene and ZO to smoke pouring from Ground Zero. 00:26:00 - 00:27:05 - LAX Evacuations - airport. empty inside except for some camera crews. Departure Board showing all flights cancelled. MCU of policemen down escalator. 00:27:27 - 00:29:26 - WS Woman and Guy cop (police) standing guard. Various views of planes grounded on runway (airport not identifiable). Planes not taking off. One American Airlines plane seen slowly taxiing. This is O'Hare airport in Chicago. 00:29;39 - 00:31:26 – PAN across back side of White House. Firemen and police telling people to move. Men in suits running across lawn in front of Capitol Building. Police running. Large groups of police seen assembled. CU United States Capitol Police - Critical Incident Command Group (yellow patch on back of police uniform). MCU Policeman lookout stationed on rooftop of Supreme Court building looking over scene - ZO to wide shot of Supreme Court. Police truck and black SUV driving on road. 00:31:33 - 00:33:18 - WS burning North Tower, second plane hits South Tower (two views), both Towers burning, ZO and ZI - views of lower Manhattan with Towers burning. 00:33:20 -00:35:15 - WS burning Tower, Tower collapse - seen from New Jersey - dust cloud rising over lower Manhattan. 00:36:10 - 00:36:53 - From ground, view of 7 World Trade Center collapsing with dust cloud from World Trade Center behind it. 00:36:54 - 00:38:09 - High angle down of burning Pentagon, views of people assembled on lawn out in front. 00:38:10 - 00:41:11 - GROUND SHOTS OF BURNING PENTAGON, people evacuating and moving away from burning building. Firefighters. FBI man running to Red Cross helicopter. Fighter Jet seen flying overhead. CU windows engulfed in flame on second story of Pentagon. Various FBI men walking the grounds. People being told to move back. Smoldering building. Fire trucks spraying water on Pentagon. Throngs of people assembled across street and watching. Views of traffic. 00:45:11 - 00:47:42 - Aftermath of World Trade Center collapse and destruction in and around Ground Zero. Dust and debris and scattered papers everywhere. Police cars covered in dust. POV as camera walks through empty streets. Only a few firemen are seen amongst the rubble. Shots of partially destroyed buildings in the area which were affected by the collapse. Fire trucks. POV as camera walks through debris and zooms in on burning Ground Zero pile. A singular fireman is seen walking among the debris. CU of debris - destroyed fire trucks. 00:48:50 -00:51:27 9/12/2001 - EMPTY NYC Airport Planes. - Washington DC - US Airways planes parked at gates. WS. Capitol Building. Deserted terminal EXT US Airways Shuttle. Views of screens showing all flights cancelled. NYC airport showing planes parked at terminals, empty control tower. 00:53:00 - 00:53:45 - Second plane seen hitting tower 01:01:41 - 01:02:27 - Shanksville, PA crash site.

/n00:00:00:00 /nLEAD STORIES: Plane Crashes Into Italy's Tallest Building; Crash Evokes Images of September 11; Pres Bush Says Israeli Pull-bacas Must Continue; GUESTS: Sen Mitch McConnell, s ...

NIGHTTIME FTG OF FIREHOUSE ENGINE 40 LADDER 39 W/ HALF MAST FLAG IN FRONT OF THE BUILDING IN THE AFTERMATH OF THE SEPTEMBER 11TH TERRORIST ATTACKS ON THE WORLD TRADE CANTER (WTC) / VS MEMORIAL SITE INSIDE OF FIREHOUSE W/ FLOWERS AND WRITTEN NOTES HANGING ON THE WALL / VS VISITORS PAYING RESPECT TO THE FALLEN FIREFIGHTERS / CU PHOTOS OF THE VICTIMS OF THE ATTACKS

MEMBERS OF AN ISLAMIC CENTER IN THE DENVER AREA SPEND TIME ON MONDAY PRAYING FOR PEACE AND THE MEN AND WOMEN LOST ON 9-11.

