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Lancahsire's only population of wild Red Deer is found at Leighton Moss and in the Silverdale area. They are thought to have crossed over from Cumbria where they occur in forests, moors and on the mountains. At Leighton Moss they are found in reedbeds, showing their versatile nature.

The Red Deer (Cervus elaphus) is one of the largest deer species. The Red Deer inhabits most of Europe, the Caucasus Mountains region, Asia Minor and parts of western and central Asia. It also inhabits the Atlas Mountains region between Morocco and Tunisia in northwestern Africa, being the only species of deer to inhabit Africa. Red Deer have been introduced to other areas including Australia, New Zealand and Argentina. In many parts of the world the meat (venison) from Red Deer is used as a food source.

Red Deer are ruminants, characterized by an even number of toes, and a four-chambered stomach. Recent DNA evidence indicates that the Red Deer (Cervus elaphus) and the East Asian and North American Elk (Wapiti) (Cervus canadensis) represent two distinct species. They also hint at an additional primordial subgroup of Central Asian Red Deer.[2] The ancestor of all Red Deer probably originated in Central Asia and probably resembled Sika Deer.[3]

Although at one time Red Deer were rare in some areas, they were never close to extinction. Reintroduction and conservation efforts, especially in the United Kingdom, have resulted in an increase of Red Deer populations, while other areas, such as North Africa, have continued to show a population decline.

Description

The Red Deer is the fourth largest deer species behind moose, elk (wapiti) and sambar deer. It is a ruminant, eating its food in two stages and having an even number of toes on each hoof, like camels, goats and cattle. European Red Deer have a relatively long tail compared to their Asian and North American relatives. There are subtle differences in appearance between the various subspecies of Red Deer primarily in size and antlers, with the smallest being the Corsican Red Deer found on the islands of Corsica and Sardinia and the largest being the Caspian red deer[citation needed] (or maral) of Asia Minor and the Caucasus Region to the west of the Caspian Sea. The deer of Central and Western Europe vary greatly in size with some of the largest deer found in the Carpathian Mountains in Central Europe.[3] West European Red Deer historically, grew to large size given ample food supply (including peoples' crops), and descendants of introduced populations living in New Zealand and Argentina have grown quite large in size and antlers. Large Red Deer stags, like the Caspian Red Deer or those of the Carpathian Mountains may rival the Wapiti in size. Female Red Deer are much smaller than their male counterparts.

Generally, the male (stag or hart) Red Deer is typically 175 to 230 cm (69 to 91 in) long and weighs 160 to 240 kg (350 to 530 lb); the female is 160 to 210 cm (63 to 83 in) long and weighs 120 to 170 kg (260 to 370 lb).[citation needed] The tail adds another 12 to 19 cm (4.7 to 7.5 in) and shoulder height is about 105 to 120 cm (41 to 47 in). Size varies in different subspecies with the largest, the huge but small-antlered deer of the Carpathian Mountains (C. e. elaphus), weighing up to 500 kg (1,100 lb). At the other end of the scale, the Corsican Red Deer (C. e. corsicanus) weighs about 80 to 100 kg (180 to 220 lb), although Red Deer in poor habitats can weigh as little as 53 to 112 kg (120 to 250 lb).[4] European Red Deer tend to be reddish-brown in their summer coats. The males of many subspecies also grow a short neck mane ("mane" of hair around their necks) during the autumn. The male deer of the British Isles and Norway tend to have the thickest and most noticeable neck manes. Male Caspian Red Deer (Cervus elaphus maral) and Spanish Red Deer (Cervus elaphus hispanicus) do not carry neck manes. Male deer of all subspecies, however, tend to have stronger and thicker neck muscles than female deer, which may give them an appearance of having neck manes. Red Deer hinds (females) do not have neck manes. The European Red Deer is adapted to a woodland environment.[5]

Only the stags have antlers which start growing in the spring and are shed each year, usually at the end of winter. Antlers are made of bone which can grow at a rate of 2.5 cm (1.0 in) a day. A soft covering known as velvet helps to protect newly forming antlers in the spring. European red deer antlers are distinctive in being rather straight and rugose, with the fourth and fifth tines forming a "crown" or "cup" in larger males. Any tines in excess of the fourth and fifth tine will grow radially from the "cup". "Cups" are generally absent in the antlers of smaller red deer such as Corsican Red Deer. West European Red Deer antlers feature bez (second) tines that are either absent or smaller than the brow tine. However, bez tines occur frequently in Norwegian Red Deer. Antlers of Caspian Red Deer carry large bez (second) tines and form less-developed "cups" than West European red deer, their antlers are thus more like the "throw back" top tines of the wapiti (Cervus canadensis sp.)and these are known as maraloid characteristics. A stag can (exceptionally) have antlers with no tines, and is then known as a switch. Similarly, a stag that doesn't grow antlers is a hummel. The antlers are testosterone-driven and as the stag's testosterone levels drop in the autumn, the velvet is shed and the antlers stop growing.[6] Red Deer produce no testosterone in their bodies while they are growing antler.[clarification needed] With the approach of autumn, the antler begin to calcify and the stags testosterone production builds for the approaching rut (mating season).

During the autumn, all Red Deer subspecies grow a thicker coat of hair which helps to insulate them during the winter. Autumn is also when some of the stags grow their neck manes.[3] It is in the autumn/winter coat that most subspecies are most distinct. The Caspian Red Deer's winter coat is greyer and has a larger and more distinguished light rump-patch (like Elk and some Central Asian Red Deer) compared to the West European Red Deer which has more of a greyish-brown coat with a darker yellowish rump patch in the winter. By the time summer begins, the heavy winter coat has been shed; the animals are known to rub against trees and other objects to help remove hair from their bodies. Red Deer have different colouration based on the seasons and types of habitats, with grey or lighter colouration prevalent in the winter and a more reddish and darker coat in the summer.[7] Most European Red Deer wear a reddish-brown summer coat, and some individuals may have a few spots on the backs of their summer coats.

Distribution

Cervus genus ancestors of Red Deer first appear in fossil records 12 million years ago during the Miocene in Eurasia.[8] An extinct genus known as the Irish Elk (Megaloceros), not related to the red deer but to the fallow deer, is the largest member of the deer family known from the fossil record.[9]

The European Red Deer is one of the largest game animals found in Southwestern Asia (Asia Minor and Caucasus regions), North Africa and Europe. The Red Deer is the largest non-domesticated mammal still existing in some European countries such as the United Kingdom and Ireland.[8] The Barbary stag (which resembles the West European Red Deer) is the only member of the deer family that is represented in Africa, with population centred in the northwestern region of the continent in the Atlas Mountains.[10] As of the mid 1990s, Morocco, Tunisia and Algeria were the only African countries known to have Red Deer.[11]

In the UK there are indigenous populations in Scotland, the Lake District and the South West of England (principally on Exmoor). Not all of these are of entirely pure bloodlines as some of these populations have been supplemented with deliberate releases of deer from parks like Warnham or Woburn Abbey in an attempt to increase antler sizes and body weights. Edinburgh University found that in Scotland there has been extensive hybridisation with the closely related Sika Deer.[12] There are several other populations that have originated either with carted deer kept for stag hunts being left out at the end of the hunt, escapes from deer farms or deliberate releases. Carted deer were kept by stag hunts with no wild red deer in the locality and were normally recaptured after the hunt and used again; although the hunts are called "stag hunts" the Norwich Staghounds only hunted hinds (female red deer) and in 1950 at least eight hinds (some of which may have been pregnant) were known to be at large near Kimberley and West Harling[13] and formed the basis of a new population based in Thetford Forest in Norfolk. There are now further substantial red deer herds that originated from escapes or deliberate releases in the New Forest, the Peak District, Suffolk, Brecon Beacons and West Yorkshire as well as many other smaller populations scattered throughout England, and they are all generally increasing in numbers and range. A recent census of deer populations in 2007 coordinated by the British Deer Society records red deer as having expanded range their range in England and Wales since 2000, with expansion most notable in the Midlands and East Anglia. ref [1]

In New Zealand, and to a lesser degree in Australia, the red deer were introduced by acclimatisation societies along with other deer and game species. The first red deer to reach New Zealand were a pair sent by Lord Petre in 1851 from his herd at Thorndon Park, Essex to the South Island but the hind was shot before they had a chance to breed. Lord Petre sent another stag and two hinds in 1861 and these were liberated near Nelson from where they quickly spread. The first deer to reach the North Island were a gift to Sir Frederick Weld from Windsor Great Park and were released near Wellington and these were followed by further releases up to 1914.[14] Between 1851 and 1926 there were 220 separate liberations of red deer involving over 800 deer.[15] In 1927 the State Forest Service introduced a bounty for red deer shot on their land and in 1931 Government control operations were commenced and between 1931 and March 1975 1,124,297 deer were killed on official operations.

In New Zealand introduced Red Deer have adapted much better and are widely hunted on both islands, many of the 220 introductions used deer originating from Scotland (Invermark) or one of the major deer parks in England, principally Warnham, Woburn Abbey or Windsor Great Park. There is some hybridisation with the closely related Wapiti or American Elk (Cervus canadensis nelsoni) introduced in Fiordland in 1921. New Zealand red deer produce very large antlers and are regarded as amongst the best in the world by hunters. Along with the other introduced deer species they are however officially regarded as a noxious pest and are still heavily culled using professional hunters working with helicopters, or even poisoned.

The first red deer to reach Australia were probably the six that Prince Albert sent in 1860 from Windsor Great Park to Thomas Chirnside who was starting a herd at Werribee Park, south west of Melbourne in Victora. Further introductions were made in New South Wales, Queensland, South Australia and Western Australia. Today the red deer range in Australia ranges from Queensland down through New South Wales into Victoria and across to South Australia, with the numbers increasing. The Queensland, Victorian and most New South Wales strains can still be traced to the early releases, but South Australia's population along with all others is now largely recent farmed escapees. This is having adverse affects on the integrity of wild herds as now more and more larger herds are being grown due to the superior genetics that have been attained by select breeding.

Red Deer populations in Africa and southern Europe are generally declining. In Argentina, where the Red Deer has had a potential adverse impact on native animal species, the International Union for Conservation of Nature and Natural Resources has labelled the animal as one of the world's 100 worst invaders.

Migration

Red Deer in Europe generally spend their winters in lower altitudes and more wooded terrain. During the summer, they migrate to higher elevations where food supplies are greater for the calving season.

Taxonomy

Until recently biologists considered that Red Deer and Wapiti (or Elk) are the same species forming, a continuous distribution throughout temperate Eurasia and North America. This belief was based largely on the fully fertile hybrids that can be produced under captive conditions.

However, recent DNA studies conducted on hundreds of samples from Red Deer and Elk subspecies concluded that there are no more than 9 distinct subspecies of Red Deer and Wapiti and that they fall into two separate species: the Red Deer from Europe, western Asia and North Africa, and the Wapiti or Elk from Northern and Eastern Asia and North America. Surprisingly, from DNA evidence the Elk appear more closely related to Sika Deer and to Thorold's deer than to Red Deer.

