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Collection of stories told by soldiers themselves from the homeless soldier to the well known.
The old certainties and structures of employment relations no longer exist. Compared with the 'golden age' of labour in the mid-twentieth century, work and employment are more precarious, employers are increasingly hostile to trade union negotiations, and the share of wages in national income is falling. Large-scale employers, in turn, are using sophisticated people-management techniques to motivate workers with person-centred, performance-driven and reward-based processes. Drawing on a range of international data, this comparative text demonstrates that whilst employment relations phenomena are nationally embedded, international market forces are compelling employers to compete in product markets by reducing labour costs, terms and conditions of employment, and job security for their workforces. In an age of transnational globalisation and free-market national economic policies, this textbook provides penetrating cross-national, cross-disciplinary and theoretical analyses of the changing structures of employment relations around the world. Key benefits: - Provides critical analyses of changing patterns of employment relations in the early twenty-first century, drawing upon global, comparative and theoretical perspectives. - Examines the changing faces of the subject in terms of academic disciplines, methodological underpinnings, and institutional, cultural and historic settings. - Integrates industrial relations literature with recent studies of the HRM paradigm.
Between the covers of Faces of Service, warriors narrate a portion of their life that really matters. The matter is that young men and women, in their prime, chose a vocation as well as an avocation that might have cost them not only life but also their innocence. Who would make that choice? Faces of Service introduces them. Black and white soul-searching images of dozens of veterans along with their short narratives bound in a 12"x12" hardcover coffee table book. Together the faces and the stories give insight into a life shaped by war and the military, revealing true facets of the human experience. President George H. W. Bush, a WWII veteran himself, has written the foreword to show his support. With the purchase of this book, you are supporting CAMP HOPE, an outreach of PTSD Foundation of America.
Approximately 4 million U.S. service members took part in the wars in Afghanistan and Iraq. Shortly after troops started returning from their deployments, some active-duty service members and veterans began experiencing mental health problems. Given the stressors associated with war, it is not surprising that some service members developed such mental health conditions as posttraumatic stress disorder, depression, and substance use disorder. Subsequent epidemiologic studies conducted on military and veteran populations that served in the operations in Afghanistan and Iraq provided scientific evidence that those who fought were in fact being diagnosed with mental illnesses and experiencing mental healthâ€"related outcomesâ€"in particular, suicideâ€"at a higher rate than the general population. This report provides a comprehensive assessment of the quality, capacity, and access to mental health care services for veterans who served in the Armed Forces in Operation Enduring Freedom/Operation Iraqi Freedom/Operation New Dawn. It includes an analysis of not only the quality and capacity of mental health care services within the Department of Veterans Affairs, but also barriers faced by patients in utilizing those services.
The Fed. Protective Service (FPS) is responsible for providing physical security and law enforcement services to 9,000 Gen. Serv. Admin. (GSA) facilities. FPS has an annual budget of about $1 billion, about 1,100 employees, and 15,000 contract guards located throughout the country. This report provides information and analysis on challenges FPS faces including ensuring that it has sufficient staffing and funding resources to protect GSA facilities and the over one million fed. employees as well as members of the public that work in and visit them each year. It discusses: (1) FPS¿s operational challenges and actions it has taken to address them; (2) funding challenges; and (3) how FPS measures the effectiveness of its efforts to protect GSA facilities.
