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It was tough going back to work today after two colourful weeks off...
A monochromatic sea of components for assembly awaited me, and within five minutes of taking off my coat, I was entrenched in tedium, and it was as if I'd never been away. :-(
Still - there's always 'cake o'clock' to look forward to...
BOX DATE: 1998
MANUFACTURER: Mattel
PERSONAL FUN FACT: Surprisingly my motives for wanting a Sweet Treats Barbie growing up were not entirely based on her awesome kitchenware. It's no secret that both my sister and I are suckers for dolly food and dishes. But I was so obsessed with the doll herself, that this ended up being the reason I finally purchased a Sweet Treats Barbie. But that's not to say that this stuff didn't get tons of mileage...because boy did it ever! I used this outfit over the years on many of my favorite dolls. The skirt and sneakers especially were versatile for pairing with other items. The little kitchen counter was always in our dolly kitchen setups. I liked to store some of the big pots and pans in its opening compartment. Plus the shelves were handy for things like plants. For the first year or two, Colleen and I were also obsessed with making icing using this set. We quickly used up all the icing packets that came with Barbie. But we ended up making our own entirely from scratch with sugar and food coloring. We ditched the cookie cutters early on though. It was suggested that you cut the shapes out of soft bread...but truthfully that tasted gross. So instead, we bought cookies just for the icing. I remember all the fun, and very messy times we had in the kitchen with this doll. We used her bowl, mixer, and her other implements to mix the icing and spread it over the cookies. It always tasted sickly sweet, and it was a bit gross that we'd go and play with this stuff in the basement after we were done "baking." But I did always at least wash all the components before we used them again for making icing. Barbie always came upstairs with us, dressed in her original outfit, as a mascot of sorts. But not wanting her to get dirty from the sticky icing, I made sure to keep her well out of the way. I never had the heart to get rid of anything that came with Sweet Treats Barbie. Many times I opt to donate the "for you" accessories, like the cookie cutters, if I don't have a use for them (simply to save space). But looking at these things reminds me so much of all the fun we had, and poor Mom's face as she watched us slather nasty icing all over sugary cookies!
A key component of U.S. Navy and Marine Corps doctrine from the interwar period to the end of World War II was dive bombing, which was the use of an aircraft to deliver a bomb at a steep angle to increase accuracy. U.S. Navy dive bomber squadrons flew Curtiss SB2C Helldivers against Imperial Japan beginning in November 1943 until the end of the war. After a prolonged development, about 30 Navy squadrons operated Helldivers aboard 13 carriers. Changes in carrier tactics, technology, and weapons made the dive bomber obsolescent as the war progressed making the Helldiver the last of the type operated by the U.S. Navy. The Helldiver is also the last significant combat aircraft produced by the Curtiss-Wright Corporation.
This Helldiver was completed in May 1945, but the war ended a few months later, and it never saw combat. From September through December 1945, Bombing Squadron (VB) 92 aboard the USS Lexington flew it in the western Pacific and occupied Japan. It served with various other Navy units until 1948 and entered the Museum collection in 1960. Source: see below
I would encourage you to read more about this aircraft and some of the trails and tribulations that our brave flyers went through. You can read more here: airandspace.si.edu/collection-objects/curtiss-sb2c-5-hell...
© 2017 Skip Plitt Photography, All Rights Reserved.
This photo may not be used in any form without permission from the photographer. None of my images are in the Creative Commons. If you wish to use one of my images please contact me at: skipplittphotography@gmail.com
Todos los derechos reservados. Esta foto no se puede utilizar en cualquier forma sin el permiso del fotógrafo.
Verify out these turning components images:
Mura (XXIX)
Image by Jose Luis Mieza Photography
Listen All I Ask You – Sarah Brightman
No more speak of darkness
Forget these wide-eyed fears
I am right here
Nothing at all can harm you
My words will warm and calm you
Let me be your...
Read more about Cool Turning Components pictures
(Posted by a Precision Machining China Manufacturer)
// Lightweight chainring – Made in Germany //
more info: 8bar-bikes.com/shop/cranksets/8bar-x-kappstein-chainring/
Photo: Stefan Haehnel / www.recentlie.com/
PictionID:44811519 - Title:Atlas Payload Component - Catalog:14_014436 - Filename:14_014436.TIF - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
The Kennedy Center opened to the public in September 1971. But its roots date back to 1958, when President Dwight D. Eisenhower signed bipartisan legislation creating a National Cultural Center, P.L. 85-874.