Subspecies

Additionally there are some central Asiatic subspecies (Tarim group, including Bactrian deer and Yarkand deer), which are geographically isolated from Wapiti and western Red Deer by the Takla Makan and the Pamir Mountains. They appear to represent a primordial subgroup, genetically more related to the Red Deer than to the Wapiti. It remains unclear which clade the Kashmir stag belongs in,[2] though it, in terms of zoogeography, is most likely to belong in the central Asian group.

The International Union for Conservation of Nature and Natural Resources originally listed nine subspecies of Red Deer (Cervus elaphus): three as endangered, one as vulnerable, one as near threatened, and four without enough data to give a category ("Data Deficient"). The species as a whole, however, is listed as least concern.[1] However, this was based on the traditional classification of Red Deer as one species (Cervus elaphus), including the Elk.

Listed below are the subspecies of Red Deer (Cervus elaphus), including the primordial subgroup from central Asia.

Subspecies

Additionally there are some central Asiatic subspecies (Tarim group, including Bactrian deer and Yarkand deer), which are geographically isolated from Wapiti and western Red Deer by the Takla Makan and the Pamir Mountains. They appear to represent a primordial subgroup, genetically more related to the Red Deer than to the Wapiti. It remains unclear which clade the Kashmir stag belongs in,[2] though it, in terms of zoogeography, is most likely to belong in the central Asian group.

The International Union for Conservation of Nature and Natural Resources originally listed nine subspecies of Red Deer (Cervus elaphus): three as endangered, one as vulnerable, one as near threatened, and four without enough data to give a category ("Data Deficient"). The species as a whole, however, is listed as least concern.[1] However, this was based on the traditional classification of Red Deer as one species (Cervus elaphus), including the Elk.

Listed below are the subspecies of Red Deer (Cervus elaphus), including the primordial subgroup from central Asia.

Breeding, gestation and lifespan

Red Deer mating patterns usually involve a dozen or more mating attempts before the first successful one. There may be several more matings before the stag will seek out another mate in his harem. Females in their second autumn can produce one and very rarely two offspring per year. The gestation period is 240 and 262 days and the offspring weigh about 15 kg (33 lb). After two weeks, fawns are able to join the herd and are fully weaned after two months.[20] Female offspring outnumber male offspring more than two to one and all Red Deer fawns are born spotted, as is common with many deer species, and lose their spots by the end of summer. However, as in many species of Old World Deer, some adults do retain a few spots on the backs of their summer coats.[3] The offspring will remain with their mothers for almost one full year, leaving around the time that the next season offspring are produced.[5] The gestation period is the same for all subspecies.

Red Deer live up to over 20 years in captivity and in the wild they average 10 to 13 years,, though some subspecies with less predation pressure average 15 years.

Protection from predators

Male Red Deer retain their antlers for more than half the year and are less gregarious and less likely to group with other males when they have antlers. The antlers provide self-defence as does a strong front-leg kicking action which is performed by both sexes when attacked. Once the antlers are shed, stags tend to form bachelor groups which allow them to cooperatively work together. Herds tend to have one or more members watching for potential danger while the remaining members eat and rest.[5]

After the rut, females form large herds of up to 50 individuals. The newborn calves are kept close to the hinds by a series of vocalizations between the two, and larger nurseries have an ongoing and constant chatter during the daytime hours. When approached by predators, the largest and most robust females may make a stand, using their front legs to kick at their attackers. Guttural grunts and posturing is used with all but the most determined of predators with great effectiveness. Aside from humans and domestic dogs, the Wolf is probably the most dangerous predator that most European Red Deer encounter. Occasionally, the Brown bear will predate on European Red Deer as well.[5] Eurasian Lynx and wild boars sometimes prey on the calves. The leopard in Asia Minor (now extinct) probably preyed on East European Red Deer. Both Barbary Lion and Barbary Leopard probably once preyed on Atlas stags in the Atlas Mountains, although Barbary Lion is now extinct in the wild, and Barbary Leopard either very rare or extinct.

Red Deer in folklore

Red Deer are widely depicted in cave art and are found throughout European caves, with some of the artwork dating from as early as 40,000 years ago, during the Upper Paleolithic. Siberian cave art from the Neolithic of 7,000 years ago has abundant depictions of Red Deer, including what can be described as spiritual artwork, indicating the importance of this mammal to the peoples of that region (Note: these animals were most likely Wapiti (Cervus canadensis) in Siberia, not Red Deer).[21] Red deer are also often depicted on Pictish stones (c.550-850 AD), from the early medieval period in Scotland, usually as prey animals for human or animal predators. In Medieval hunting the red deer was the most prestigious quarry, especially the mature stag, which in England was called a 'hart'.

Red Deer products

Red Deer are held in captivity for a variety of reasons. The meat of the deer, called venison, is not generally harvested for human consumption on a large scale, though speciality restaurants seasonally offer venison which is widely considered to be both flavourful and nutritious. Venison is higher in protein and lower in fat than either beef or chicken.[22] In some countries in central Asia, elk is still hunted as a primary source of meat.

The red deer can produce 10 to 15 kg (22 to 33 lb) of antler velvet annually.[citation needed] On ranches in New Zealand, China, Siberia, and elsewhere[23] this velvet is collected and sold to markets in East Asia, where it is used for holistic medicines, with South Korea being the primary consumer. In Russia, a medication produced from antler velvet is sold under the brand name Pantokrin (Russian: Пантокри́н; Latin: Pantocrinum).[citation needed] The antlers themselves are also believed by East Asians to have medicinal purposes and are often ground up and used in small quantities.

Historically, related deer species such as Central Asian Red Deer, Wapiti, Thorold's Deer, and Sika Deer have been reared on deer farms in Central and Eastern Asia by Han Chinese, Turkic peoples, Tungusic peoples, Mongolians, and Koreans.[citation needed] In modern times, Western countries such as New Zealand and United States have taken to farming European Red Deer for similar purposes.

Deer antlers are also highly sought after worldwide for decorative purposes and have been used for artwork, furniture and other novelty items.

Versatile Eyeshadow Collection, is a set available for Lelutka EvoX, sold in the BOM version - FATPACK for 69L

ᴛʀʏ ᴀ ᴅᴇᴍᴏ ʙᴇғᴏʀᴇ ᴘᴜʀᴄʜᴀsᴇ

taxi: maps.secondlife.com/secondlife/VELOUR/70/206/2010

Second attempt at trying out Live Composite mode on the Olympus E-M10 II. I've only had the camera a couple of weeks but have found it to be a fantastic bit of kit and really versatile. I think it is save to say I am probably a Micro Four Thirds convert now!

The versatile 88mm cannon was Germany’s main heavy antiaircraft—or “flak”—gun during World War II. When an 88mm projectile exploded at altitude, it sent out jagged metal fragments that tore through nearby aircraft. It also left a characteristic black cloud hanging in the sky.

The 88mm cannon’s high-velocity fire also made it a deadly antitank gun, and it could be used as conventional artillery against distant ground targets. Other versions equipped heavy tanks and submarines.

The Museum’s 88mm cannon is painted as a typical weapon used in Europe during the strategic bombing campaign. The rings around the barrel represent aircraft shot down by the gun crew.

www.nationalmuseum.af.mil/

Sometimes, I'm a little different.

Seems to work though less than 1m

Developed by Whampoa Colour Centre

Iron Dome (Hebrew: כִּפַּת בַּרְזֶל, romanized: Kippat Barzel) is a mobile all-weather air defense system[8] developed by Rafael Advanced Defense Systems and Israel Aerospace Industries.[7] The system is designed to intercept and destroy short-range rockets and artillery shells fired from distances of 4 kilometres (2.5 mi) to 70 kilometres (43 mi) away and whose trajectory would take them to an Israeli populated area.[9][10] From 2011 to 2021, the United States contributed a total of US$1.6 billion to the Iron Dome defense system,[11] with another US$1 billion approved by the US Congress in 2022.[12][needs update]

Iron Dome

IDF Iron Dome 2021.jpg

Iron Dome launches interceptor, 2021

Type

C-RAM and short range air defence system[1]

Place of origin

Israel

Service history

In service

2011–present

Used by

Israel Defense Forces

Wars

Gaza–Israel conflict (2011, 2012, 2021)

Operation Pillar of Defense

Operation Protective Edge

Sinai insurgency

2021 Israel–Palestine crisis

Operation Breaking Dawn

Production history

Designer

Rafael Advanced Defense Systems

Israel Aerospace Industries

Designed

2005

Manufacturer

Rafael Advanced Defense Systems

Israel Aerospace Industries

Unit cost

$50 million per battery[2]

$100,000–150,000 per interception[3]

Produced

2011–present

No. built

10 batteries deployed[4] (planned deployment is 15)[5][6]

Specifications

Mass

90 kg (200 lb)[7]

Length

3 m (9.8 ft)[7]

Diameter

160 mm (6.3 in)[7]

Detonation

mechanism

Proximity fuze[8]

Maximum speed

Mach 2.2

Launch

platform

Three/four launchers, each carrying 20 interceptors.

1:31

Short video about Iron Dome from the Israeli News Company

The EL/M-2084 active electronically scanned array scaled down derivative radar of the Iron Dome

US Ambassador Dan Shapiro visits the Battle Management & Control (BMC) unit of the Iron Dome

Iron Dome was declared operational and initially deployed on 27 March 2011 near Beersheba.[13] On 7 April 2011, the system successfully intercepted a rocket launched from Gaza for the first time.[14] On 10 March 2012, The Jerusalem Post reported that the system shot down 90% of rockets launched from Gaza that would have landed in populated areas.[10] In late 2012 Israel said that it hoped to increase the range of Iron Dome's interceptions, from a maximum of 70 kilometres (43 mi) to 250 kilometres (160 mi) and make it more versatile so that it could intercept rockets coming from two directions simultaneously.[15]

In November 2012, official statements indicated that it had intercepted over 400 rockets.[16][17] By late October 2014, the Iron Dome systems had intercepted over 1,200 rockets.[18]

In addition to their land-based deployment, it was reported in 2017 that Iron Dome batteries would in future be deployed at sea on Sa'ar 6-class corvettes, to protect off-shore gas platforms in conjunction with Israel's Barak 8 missile system.[19]

Background

Name

Specifications

Funding

Plans for co-production with the United States

Development

Deployment

Deployment at sea

Foreign sales

Effectiveness

Criticism

See also

References

External links

Last edited 3 days ago by AnomieBOT

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My current album: Chongqing 重庆 2017

Kodak Max Versatility 400 expired

Black clouds, sunshine, rain, blue skies, and a couple of rainbows. Yesterday's weather was a bit strange.

