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In 1997, the vulnerability of the non-stealthy MC-130 force in the modern high-threat environment was becoming problematic. The USAF conducted studies on a possible replacement for the MC-130 fleet, known as the “MC-X” or “M-X” programs, with operating capability by 2018. The priority was a stealthy replacement with enhanced capabilities to support Special Operating Forces (SOF) insertion and extraction into denied areas from strategic distances. While the investigation proceeded, the USAF sought to modernize its current force, intending to procure 37 MC-130J aircraft to replace its MC-130Es and MC-130Ps, which were 40 years old. The new MC-130J was based on the KC-130J tanker operated by the US Marine Corps but with added features for combat search and rescue and special operations missions. The MC-130J adds an Enhanced Service Life Wing, and Enhanced Cargo Handling System, a Universal Aerial Refuelling Receptacle Slipway Installation (UARRSI) boom refuelling receptacle, more powerful electrical generators, an electro-optical/infrared sensor, a combat systems officer (CSO) station on the flight deck, provisions for the Large Aircraft Countermeasures System, and additional armour.
In this image, an MC-130J (serial number: 10-5714) of the 67th Special Operations Squadron (67th SOS), flies through inclement weather. The aircraft is shown with tailband markings commemorating the 75th Anniversary of D-Day. The 67th SOS, the “Night Owls,” has been stationed at RAF Mildenhall since May 1993. By June 2013, the Night Owls received their first MC-130J Commando II. On 31 October 2020, 67th SOS Commando IIs participated in the successful rescue of Philip Warton, who was being held hostage in Nigeria. In August 2024, the 67th SOS refuelled Finnish Air Force F/A-18C Hornets during a training exercise. In March 2024, the 67th SOS transitioned from the MC130J to the Fairchild Dornier C-146A Wolfhound.
Closest remaining thing in Leeds to the problematic Leek Street Flats of Hunslet that were bulldozed within 14 years (1968 to 1982) This shared an eerily coincidental timeline to the similar and infamous Divis Flats of Belfast.
About seven years ago Ryder’s Row, where Capel Street and Parnell Street merge, was upgraded by the addition of a small pop-up park featuring a number of new planters with seating and additional bike parking for the area. The park eventually became a magnet for a number of homeless people and unfortunately about a year ago it was reported that the body of a man in a sleeping bag, thought to be an Irish national in his 50s, was discovered by a member of the public early in the morning. Since then part of the park has been fenced-off and it had become somewhat unattractive.
Addressing the participants, Mr. Cannon highlighted the problematic and criminal aspects of human beings trafficking.
www.gov.uk/government/world-location-news/the-trafficking...
The exhibition of the "Masterpieces" of the Tervuren. The lighting was very dark so photos were problematic.
Newchurch is in the middle of a very narrow lane, which barely widens in the village, and so parking here is problematic. I managed to get a pace on the road, though I do think there is a small car park beside the church, but driving along the pavement didn't seem right to me.
All Saints sits on the edge of a cliff, and the road out of the village falls away beside it, making it a very dramatic location.
The tower, half clapboard and half soft sandy-coloured stone looks in poor repair. The clapboard, anyway. And entrance to the church is through the tower with the bellringing ropes hanging overhead.
Inside, it is a well kept church, some nice 19th century glass, a rose window in the west wall, but too high for me to get a good shot. The lectern is a fine golden Pelican in her Piety, one of the best I have seen, and hanging in the rood loft stairs, now leading nowhere, is a fine brass lamp.
As I left just before four, the church was locked, and my crawling for the day was done, so I repaired to the Pointer Inn next door for a fine pint of Hophead.
---------------------------------------------
The church celebrated its 900th anniversary in 1987 and is a fine example of a Norman Church with some remaining evidence of its pre-Norman origins.
It is one of only three English churches with an ancient sanctuary door still in place (Durham and Westminster are the other two). Over the South door there is the crest of William III (of Orange) dated 1700 with the face of the Lion Rampant being an image of King Willliam.