An album-by-album celebration of the life and music of Mac Miller through oral histories, intimate reflections, and critical examinations of his enduring work. “One of my most vivid memories of him is the way he would look at you while he was playing you a song. He tried to look you right in the eyes to see how you were feeling about it.” —Will Kalson, friend and first manager Following Mac Miller’s tragic passing in 2018, Donna-Claire Chesman dedicated a year to chronicling his work through the unique lens of her relationship to the music and Mac’s singular relationship to his fans. Like many who’d been following him since he’d started releasing mixtapes at eighteen years old, she felt as if she’d come of age alongside the rapidly evolving artist, with his music being crucial to her personal development. “I want people to remember his humanity as they’re listening to the music, to realize how much bravery and courage it takes to be that honest, be that self-aware, and be that real about things going on internally. He let us witness that entire journey. He never hid that.” —Kehlani, friend and musician. The project evolved to include intimate interviews with many of Mac’s closest friends and collaborators, from his Most Dope Family in Pittsburgh to the producers and musicians who assisted him in making his everlasting music, including Big Jerm, Rex Arrow, Wiz Khalifa, Benjy Grinberg, Just Blaze, Josh Berg, Syd, Thundercat, and more. These voices, along with the author’s commentary, provide a vivid and poignant portrait of this astonishing artist—one who had just released a series of increasingly complex albums, demonstrating what a musical force he was and how heartbreaking it was to lose him. “As I’m reading the lyrics, it’s crazy. It’s him telling us that he hopes we can always respect him. I feel like this is a message from him, spiritually. A lot of the time, his music was like little letters and messages to his friends, family, and people he loved, to remind them of who he really was.” —Quentin Cuff, best friend and tour manager
His combat tour over, a survivor of thirty-four bombing missions as an 8th Air Force bombardier, Charles Norm Stevens wonders what he will do next. He would have his 30-day furlough, but that will pass quickly. What then? Having endured the hell of his bombing missions, he has no desire to sign up for another tour. Even though the Allies are gaining on all fronts, the war still rages, and he is still on active duty in the Army Air Corps. He is a trained bombardier who will continue his military service. But in what capacity? Turning down the option of being an instructor, he volunteers for training as a radar bombardier. But where would this lead him? He sees himself slowly being drawn into the Pacific War as a radar bombardier on a B-29 Superfortress. It is a gamble. Would the war end or would he find himself again in hostile skies? Stevens previously wrote about his cadet and crew training in The Innocent Cadet Becoming a World War II Bombardier and his combat experiences in An Innocent at Polebrook: Memoir of an 8th Air Force Bombardier. This volume completes his military experience.
Archival images and biographical sketches of Union soldiers tell the stories of their lives during and after the Civil War. Before leaving to fight in the Civil War, many Union and Confederate soldiers posed for a carte de visite, or visiting card, to give to their families, friends, or sweethearts. Invented in 1854 by a French photographer, the carte de visite was a small photographic print roughly the size of a modern trading card. The format arrived in America on the eve of the Civil War, fueling intense demand for the keepsakes. Many cards of Civil War soldiers survive today, but the experiences?and often the names?of the individuals portrayed have been lost to time. A passionate collector of Civil War–era photography, Ron Coddington researched the history behind these anonymous faces in military records, pension files, and other public and personal documents. In Faces of the Civil War, Coddington presents 77 cartes de visite of Union soldiers from his collection and tells the stories of their lives during and after the war. These soldiers came from all walks of life. All were volunteers. Their personal stories reveal a tremendous diversity in their experience of war: many served with distinction, some were captured, some never saw combat while others saw little else. The lives of survivors were even more disparate. While some made successful transitions back to civilian life, others suffered permanent physical and mental disabilities, which too often wrecked their families and careers. In compelling words and haunting pictures, Faces of the Civil War offers a unique perspective on the most dramatic and wrenching period in American history.
In this future adventure, Gardai inspector Declan McGuinness leads a team that includes an Ethiopian inspector and a very sophisticated robot. The body of Daryl McGivern, the retired and eccentric CEO of an Irish American robotics company, is missing. The mystery of his whereabouts opens the door to the disappearance and apparent theft of hundreds of soldier robots. These robots, called soljabots, are internationally banned as weapons of war but, in a softer version, are being used as donations and "toy soldiers" in a war game. The war game was invented by McGivern, who was also one of the directors at Harp Society, a philanthropic organization. Harp has other directors who--along with a mysterious naval officer, Captain Jack Phang, a veteran of the South China Sea War--have different designs on the robots. Phang does not appear to be on anyone's database but emerges as an international person of interest and eventually a prime suspect in a larger mystery.
A fresh look at how literary and visual portraiture in the Romantic era embodied a newly commercial culture