The National Cultural Center Act included four basic components: it authorized the Center's construction, spelled out an artistic mandate to present a wide variety of both classical and contemporary performances, specified an educational mission for the Center, and stated that the Center was to be an independent facility, self-sustaining, and privately funded. These same principles still guide the Center’s work today.
A lifelong supporter and advocate of the arts, President John F. Kennedy frequently steered the public discourse toward what he called "our contribution to the human spirit." Kennedy took the lead in raising funds for the new National Cultural Center, kicking off a $30 million fundraising campaign in November of 1962, holding special White House luncheons and receptions, appointing his wife Jacqueline and Mrs. Eisenhower as honorary co-chairwomen, and in other ways placing the prestige of his office firmly behind the endeavor.
President Kennedy also attracted to the project the man who would become the Center's guiding light for nearly three decades. By the time Kennedy appointed him as chairman of the Center in 1961, Roger L. Stevens had already achieved spectacular success in real estate, politics, fundraising, and the arts. Over the next 30 years, Stevens would oversee the Center's construction, then would shepherd it to prominence as a crucible for the best in music, dance, and theater.
Two months after President Kennedy's assassination in November 1963, Congress passed and President Johnson signed into law legislation renaming the National Cultural Center (designed by Edward Durell Stone) as a "living memorial" to Kennedy (P.L. 88-260). The Law authorized $23 million to help build what was now known as the John F. Kennedy Center for the Performing Arts. Fundraising continued at a swift pace—with much help coming from the Friends of the Kennedy Center volunteers, who fanned out across the nation to attract private support—and nations around the world began donating funds, building materials, and artworks to assist in the project's completion. In December 1964, President Lyndon Johnson turned the first shovelful of earth at the Center's construction site, using the same gold-plated spade that had been used in the groundbreaking ceremonies for both the Lincoln Memorial in 1914 and the Jefferson Memorial in 1938.
From its very beginnings, the Kennedy Center has represented a unique public/private partnership. As the nation's living memorial to President Kennedy, the Center receives federal funding each year to pay for capital repairs and maintenance of the buildings and grounds, a federal facility. However, the Center's artistic programs, education initiatives, and most administrative functions are paid for almost entirely through ticket sales and gifts from individuals, corporations, and private foundations.
The Center made its public debut on September 8, 1971, with a gala opening performance featuring the world premiere of a Requiem mass honoring President Kennedy, a work commissioned from the legendary composer and conductor Leonard Bernstein.
The occasion enabled Washington to begin earning a reputation as a cultural hub as well as a political one; as The New York Times wrote in a front-page article the next morning, "The capital of this nation finally strode into the cultural age tonight with the spectacular opening of the $70 million [Kennedy Center]...a gigantic marble temple to music, dance, and drama on the Potomac's edge."
Dedication Statements by Original Honorary Chairmen
Published in the inaugural program, September 8, 1971
President Richard Milhous Nixon
Mrs. Patricia Nixon
Mrs. Lyndon B. Johnson
Mrs. Jacqueline Kennedy Onassis
Under Roger Stevens's continued direction, the Kennedy Center presented season after season of the finest and most exciting in the performing arts: new plays by Tennessee Williams, Arthur Miller, and Tom Stoppard; new ballets by Antony Tudor, Agnes DeMille, and Jerome Robbins; new orchestral scores by Aaron Copland, Dmitri Shostakovich, and John Cage. The Center co-produced musicals including Annie and Pippin in its early years, and later co-produced the American premiere of Les Misérables and co-commissioned the preeminent American opera of recent times, John Adams's Nixon in China. The Center's presence also enabled Washington to become an international stage, hosting the American debuts of the Bolshoi Opera and the Ballet Nacional de Cuba, as well as the first-ever U.S. performances by Italy's legendary La Scala opera company. In 1986, the Kennedy Center welcomed its first artistic affiliate, the National Symphony Orchestra, which had been the Center’s resident orchestra since the 1971 opening.
Ralph P. Davidson succeeded Stevens as Kennedy Center Chairman in 1988, and helped secure an ongoing Japanese endowment that brings that nation's arts to Washington each year. (Another of Japan's gifts to the Center, the Terrace Theater, had opened in 1979.) James D. Wolfensohn was elected Chairman in 1990, working with President Lawrence J. Wilker to solidify the Center’s fundraising, strengthen its relations with Congress, and extend the nationwide reach of its education programs to serve millions of young people in every state.