The Dillington Mortuary Chapel has a number tombs whose covering slabs have unusually well preserved and finely engraved crests and lettering
The following is extracted from the Quinquennial Report published in October 2011 by the Church Architect, Mr Ian G Smith.
Standing prominently at the north end of Newchurch village, All Saints Church is visible from many points in the central belt of the Island; being cruciform in plan, with a south porch and tower it dominates the Arreton Valley.
One of six Churches given by William FitzOsbern to Lyra Abbey in Normandy, it was given to the See of Bristol by Henry VIII; All Saints has throughout its life had many additions, in the 15th, 16th and 17th centuries; the Victorian restoration of 1883, by AR Barker, remodelled part of the interior.
The original Church is still quite easily identifiable in the Nave, North and South Aisles, the crossing and the north wall of the Chancel, with the later extensions of the South Transept and the Chancel evident in the treatment of the windows which are wider and of three light style.
Constructed of random stone under a steeply pitched and tiled roof, the modest exterior is off set by the surprisingly grand interior; with a soaring timber-clad Nave roof, and massive stone columns with octagonal piers; with double chamfered arches progressing to the crossing and the Chancel.
The square tower over the stone rendered South Porch, being of timber weather-boarding (around 1800) is unusual on the Island, housing the six bell peal, four of which were founded in 1810, the other two are of 16th and 17th century vintage.
Major benefactors of the Church were the Dillington family who have laid 8 vaults in the north transept and also in the south transept; and of historical interest within the Church are the oak pulpit of 1725, the oak door from the Porch, the Pelican Lectern (l7thC), the wall tablets, the stained glass east window by Kempe (1909), the Creed and Commandments boards in cusped Gothic frames on the west wall; and the panel over the south door with the royal arms of William III, and dated 1700.
Listing; Listed Grade I.
Ref SZ58NE
1352- 0/1/144
18/01/67
High Street (East Side) – Church of All Saints – Listed as Grade I
The listing in the Twenty Ninth List of Buildings of Special Architectural and Historic Interest, dated 14 February 1992, of the Isle of Wight, gives a particularly detailed description of the history of the Church, the windows, and the historic features, relying on much of the information contained in the Buildings of England, David W. Lloyd and Nikolaus Pevsner, Hampshire and the Isle of Wight this has been updated now having a separate volume on the Isle of Wight of 2006.
High Street (East side) -Dillington Sundial in All Saints Churchyard — listed Grade II
Ref: SZS8NE
1352-0/1/145
Sundial, 1678 by Robert Marks of London, Baluster shaped stone base to sundial, about 1.000mm in height on plinth of three square stone steps. The sundial is missing, the sundial originally stood on the bowling green at Knighton Gorges, but following the demolition of the great house, Squire Bisset gave it to the parish in 1826, when it was erected in the Churchyard, historical interest as one of the early relics of Knighton Gorges.
The exhibition of the "Masterpieces" of the Tervuren. The lighting was very dark so photos were problematic.
The forecasters had said there would be a threat of snow for a couple of days, and when we didn't see any on Wednesday, I doubted any would come. I woke up Thursday to a bunch of white stuff everywhere. This is problematic around here because Seattle basically goes into a standstill.
I was worried because I had to get to the airport. Our road was closed, and Andy offered to pick me up at the bottom of the hill. Buck (and Emma) were gracious enough to help me start trekking down with my luggage.
We didn't get very far and then saw Andy come up with his big bad snow tires. I safely made it to the airport and breathed a sigh of relief. Boy, I had no idea what lay ahead.
I got to the airport at 11, and checked my luggage at the curb, and waited for my 3:25 flight. I was knitting my Grandma a scarf, so I didn't mind the time to kill. So...I waited.
