Podcasts about signal squadron

In this month's episode we are speaking with Lt(N) Wendy Duguid, a Regular Force Military Chaplain.Wendy has been serving at Garrison Petawawa since 2019.   She was previously the Chaplain for the medical units, and is currently supporting the Royal Canadian Dragoons (RCD) and 2 Signal Squadron.In this conversation we chat with Wendy about:the day-to-day life of a Military Chaplain and the supports they provide;what it was like to join the Reg Force as a second career;the importance of self-care; andhow families can be more resilient in challenging times.Contact us: We would love to hear from you.  If you are a Military Family Member that wants to share your experiences and lessons learned, email us at Podcast.Feedback@PetawawaMFRC.com 

TRIGGER WARNING Dave Morgan left his family in Brisbane in 1969 for Vietnam as part of the 104 Signal Squadron. During his term, he served at several fire support bases and dealt with attacks by the Viet Cong. During one of those attacks, his pit hole collapsed on him, and after he returned to an unsympathetic Australia, he started reliving that experience night after night. Dave tried to live a normal life after he returned from Vietnam. Within months he had his first nightmare along with anxiety and depression. There was nowhere to turn for help as Vietnam veterans were despised by most people, or they were just not interested in them. Most Vietnam vets disappeared into their own world. After military discharge, came heavy drinking and depression. During a 6 month trip to USA/Canada, he had suicidal thoughts until he met up with an American mate that he met in Vietnam and for the first time Dave felt comfortable with life as his American friends helped him with his anger and depression. He returned to Australia with a new outlook on life, got married, was selected on a Bureau Meteorology Technical Officer ( Weather Observer) course, and over the next thirty-three years had 12 postings including Antarctica and raised two children. He hid his PTSD well from all but his family. They moved around Queensland for Dave's job as a Technical Officer but his desire for isolation led him to postings at Giles WA, Macquarie Island and Davis Station. A few hours after he arrived at Casey Station for his next expedition, he slipped on blue ice and sustained a severe head and neck injury forcing a medevac back to the mainland. Now retired, Dave is seeking treatment for his Post Traumatic Stress Disorder, which Antarctica finally made him acknowledge.Dave's third book – ‘The Invisible Trauma' was published by Big Sky Publishing this year 2022. His two previous books were– ‘Ice Journey' (2010) and ‘My Vietnam War-Scarred Forever' (2014). A portion of sale proceeds from this book will be donated to Australia Legacy an organisation which supports veterans' families.https://www.bigskypublishing.com.au/dave-morgan/Follow the podcastOnemomentpleasepodcast.comIG:@onemomentpleasepodcastFB: OneMomentPlease

Major General Sharon Nesmith was commissioned into the Royal Corps of Signals in 1992. She spent much of her early years at Regimental Duty in Germany, serving in the Electronic Warfare Regiment and 1st (United Kingdom) Armoured Division Headquarters and Signal Regiment, during which time she completed 3 tours in the Balkans. Major General Nesmith commanded 1st Mechanized Brigade Headquarters and Signal Squadron (215), over the period of the Brigade conversion to Bowman and deployment on Op TELIC 10. She later commanded 22nd Signal Regiment as the Regiment re-roled to provide command support to Headquarters ARRC, and led on the introduction of FALCON into Service. She also commanded MOD Stafford. Following the Advanced Command and Staff Course (2001/03), Major General Nesmith’s black bag appointment was within the Directorate of Capability, Resources and Scrutiny in the Ministry of Defence, where she provided affordability advice to senior officers and Ministers at key investment decisions for equipment programmes. She subsequently served as SO1 Capability in Army Resources and Plans. On promotion to Colonel she served as the Assistant Director Capability Plans, leading on the delegation of capability development to the Army Headquarters in support of Director General Capability, and attended the Higher Command and Staff Course (2014). Major General Nesmith commanded the 1st (United Kingdom) Signal Brigade from August 2014 to July 2016, supporting Headquarters ARRC and the UK JTFHQs. She was then Head of Manning (Army), before being appointed Director Personnel in March 2019. #InspiringLeadership #leadership #CEOs #MotivationalSpeaker #teamcoach #Boards See acast.com/privacy for privacy and opt-out information.

Born into a Military family and living and being educated in 8 different state and military schools around the globe. Brigadier James Richardson enlisted as a Junior Soldier aged 16 in the Army. Joining the Royal Corps of Signals in June 1978 at the Army Apprentices College in Harrogate he trained as an Electronics Technician. He graduated as a Lance Corporal and was assigned to 259 Signal Squadron stationed in Cyprus. At Harrogate he was identified as a potential officer and embarked on this career path part way through his first assignment, entering the Royal Military Academy Sandhurst in 1984. He returned to the Royal Signals and started his commissioned career based in York. During his early commissioned years he led troops in various roles including Arctic Warfare and played rugby and athletics to Army level. He gained his MA in International Relations from King’s College London. He promoted through Command and Staff appointments, attending Advanced Staff College and Royal College of Defence Studies, including Command of 49th East Brigade, The Deputy Military Secretary and he retired from the Army as Commander of all UK Military Garrisons in Germany. He was awarded MBE after prolonged and multiple tours of Bosnia in 1997 and the US Bronze Star after his leadership in chairmanship of the Patraeus ‘Brains Trust’ and authorship of the Strategic withdrawal and stabilisation plan for Iraq in 2007.James joined Haig Housing Trust as its Chief Executive directly on the merging of the two Haig charities in November 2013 into a single entity providing family and single veterans housing and sourcing and adapting homes for our life changing wounded.Jim rose quickly through the ranks, like two other inspiring Royal Signals Leaders John Stokoe CB CBE & John Griffin. The motto he adopted was: “Find a job you love & you'll never work a day in your life”. His calling is helping the charity to cherish veterans and their families in housing need. His influential leaders are: Field Marshal Lord (Mike) Walker and General Sir Nick Parker then General David Petraeus US Army. His inspiring story was about David Petraeus in 2006 in Iraq during the Civil War. What was powerful was the courage in his own conviction. Jim worked closely with General HR McMaster – in Patraeus’ Brains Trust. James admired the General’s ability for holding your nerve when others are risk averse. Jim’s story of learning from his mistakes was a comparatively minor one. He regretted being encouraged by others to tease a soldier on his rapid promotion as a technician. He learnt that he got it wrong and didn’t do what was right. Since then he trusts his own judgement more by seeking respect and avoiding popularity. James’ Top tip - “Situational Awareness” - everyone needs to know what’s going on and know they are empowered to play their part with a shared common picture/ vision. #InspiringLeadership #leadership #CEOs #MotivationalSpeaker #teamcoach #InclusiveLeadership #Boards See acast.com/privacy for privacy and opt-out information.