James A. Johnson began his tenure as the Kennedy Center's fourth Chairman in May 1996. His vision for a performing arts center attractive to people of all income levels and artistic tastes led him to create the Performing Arts for Everyone initiative, increasing the visibility of the Center's frequent low-priced and free events. He created and endowed the Millennium Stage, which presents a free event every day of the year at 6 p.m.; Millennium Stage performances are also streamed live and archived online, thereby making Kennedy Center performances accessible to audiences worldwide.
By 2001, Johnson, whose stewardship had greatly enlarged the Center's artistic endowment, was joined by the Center's new president Michael M. Kaiser, former head of the Royal Opera House and earlier of American Ballet Theatre. Kaiser, who stepped down as Kennedy Center President in August 2014, oversaw all the artistic activities at the Kennedy Center, increased the Center's already broad educational efforts, established Kennedy Center Arts Management Program, created unprecedented theater festivals celebrating the works of Stephen Sondheim and Tennessee Williams, and arranged for continuing visits by St. Petersburg's Mariinsky Theater Opera, Ballet, and Orchestra, and the Royal Shakespeare Company. During this time, the Center also became known for its spectacular, multi-week international festivals, including those dedicated to the art and artists of China, India, Japan, the nations of the Middle East, and more. In 2011, Kaiser oversaw the affiliation of Washington National Opera with the Kennedy Center.
Stephen A. Schwarzman began his service as the fifth Chairman of the Kennedy Center Board of Trustees in May 2004. His commitment and interest in the arts, and particularly theater, was highlighted by a gift of $10 million to the Center's theater program, which has since produced new productions of such classics as Mame and Carnival!; August Wilson's 20th Century, the playwright's complete 10-play cycle performed as fully staged readings; a major revival production of Ragtime that transferred to Broadway in October 2009; and Terrence McNally's Nights at the Opera, in which three of the playwright's works were performed concurrently in three Kennedy Center theaters.
David M. Rubenstein, co-founder and managing director of The Carlyle Group, one of the world's largest private equity firms, was named Chairman of the Kennedy Center in May 2010. Since then, Rubenstein has pledged more than $25 million to the Kennedy Center in support of the National Symphony Orchestra, the Center's artistic and educational programming, major annual events, and the Rubenstein Arts Access Program, which seeks to increase access to the arts to the underserved, the underprivileged, young people, and members of our armed services. Rubenstein's accomplishments at the Kennedy Center include the appointment of Deborah F. Rutter as the third-ever Kennedy Center President.
On June 8, 2012, bipartisan legislation was signed into law (P.L. 112-131) authorizing the construction of an expansion project at the Center using private funding. The law recognized that the Center needed classroom space, rehearsal space, and event space to provide greater accessibility to the Center’s programs and performances for the general public. Mr. Rubenstein pledged $50 million as the lead gift for the Kennedy Center's Expansion Project, called the REACH—a nod to President Kennedy’s inspirational and aspirational vision for human potential.
An accomplished arts leader known for emphasizing collaboration, innovation, and community engagement, Deborah Rutter began her tenure at the Kennedy Center September 1, 2014. Among her accomplishments, she has recommitted to putting artists at the core of work at the Center, forging formal directorships and artistic advisorships with Yo-Yo Ma, Renée Fleming, Damian Woetzel, Q-Tip, and others. She appointed Marc Bamuthi Joseph as the Center’s first Vice President and Artistic Director for Social Impact, and inaugurated the Center’s formal hip-hop culture program, in both cases opening the doors ever-wider to communities and refining the role that art plays in our collective cultural narrative.
www.kennedy-center.org/our-story/history/#:~:text=History....
PictionID:44808567 - Title:Atlas Payload Component Details: Worker with Satellite - Catalog:14_014194 - Filename:14_014194.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Windsor, Ontario is the southernmost city in Canada. It is located on the southern shore of the Detroit River, directly across the river from Detroit, Michigan. Windsor is a major contributor to Canada's automotive industry and has much to offer by means of a storied history and a diverse culture.
Prior to European exploration and settlement, the Windsor area was inhabited by the First Nations and Native Americans. Windsor was settled by the French in 1749 as an agricultural settlement. It is the oldest continually inhabited European settlement in Canada west of Montreal.