Love how versatile the new CL634 Believe sentiment set is :) I also love this new CB embossing border called Christmas Stitches! More details can be found HERE

I'll be back later to comment in the pool - I REALLY need to clean my house today :(

Back in the 1980s, the Great Western Railway Preservation Group (GWRPG), which was based in the old Otto Monsted margarine factory next to Southall station, would run shuttles on the freight-only Brentford branch on Bank Holidays. On one such day, Easter Day in 1984, I took the opportunity to ride down this rare freight branch in one of the classic and versatile Class 121 'Bubble Cars' W55034. Here is the unit back at Southall station after completing the journey.

Note the hand-made steps used to disembark the passengers, as there was no passenger platform for the Brentford branch! A Class 47 is caught 'in action' passing through the station with a down express.

Class 121 Pressed Steel Single / 2-car DMUs

Following the success of the Gloucester Singles the Western Region ordered a further batch of sixteen single cars and ten trailers, this time built by Pressed Steel in Linwood (Scotland).

The units took over services originally monopolised by GWR built railcars but as more and more cross country and branch lines closed that work became less and less. Consequently, the class was concentrated around the Reading, Bristol, Cardiff and Plymouth areas. They were used on the West London branch lines, the Severn Beach branch, lines in the Welsh valleys and the Cornish branch lines.

They were very popular for departmental use and preservation, and some vehicles returned to passenger traffic for Chiltern Railways and Arriva Trains Wales. They remained the last type of first generation DMU in mainline passenger use.

The DTS was the equivalant of an unpowered Class 117 DMS, with the same internal arrangement (in both un-gangwayed and gangwayed styles). Again it was all second class seating, the front two saloons were identical to the DMBS with 45 and 20 seats, although there was no door fitted to the dividing partition as both saloons were now smoking. There was a door into the 26 seat non-smoking section which was in the place of the guards van / cab on the DMBS, making a total of 91 seats for the vehicle. The rear seat was the full width seating six.

Only the DTS vehicles were gangwayed, they couldn't use the gangway working with a bubble car but could be used with other classes. The DTS vehicles were renumbered to 54280-9 circa 1983.

Information courtesy of: railcar.co.uk/type/class-121/

Brentford Line The Brentford branch line, also known as the Brentford Dock Line, is a freight-only branch railway line in west London. The route, which opened in 1859, was backed by the Great Western Railway and built by the Great Western & Brentford Railway Company. It ran 4 miles (6.4 km) from Southall to Brentford Dock. In 1964, the line to the wharves was closed. The branch now runs from the Great Western Main Line to a goods yard and waste transfer station in Brentford. More info here: en.wikipedia.org/wiki/Brentford_branch_line

Taken with a Soviet made Zenith TTL SLR.

You can see a random selection of my railway photos here on Flickriver: www.flickriver.com/photos/themightyhood/random/

As an accounting student, recent graduate or a professional with existing, current or no Government working experience, a role within the Australian Government accounting and finance departments is a great way to make your mark, build professional skills and contribute to key Government priorities. The Australian Government are active in seeking talented individuals who are open minded to possibilities, such as economists, accountants, financial analysts, as well as a host of other occupations, including public policy, administration and social sciences.

One of the first orders of obtaining a position within the Australian Government is completing a professional and effective, cover letter, resume and key selection criteria that will open the door to interviews and job offers. Writing an application for the accounting and finance sectors can bring a wide set of challenges; namely, choosing what professional and educational statistics to include or leave out and figuring out how to produce a resume and responses to the key selection criteria that highlight your skills and talents. When sending through your application, it is imperative to ensure that you represent yourself in the best possible light. To ensure that your application is well received, it is important to focus on the key elements of the position description and link them to your responses to the key selection criteria, as well as within your cover letter, and resume.

Each industry and profession presents unique resume writing challenges, and the accounting and finance sector is no different. If you are interested in pursuing a career within the Australian Government, it is important to highlight your success factors, including quantitative statistics to support achievements, versatility and diversity, skills such as accounting procedures or financial analysis functions that you perform routinely, in addition to technical skills and qualifications. Documenting these capabilities will illustrate the breadth and depth of your experience and highlight why you will be a valuable Australian Government employee. If you are seeking to move into a new accounting or finance department, progress into a leadership position, or are simply starting out your career with the Australian Government, the team at Public Service Resumes will identify the transferrable skills and experiences that are relevant in order to demonstrate your full potential and success.

Name: Michonne Dixon

Age: 21

Location: London, UK

"Why do you want to be on DNTM": I mean... just look at me. I'm fierce, versatile, and ready to compete for the crown.

Hope you like it :)

This month there were 9 members fielding 74 images, 5 of whom played a full house of images; Jamie; Dave; Mrs P; Maria and Mic.

This montage is a representative selection of entries, with at least one image per member.

Thanks to Sharon for setting the challenge.

Some background:

Simple, efficient and reliable, the Regult (リガード, Rigādo) was the standard mass production mecha of the Zentraedi forces. Produced by Esbeliben at the 4.432.369th Zentraedi Fully Automated Weaponry Development and Production Factory Satellite in staggering numbers to fill the need for an all-purpose mecha, this battle pod accommodated a single Zentraedi soldier in a compact cockpit and was capable of operating in space or on a planet's surface. The Regult saw much use during Space War I in repeated engagements against the forces of the SDF-1 Macross and the U.N. Spacy, but its lack of versatility against superior mecha often resulted in average effectiveness and heavy losses. The vehicle was regarded as expendable and was therefore cheap, simple, but also very effective when fielded in large numbers. Possessing minimal defensive features, the Regult was a simple weapon that performed best in large numbers and when supported by other mecha such as Gnerl Fighter Pods. Total production is said to have exceeded 300 million in total.

At the end of Space War I in January 2012, production of the Regult for potential Earth defensive combat continued when the seizure operation of the Factory Satellite was executed. After the war, Regults were used by both U.N. Spacy and Zentraedi insurgents. Many surviving units were incorporated into the New U.N. Forces and given new model numbers. The normal Regult became the “Zentraedi Battle Pod” ZBP-104 (often just called “Type 104”) and was, for example, used by Al-Shahal's New U.N. Army's Zentraedi garrison. The related ZBP-106 was a modernized version for Zentraedi commanders, with built-in boosters, additional Queadluun-Rhea arms and extra armaments. These primarily replaced the Glaug battle pod, of which only a handful had survived. By 2067, Regult pods of all variants were still in operation among mixed human/Zentraedi units.

General characteristics:

Accommodation: pilot only, in standard cockpit in main body

Overall Height: 18.2 meters

Overall Length: 7.6 meters

Overall Width: 12.6 meters

Max Weight: 39.8 metric tons

Powerplant & propulsion:

1x 1.3 GGV class Ectromelia thermonuclear reaction furnace,

driving 2x main booster Thrusters and 12x vernier thrusters

Performance:

unknown

Armament:

None

Special Equipment and Features:

Standard all-frequency radar antenna

Standard laser long-range sensor

Ectromelia infrared, visible light and ultraviolet frequency sensor cluster

ECM/ECCM suite

The kit and its assembly:

I had this kit stashed away for a couple of years, together with a bunch of other 1:100 Zentraedi pods of all kinds and the plan to build a full platoon one day – but this has naturally not happened so far and the kits were and are still waiting. The “Reconnaissance & Surveillance” group build at whatifmodellers.com in August 2021 was a good occasion and motivation to tackle the Tactical Scout model from the pile, though, as it perfectly fits the GB’s theme and also adds an exotic science fiction/anime twist to the submissions.

The kit is an original ARII boxing from 1983, AFAIK the only edition of this model. One might expect this kit to be a variation of the 1982 standard Regult (sometimes spelled “Reguld”) kit with extra parts, but that’s not the case – it is a new mold with different parts and technical solutions, and it offers optional parts for the standard Regult pod as well as the two missile carrier versions that were published at the same time, too. The Tactical Scout uses the same basis, but it comes with parts exclusive for this variant (hull and a sprue with the many antennae and sensors).

I remembered from a former ARII Regult build in the late Eighties that the legs were a wobbly affair. Careful sprue inspection revealed, however, that this second generation comes with some sensible detail changes, e. g. the feet, which originally consisted of separate toe and heel sections (and these were hollow from behind/below!). To my biggest surprise the knees – a notorious weak spot of the 1st generation Regult kit – were not only held by small and flimsy vinyl caps anymore: These were replaced with much bigger vinyl rings, fitted into sturdy single-piece enclosures made from a tough styrene which can even be tuned with small metal screws(!), which are included in the kit. Interesting!

But the joy is still limited: even though the mold is newer, fit is mediocre at best, PSR is necessary on every seam. However, the good news is that the kit does not fight with you. The whole thing was mostly built OOB, because at 1:100 there's little that makes sense to add to the surface, and the kit comes with anything you'd expect on a Regult Scout pod. I just added some lenses and small stuff behind the large "eye", which is (also to my surprise) a clear part. The stuff might only appear in schemes on the finished model, but that's better than leaving the area blank.

Otherwise, the model was built in sub-sections for easier painting and handling, to be assembled in a final step – made possible by the kit’s design which avoids the early mecha kit’s “onion layer” construction, except for the feet. This is the only area that requires some extra effort, and which is also a bit tricky to assemble.

However, while the knees appear to be a robust construction, the kit showed some material weakness: while handling the leg assembly, one leg suddenly came off under the knees - turned out that the locator that holds the knee joint above (which I expected to be the weak point) completely broke off of the lower leg! Weird damage. I tried to glue the leg into place, but this did not work, and so I inserted a replacement for the broken. This eventually worked.

Painting and markings:

Colorful, but pretty standard and with the attempt to be authentic. However, information concerning the Regults’ paint scheme is somewhat inconsistent. I decided to use a more complex interpretation of the standard blue/grey Regult scheme, with a lighter “face shield” and some other details that make the mecha look more interesting. I used the box art and some screenshots from the Macross TV series as reference; the Tactical Scout pod already appears in episode #2 for the first time, and there are some good views at it, even though the anime version is highly simplified.

Humbrol enamels were used, including 48 (Mediterranean Blue), 196 (RAL 7035, instead of pure white), 40 (Pale Grey) and 27 (Sea Grey). The many optics were created with clear acrylics over a silver base, and the large frontal “eye” is a piece of clear plastic with a coat of clear turquoise paint, too.

The model received a black ink washing to emphasize details, engraved panel lines and recesses, as well as some light post-shading through dry-brushing. Some surface details were created with decal stripes, e. g. on the upper legs, or with a black fineliner, and some color highlights were distributed all over the hull, e. g. the yellowish-beige tips of the wide antenna or the bright blue panels on the upper legs.

The decals were taken OOB, and thanks to a translation chart I was able to decipher some of the markings which I’d interpret as a serial number and a unit code – but who knows?