They delayed our flight to 3:45. No biggie. I kept knitting. They delayed our flight to 4:00. No biggie. I kept knitting. They delayed our flight to 5:30. Slightly annoyed - and finished knitting. They had a plane for us and were re-checking everyone in. They delayed us to 6. Ugh. Then they announced that they could not put us on that flight because the flight attendants had exceeded the number of hours they could work. BUT - they had already loaded our luggage on that plane, and they were sending it back EMPTY of passengers to Minneapolis. That...makes sense. My luggage can get there, but I can't. They then had another flight for us at 6:30. They rebooked everyone, then at 6:25 told us they had to cancel that flight due to weather. ANNOYED AND FRUSTRATED.
I stood in line a long time because I just wanted to have a confirmed flight somewhere... They booked me on a standby for 1:00 AM, and if I couldn't get on that, a confirmed flight for Friday at 12:30 in the afternoon. I decided that there would be no way I would get on that standby flight when everyone else was also waiting. So, I went home at 10pm...and will go back and hope my flight actually leaves this time.
I can't believe I spent the entire day in the airport and didn't even go anywhere.
Does your school have a baklava of problematic behavior within its PE faculty?
We're here to help.
www.merlinmann.com/roderick/ep-11-everybody-knew-what-mr-...
TRISTAN AND ISOLDE and Vienna - which was originally a problematic relationship. The KK Hof-Operetta Theatre in 1861 the work for first performance had accepted. 1862 was began with the rehearsal, a year later, however, after allegedly 77 rehearsals, it was as "unplayable" put aside. The premiere took place in 1865 in Munich. An even greater importance now became the Vienna premiere. Wagner himself had in a letter dated from 10 May 1876 the Court Opera Directorate issued the performing rights against seven per cent of the gross receipts. The first performance in Vienna on 4th October 1883, however, he did not live to see. He had died on 13th February. It was a great success. Herrmann Winkelmann excelled as Tristan, Amalie Materna as Isolde.
(further pictures and information you can get by going to the end of page!)
Vienna State Opera
Vienna State Opera, 2012
Vienna State Opera in the evening twilight
The Vienna State Opera was the first major building on the Vienna ring road and was on 25 May 1869 opened with Mozart's "Don Juan" in the presence of Emperor Franz Joseph and Empress Elisabeth. The Vienna State Opera is now considered one of the most important opera houses in the world with the largest repertoire. From the Orchestra of the Vienna State Opera, the Vienna Philharmonic are recruited.
History
The Vienna State Opera was planned by August of Sicardsburg and Eduard van der Nüll. The architects, however, were heavily criticized for the building, so that van der Nüll committed suicide and shortly afterwards died of Sicardsburg of a stroke.
The official opening took place on 25 May 1869 with Mozart's "Don Juan". Gradually, the popularity of the Staatsoper rose, under the director Gustav Mahler it obtained a first climax.
At the time of the Second World War, the State Opera suffered enormously. From 1938 to 1945 many employees were persecuted, expelled and murdered. In addition, many pieces were not allowed to be performed anymore. Finally, shortly before end of war the building was massively destroyed by bombing. On 5 November 1955, the opera was re-opened with a performance of Beethoven's "Fidelio".
Architecture
The historical part of the front at the ring road could be preserved from the original building from 1869. The rear, wider part contains the stage, in the narrow front part the auditorium is housed. Eye-catching are the different roof shapes and the loggia, which should emphasize the public character.
Sideways of the central entrance are the portraits of the two architects. Significant is also the ceiling painting "Fortuna, dispersing her gifts" in the stairwell. The seven statues by Josef Gasser represent the liberal arts (architecture, sculpture, poetry, dance, art of music, drama and painting). In the historic tract is located the tea room, which together with the Hoffestloge (Court Ceremonial Lodge) was reserved the Court.