Windsor's French Canadian heritage is reflected in many French street names, such as Ouellette, Pelissier, François, Pierre, Langlois, Marentette, and Lauzon. The current street system of Windsor (a grid with elongated blocks) reflects the Canadien method of agricultural land division, where the farms were long and narrow, fronting along the river. Today, the north-south street name often indicates the name of the family that at one time farmed the land where the street is now located. The street system of outlying areas is consistent with the British system for granting land concessions. There is a significant French-speaking minority in Windsor and the surrounding area, particularly in the Lakeshore, Tecumseh and LaSalle areas.
In 1794, after the American Revolution, the settlement of "Sandwich" was founded. It was later renamed Windsor, after the town in Berkshire, England. The Sandwich neighbourhood on Windsor's west side is home to some of the oldest buildings in the city, including Mackenzie Hall, originally built as the Essex County Courthouse in 1855. Today, this building functions as a community centre. The oldest building in the city is the Duff-Baby House built in 1792. It is owned by Ontario Heritage Trust and houses government offices. The François Baby House in downtown Windsor was built in 1812 and houses Windsor's Community Museum, dedicated to local history.
The City of Windsor was the site of the Battle of Windsor during the Upper Canada Rebellion in 1838. It was also a part of the Patriot War, later that year.
Ouellette Avenue is the historic main commercial street in downtown Windsor. It runs north-south, perpendicular to the Detroit River, and divides the city into east and west sections. Roads that cross Ouellette Avenue include the directional components East and West after their names. Address numbers on east-west roads in Windsor increase by 100 for each block travelled away from Ouellette Avenue and address numbers on north-south roads increase by 100 for each block travelled away from the Detroit River. In areas where the river curves, some numbers on north-south roads are skipped. For consistency across the city, all address numbers on north-south roads reset at either 600, for streets west of Walker road, or 800 for those to the east, where the road crosses Wyandotte Street (which roughly parallels the Detroit River).
Windsor's economy is primarily based on manufacturing, tourism, education, and government services.
The city is one of Canada's major automobile manufacturing centres and is home to the headquarters of FCA Canada. Automotive facilities include the FCA Canada minivan assembly plant, two Ford Motor Company engine plants, and several tool and die and automotive parts manufacturers.
Windsor has a well-established tourism industry. Caesars Windsor, one of the largest casinos in Canada, ranks as one of the largest local employers. It has been a major draw for U.S. visitors since opening in 1994 (as Casino Windsor). Further, the 1,150-kilometre (710 mi) Quebec City – Windsor Corridor contains 18 million people, with 51% of the Canadian population and three out of the five largest metropolitan areas, according to the 2011 Census.
The city has an extensive riverfront parks system and fine restaurants, such as those on Erie Street in Windsor's Little Italy called "Via Italia", another popular tourist destination. The Lake Erie North Shore Wine Region in Essex County has enhanced tourism in the region.
Both the University of Windsor and St. Clair College are significant local employers and have enjoyed substantial growth and expansion in recent years. The recent addition of a full-program satellite medical school of the University of Western Ontario, which opened in 2008 at the University of Windsor is further enhancing the region's economy and the status of the university. In 2013, the university completed construction of a $112 million facility for its Faculty of Engineering.
Windsor is the headquarters of Hiram Walker & Sons Limited, now owned by Pernod Ricard. Its historic distillery was founded by Hiram Walker in 1858 in what was then Walkerville, Ontario.
The diversifying economy is also represented by companies involved in pharmaceuticals, alternative energy, insurance, internet and software. Windsor is also home to the Windsor Salt Mine and the Great Lakes Regional office of the International Joint Commission.
Windsor was recently listed as the number two large city for economic potential in North-America and number 7 large city of the future in North America according to the FDI North-American cities of the future list. (American Cities of the Future 2011/12)
en.wikipedia.org/wiki/Windsor,_Ontario
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Components of the descent module of the ExoMars 2020 mission.
The rear jacket, technological front shield, solar panels, the remaining ground support equipment, as well as other material to complete the assembly of the descent module and test program, arrived at Thales Alenia Space, Turin, Italy, from NPO Lavochkin JSC (part of the Roscosmos State Corporation) this week.
Credits: Roscosmos
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The Supermarine Seafire was a naval version of the Supermarine Spitfire adapted for operation from aircraft carriers. It was analogous in concept to the Hawker Sea Hurricane, a navalized version of the Spitfire's stablemate, the Hawker Hurricane. The name Seafire was derived from the abbreviation of the longer name Sea Spitfire.