Finally, the kit received an overall coat of matt acrylic varnish and some weathering/dust traces around the feet with simple watercolors – more would IMHO look out of place, due to the mecha’s sheer size in real life and the fact that the Regult has to be considered a disposable item. Either it’s brand new and shiny, or busted, there’s probably little in between that justifies serious weathering which better suits the tank-like Destroids.

A “normal” build, even though the model and the topic are exotic enough. This 2nd generation Regult kit went together easier than expected, even though it has its weak points, too. However, material ageing turned out to be the biggest challenge (after all, the kit is almost 40 years old!), but all problems could be overcome and the resulting model looks decent – and it has this certain Eighties flavor! :D

This had the same "mother" as Boom www.flickr.com/photos/allcarrots/2668203782//

Always amazes me how versatile pixels are

Versatile Fashions fitted maid outfit.

American postcard by Fotofolio, New York, no. P 432. Photo: Brigitte Lacombe, 1988.

American actress Meryl Streep (1949) is one of the best actresses of her generation, known for her versatility and accents. She has been nominated for the Oscar an astonishing 21 times and has won it three times. Among her other accolades, she has received 32 Golden Globe nominations, more than any other person, and won eight.

Mary Louise 'Meryl' Streep was born in 1949, in Summit, New Jersey. She is the daughter of Mary Wilkinson Streep (née Mary Wolf Wilkinson), a commercial artist and art editor; and Harry William Streep, Jr., a pharmaceutical executive. She has two younger brothers: Harry William Streep III and Dana David Streep, who are also actors. At the age of 12, Streep was selected to sing at a school recital, leading to her having opera lessons from Estelle Liebling. She quit after four years. Although Streep appeared in numerous school plays during her high school years, she was uninterested in serious theatre until acting in the play Miss Julie at Vassar College in 1969, in which she gained attention across the campus. She received her B.A. cum laude from the college in 1971, before applying for an MFA from the Yale School of Drama. Streep played a variety of roles on stage, from Helena in A Midsummer Night's Dream to an 80-year-old woman in a wheelchair in a comedy written by then-unknown playwrights Christopher Durang and Albert Innaurato. She received her MFA from Yale in 1975. That year, Streep made her stage debut in New York in Trelawny of the Wells by Arthur Wing Pinero. The following year, she received a Tony Award nomination for Best Featured Actress in a Play for appearing in the 1976 double bill of '27 Wagons Full of Cotton' by Tennessee Williams and 'A Memory of Two Mondays' by Arthur Miller. She made her screen debut in the television film The Deadliest Season (Robert Markowitz, 1977), a sports drama with Michael Moriarty. Her film debut was the award-winning Holocaust drama Julia (Fred Zinnemann, 1977), starring Jane Fonda and Vanessa Redgrave. It is based on a chapter from Lillian Hellman's book Pentimento about the author's relationship with a lifelong friend, 'Julia,' who fought against the Nazis in the years prior to World War II. Streep had a small role during a flashback sequence. She received her first Oscar nomination for the epic war drama The Deer Hunter (Michael Cimino, 1978). Critic Pauline Kael remarked that she was a "real beauty" who brought much freshness to the film with her performance. The film, starring Robert De Niro and Christopher Walken, was also successful at the box office, grossing $49 million. She also won an Emmy Award for her role in the miniseries Holocaust (Marvin J. Chomsky, 1978), which recounts the trajectory of the Holocaust from the perspectives of the fictional Weiss family of German Jews and that of a rising member of the SS (Michael Moriarty), who gradually becomes a merciless war criminal. Streep travelled to Germany and Austria for filming while her partner, actor John Cazale, who had been diagnosed with lung cancer, remained in New York. Upon her return, Streep found that Cazale's illness had progressed, and she nursed him until his death in March 1978. Streep starred opposite Dustin Hoffman in the legal drama Kramer vs. Kramer (Robert Benton, 1979). It tells the story of a couple's (Streep and Dustin Hoffmann) divorce, its impact on their young son (Justin Henry), and the subsequent evolution of their relationship and views on parenting. For Kramer vs. Kramer, Streep won both the Golden Globe Award and the Academy Award for Best Supporting Actress, which she famously left in the ladies' room after giving her speech.

Meryl Streep's first leading role was in the British romantic drama The French Lieutenant's Woman (Karel Reisz, 1981), a story within a story drama. The film paired Streep with Jeremy Irons as contemporary actors, telling their modern story, as well as the Victorian era drama they were performing. She got an Oscar nomination for her performance. Streep won the Oscar for Best Actress for Sophie's Choice (Alan J. Pakula, 1982). Streep was very determined to get the role. After obtaining a bootlegged copy of the script, she went after Pakula, and threw herself on the ground, begging him to give her the part. She portrayed a Polish survivor of Auschwitz, caught in a love triangle between a young naïve writer (Peter MacNicol) and a Jewish intellectual (Kevin Kline). Janet Maslin of The New York Times wrote: "Though it's far from a flawless movie, 'Sophie's Choice' is a unified and deeply affecting one. Thanks in large part to Miss Streep's bravura performance, it's a film that casts a powerful, uninterrupted spell." In 1983, Streep played her first non-fictional character, the nuclear whistleblower and labor union activist Karen Silkwood, who died in a suspicious car accident while investigating alleged wrongdoing at the Kerr-McGee plutonium plant, in Mike Nichols' biographical drama Silkwood (Mike Nichols, 1983) with Cher. Then she portrayed a fighter for the French Resistance during World War II in the British drama Plenty (Fred Schepisi, 1985), adapted from the play by David Hare. Her next release, the epic romantic drama Out of Africa (Sydney Pollack, 1985), established her as a Hollywood superstar. In the film, Streep starred as the Danish writer Karen Blixen, opposite Robert Redford's Denys Finch Hatton. It earned her another Oscar nomination. Karina Longworth notes in 'Meryl Streep: Anatomy of an Actor' (2013) that the dramatic success of Out of Africa led to a backlash of critical opinion against Streep in the years that followed, especially as she was now demanding $4 million a picture. Unlike other stars at the time, such as Sylvester Stallone and Tom Cruise, Streep "never seemed to play herself", and certain critics felt her technical finesse led people to literally see her acting.

Meryl Streep's other Oscar-nominated roles were in Ironweed (Héctor Babenco, 1987) with Jack Nicholson, the Australian drama Evil Angels/A Cry in the Dark (Fred Schepisi, 1988), the comedy-drama Postcards from the Edge (Mike Nichols, 1990) with Shirley MacLaine, the romantic drama The Bridges of Madison County (Clint Eastwood, 1995), One True Thing (Carl Franklin, 1998) with Renee Zellweger, the musical drama Music of the Heart (Wes Craven, 1999), Adaptation (Spike Jonze, 2002) starring Nicholas Cage, the comedy-drama The Devil Wears Prada (David Frankel, 2006) with Anne Hathaway, the period drama Doubt (John Patrick Shanley, 2008), the comedy-drama Julie & Julia (Nora Ephron, 2009) with Amy Adams, August: Osage County (John Wells, 2013) with Julia Roberts, the musical fantasy Into the Woods (Rob Marshall, 2014), the biographical comedy-drama Florence Foster Jenkins (Stephen Frears, 2016) with Hugh Grant, and the historical political thriller The Post (Steven Spielberg, 2017), starring Tom Hanks. Streep won the Best Actress Oscar again for The Iron Lady (Phyllida Lloyd, 2011), the British-French biographical drama based on the life and career of Margaret Thatcher. While the film was met with mixed reviews, Streep's performance was widely acclaimed, and considered to be one of the greatest of her career. Her stage roles include The Public Theater's 2001 revival of 'The Seagull', and her television roles include two projects for HBO, the acclaimed miniseries Angels in America (2003), for which her performance won her another Emmy Award, and the drama series Big Little Lies (2019). Streep has also been the recipient of many honorary awards. She was awarded Commander of the Order of the Arts and Letters by French culture minister Jean-Jacques Aillagon in 2003. In the cinema, she appeared as Emmeline Pankhurst, a British political activist and leader of the British suffragette movement who helped women win the right to vote in the period drama Suffragette (Sarah Gavron, 2015), co-starring Carey Mulligan and Helena Bonham Carter. Streep reprised the role of Donna Sheridan in the musical sequel Mamma Mia! Here We Go Again (Ol Parker, 2018). She also played a supporting part in Mary Poppins Returns (Rob Marshall, ), starring Emily Blunt in the title role. In 2019, she starred in the biographical comedy The Laundromat (Steven Soderberg, 2019), the first Netflix film in which Streep starred. The film focused on the Panama Papers in particular and Beneficial ownership in general. Streep was whistleblower John Doe who released incriminating documents to the media. In addition, she played Aunt March in Little Women (Greta Gerwig, 2019). Despite her stardom, for decades Streep has managed to maintain a relatively normal personal life. Streep lived with actor John Cazale for three years until his death from lung cancer in March 1978. Streep married sculptor Don Gummer six months after Cazale's death. They have four children: one son and three daughters, son Henry Wolfe Gummer (1979), a musician; daughters Mary Willa 'Mamie' Gummer (1983), an actress; Grace Jane Gummer (1986), an actress; and Louisa Jacobson Gummer (1991), a model. In February 2019, Streep became a grandmother for the first time, through her eldest daughter Mamie.

Sources: Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards.

Madison in differenet wigs by Ilaria

She is available to order at mbluedoll.com

My current album: Chongqing 重庆 2017

A U.S. Air Force Lockheed Martin F-22 "Raptor" flies above Royal Australian Air Force Base Tindal, Australia, March 2, 2017. Twelve Lockheed Martin F-22 "Raptors" and approximately 200 U.S. Air Force Airmen participated in the first Enhanced Air Cooperation, an initiative under the Force Posture Agreement between the U.S. and Australia.

From Wikipedia, the free encyclopedia

The Lockheed Martin F-22 Raptor is a fifth-generation, single-seat, twin-engine, all-weather stealth tactical fighter aircraft developed for the United States Air Force (USAF). The result of the USAF's Advanced Tactical Fighter (ATF) program, the aircraft was designed primarily as an air superiority fighter, but also has ground attack, electronic warfare, and signal intelligence capabilities. The prime contractor, Lockheed Martin, built most of the F-22's airframe and weapons systems and conducted final assembly, while Boeing provided the wings, aft fuselage, avionics integration, and training systems.

The aircraft was variously designated F-22 and F/A-22 before it formally entered service in December 2005 as the F-22A. Despite its protracted development and various operational issues, USAF officials consider the F-22 a critical component of the service's tactical air power. Its combination of stealth, aerodynamic performance, and situational awareness enable unprecedented air combat capabilities.

Service officials had originally planned to buy a total of 750 ATFs. In 2009, the program was cut to 187 operational production aircraft due to high costs, a lack of clear air-to-air missions due to delays in Russian and Chinese fighter programs, a ban on exports, and development of the more versatile F-35. The last F-22 was delivered in 2012.

