Spring lights to illuminate Battleship NC for the Azalea Festival. Here's when to see it
Battleship North Carolina is ready to get into the N.C. Azalea Festival spirit.
The USS North Carolina Battleship Commission, in partnership with the Friends of the Battleship North Carolina, announced that the Battleship will be lit to impress with spring colors to celebrate the festival, according to a news release.
Here's what to know.
The Battleship's uplighting takes center stage throughout the extended weekend from Thursday, April 3-Sunday, April 6, from 7:30-9 p.m.
The best place to enjoy the uplighting is from across the Cape Fear River in downtown Wilmington.
Viewers and photographers on the Riverwalk, as well as the hospitality locations in downtown Wilmington, will have prime locations to enjoy the illuminated Battleship.
Look for pops of pink, purple, and yellow to highlight the Battleship's historic silhouette.
"As the official sponsors of the Azalea Festival fireworks, we are honored to contribute extra brilliance for the event series," said Dr. Jay Martin, Executive Director, Battleship North Carolina Memorial, in a news release. "Seeing the uplighting in-person is a memorable experience for both locals and visitors, so we are thankful for our outstanding partners with the Azalea Festival."
Battleship grounds, parking lot, and SECU Walkway are closed every day at 5 p.m. and will be closed during lighting. Saturday's Boom & Bloom Fireworks Bonanza is a ticketed event. No outside parking will be available, with grounds and walkway closed.
Battleship North Carolina is a decommissioned World War II warship, permanently moored as a memorial and state historic site on the Cape Fear River at Wilmington. The Battleship commemorates the heroism of U.S. sailors and soldiers from North Carolina during World War II.
Cheryl M. Whitaker covers community news for the StarNews. Reach her at cheryl.whitaker@starnewsonline.com.
This article originally appeared on Wilmington StarNews: Battleship NC in Wilmington to get uplighting for Azalea Festival
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Epoch Times
9 hours ago
- Epoch Times
‘Come to the Stable': Blessed Bethlehem
NR | 1h 34m | Drama, Comedy | 1949 Director Henry Koster's breezy film 'Come to the Stable' (1949) draws on writer Clare Boothe Luce's story, believed to be loosely based on the real-life heroism of two nuns, American Benedict Russ and Frenchwoman, Mother Mary Aline Trilles de Warren. Both nuns immersed themselves in charitable work in France during World War II, then left Europe and, against heavy odds, set up America's first Benedictine monastery for women.
Boston Globe
a day ago
- Boston Globe
Vicki Goldberg dies at 88; saw photography through a literary lens
'Goldberg,' she added, 'brought a broad education, insatiable curiosity, and relentless ambition to her work. She showed us that photography was part of our social and cultural landscape.' Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up Ms. Goldberg had a windfall in the case of Bourke-White. In 1973, two years after the photojournalist's death, 8,000 of her photographs and other artifacts were discovered under a stairway in her house in Darien, Conn. Bourke-White had burned most of her diaries, Ms. Goldberg told The New York Times in 1986, but had 'saved everything but the Kleenex,' including menus, receipts, and Time Inc. memo pads. On one pad she'd written, 'Should I marry Erskine Caldwell?' (She and the novelist had a brief and stormy marriage.) Advertisement Ms. Goldberg pored over the trove for an article in New York Magazine and soon embarked on her Bourke-White biography. Advertisement Bourke-White was America's first female photographer to be accredited to cover World War II, a swashbuckling personage who worked for Fortune and then Life magazines. She shot Nazi rallies, and, in agonizing images, the liberation of Buchenwald in Germany. She flew in a Flying Fortress bomber to get shots of a raid on Tunis, Tunisia. She photographed a smug-looking Josef Stalin. Away from the war, she perched on a gargoyle atop the Chrysler Building in Manhattan to photograph its twin and made perhaps what is the most famous portrait of Mahatma Gandhi, sitting cross-legged with his spinning wheel. Ms. Goldberg captured her contradictions. As an ambitious photojournalist, Bourke-White was wily, opportunistic, and courageous, but she was also manipulative, doing whatever it took to get her shot, including crying on cue. Writing in The New York Times Book Review, Timothy Foote, a former foreign correspondent for Life magazine, called Ms. Goldberg's biography 'an intricate and provocative portrait, as revealing as fiction, part 'Great Gatsby,' say, part 'I'll Take Manhattan.'' Ms. Goldberg's scholarship was rigorous and her knowledge expansive. Yet as a critic for the Times, where she was a regular contributor during the 1990s, her tone was light and often slightly bemused. When Madonna's much-ballyhooed 'Sex' book appeared in 1992, wrapped in Mylar, like a condom, Ms. Goldberg had this to say: 'This must be the most gorgeously, even lavishly, produced piece of junk food since Midas tried to sneak a potato chip and found his touch had turned it to gold.' In 1997, she wrote about Irving Penn, the celebrated Vogue photographer. 