The idea of adopting a navalized, carrier-capable version of the Supermarine Spitfire had been mooted by the Admiralty as early as May 1938. Despite a pressing need to replace various types of obsolete aircraft that were still in operation with the Fleet Air Arm (FAA), some opposed the notion, such as Winston Churchill, although these disputes were often a result of an overriding priority being placed on maximizing production of land-based Spitfires instead. During 1941 and early 1942, the concept was again pushed for by the Admiralty, culminating in an initial batch of Seafire Mk Ib fighters being provided in late 1941, which were mainly used for pilots to gain experience operating the type at sea. While there were concerns over the low strength of its undercarriage, which had not been strengthened like many naval aircraft would have been, its performance was found to be acceptable.
From 1942 onwards, further Seafire models were quickly ordered, including the first operationally-viable Seafire F Mk III variant. This led to the type rapidly spreading throughout the FAA. In November 1942, the first combat use of the Seafire occurred during Operation Torch, the Allied landings in North Africa. In July 1943, the Seafire was used to provide air cover for the Allied invasion of Sicily; and reprised this role in September 1943 during the subsequent Allied invasion of Italy. During 1944, the type was again used in quantity to provide aerial support to Allied ground forces during the Normandy landings and Operation Dragoon in Southern France. During the latter half of 1944, the Seafire became a part of the aerial component of the British Pacific Fleet, where it quickly proved to be a capable interceptor against the feared kamikaze attacks by Japanese pilots which had become increasingly common during the final years of the Pacific War. Several Seafire variants were produced during WWII, more or less mirroring the development of its land-based ancestor.
The Seafire continued to be used for some time after the end of the war, and new, dedicated versions were developed and exported. The FAA opted to promptly withdraw all of its Merlin-powered Seafires and replace them with Griffon-powered counterparts. The type saw further active combat use during the Korean War, in which FAA Seafires performed hundreds of missions in the ground attack and combat air patrol roles against North Korean forces during 1950. The Seafire was withdrawn from FAA service during the 1950s and was replaced by the newer Hawker Sea Fury, the last piston engine fighter to be used by the service, along with the first generation of jet-propelled naval fighters, such as the de Havilland Vampire, Supermarine Attacker, and Hawker Sea Hawk.
After WWII, the Royal Canadian Navy and French Aviation Navale also obtained Seafires to operate from ex-Royal Navy aircraft carriers. France received a total of 140 Seafires of various versions from 1946 on, including 114 Seafire Mk IIIs in two tranches (35 of them were set aside for spare part) until 1948, and these were followed in 1949 by fifteen Mk. 15 fighters and twelve FR Mk. 23 armed photo reconnaissance aircraft. Additionally, twenty land-based Mk. IXs were delivered to Naval Air Station Cuers-Pierrefeu as trainers.
The Seafire Mk. 23 was a dedicated post-war export version. It combined several old and new features and was the final “new” Spitfire variant to be powered by a Merlin engine, namely a Rolls-Royce Merlin 66M with 1,720 hp (1,283 kW) that drove a four-blade propeller. The Mk. 23 was originally built as a fighter (as Seafire F Mk. 23), but most machines were delivered or later converted with provisions for being fitted with two F24 cameras in the rear fuselage and received the service designation FR Mk. 23 (or just FR.23). Only 32 of this interim post-war version were built by Cunliffe-Owen, and all of them were sold to foreign customers.
Like the Seafire 17, the 23 had a cut-down rear fuselage and teardrop canopy, which afforded a better all-round field of view than the original cockpit. The windscreen was modified, too, to a rounded section, with narrow quarter windows, rather than the flat windscreen used on land-based Spitfires. As a novel feature the Seafire 23 featured a "sting" arrestor hook instead of the previous V-shaped ventral arrangement.
The fuel capacity was 120 gal (545 l) distributed in two main forward fuselage tanks: the lower tank carried 48 gal (218 l) while the upper tank carried 36 gal (163 l), plus two fuel tanks built into the leading edges of the wings with capacities of 12.5 (57 l) and 5.5 gal (25 l) respectively. It featured a reinforced main undercarriage with longer oleos and a lower rebound ratio, a measure to tame the deck behavior of the Mk. 15 and reducing the propensity of the propeller tips "pecking" the deck during an arrested landing. The softer oleos also stopped the aircraft from occasionally bouncing over the arrestor wires and into the crash barrier.