Directors after the reopening
Karl Böhm
Herbert von Karajan
Herbert von Karajan/Walter Erich Schäfer
Herbert von Karajan/Egon Hilbert
Egon Hilbert
Heinrich Reif-Gintl
Rudolf Gamsjäger
Egon Seefehlner
Lorin Maazel
Egon Seefehlner
Claus Helmut Drese
Eberhard Waechter
Ioan Holender:
Dominique Meyer
Opera Ball
Once a year, the State Opera becomes the most famous and most solemn ballroom in the world. The Opera Ball is the highlight of the ball season in Vienna and has a great international significance. Many celebrities from all over the world travel to Vienna to celebrate the ball of the artists.
Women wear a long evening dress, men are appearing in tails. Tickets are available from € 250, for a seat in the box must be reckoned with over € 10,000. The highlight of the ball is the Marching In of the Jungdamen- and Jungherrenkommitees (female and male debutants' committee).
Staatsopernmuseum (Museum of the Vienna State Opera)
In Staatsopernmuseum the history of the house from 1869 to 2009 is documented. On display are costumes, stage settings, and important events such as premieres and first performances. The exhibition focuses specifically on the singers. At three information terminals casts and stage settings on all performances since 1955 can be retrieved.
Staatsopernmuseum, Hanuschgasse 3, 1010 Vienna
This is an excellent example of an out-dated, problematic kitchen and the creative solutions our design team came up with to give it both an updated, beautiful new look and much greater functionality.The original design of the kitchen was a typical condo unit with laminate countertops and cabinetry. Storage space was lacking & inefficient, and the sink faced a wall.
To remedy these problems, our designer moved the sink to a new location on the free-standing part of the counter, allowing for the addition of more cabinet space on the wall where the sink used to be. Part of the counter next to the entry door was shortened, making room for a new floor-to-ceiling pantry. The cabinets were also re-configured around the refrigerator to increase usable storage space, and one of the floor cabinets next to the new sink was replaced by a stack of large drawers.
The homeowners selected a raised-panel door style in Mocha Maple and Blue Pearl granite countertops.
3054. LARGE SIZE HIGH RESOLUTION PIC. Another great photograph of HMAS AUSTRALIA [II] although attempts to date the photograph have proved very problematic. Hence, we offer a range of dates when HMAS AUSTRALIA [II] was in Hobart.
1948: At Hobart Feb. 17- Mar 1, Regatta: with HMAS BATAAN.
1949: At Hobart Feb. 2- Mar. 21, Regatta and exercises .``
1951: At Hobart Feb.25 - Mar 27, exercises with Commonwealth ships.
1952: At Hobart Feb 22-March 29, broken visit, with HMAS ANZAC [II].
1953: At Hobart about Jan 23-Feb 12, Regatta.
1954: Feb 18-23: Royal Visit escorting Royal yacht GOTHIC with HMAS ANZAC [II].
With many dates to choose from, simply because of ship's ultra-smart detailing - e.g. white fairleads - we are inclined to think the image above may have been taken during the 1954 Royal Visit, when AUSTRALIA [II] and ANZAC [II] escorted the Royal Yacht GOTHIC there. But it may be another occasion.
You can see here that AUSTRALIA formerly carried two anchors forward on the starboard side [but not to port], The second starboard hawse pipe is plated over here.
We're not sure when the change was made, maybe the 1938-9 modernization, but you can see the three forward anchors of the old days in PIC NO. 4023 here:
www.flickr.com/photos/41311545@N05/5468086265/
It was the same with HMAS SHROPSHIRE, one starboard hawse plated over, so maybe it was common to the Class. See SHROPSHIRE at Pic NO 161, here:
www.flickr.com/photos/41311545@N05/3840386744/in/photostream
Photo: Archives Office of Tasmania Collection, State Library of Tasmania [W.L. Crowther Library], its image ID [ADRI] is AB713-1-4159.