'Penn has spent over half a century wielding a camera against the most implacable enemies: disorder, imperfection, the distracting natural world, mortality. He has not exactly come to terms with any of these but erected what barriers he could -- a stringent sense of order to fend off chaos, a fierce devotion to a kind of photographic purity, a stripped-down sense of isolation to counter the world's insistent clutter.' Advertisement Victoria Hesse Liebson was born on July 24, 1936, in St. Louis to Alice (Schwarz) and Louis Liebson, a shoe company executive. She earned a bachelor of arts at Wellesley College in 1958. A year earlier, she had married David Goldberg, a banker. After the couple moved to New York City, Ms. Goldberg worked as a publishing assistant at Simon & Schuster and began pursuing a doctorate in art history at the Institute of Fine Arts at New York University. She didn't get around to defending her thesis, however; instead, she went to work as an editor for American Photographer magazine when it was launched in 1978. In addition to her son Eric, she leaves another son, Jeremy, and six grandchildren. She and David Goldberg divorced in 1973. Another marriage, to Loring Eutemey, a graphic designer and illustrator, also ended in divorce. Her third husband, Laurence Young, a professor emeritus of astronautics at the Massachusetts Institute of Technology, died in 2021. She lived in Waterville Valley, N.H., before moving to the Manhattan assisted living facility. Ms. Goldberg was a frequent lecturer on photography and the author or editor of a number of books, including 'Photography in Print: Writing From 1816 to the Present' (1981), a collection of essays by photographers such as Alfred Stieglitz and critics Charles Baudelaire and Susan Sontag. Advertisement Another book by Ms. Goldberg, 'The Power of Photography: How Photographs Changed Our Lives' (1991), is a lively history of the medium and its cultural impact, from daguerreotype to X-rays, moon shots, and Photoshop. Even back in 1991, Ms. Goldberg cautioned readers about the tricky nature of photography, writing, 'We could end up being more copiously supplied with news and less concerned, as well as less willing to believe the reports, than any society in history.' She added, 'These photographs walked into our lives and in some way managed to change them. So it seems appropriate to ask the questions one would ask any intruder: How did you get in? And what are you doing here anyway?' This article originally appeared in
New York Times
2 days ago
- New York Times
A Multigenerational Historical Novel. And Only 200 Pages.
I'LL BE RIGHT HERE, by Amy Bloom Amy Bloom's new novel emits the opposite of main-character energy. A German word might be needed to describe its contrast to a bildungsroman. Guppenporträt? Germany, though, is an enemy in 'I'll Be Right Here,' which while not historical fiction in the traditional, door-stopping sense — its many threads are tied up in exactly 200 pages — does use the Second World War as backdrop. Gazala and Samir are orphaned Algerian youths, a girl and her adopted brother, four years older, trying to survive in occupied Paris. He works in a bakery, and she, being in possession of 'good hands,' is conscripted to massage (innocently) its tired old owner. For a time, the siblings meet and mingle with real-life figures. Gazala begins a job tending to, and living with, Colette — 'Famous Writer, Anti-Semite, Beloved Friend,' a chapter title proclaims — even sharing a room with her Jewish husband, Maurice, as he hides from the Third Reich. She also meets Suzanne Belperron, the jewelry designer who made pieces for the Duchess of Windsor (stylish but notorious for her chumminess with Nazis), and swipes one of her brooches. Belperron is trying to save her own Jewish business partner and lover, Bernard Herz, from certain death, having torn up and eaten the handwritten pages of their business directory during his arrest. As if in compensation for this grim act, and the general deprivations of war, 'I'll Be Right Here' is replete with delicious food, or thoughts of it, on practically every page, like the memory of a chicken made in 1939 with rosemary, lemon and 24 cloves of garlic. By my count this is the third Bloom book to feature fruit on the cover, suggesting sweetness, juiciness and, obliquely, sex. There is even a character named Honey, lest you forgot that life, despite its many trials, is sweet. Want all of The Times? Subscribe.