Sig Gemma Owens & LCpl Jake Morley from 204 Signal Squadron are raising money in Catterick Garrison.

From Afghanistan Chris Sturgess catches up with Captain Catlin Jones, 2nd in command of 204 Signal Squadron.

From Afghanistan Captain Steve McNeeley of 204 Signal Squadron speaks Garrison FM's Chris Sturgess about mentoring.

A sergeant of the Light Horse is a tribute to a type of Australian, generally a product of a rural background, who became part of the national mythology during the First World War: the Light Horseman. Lambert posed his subject in his flannel shirt, sleeves rolled up and forearms bare, seated in the open air before a ridge of scrubby hills and a blue sky. He is in a meditative position, with eyes glancing downwards. The Light Horseman holds his much-prized plumed hat to his chest – as if he has removed it in respect for his dead comrades, about whom his lowered eyes suggest he may be thinking. The portrait is painted in the high-key palette which Lambert adopted as a result of his appreciation of Botticelli’s paintings from fifteenth-century Florence and his desire to paint a picture which would look good under any light. Botticelli’s influence can also be found in the downward look, the elegant, slender neck, the long-fingered hands with clearly delineated nails and the sculptured features of the face. This work demonstrates Lambert’s observance of a balanced structure: the oval head is counterpoised against the circular form of the hat. The head is silhouetted against the brilliant blue, cloud-dotted sky and separated from and lifted above the V-shaped outline of the hills, which is mirrored in reverse in the shoulders, followed through with a repetitive echo in the (sergeant’s) stripes of the jacket and the angle of the elbow, and seen again in the pointed curl of the hair and the angular chin. Lambert gave this serviceman a sensuousness through his sharp-focus rendering of flesh and musculature, and in the way he portrayed the taut neck and wiry arms. As Hans Heysen observed, ‘the feeling way the eyes have been painted and the expression of that sensitiveness around the mouth are truly wonderful’ (Thiele, p.295). This image of a Light Horseman matches the official account of the Australian Light Horseman who served in Palestine. H.S. Gullett wrote: ‘So far as a distinctive type has been evolved it is … young men long of limb and feature, spare of flesh, easy and almost tired in bearing’. The long-limbed, lean and languid figure that Lambert portrayed fits easily with such a description. So too does this soldier’s rather sensitive glance for, as Gullett observed, the Light Horseman ‘for all his unconventional ways … was at least distinguished by shyness and reserve. The young countryman leads a simple and peaceful life. He bears himself modestly … A felt slouch hat, a shirt with sleeves rolled to the elbows, long trousers …’ (Gullett 1936, pp.34–6). The model for this Light Horseman is reputed to be Thomas Herbert Ivers (1881–1940), a sergeant with the 1st Signal Squadron who was employed colouring contour maps for the War Records Section in Palestine. He met Lambert during the latter’s visit to Damascus in 1919. Ivers was granted leave to assist Lambert with his large battle paintings in London from September 1919 to February 1920. This work is about an Australian type, his relationship to the countryside and his memories of his mates. Lambert created a new model for a military portrait; instead of the noble, the dashing and the heroic subjects of previous wars he presented a humble, but not humbled, man; he is shown in all simplicity without the pomp of his full-dress uniform, without the glamour and superior status of a horse, and he is the stronger for this. As Alexander Colquhoun wrote in the Melbourne Herald , on 11 May 1921, this was seen as ‘a truly distinctive figure, and constitutes the most original and descriptive presentment of a Digger which we have yet seen here’. More important is Lambert’s use, in this painting, of the image which perfectly matched certain powerful ideas current in the then-young Australian commonwealth. The image met a need for national self-definition. Australians who were formed by bush life, by working with animals and the elements in a blond land under a blue sky, would become the no-nonsense, unceremonious soldiers who excelled at war in the lands of the ancient Mediterranean, but knew its cost, were appalled by it, and would not romanticise it. They were tough, wiry and tender. It is also significant that the landscape setting in biblical Palestine has been made to resemble the familiar convention of a blue-and-gold Australian landscape. The work was purchased for the National Gallery of Victoria, on the advice of its director Bernard Hall, from Lambert’s return-to-Australia exhibition at the Fine Art Society’s Gallery, Melbourne, in 1921. It was reproduced on an Australian one-dollar stamp issued in 1974.