The wings were taken over from the contemporary Spitfire 21 and therefore not foldable. However, this saved weight and complexity, and the Seafire’s compact dimensions made this flaw acceptable for its operators. The wings were furthermore reinforced, with a stronger main spar necessitated by the new undercarriage, and as a bonus they were able to carry heavier underwing loads than previous Seafire variants. This made the type not only suitable for classic dogfighting (basic armament consisted of four short-barreled 20 mm Hispano V cannon in the outer wings), but also for attack missions with bombs and unguided rockets.
The Seafire’s Aéronavale service was quite short, even though they saw hot battle duty. 24 Mk. IIIs were deployed on the carrier Arromanches in 1948 when it sailed for Vietnam to fight in the First Indochina War. The French Seafires operated from land bases and from Arromanches on ground attack missions against the Viet Minh before being withdrawn from combat operations in January 1949.
After returning to European waters, the Aéronavale’s Seafire frontline units were re-equipped with the more modern and capable Seafire 15s and FR 23s, but these were also quickly replaced by Grumman F6F Hellcats from American surplus stock, starting already in 1950. The fighters were retired from carrier operations and soon relegated to training and liaison duties, and eventually scrapped. However, the FR.23s were at this time the only carrier-capable photo reconnaissance aircraft in the Aéronavale’s ranks, so that these machines remained active with Flottille 1.F until 1955, but their career was rather short, too, and immediately ended when the first naval jets became available and raised the performance bar.
General characteristics:
Crew: 1
Length: 31 ft 10 in (9.70 m)
Wingspan: 36 ft 10 in (11.23 m)
Height: 12 ft 9 in (3.89 m) tail down with propeller blade vertical
Wing area: 242.1 ft² (22.5 m²)
Empty weight: 5,564 lb (2,524 kg)
Gross weight: 7,415 lb (3,363 kg)
Powerplant:
1× Rolls-Royce Merlin 66M V-12 liquid-cooled piston engine,
delivering 1,720 hp (1,283 kW) at 11,000 ft and driving a 4-bladed constant-speed propeller
Performance:
Maximum speed: 404 mph (650 km/h) at 21,000 ft (6,400 m)
Cruise speed: 272 mph (438 km/h, 236 kn)
Range: 493 mi (793 km) on internal fuel at cruising speed
965 mi (1,553 km) with 90 gal drop tank
Service ceiling: 42,500 ft (12,954 m)
Rate of climb: 4,745 ft/min (24.1 m/s) at 10,000 ft (3,048 m)
Time to altitude: 20,000 ft (6,096 m) in 8 minutes 6 seconds
Armament:
4× 20 mm Hispano V cannon; 175 rpg inboard, 150 rpg outboard
Hardpoints for up to 2× 250 lb (110 kg) bombs (outer wings), plus 1× 500 lb (230 kg) bomb
(ventral hardpoint) or drop tanks, or up to 8× "60 lb" RP-3 rockets on zero-length launchers
The kit and its assembly:
This build was another attempt to reduce The Stash. The basis was a Special Hobby FR Mk. 47, which I had originally bought as a donor kit: the engine housing bulges of its Griffon engine were transplanted onto a racing P-51D Mustang. Most of the kit was still there, and from this basis I decided to create a fictional post-WWII Seafire/Spitfire variant.
With the Griffon fairings gone a Merlin engine was settled, and the rest developed spontaneously. The propeller was improvised, with a P-51D spinner (Academy kit) and blades from the OOB 5-blade propeller, which are slightly deeper than the blades from the Spitfire Mk. IX/XVI prop. In order to attach it to the hull and keep it movable, I implanted my standard metal axis/styrene tube arrangement.
With the smaller Merlin engine, I used the original, smaller Spitfire stabilizers but had to use the big, late rudder, due to the taller fin of the post-ware Spit-/Seafire models. The four-spoke wheels also belong to an earlier Seafire variant. Since it was an option in the kit, I went for a fuselage with camera openings (the kit comes with two alternative fuselages as well as a vast range of optional parts for probably ANY late Spit- and Seafire variant – and also for many fictional hybrids!), resulting in a low spine and a bubble canopy, what gives the aircraft IMHO very sleek and elegant lines. In order to maintain this impression I also used the short cannon barrels from the kit. For extended range on recce missions I furthermore gave the model the exotic underwing slipper tanks instead of the optional missile launch rail stubs under the outer wing sections. Another mod is the re-installment of the small oil cooler under the left wing root from a Spitfire Mk. V instead of the symmetrical standard radiator pair – just another subtle sign that “something’s not right” here.