CHRISTMAS New York City 2001

Shot by an American military officer, this 16mm silent home movie shows images of the Republic of China (approx. September 1945-1949) in Shaoxing, Shanghai, an unidentified Taiwanese town, a flyby of Beijing and the Great Wall of China, as well as the U.S. Air Force bases in Guam, in Shanghai Jiangwan, Inarajam in Guam, and an unidentified R&R location and airbase (identifiable only by U.S. VRE-1 Air Evacuation Squadron signs). Footage includes one aircraft C-4 airframe 90408 (which would later be destroyed during the Biafran Airlift in Uli, Biafra) and captured L1N1/Ki34 Japanese aircraft reused by the Army of the Republic of China.<p><p>1:34 Taipei airbase, Taiwan. Damaged and destroyed airplanes bearing Republic of China insignias and U.S. transport planes, Taiwanese and Japanese men and children <p>1:36 Plowing a field with a water buffalo<p>1:50-3:30 Inarajam, Guam<p>2:39 Saint Joseph's Church, Inarajam, Guam<p>3:30 An airbase with a C-54 airframe 56512 (could not be found)<p>3:56 C-54 (C-54A-DO or DC-4) airframe 90408, built 15/04/1943, flew American Airlines after the war, then leased or sold to Air France under airframe number F-BELH, destroyed in Uli, Biafra<p>4:32 continued shots of the refueling trucks, hangars, personnel barracks<p>4:33 Group of girls running on the road from the airbase<p>4:40 Locals, cleaning a road<p>4:46 Mixed Japanese-style architecture, likely - Taiwan, Various shops: Life-saving Tonic <p>?????? Luhua Co., Ltd. <p>???????? Shanghai Lihua Co., Ltd. <p>???? Sanyou paint <p>???? National cosmetics<p>???? Shengtao cosmetics <p>????O?? Daxihuayang Something Sales Co. <p>?? ?? ?? Diamonds, red gold, foreign gold <p>5:42 Aerial views of agricultural fields Taiwan<p>5:51-6:05 in the cockpit of a DC-5<p>6:05 In the hold US GIs are sleeping among piles of equipment<p>6:20 Smoking a cigar to combat air sickness<p>6:48 Aerial view of either condos or some sort of defensive buildings on a mountain ridge6:52 Buying ROC and British flags from the children.<p>7:01 Skies over the airbase<p>7:30 Badly exposed footage of the beach <p>8:01-8:41 Some more underexposed footage of airplanes on landing approach<p>8:42 C-54 airframe 56512 (could not be found)<p>8:49 Captured Nakajima L1N1 Night Transports (also known as Ki-34,Yu-97) or postwar Republic of China licensed copies<p>9:04 Takeoff <p>9:17 Flyover the Summer Palace in Beijing<p>9:21 Flyover of Imperial palaces in Beijing<p>9:24-9:45 Flyover of Great Wall of China<p>9:46 City of Shaoxing, near Shanghai. Sampans boats.9:56 Girls with ROC Scouts armbands<p>9:59 Boat peoples' sampans with ROC flags<p>10:26 More scenes of Shaoxing<p>10:54 Demobilized japanese soldiers in uniforms<p>11:07 The U.S. flight crew goes into an official ROC army building<p>11:29 Little kid<p>11:54 Republic of China-era Shanghai<p>12:17 Baseball field <p>12:23 Political ad, celebrating the victory against Japan, supporting the supreme leader, etc.<p>12:31 Ad, using Chiang Kai Shek and the Allies image: Invincible justice – Invincible butterfly toothpaste! <p>12:39 A buffalo herd in Shanghai<p>12:45 Nissin corporation ad and shirts advertisement on a tram number 11<p>12:51 Dahua, Huada brand or company truck<p>12:53 Kiangwan airbase – former Shanghai Jiangwan airport, entrance booth "This base is a saluting area"<p>12:58 Base speed 20mph<p>13:00 Takeoff from Shangai Kiangwan, empty Pudong district and the prominent high rise buildings of the Bund can be seen<p>13:08 Back at the Guam airbase<p>13:20 Guam airbase viewed from above <p>13:39 Inside the airplane hold<p>13:43 Street in Shanghai again, sign "Hollywood cleaning"<p>13:49 Chinese Industrial Bank<p>13:57 "Taiying Jingzhuang Japanese wine"<p>14:12 Trading companies, a photographer "Photo Juras" <p>14:19 Liquor store <p>14:56 Longhua Temple in Shanghai viewed from above, temple grounds and pagoda.<p>15:49 Longhua Matreya Buddha statue.<p>16:11 As the repairs are ongoing, Buddha's eyes are covered to avoid damaging them and also to avoid making the Buddha "angry" at the destruction.<p>16:30 American Army Air Forces crew taking photos in the temple garden, walking around.<p>17:26 Overexposed footage of a sunny tropical beach<p>19:23 a F4U-4 Corsair taking off<p>19:40 Parked C-46s<p>19:54 Parked DC-3 and C-46s<p>19:59 Air Evacuation Center<p>20:10 Headquarters VRE-1 <p>20:23 Personnel communications VRE-1 <p>20:29 "Cash Recreation", base buildings, barracks, gas station ("Jeep Joint")<p>21:00 More beach footage. Shot of a screen for a movie theater. American women at the beach in bikini swimsuits. <p>21:39 A sunken ship at harbor entrance<p>22:10 Naval Air Transport Service Supply barrack.The End.<p><p><p>This film is part of the Periscope Film LLC archive, one of the largest historic military, transportation, and aviation stock footage collections in the USA. Entirely film backed, this material is available for licensing in 24p HD, 2k and 4k. For more information visit http://www.PeriscopeFilm.com