Development

Origins

In 1981, the U.S. Air Force identified a requirement for an Advanced Tactical Fighter (ATF) to replace the F-15 Eagle and F-16 Fighting Falcon. Code named "Senior Sky", this air-superiority fighter program was influenced by emerging worldwide threats, including new developments in Soviet air defense systems and the proliferation of the Su-27 Flanker- and MiG-29 Fulcrum-class of fighter aircraft. It would take advantage of the new technologies in fighter design on the horizon, including composite materials, lightweight alloys, advanced flight control systems, more powerful propulsion systems, and most importantly, stealth technology. In 1983, the ATF concept development team became the System Program Office (SPO) and managed the program at Wright-Patterson Air Force Base. The demonstration and validation (Dem/Val) request for proposals (RFP) was issued in September 1985, with requirements placing strong emphasis on stealth and supercruise. Of the seven bidding companies, Lockheed and Northrop were selected on 31 October 1986. Lockheed teamed with Boeing and General Dynamics while Northrop teamed with McDonnell Douglas, and the two contractor teams undertook a 50-month Dem/Val phase, culminating in the flight test of two technology demonstrator prototypes, the YF-22 and the YF-23, respectively.

Dem/Val was focused on risk reduction and technology development plans over specific aircraft designs. Contractors made extensive use of analytical and empirical methods, including computational fluid dynamics, wind-tunnel testing, and radar cross-section calculations and pole testing; the Lockheed team would conduct nearly 18,000 hours of wind-tunnel testing. Avionics development was marked by extensive testing and prototyping and supported by ground and flying laboratories. During Dem/Val, the SPO used the results of performance and cost trade studies conducted by contractor teams to adjust ATF requirements and delete ones that were significant weight and cost drivers while having marginal value. The short takeoff and landing (STOL) requirement was relaxed in order to delete thrust-reversers, saving substantial weight. As avionics was a major cost driver, side-looking radars were deleted, and the dedicated infra-red search and track (IRST) system was downgraded from multi-color to single color and then deleted as well. However, space and cooling provisions were retained to allow for future addition of these components. The ejection seat requirement was downgraded from a fresh design to the existing McDonnell Douglas ACES II. Despite efforts by the contractor teams to rein in weight, the takeoff gross weight estimate was increased from 50,000 lb (22,700 kg) to 60,000 lb (27,200 kg), resulting in engine thrust requirement increasing from 30,000 lbf (133 kN) to 35,000 lbf (156 kN) class.

Each team produced two prototype air vehicles for Dem/Val, one for each of the two engine options. The YF-22 had its maiden flight on 29 September 1990 and in flight tests achieved up to Mach 1.58 in supercruise. After the Dem/Val flight test of the prototypes, on 23 April 1991, Secretary of the USAF Donald Rice announced the Lockheed team as the winner of the ATF competition. The YF-23 design was considered stealthier and faster, while the YF-22, with its thrust vectoring nozzles, was more maneuverable as well as less expensive and risky. The aviation press speculated that the Lockheed team's design was also more adaptable to the U.S. Navy's Navalized Advanced Tactical Fighter (NATF), but by 1992, the Navy had abandoned NATF.

Production and procurement

As the program moved to full-scale development, or the Engineering & Manufacturing Development (EMD) stage, the production version had notable differences from the YF-22, despite having a broadly similar shape. The swept-back angle of the leading edge was decreased from 48° to 42°, while the vertical stabilizers were shifted rearward and decreased in area by 20%. To improve pilot visibility, the canopy was moved forward 7 inches (18 cm), and the engine intakes moved rearward 14 inches (36 cm). The shapes of the wing and stabilator trailing edges were refined to improve aerodynamics, strength, and stealth characteristics. Increasing weight during development caused slight reductions in range and maneuver performance.

Prime contractor Lockheed Martin Aeronautics manufactured the majority of the airframe and performed final assembly at Dobbins Air Reserve Base in Marietta, Georgia; program partner Boeing Defense, Space & Security provided additional airframe components as well as avionics integration and training systems. The first F-22, an EMD aircraft with tail number 4001, was unveiled at Marietta, Georgia, on 9 April 1997, and first flew on 7 September 1997. Production, with the first lot awarded in September 2000, supported over 1,000 subcontractors and suppliers from 46 states and up to 95,000 jobs, and spanned 15 years at a peak rate of roughly two airplanes per month. In 2006, the F-22 development team won the Collier Trophy, American aviation's most prestigious award. Due to the aircraft's advanced nature, contractors have been targeted by cyberattacks and technology theft.

The USAF originally envisioned ordering 750 ATFs at a total program cost of $44.3 billion and procurement cost of $26.2 billion in fiscal year (FY) 1985 dollars, with production beginning in 1994. The 1990 Major Aircraft Review led by Secretary of Defense Dick Cheney reduced this to 648 aircraft beginning in 1996. By 1997, funding instability had further cut the total to 339, which was again reduced to 277 by 2003. In 2004, the Department of Defense (DoD) further reduced this to 183 operational aircraft, despite the USAF's preference for 381. A multi-year procurement plan was implemented in 2006 to save $15 billion, with total program cost projected to be $62 billion for 183 F-22s distributed to seven combat squadrons. In 2008, Congress passed a defense spending bill that raised the total orders for production aircraft to 187.

The first two F-22s built were EMD aircraft in the Block 1.0 configuration for initial flight testing, while the third was a Block 2.0 aircraft built to represent the internal structure of production airframes and enabled it to test full flight loads. Six more EMD aircraft were built in the Block 10 configuration for development and upgrade testing, with the last two considered essentially production quality jets. Production for operational squadrons consisted of 37 Block 20 training aircraft and 149 Block 30/35 combat aircraft; one of the Block 35 aircraft is dedicated to flight sciences at Edwards Air Force Base.

The numerous new technologies in the F-22 resulted in substantial cost overruns and delays. Many capabilities were deferred to post-service upgrades, reducing the initial cost but increasing total program cost. As production wound down in 2011, the total program cost is estimated to be about $67.3 billion, with $32.4 billion spent on Research, Development, Test and Evaluation (RDT&E) and $34.9 billion on procurement and military construction (MILCON) in then year dollars. The incremental cost for an additional F-22 was estimated at about $138 million in 2009.

Ban on exports

The F-22 cannot be exported under US federal law to protect its stealth technology and other high-tech features. Customers for U.S. fighters are acquiring earlier designs such as the F-15 Eagle and F-16 Fighting Falcon or the newer F-35 Lightning II, which contains technology from the F-22 but was designed to be cheaper, more flexible, and available for export. In September 2006, Congress upheld the ban on foreign F-22 sales. Despite the ban, the 2010 defense authorization bill included provisions requiring the DoD to prepare a report on the costs and feasibility for an F-22 export variant, and another report on the effect of F-22 export sales on U.S. aerospace industry.

Some Australian politicians and defense commentators proposed that Australia should attempt to purchase F-22s instead of the planned F-35s, citing the F-22's known capabilities and F-35's delays and developmental uncertainties. However, the Royal Australian Air Force (RAAF) determined that the F-22 was unable to perform the F-35's strike and close air support roles. The Japanese government also showed interest in the F-22 for its Replacement-Fighter program. The Japan Air Self-Defense Force (JASDF) would reportedly require fewer fighters for its mission if it obtained the F-22, thus reducing engineering and staffing costs. However, in 2009 it was reported that acquiring the F-22 would require increases to the Japanese government's defense budget beyond the historical 1 percent of its GDP. With the end of F-22 production, Japan chose the F-35 in December 2011. Israel also expressed interest, but eventually chose the F-35 because of the F-22's price and unavailability.

Production termination

Throughout the 2000s, the need for F-22s was debated, due to rising costs and the lack of relevant adversaries. In 2006, Comptroller General of the United States David Walker found that "the DoD has not demonstrated the need" for more investment in the F-22, and further opposition to the program was expressed by Secretary of Defense Donald Rumsfeld, Deputy Secretary of Defense Gordon R. England, Senator John McCain, and Chairman of U.S. Senate Committee on Armed Services Senator John Warner. The F-22 program lost influential supporters in 2008 after the forced resignations of Secretary of the Air Force Michael Wynne and the Chief of Staff of the Air Force General T. Michael Moseley.

In November 2008, Secretary of Defense Robert Gates stated that the F-22 was not relevant in post-Cold War conflicts such as irregular warfare operations in Iraq and Afghanistan, and in April 2009, under the new Obama Administration, he called for ending production in FY2011, leaving the USAF with 187 production aircraft. In July, General James Cartwright, Vice Chairman of the Joint Chiefs of Staff, stated to the Senate Committee on Armed Services his reasons for supporting termination of F-22 production. They included shifting resources to the multirole F-35 to allow proliferation of fifth-generation fighters for three service branches and preserving the F/A-18 production line to maintain the military's electronic warfare (EW) capabilities in the Boeing EA-18G Growler. Issues with the F-22's reliability and availability also raised concerns. After President Obama threatened to veto further production, the Senate voted in July 2009 in favor of ending production and the House subsequently agreed to abide by the 187 production aircraft cap. Gates stated that the decision was taken in light of the F-35's capabilities, and in 2010, he set the F-22 requirement to 187 aircraft by lowering the number of major regional conflict preparations from two to one.

In 2010, USAF initiated a study to determine the costs of retaining F-22 tooling for a future Service Life Extension Program (SLEP). A RAND Corporation paper from this study estimated that restarting production and building an additional 75 F-22s would cost $17 billion, resulting in $227 million per aircraft, or $54 million higher than the flyaway cost. Lockheed Martin stated that restarting the production line itself would cost about $200 million. Production tooling and associated documentation were subsequently stored at the Sierra Army Depot, allowing the retained tooling to support the fleet life cycle. There were reports that attempts to retrieve this tooling found empty containers, but a subsequent audit found that the tooling was stored as expected.

Russian and Chinese fighter developments have fueled concern, and in 2009, General John Corley, head of Air Combat Command, stated that a fleet of 187 F-22s would be inadequate, but Secretary Gates dismissed General Corley's concern. In 2011, Gates explained that Chinese fifth-generation fighter developments had been accounted for when the number of F-22s was set, and that the U.S. would have a considerable advantage in stealth aircraft in 2025, even with F-35 delays. In December 2011, the 195th and final F-22 was completed out of 8 test EMD and 187 operational aircraft produced; the aircraft was delivered to the USAF on 2 May 2012.

In April 2016, the House Armed Services Committee (HASC) Tactical Air and Land Forces Subcommittee proposed legislation that would direct the Air Force to conduct a cost study and assessment associated with resuming production of the F-22. Since the production halt directed in 2009 by then Defense Secretary Gates, lawmakers and the Pentagon noted that air warfare systems of Russia and China were catching up to those of the U.S. Lockheed Martin has proposed upgrading the Block 20 training aircraft into combat-coded Block 30/35 versions as a way to increase numbers available for deployment. On 9 June 2017, the Air Force submitted their report to Congress stating they had no plans to restart the F-22 production line due to economic and operational issues; it estimated it would cost approximately $50 billion to procure 194 additional F-22s at a cost of $206–$216 million per aircraft, including approximately $9.9 billion for non-recurring start-up costs and $40.4 billion for aircraft procurement costs.