Painting and markings:
The decision to build this model as a French aircraft was inspired by a Caracal Decals set with an Aéronavale Seafire III from the Vietnam tour of duty in 1948, an aircraft with interesting roundels that still carried British FAA WWII colors (Dark Slate Grey/Dark Sea Grey, Sky). Later liveries of the type remain a little obscure, though, and information about them is contradictive. Some profiles show French Seafires in British colors, with uniform (Extra) Dark Sea Grey upper and Sky lower surfaces, combined with a high waterline – much like contemporary FAA aircraft like the Sea Fury. However, I am a bit in doubt concerning the Sky, because French naval aircraft of that era, esp. recce types like the Shorts Sunderland or PBY Catalina, were rather painted in white or very light grey, just with uniform dark grey upper surfaces, reminding of British Coastal Command WWII aircraft.
Since this model would be a whif, anyway, and for a pretty look, I adopted the latter design, backed by an undated profile of a contemporary Seafire Mk. XV from Flottille S.54, a training unit, probably from the Fifties - not any valid guarantee for authenticity, but it looks good, if not elegant!
Another option from that era would have been an all-blue USN style livery, which should look great on a Spitfire, too. But I wanted something more elegant and odd, underpinning the bubbletop Seafire’s clean lines.
I settled for Extra Dark Sea Grey (Humbrol 123) and Light Grey (FS. 36495, Humbrol 147) as basic tones, with a very high waterline. The spinner was painted yellow, the only colorful marking. Being a post-war aircraft of British origin, the cockpit interior was painted in black (Revell 09, anthracite). The landing gear wells became RAF Cockpit Green (Humbrol 78), while the inside of the respective covers became Sky (Humbrol 90) – reflecting the RAF/FAA’s post-war practice of applying the external camouflage paint on these surfaces on Spit-/Seafires, too. On this specific aircraft the model displays, just the exterior had been painted over by the new operator. Looks weird, but it’s a nice detail.
The roundels came from the aforementioned 1948 Seafire Mk. III, and their odd design – esp. the large ones on the wings, and only the fuselage roundels carry the Aéronavale’s anchor icon and a yellow border – creates a slightly confusing look. Unfortunately, the roundels were not 100% opaque, this became only apparent after their application, and they did not adhere well, either.
The tactical code had to be improvised with single, black letters of various sizes – they come from a Hobby Boss F4F USN pre-WWII Wildcat, but were completely re-arrenged into the French format. The fin flash on the rudder had to be painted, with red and blue paint, in an attempt to match the decals’ tones, and separated by a white decal stripe. The anchor icon on the rudder had to be printed by myself, unfortunately the decal on the bow side partly disintegrated. Stencils were taken from the Special Hobby kit’s OOB sheet.
The model received a light black ink washing, post-panel shading with dry-brushing and some soot stains around the exhausts, but not too much weathering, since it would be relatively new. Finally, everything was sealed with matt acrylic varnish.
A relatively quick and simple build, and the Special Hobby kit went together with little problems – a very nice and versatile offering. The mods are subtle, but I like the slender look of this late Spitfire model, coupled with the elegant Merlin engine – combined into the fictional Mk. 23. The elegant livery just underlines the aircraft’s sleek lines. Not spectacular, but a pretty result.
Creating amazing components for jewelry is an incredibly easy process. In this case I used plastic two-liter bottles to produce tubular beads that were strung into bracelets and necklaces. My slogan for my upcycled jewelry projects: Cover yourself in plastic, not the ocean.
PictionID:44723552 - Title:Atlas Program Component - Catalog:14_013260 - Filename:14_013260.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
PictionID:44025776 - Title:Atlas Component - Catalog:14_009121 - Filename:14_009121.TIF - - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Frickelfest (I love it)
sound.westhost.com/why-diy.htm
Why DIY?
Contrary to popular belief, the main reason for DIY is not (or should not be) about saving money. While this is possible in many cases (and especially against 'top of the line' commercial products), there are other, far better reasons to do it yourself.
The main one is knowledge, new skills, and the enormous feeling of satisfaction that comes from building your own equipment. This is worth far more than money. For younger people, the skills learned will be invaluable as you progress through life, and once started, you should continue to strive for making it yourself wherever possible.
Each and every new skill you learn enables the learning processes to be 'exercised', making it easier to learn other new things that come your way.
Alvin Toffler (the author of Future Shock) wrote:- "The illiterate of the 21st century will not be those who cannot read and write, but those who cannot learn, unlearn, and relearn."