This 1964 black and white documentary is sponsored by the Encyclopaedia Britannica Educational Corporation about German submarine warfare. This is part of the Forum Edition of “They Sank the Lusitania”, an episode in the World War I series produced by CBS News, and narrated by actor Robert Ryan. Photos show Winston Churchill with Sir John Fisher (1:05-1:20). Germany’s Grand Admiral Alfred von Tirpitz is shown and a cartoon depicts him holding a submarine (1:21-1:45). Germany is shown building submarines (1:46-2:27). September 22, 1914, footage is shown from a German SM U-9 U-boat. It ambushes three Royal Navy cruisers and a torpedo is launched. Sunk are the Hogue, Cressy, and Aboukir, killing 1,450 sailors (2:28-3:05). The periscope of a submarine can be seen (3:03-3:06). Footage is shown from the SM U-35 in the Mediterranean. It surfaces and gives fair warning for the ship to be abandoned. Sailors take to lifeboats and the Merchant captain is taken aboard. The submarine uses a deck gun to sink the ship and continues back to port (3:15-4:54). 1915, trawlers and produce boats flying neutral flags are allowed through the English Channel, which is under blockade to Germany (5:25-6:40). People wait in food lines in Berlin due to soaring prices (6:41-7:09). In retaliation, U-boats strike back, violating the Hague Convention with no advanced warning given. Footage aboard the U-boat shows crew loading the deck gun and sinking a British ship (7:10-7:42). Shown is the Cunard ocean liner RMS Lusitania docked and the extravagant inside (7:43-8:29). A photo is shown of Bridge Captain William H. Turner and his unsinkable ship (8:30-8:49). May 1, 1915, sailing date, New York City. Shown are print advertisements, including one for the Lusitania. Next to that ad is a ship warning posted by the Imperial German Embassy (8:50-9:35). At Pier 54, passengers are dropped off by car (9:36-10:23). Trunks are loaded and the decks are full of waving people (10:24-11:03). The periscope of the U-20 can be seen. Photos are shown from within the sub and of the periscope moving swiftly through the water (11:04-11:34). The Lusitania is shown in a photograph (11:45). At 2 P.M, May 7, 1915, a torpedo is shown headed for the ship. It smashes into the boiler room, sinking the ship within 18 minutes and killing 1,198 people. Footage is shown of debris in the water (11:55-12:28). Photos show giant lists of survivor’s names and a crowd trying to read them (12:29-12:58). Survivors are brought in by other ships (12:59-13:20). Photos show caskets in a common grave and mourners (13:21-13:52). Cartoons declare murder in the New York Sun and Brooklyn Eagle (13:53-14:12). A funeral procession is held for the ship (14:13-14:25). Violence erupts against German businesses in Britain (14:26-14:40). Theodore Roosevelt is shown talking and President Wilson is shown writing notes to Germany (14:41-15:15). The press continues publishing political cartoons (15:16-15:30). Pictured, Roosevelt calls the notes too weak and Secretary of State Bryan too strong (15:31-15:42). 1917, the periscope of a U-boat moves quickly through water (15:56-16:07). <p><p>We encourage viewers to add comments and, especially, to provide additional information about our videos by adding a comment! See something interesting? Tell people what it is and what they can see by writing something for example: "01:00:12:00 -- President Roosevelt is seen meeting with Winston Churchill at the Quebec Conference."<p><p>This film is part of the Periscope Film LLC archive, one of the largest historic military, transportation, and aviation stock footage collections in the USA. Entirely film backed, this material is available for licensing in 24p HD, 2k and 4k. For more information visit http://www.PeriscopeFilm.com

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