Upgrades

The first aircraft with combat-capable Block 3.0 software flew in 2001. Increment 2, the first upgrade program, was implemented in 2005 for Block 20 aircraft onward and enabled the employment of Joint Direct Attack Munitions (JDAM). Certification of the improved AN/APG-77(V)1 radar was completed in March 2007, and airframes from production Lot 5 onward are fitted with this radar, which incorporates air-to-ground modes. Increment 3.1 for Block 30 aircraft onward provided improved ground-attack capability through synthetic aperture radar mapping and radio emitter direction finding, electronic attack and Small Diameter Bomb (SDB) integration; testing began in 2009 and the first upgraded aircraft was delivered in 2011. To address oxygen deprivation issues, F-22s were fitted with an automatic backup oxygen system (ABOS) and modified life support system starting in 2012.

Increment 3.2 for Block 35 aircraft is a two-part upgrade process; 3.2A focuses on electronic warfare, communications and identification, while 3.2B includes geolocation improvements and a new stores management system to show the correct symbols for the AIM-9X and AIM-120D. To enable two-way communication with other platforms, the F-22 can use the Battlefield Airborne Communications Node (BACN) as a gateway. The planned Multifunction Advanced Data Link (MADL) integration was cut due to development delays and lack of proliferation among USAF platforms. The F-22 fleet is planned to start receiving Increment 3.2B as well as a software upgrade for cryptography capabilities and avionics stability in May 2019. A Multifunctional Information Distribution System-Joint (MIDS-J) radio that replaces the current Link-16 receive-only box is expected to be operational by 2020. Subsequent upgrades are also focusing on having an open architecture to enable faster future enhancements.

In 2024, funding is projected to begin for the F-22 mid-life upgrade (MLU), which is expected to include new sensors and antennas, hardware refresh, cockpit improvements, and a helmet mounted display and cuing system. Other enhancements being developed include IRST functionality for the AN/AAR-56 Missile Launch Detector (MLD) and more durable stealth coating based on the F-35's.

The F-22 was designed for a service life of 8,000 flight hours, with a $350 million "structures retrofit program". Investigations are being made for upgrades to extend their useful lives further. In the long term, the F-22 is expected to be superseded by a sixth-generation jet fighter to be fielded in the 2030s.

Design

Overview

The F-22 Raptor is a fifth-generation fighter that is considered fourth generation in stealth aircraft technology by the USAF.[91] It is the first operational aircraft to combine supercruise, supermaneuverability, stealth, and sensor fusion in a single weapons platform. The F-22 has four empennage surfaces, retractable tricycle landing gear, and clipped delta wings with reverse trailing edge sweep and leading edge extensions running to the upper outboard corner of the inlets. Flight control surfaces include leading-edge flaps, flaperons, ailerons, rudders on the canted vertical stabilizers, and all-moving horizontal tails (stabilators); for speed brake function, the ailerons deflect up, flaperons down, and rudders outwards to increase drag.

The aircraft's dual Pratt & Whitney F119-PW-100 augmented turbofan engines are closely spaced and incorporate pitch-axis thrust vectoring nozzles with a range of ±20 degrees; each engine has maximum thrust in the 35,000 lbf (156 kN) class. The F-22's thrust-to-weight ratio at typical combat weight is nearly at unity in maximum military power and 1.25 in full afterburner. Maximum speed without external stores is approximately Mach 1.8 at military power and greater than Mach 2 with afterburners.

The F-22's high cruise speed and operating altitude over prior fighters improve the effectiveness of its sensors and weapon systems, and increase survivability against ground defenses such as surface-to-air missiles. The aircraft is among only a few that can supercruise, or sustain supersonic flight without using fuel-inefficient afterburners; it can intercept targets which subsonic aircraft would lack the speed to pursue and an afterburner-dependent aircraft would lack the fuel to reach. The F-22's thrust and aerodynamics enable regular combat speeds of Mach 1.5 at 50,000 feet (15,000 m). The use of internal weapons bays permits the aircraft to maintain comparatively higher performance over most other combat-configured fighters due to a lack of aerodynamic drag from external stores. The aircraft's structure contains a significant amount of high-strength materials to withstand stress and heat of sustained supersonic flight. Respectively, titanium alloys and composites comprise 39% and 24% of the structural weight.

The F-22's aerodynamics, relaxed stability, and powerful thrust-vectoring engines give it excellent maneuverability and energy potential across its flight envelope. The airplane has excellent high alpha (angle of attack) characteristics, capable of flying at trimmed alpha of over 60° while maintaining roll control and performing maneuvers such as the Herbst maneuver (J-turn) and Pugachev's Cobra. The flight control system and full-authority digital engine control (FADEC) make the aircraft highly departure resistant and controllable, thus giving the pilot carefree handling.

Stealth

The F-22 was designed to be highly difficult to detect and track by radar. Measures to reduce radar cross-section (RCS) include airframe shaping such as alignment of edges, fixed-geometry serpentine inlets and curved vanes that prevent line-of-sight of the engine faces and turbines from any exterior view, use of radar-absorbent material (RAM), and attention to detail such as hinges and pilot helmets that could provide a radar return. The F-22 was also designed to have decreased radio emissions, infrared signature and acoustic signature as well as reduced visibility to the naked eye. The aircraft's flat thrust-vectoring nozzles reduce infrared emissions of the exhaust plume to mitigate the threat of infrared homing ("heat seeking") surface-to-air or air-to-air missiles. Additional measures to reduce the infrared signature include special topcoat and active cooling of leading edges to manage the heat buildup from supersonic flight.

Compared to previous stealth designs like the F-117, the F-22 is less reliant on RAM, which are maintenance-intensive and susceptible to adverse weather conditions. Unlike the B-2, which requires climate-controlled hangars, the F-22 can undergo repairs on the flight line or in a normal hangar. The F-22 has a Signature Assessment System which delivers warnings when the radar signature is degraded and necessitates repair. While the F-22's exact RCS is classified, in 2009 Lockheed Martin released information indicating that from certain angles the aircraft has an RCS of 0.0001 m² or −40 dBsm – equivalent to the radar reflection of a "steel marble". Effectively maintaining the stealth features can decrease the F-22's mission capable rate to 62–70%.

The effectiveness of the stealth characteristics is difficult to gauge. The RCS value is a restrictive measurement of the aircraft's frontal or side area from the perspective of a static radar. When an aircraft maneuvers it exposes a completely different set of angles and surface area, potentially increasing radar observability. Furthermore, the F-22's stealth contouring and radar absorbent materials are chiefly effective against high-frequency radars, usually found on other aircraft. The effects of Rayleigh scattering and resonance mean that low-frequency radars such as weather radars and early-warning radars are more likely to detect the F-22 due to its physical size. However, such radars are also conspicuous, susceptible to clutter, and have low precision. Additionally, while faint or fleeting radar contacts make defenders aware that a stealth aircraft is present, reliably vectoring interception to attack the aircraft is much more challenging. According to the USAF an F-22 surprised an Iranian F-4 Phantom II that was attempting to intercept an American UAV, despite Iran's assertion of having military VHF radar coverage over the Persian Gulf.

Cheffins vintage and classic auction, Sutton -

"FORD 276 VERSATILE 4 cylinder diesel TRACTOR Fitted with front loader and pallet tines."

Unsold.

CC Most Versatile

Tyller Williamson, mayor of the coastal California city of Monterey, speaks to the crowd at the Return of the Western Flyer event on November 4, 2023. The fishing boat, now completely restored is known for taking author John Steinbeck and his biologist friend to Mexico many years ago. The book, "The Sea of Cortez" is based on this journey.

A 1911 Gold Sovereign, and two enamelled coins, a 'young Victoria' farthing 1850 and a 1889 'old Victoria' silver sixpence.

Belgian postcard. Photo: Warner Bros.

American actress Eleanor Parker (1922-2013) appeared in some 80 films and television series. She was nominated three times for the Academy Award for Best Actress, for Caged (1950), Detective Story (1951) and Interrupted Melody (1955). Her role in Caged also won her the Volpi Cup for Best Actress at the Venice Film Festival. One of her most memorable roles was that of the Baroness in The Sound of Music (1965). Her biographer Doug McClelland called her ‘Woman of a Thousand Faces’, because of her versatility.

Eleanor Jean Parker was born in 1922, in Cedarville, Ohio. She was the daughter of Lola (Isett) and Lester Day Parker. Her family moved to East Cleveland, Ohio, where she attended public schools and graduated from Shaw High School. She appeared in a number of school plays. When she was 15 she started to attend the Rice Summer Theatre on Martha's Vineyard in Massachusetts. After graduation, she moved to California and began appearing at the Pasadena Playhouse. There she was spotted by a Warners Bros talent scout, Irving Kumin. The studio signed her to a long-term contract in June 1941. She was cast that year in They Died with Their Boots On (Raoul Walsh, 1941), but her scenes were cut. Her actual film debut was as Nurse Ryan in the short Soldiers in White (B. Reeves Eason, 1942). She was given some decent roles in B films, Busses Roar (D. Ross Lederman, 1942) and The Mysterious Doctor (Benjamin Stoloff, 1943) opposites John Loder. She also had a small role in one of Warner Brothers' biggest productions for the 1943 season, the pro-Soviet Mission to Moscow (Michael Curtiz, 1943) as Emlen Davies, daughter of the U.S. ambassador to the U.S.S.R (Walter Huston). On the set, she met her first husband, Navy Lieutenant. Fred L. Losse, but the marriage turned out to be a brief wartime affair. Parker had impressed Warners enough to offer her a strong role in a prestige production, Between Two Worlds (Edward A. Blatt, 1944), playing the suicidal wife of Paul Henreid's character. She played support roles for Crime by Night (William Clemens, 1944) and The Last Ride (D. Ross Lederman, 1944). Then she got the starring role opposite Dennis Morgan in The Very Thought of You (Delmer Daves, 1944). She was considered enough of a ‘name’ to be given a cameo in Hollywood Canteen (Delmer Daves, 1944). Warners gave her the choice role of Mildred Rogers in a new version of Somerset Maugham's Of Human Bondage (Edmund Goulding, 1946), but previews were not favourable and the film sat on the shelf for two years before being released. She had her big break when she was cast opposite John Garfield in Pride of the Marines (Delmer Daves, 1945). However, two films with Errol Flynn that followed, the romantic comedy Never Say Goodbye (James V. Kern, 1946) and the drama Escape Me Never (Peter Godfrey, 1947), were box office disappointments. Parker was suspended twice by Warners for refusing parts in films – in Stallion Road (James V. Kern, 1947), where she was replaced by Alexis Smith and Love and Learn (Frederick De Cordova, 1947). She made the comedy Voice of the Turtle (Irving Rapper, 1947) with Ronald Reagan, and the mystery The Woman in White (Peter Godfrey, 1948). She refused to appear in Somewhere in the City (Vincent Sherman, 1950) so Warners suspended her again; Virginia Mayo played the role. Parker then had two years off, during which time she married and had a baby. She turned down a role in The Hasty Heart (Vincent Sherman, 1949) which she wanted to do, but it would have meant going to England and she did not want to leave her baby alone during its first year.