This is pretty much an absolute these days, and we hear stories every day about perfectly good people who simply cannot get a new job after having been 'retrenched' (or whatever stupid term the 'human resources' people come up with next). As an aside, I object to being considered a 'resource' for the corporate cretins to use, abuse and dispose of as they see fit.
The skills you learn building an electronics project (especially audio) extend far beyond soldering a few components into a printed circuit board. You must source the components, working your way through a minefield of technical data to figure out if the part you think is right is actually right. Understanding the components is a key requirement for understanding electronics.
You will probably need to brush up on your maths - all analogue electronics requires mathematics if you want to understand what is going on. The greater your understanding, the more you have learned in the process. These are not trivial skills, but thankfully, they usually sneak up on you. Before you realise it, you have been working with formulae that a few years ago you would have sneered at, thinking that such things are only for boffins or those really weird guys you recall from school.
Then there is the case to house everything. You will need to learn how to perform basic metalworking skills. Drilling, tapping threads, filing and finishing a case are all tasks that need to be done to complete your masterpiece. These are all skills that may just come in very handy later on.
Should you be making loudspeakers, then you will learn about acoustics. You will also learn woodworking skills, veneering, and using tools that you may never have even known existed had you not ventured into one of the most absorbing and satisfying hobbies around.
Ok, that's fine for the younger generation(s), but what about us 'oldies'? We get all the same benefits, but in some cases, it is even possible to (almost) make up for a lifetime spent in an unrewarding job. As we get older, the new skills are less likely to be used for anything but the hobby, but that does not diminish the value of those skills one iota.
However, it's not all about learning, it's also about doing. Few people these days have a job where at the end of the day they can look at something they built. Indeed, in a great many cases, one comes home at the end of the day, knowing that one was busy all day with barely time for lunch, yet would be hard pressed to be able to say exactly what was achieved. What would have happened if what you did today wasn't done? Chances are, nothing would have happened at all - whatever it was you did simply wasn't done (if you follow the rather perverse logic in that last statement ).
Where is the satisfaction in that? There isn't any - it's a job, you get paid, so are able to pay your bills, buy food and live to do the same thing tomorrow.
When you build something, there is a sense of pride, of achievement - there is something to show for it, something tangible. No, it won't make up for a job you hate (or merely dislike), but at least you have created something. Having done it once, it becomes important to do it again, to be more ambitious, to push your boundaries.
Today, a small preamp. Tomorrow, a complete state of the art 5.1 sound system that you made from raw materials, lovingly finished, and now provides enjoyment that no store-bought system ever will.
PictionID:44808664 - Title:Atlas Payload Component - Catalog:14_014202 - Filename:14_014202.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
PictionID:44808627 - Title:Atlas Payload Component - Catalog:14_014199 - Filename:14_014199.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
This alternate pusher component is designed to secure to the sliding table with a lever actuated clamping post. The bumper component has the same rubberized gasketing material along one edge to help secure stock wedged between the two plywood components that make up the system. Also shown in this photo is an alternate plywood "bumper" component.
This is the "pusher" half the the RUWI component system. It is a plywood panel approximately 1-inch thick with a handle and rubberized gasketing applied to the front edge, and an adjustable mechanism for setting the angle of the panel and securing it to the sliding table. Unlike a Fritz & Franz design, this component pivots which I consider a disadvantage.
Nationaal Archief/Spaarnestad Photo/ W.P.v.d. Hoef
Nederlands: Eendenfokkerij. Jongen met mand vol eieren. Nederland, Harderwijk, augustus 1951.
English: Duck farm. Boy carrying a basket full of eggs. The Netherlands, Harderwijk, 1951.
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A technician with the John C. Stennis Space Center's Fluid Component Facility studies samples to determine cleanliness of valves and fittings used on pipes that transport liquid fuel and propellants. The clean room where the technicians work is similar to a hospital surgical room.
Credit: NASA
Image Number: 95-081-19
Date: 1995
Modeling the circuit as a printed circuit board where the components are visible but the traces on the printed circuit board are not.
Part of the circuitry snacks project: Edible models of functioning electronic circuits. Designed for fun, for geeks, for kids, and for teaching and learning electronics.
PictionID:44808603 - Title:Atlas Payload Component - Catalog:14_014197 - Filename:14_014197.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Travelled down to Chico, California to tour the Paul Components headquarters and document the fabulous work they do.