A three-part COMPENDIUM of links to more than 200 HMAS AUSTRALIA [II] images on this Photostream begins at Pic Entry NO 5412, here:
www.flickr.com/photos/41311545@N05/6627997309/in/photostream
As a developing country, Indonesia often experiences problematic situation where development is massively conducted upon the impulse to build ambitious infrastructures on the name of public interest yet at the same time imposes the cost on deprivation of vulnerable groups and declining condition of environment. The idea of public interest becomes a contesting area wherein the government uses it to enforce their development plan and, on the other hand, the affected groups use it to protect and reclaim their damaged rights. In addition, this unresolved debate also creates friction within the society as upper-middle class argues about those who resist those projects are hindering growth while the lower-class resist because they often are not involved in any prior discussion thus suffer from negative externalities—displacement from their property, livelihood, and removed from access to healthy environment—soon after the projects take place.
Shafira Hexagraha, 24, Lawyer
Captured by Joce Timoty Pardosi, MY World Advocate, Indonesia
OK, none of my people at church liked the speech or thought bubble. Any thoughts on how to make this better?
I have never been considered rich. Affording lenses for new camera adventures was always problematic. Thus, when I decided I wanted to try macro I had to buy macro tubes off ebay and stick an old film lens on it. For this one I stuck a 55mm lens on the tubes from my Pentax Asashi. I tried super hard to get the whole worm in focus but with a flash, high ISO and quick shutter speed I coulnd't go beyond f12 due to light restraints. A macro lens flash would have been fun, but I just pointed my cheap flash at another leaf to bounce the light onto it. I like the way the lighting turned out, just wish I could have shot through smaller aperture so the head would be more in focus.
I found this little guy chewing a big hole in the leaf. When it performed this acrobatic manouver to get a bite I knew I had to shoot it. I did a short photoshoot with it, but didn't want to annoy it too much. This was by far my favorite photo. I got a few more interesting ones. It was a super fun, new experience for me.
The date of construction this rectangular three-domed mosque inside the Lalbagh fort is problematic. Traditionally it is considered to be contemporary with the Lalbagh Fort, constructed by Muhammad Azam in 1678-79. However, recent exploration identified it as 1649, with a further restoration of 1780 (Hasan, 2007). The fort complex named Lalbagh stands before the Buriganga River in the southwestern part of Dhaka, Bangladesh.
This mosque, part of the Lalbagh Fort Complex and built under the rule of Governor Shaista Khan, is situated in the western part of the complex, aligned with the tomb of Bibi Pari. The Lalbagh Fort mosque is a typical Bengali Mughal type (Asher, 1984); that is, a rectangular structure crowned with three-domes. It is one of the finest examples of its kind, where the central dome is larger (Islam & Noblea, 1998).
The mosque has an oblong plan of 66'9" x 33'6" externally and 53'8" x 20'2" internally. The structure is divided into three equal interior bays, roofed over by three fluted, bulbous domes, resting on drums. The proportionately smaller lateral domes are placed on the equal size bays by splitting each dome into a half-dome and placing it on a pendentive. Stylistically this kind is known as Shaista Khani architecture, commonly found in and around Dhaka.
The rectangular structure is buttressed by four corner octagonal turrets, capped by plastered cupolas. These turrets rise slightly above the parapet walls and ribbed in typical Bengali fashion. Parapets are straight instead of the curvilinear cornice of pre-Mughal types. The eastern or main facade is visually divided into three sections. Each section contains an entrance doorway that correspond to the three domes above and adorned by cusped arches. The middle section is emphasized by a frame of slender, engaged columns, a raised cornice, and a larger dome. The Lalbagh Fort Mosque's north and south interior walls are divided into a series of horizontal panels, reflecting the motifs on the exterior. The three mihrabs contain faceted stucco work similar to that on the entrances.
The mosque was restored and repaired by the Department of Archaeology, Bangladesh, and is now a protected monument.
The exhibition of the "Masterpieces" of the Tervuren. The lighting was very dark so photos were problematic.
Newchurch is in the middle of a very narrow lane, which barely widens in the village, and so parking here is problematic. I managed to get a pace on the road, though I do think there is a small car park beside the church, but driving along the pavement didn't seem right to me.