Eleanor Parker returned in Chain Lightning (Stuart Heisler, 1950) with Humphrey Bogart. Parker heard about a women-in-prison film Warners were making, Caged (John Cromwell, 1950), and actively lobbied for the role. She got it, won the 1950 Volpi Cup for Best Actress at the Venice Film Festival and was nominated for an Academy Award. She also had a good role in the melodrama Three Secrets (Robert Wise, 1950). In February 1950, Parker left Warner Bros. after having been under contract there for eight years. Parker had understood that she would star in a film called Safe Harbor, but Warner Bros. apparently had no intention of making it. Because of this misunderstanding, her agents negotiated her release. Parker's career outside of Warners started badly with Valentino (Lewis Allen, 1951) playing a fictionalised wife of Rudolph Valentino for producer Edward Small. She tried a comedy at 20th Century Fox with Fred MacMurray, A Millionaire for Christy (George Marshall, 1951). In 1951, Parker signed a contract with Paramount for one film a year, with an option for outside films. This arrangement began brilliantly with Detective Story (William Wyler, 1951) playing Mary McLeod, the woman who doesn't understand the position of her unstable detective husband (Kirk Douglas). Parker was nominated for the Oscar in 1951 for her performance. Parker followed Detective Story with her portrayal of an actress in love with a swashbuckling nobleman (Stewart Granger) in Scaramouche (George Sidney, 1952), a role originally intended for Ava Gardner. Wikipedia: “Parker later claimed that Granger was the only person she didn't get along with during her entire career. However, they had good chemistry and the film was a massive hit. “MGM cast her into Above and Beyond (Melvin Frank, Norman Panama, 1952), a biopic of Lt. Col. Paul W. Tibbets, Jr. (Robert Taylor), the pilot of the aircraft that dropped the atomic bomb on Hiroshima. It was a solid hit. While Parker was making a third film for MGM, Escape from Fort Bravo (John Sturges, 1953), she signed a five-year contract with the studio. She was named as star of a Sidney Sheldon script, My Most Intimate Friend and of One More Time, from a script by Ruth Gordon and Garson Kanin directed by George Cukor, but neither film was made. Back at Paramount, Parker starred with Charlton Heston as a 1900s mail-order bride in The Naked Jungle (Byron Haskin, 1954), produced by George Pal. Parker returned to MGM where she was reunited with Robert Taylor in an Egyptian adventure film, Valley of the Kings (Robert Pirosh, 1954), and a Western, Many Rivers to Cross (Roy Rowland, 1955). MGM gave her one of her best roles as opera singer Marjorie Lawrence struck down by polio in Interrupted Melody (Curtis Bernhardt, 1955). This was a big hit and earned Parker a third Oscar nomination; she later said it was her favourite film. Also in 1955, Parker appeared in the film adaptation of the National Book Award-winner The Man with the Golden Arm (Otto Preminger, 1955), released through United Artists. She played Zosh, the supposedly wheelchair-bound wife of heroin-addicted, would-be jazz drummer Frankie Machine (Frank Sinatra). It was a major commercial and critical success. In 1956, she co-starred with Clark Gable in the Western comedy The King and Four Queens (Raoul Walsh, 1956), also for United Artists. It was then back at MGM for two dramas: Lizzie (Hugo Haas, 1957), in the title role, as a woman with a split personality; and The Seventh Sin (Ronald Neame, 1957), a remake of The Painted Veil in the role originated by Greta Garbo and, once again, intended for Ava Gardner. Both films flopped at the box office and, as a result, Parker's plans to produce her own film, L'Eternelle, about French resistance fighters, did not materialise.

Eleanor Parker supported Frank Sinatra in a popular comedy, A Hole in the Head (Frank Capra, 1959). She returned to MGM for Home from the Hill (Vincente Minnelli, 1960), co-starring with Robert Mitchum, then took over Lana Turner's role of Constance Rossi in Return to Peyton Place (José Ferrer, 1961), the sequel to the hit 1957 film. That was made by 20th Century Fox who also produced Madison Avenue (H. Bruce Humberstone, 1961) with Parker. In 1960, she made her TV debut, and in the following years, she worked increasingly in television, with the occasional film role such as Panic Button (George Sherman, Giuliano Carnimeo, 1964) with Maurice Chevalier and Jayne Mansfield. Parker's best-known screen role is Baroness Elsa Schraeder in the Oscar-winning musical The Sound of Music (Robert Wise, 1965). The Baroness was famously and poignantly unsuccessful in keeping the affections of Captain Georg von Trapp (Christopher Plummer) after he falls in love with Maria (Julie Andrews). In 1966, Parker played an alcoholic widow in the crime drama Warning Shot (Buzz Kulik, 1967), a talent scout who discovers a Hollywood star in The Oscar (Russell Rouse, 1966), and a rich alcoholic in An American Dream (Robert Gist, 1966). However, her film career seemed to go downhill. A Playboy Magazine reviewer derided the cast of The Oscar as "has-beens and never-will-be". From the late 1960s, she focused on television. In 1963, Parker appeared in the medical TV drama about psychiatry The Eleventh Hour in the episode Why Am I Grown So Cold?, for which she was nominated for an Emmy Award. She also appeared in episodes of Breaking Point (1964). And The Man from U.N.C.L.E. (1968). In 1969–1970, Parker starred in the television series Bracken's World, for which she was nominated for a 1970 Golden Globe Award. Parker also appeared on stage in the role of Margo Channing in Applause, the Broadway musical version of the film All About Eve. In 1976, she played Maxine in a revival of The Night of the Iguana. Her last film role was in a Farrah Fawcett bomb, Sunburn (Richard C. Sarafian, 1979). Subsequently, she appeared very infrequently on TV, most recently in Dead on the Money (Mark Cullingham, 1991). Eleanor Parker was married four times. Her first husband was Fred Losee (1943-1944). Her second marriage to Bert E. Friedlob (1946-1953) produced three children Susan Eleanor Friedlob (1948), Sharon Anne Friedlob (1950), and Richard Parker Friedlob (1952). Her third marriage was to American portrait painter Paul Clemens, (1954-1965) and the couple had one child, actor Paul Clemens (1958). Her fourth marriage with Raymond N. Hirsch (1966-2001) ended when Hirsch died of oesophagal cancer. She was the grandmother of actor/director Chasen Parker. Eleanor Parker died in 2013 at a medical facility in Palm Springs, California of complications of pneumonia. She was 91. Parker was raised a Protestant and later converted to Judaism, telling the New York Daily News columnist Kay Gardella in August 1969, "I think we're all Jews at heart ... I wanted to convert for a long time."

Sources: Jon C. Hopwood (IMDb), Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards.

British postcard by Star Graphics, London, no. S 127.

American actress Meryl Streep (1949) is one of the best actresses of her generation, known for her versatility and accents.She has been nominated for the Oscar an astonishing 21 times, and has won it three times. Among her other accolades, she has received 32 Golden Globe nominations, more than any other person, and won eight.

Mary Louise 'Meryl' Streep was born in 1949, in Summit, New Jersey. She is the daughter of Mary Wilkinson Streep (née Mary Wolf Wilkinson), a commercial artist and art editor; and Harry William Streep, Jr., a pharmaceutical executive. She has two younger brothers: Harry William Streep III and Dana David Streep, who are also actors. At the age of 12, Streep was selected to sing at a school recital, leading to her having opera lessons from Estelle Liebling. She quit after four years. Although Streep appeared in numerous school plays during her high school years, she was uninterested in serious theatre until acting in the play Miss Julie at Vassar College in 1969, in which she gained attention across the campus. She received her B.A. cum laude from the college in 1971, before applying for an MFA from the Yale School of Drama. Streep played a variety of roles on stage, from Helena in A Midsummer Night's Dream to an 80-year-old woman in a wheelchair in a comedy written by then-unknown playwrights Christopher Durang and Albert Innaurato. She received her MFA from Yale in 1975. That year, Streep made her stage debut in New York in Trelawny of the Wells by Arthur Wing Pinero. The following year, she received a Tony Award nomination for Best Featured Actress in a Play for appearing in the 1976 double bill of '27 Wagons Full of Cotton' by Tennessee Williams and 'A Memory of Two Mondays' by Arthur Miller. She made her screen debut in the television film The Deadliest Season (Robert Markowitz, 1977), a sports drama with Michael Moriarty. Her film debut was the award-winning Holocaust drama Julia (Fred Zinnemann, 1977), starring Jane Fonda and Vanessa Redgrave. It is based on a chapter from Lillian Hellman's book Pentimento about the author's relationship with a lifelong friend, 'Julia,' who fought against the Nazis in the years prior to World War II. Streep had a small role during a flashback sequence. She received her first Oscar nomination for the epic war drama The Deer Hunter (Michael Cimino, 1978). Critic Pauline Kael remarked that she was a "real beauty" who brought much freshness to the film with her performance. The film, starring Robert De Niro and Christopher Walken, was also successful at the box office, grossing $49 million. She also won an Emmy Award for her role in the miniseries Holocaust (Marvin J. Chomsky, 1978), which recounts the trajectory of the Holocaust from the perspectives of the fictional Weiss family of German Jews and that of a rising member of the SS (Michael Moriarty), who gradually becomes a merciless war criminal. Streep travelled to Germany and Austria for filming while her partner, actor John Cazale, who had been diagnosed with lung cancer, remained in New York. Upon her return, Streep found that Cazale's illness had progressed, and she nursed him until his death in March 1978. Streep starred opposite Dustin Hoffman in the legal drama Kramer vs. Kramer (Robert Benton, 1979). It tells the story of a couple's (Streep and Dustin Hoffmann) divorce, its impact on their young son (Justin Henry), and the subsequent evolution of their relationship and views on parenting. For Kramer vs. Kramer, Streep won both the Golden Globe Award and the Academy Award for Best Supporting Actress, which she famously left in the ladies' room after giving her speech.