All Saints sits on the edge of a cliff, and the road out of the village falls away beside it, making it a very dramatic location.
The tower, half clapboard and half soft sandy-coloured stone looks in poor repair. The clapboard, anyway. And entrance to the church is through the tower with the bellringing ropes hanging overhead.
Inside, it is a well kept church, some nice 19th century glass, a rose window in the west wall, but too high for me to get a good shot. The lectern is a fine golden Pelican in her Piety, one of the best I have seen, and hanging in the rood loft stairs, now leading nowhere, is a fine brass lamp.
As I left just before four, the church was locked, and my crawling for the day was done, so I repaired to the Pointer Inn next door for a fine pint of Hophead.
---------------------------------------------
The church celebrated its 900th anniversary in 1987 and is a fine example of a Norman Church with some remaining evidence of its pre-Norman origins.
It is one of only three English churches with an ancient sanctuary door still in place (Durham and Westminster are the other two). Over the South door there is the crest of William III (of Orange) dated 1700 with the face of the Lion Rampant being an image of King Willliam.
The Dillington Mortuary Chapel has a number tombs whose covering slabs have unusually well preserved and finely engraved crests and lettering
The following is extracted from the Quinquennial Report published in October 2011 by the Church Architect, Mr Ian G Smith.
Standing prominently at the north end of Newchurch village, All Saints Church is visible from many points in the central belt of the Island; being cruciform in plan, with a south porch and tower it dominates the Arreton Valley.
One of six Churches given by William FitzOsbern to Lyra Abbey in Normandy, it was given to the See of Bristol by Henry VIII; All Saints has throughout its life had many additions, in the 15th, 16th and 17th centuries; the Victorian restoration of 1883, by AR Barker, remodelled part of the interior.
The original Church is still quite easily identifiable in the Nave, North and South Aisles, the crossing and the north wall of the Chancel, with the later extensions of the South Transept and the Chancel evident in the treatment of the windows which are wider and of three light style.
Constructed of random stone under a steeply pitched and tiled roof, the modest exterior is off set by the surprisingly grand interior; with a soaring timber-clad Nave roof, and massive stone columns with octagonal piers; with double chamfered arches progressing to the crossing and the Chancel.
The square tower over the stone rendered South Porch, being of timber weather-boarding (around 1800) is unusual on the Island, housing the six bell peal, four of which were founded in 1810, the other two are of 16th and 17th century vintage.
Major benefactors of the Church were the Dillington family who have laid 8 vaults in the north transept and also in the south transept; and of historical interest within the Church are the oak pulpit of 1725, the oak door from the Porch, the Pelican Lectern (l7thC), the wall tablets, the stained glass east window by Kempe (1909), the Creed and Commandments boards in cusped Gothic frames on the west wall; and the panel over the south door with the royal arms of William III, and dated 1700.
Listing; Listed Grade I.
Ref SZ58NE
1352- 0/1/144
18/01/67
High Street (East Side) – Church of All Saints – Listed as Grade I
The listing in the Twenty Ninth List of Buildings of Special Architectural and Historic Interest, dated 14 February 1992, of the Isle of Wight, gives a particularly detailed description of the history of the Church, the windows, and the historic features, relying on much of the information contained in the Buildings of England, David W. Lloyd and Nikolaus Pevsner, Hampshire and the Isle of Wight this has been updated now having a separate volume on the Isle of Wight of 2006.
High Street (East side) -Dillington Sundial in All Saints Churchyard — listed Grade II
Ref: SZS8NE
1352-0/1/145
Sundial, 1678 by Robert Marks of London, Baluster shaped stone base to sundial, about 1.000mm in height on plinth of three square stone steps. The sundial is missing, the sundial originally stood on the bowling green at Knighton Gorges, but following the demolition of the great house, Squire Bisset gave it to the parish in 1826, when it was erected in the Churchyard, historical interest as one of the early relics of Knighton Gorges.