Meryl Streep's first leading role was in the British romantic drama The French Lieutenant's Woman (Karel Reisz, 1981), a story within a story drama. The film paired Streep with Jeremy Irons as contemporary actors, telling their modern story, as well as the Victorian era drama they were performing. She got an Oscar nomination for her performance. Streep won the Oscar for Best Actress for Sophie's Choice (Alan J. Pakula, 1982). Streep was very determined to get the role. After obtaining a bootlegged copy of the script, she went after Pakula, and threw herself on the ground, begging him to give her the part. She portrayed a Polish survivor of Auschwitz, caught in a love triangle between a young naïve writer (Peter MacNicol) and a Jewish intellectual (Kevin Kline). Janet Maslin of The New York Times wrote: "Though it's far from a flawless movie, 'Sophie's Choice' is a unified and deeply affecting one. Thanks in large part to Miss Streep's bravura performance, it's a film that casts a powerful, uninterrupted spell." In 1983, Streep played her first non-fictional character, the nuclear whistleblower and labor union activist Karen Silkwood, who died in a suspicious car accident while investigating alleged wrongdoing at the Kerr-McGee plutonium plant, in Mike Nichols' biographical drama Silkwood (Mike Nichols, 1983) with Cher. Then she portrayed a fighter for the French Resistance during World War II in the British drama Plenty (Fred Schepisi, 1985), adapted from the play by David Hare. Her next release, the epic romantic drama Out of Africa (Sydney Pollack, 1985), established her as a Hollywood superstar. In the film, Streep starred as the Danish writer Karen Blixen, opposite Robert Redford's Denys Finch Hatton. It earned her another Oscar nomination. Karina Longworth notes in 'Meryl Streep: Anatomy of an Actor' (2013) that the dramatic success of Out of Africa led to a backlash of critical opinion against Streep in the years that followed, especially as she was now demanding $4 million a picture. Unlike other stars at the time, such as Sylvester Stallone and Tom Cruise, Streep "never seemed to play herself", and certain critics felt her technical finesse led people to literally see her acting.

Meryl Streep's other Oscar-nominated roles were in Ironweed (Héctor Babenco, 1987) with Jack Nicholson, the Australian drama Evil Angels/A Cry in the Dark (Fred Schepisi, 1988), the comedy-drama Postcards from the Edge (Mike Nichols, 1990) with Shirley MacLaine, the romantic drama The Bridges of Madison County (Clint Eastwood, 1995), One True Thing (Carl Franklin, 1998) with Renee Zellweger, the musical drama Music of the Heart (Wes Craven, 1999), Adaptation (Spike Jonze, 2002) starring Nicholas Cage, the comedy-drama The Devil Wears Prada (David Frankel, 2006) with Anne Hathaway, the period drama Doubt (John Patrick Shanley, 2008), the comedy-drama Julie & Julia (Nora Ephron, 2009) with Amy Adams, August: Osage County (John Wells, 2013) with Julia Roberts, the musical fantasy Into the Woods (Rob Marshall, 2014), the biographical comedy-drama Florence Foster Jenkins (Stephen Frears, 2016) with Hugh Grant, and the historical political thriller The Post (Steven Spielberg, 2017), starring Tom Hanks. Streep won the Best Actress Oscar again for The Iron Lady (Phyllida Lloyd, 2011), the British-French biographical drama based on the life and career of Margaret Thatcher. While the film was met with mixed reviews, Streep's performance was widely acclaimed, and considered to be one of the greatest of her career. Her stage roles include The Public Theater's 2001 revival of 'The Seagull', and her television roles include two projects for HBO, the acclaimed miniseries Angels in America (2003), for which her performance won her another Emmy Award, and the drama series Big Little Lies (2019). Streep has also been the recipient of many honorary awards. She was awarded Commander of the Order of the Arts and Letters by French culture minister Jean-Jacques Aillagon in 2003. In the cinema, she appeared as Emmeline Pankhurst, a British political activist and leader of the British suffragette movement who helped women win the right to vote in the period drama Suffragette (Sarah Gavron, 2015), co-starring Carey Mulligan and Helena Bonham Carter. Streep reprised the role of Donna Sheridan in the musical sequel Mamma Mia! Here We Go Again (Ol Parker, 2018). She also played a supporting part in Mary Poppins Returns (Rob Marshall, ), starring Emily Blunt in the title role. In 2019, she starred in the biographical comedy The Laundromat (Steven Soderberg, 2019), the first Netflix film in which Streep starred. The film focused on the Panama Papers in particular and Beneficial ownership in general. Streep was whistleblower John Doe who released incriminating documents to the media. In addition, she played Aunt March in Little Women (Greta Gerwig, 2019). Despite her stardom, for decades Streep has managed to maintain a relatively normal personal life. Streep lived with actor John Cazale for three years until his death from lung cancer in March 1978. Streep married sculptor Don Gummer six months after Cazale's death. They have four children: one son and three daughters, son Henry Wolfe Gummer (1979), a musician; daughters Mary Willa 'Mamie' Gummer (1983), an actress; Grace Jane Gummer (1986), an actress; and Louisa Jacobson Gummer (1991), a model. In February 2019, Streep became a grandmother for the first time, through her eldest daughter Mamie.

Sources: Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards.

My theme today was "versatile". I drew a complete blank. I seriously had to Google the word to spur any ideas.

Clay is very versatile and there are so many ways toddlers and preschoolers can play and experiment with it.

Clay gives them the opportunity to be creative and learn about texture, shape and form whilst having lots of fun.

In some areas, clay can be sourced from the natural environment. Alternatively, clay can be bought from an art shop or potters’ suppliers or you could make your own.

9 Benefits of playing with clay

1. Manipulating clay helps toddlers and preschoolers to develop their hand and eye co-ordination as they pound, pat and push the clay into shapes and objects.

2. Clay also helps toddlers and preschoolers develop the small muscles in their fingers and hands, known as fine motor skills, as they pinch, squeeze and prod the clay, adding detail to the shape or object.

3. Through this manipulation, toddlers and preschoolers can express their thoughts and ideas as they mould the clay to take on the form of their imagination.

4. Toddlers and preschoolers can experiment with literacy and numeracy concepts as they use clay to create letter, number and shape formations.

5. Facilitating toddlers and preschoolers to create their own name, their age, street address, or the names of people in their family makes learning meaningful.

6. Clay can also be used to visually represent your toddler's or preschooler's culture as it is moulded to represent meaningful symbols and patterns.

7. You can support your toddler or preschooler with clay play by providing an unhurried, spacious environment so that time can be spent developing and revisiting their work.

8. Regular access to clay provides toddlers and preschoolers with opportunities to build on their knowledge, verbalise their thoughts and ideas, and add detail to their work.

9. Skills toddles and preschoolers develop when playing with clay include imagination, perseverance, problem solving, teamwork, social interaction and self- regulation.

C-FMHR, a Pilatus PC-24, heading south on taxiway "Echo" at Toronto Pearson International Airport in Mississauga, Ontario.

It was arriving from its base at Kelowna, British Columbia.

The coat of arms on the tail belonged to Mark Anthony Group Inc. of Vancouver, British Columbia. The company's other jet was a Bombardier Global 7500 (C-FMHL).

Pilatus markets the PC-24 as "The Super Versatile Jet".

This aircraft was on the Canadian Civil Aircraft Register from October 14, 2020 until April 15, 2024. It then became N233SV.

CC Most Versatile - What You Are Thankful For

Thankful for Raindrops and Roses. I am in my happy place when photographing flowers, and raindrops make it even more fun.

Happy Thanksgiving to my flickr friends.

Versatile Street Musician, Seattle

Taken for August most Versatile - Rust

Also my 3000th image on Flickr! since 2006

10 members entered 68 photos, 4 of whom played a full house of images; Maria, Dave, Paul and Cheryl.

This montage is a representative selection of the ten themes and contains one image per theme and this month there is one image per member.

Thanks Sharon for setting another fab challenge for the Compositionally Challenged Group.

This is another skirt that an be worn with different colored tops.. This top is actually a very light tan.

I rescued this antique tripod from an interior design shop a couple of years back, just before they turned it (can you believe) into a lamp stand!!! It's amazingly versatile, breaks down into manageable pieces and is extremely sturdy. And as a kind of novelty, I'm planning to cannibalise a modern ball-head to adapt it for use with a modern camera.

Some background:

The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).

However, the fighter was frequently updated, leading to several “re-built” variants, and remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!

General characteristics:

All-environment variable fighter and tactical combat Battroid,

used by U.N. Spacy, U.N. Navy, U.N. Space Air Force

Accommodation:

Pilot only in Marty & Beck Mk-7 zero/zero ejection seat

Dimensions:

Fighter Mode:

Length 14.23 meters

Wingspan 14.78 meters (at 20° minimum sweep)

Height 3.84 meters

Battroid Mode:

Height 12.68 meters

Width 7.3 meters

Length 4.0 meters

Empty weight: 13.25 metric tons;

Standard T-O mass: 18.5 metric tons;

MTOW: 37.0 metric tons

Power Plant:

2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)

4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);

18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles

Performance:

Battroid Mode: maximum walking speed 160 km/h

Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87

g limit: in space +7

Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24

Design Features:

3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system

Transformation:

Standard time from Fighter to Battroid (automated): under 5 sec.

Min. time from Fighter to Battroid (manual): 0.9 sec.

Armament:

2x Mauler RÖV-20 anti-aircraft laser cannon in the "head" unit, firing 6,000 pulses per minute

1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min

4x underwing hard points for a wide variety of ordnance, including

12x AMM-1 hybrid guided multipurpose missiles (3/point), or

12x MK-82 LDGB conventional bombs (3/point), or

6x RMS-1 large anti-spaceship reaction missiles (2/outboard point, 1/inboard point), or

4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles, or a combination of above load-outs and other guided and unguided ordnance

The kit and its assembly:

This started as a quick relief build after the submission for the 2021 "One Week " Group Build at whatifmodellers.com - but progress was so quick that I finished this VF-1 in time to make it a second submission withing the GB's effective run of nine days.

This one was a simple adaptation of one of the experimental "Heather Ferris" low-visibility paint schemes the US Navy tested during the early Eighties on some F-4S "Phantom II"s of VF-301 and 302, before the moere uniform Light Compass Grey/Light Ghost Grey was eventually adapted. However, the Heather Ferris schemes are absolutely comtemporary for the VF-1's medial appearance, and mating them on a model appeared like a suitable combo.

The basis is - as usual - the vintage and very simple ARII VF-1, in this case a double-seater. It was built OOB with the landing gear down, and with the usual improvements: some standard blade antennae, the fins’ tops were modified with RHAWS fairings. However, I neglected to modify the upper torso - The VF-1D Valkyrie has a slightly different forward fuselage in Super Dimension Fortress Macross The First, lacking the dorsal air brake of the single-seat fighters and having a "cleaner" surface with an edgier spine. But the "standard" hull is also fine/canonical, I just missed the opportunity. Maybe on another VF-1D...?

The underwing pylons were deleted (it's just a trainer and maybe used for air combat drill, so extra weight is superfluous). The gun pod was retained and modified to accept a scratched wire display in its tail to hold the Valkyrie in flight scenes. The pilot figures were just guests for the in-flight photo sessions, later the canopy was glued to a mount in open position.

Painting and markings:

As mentioned above, this kit carries an adaptation of one of the three Heather Ferris schemes, namely #2 with a light nose section and a darker tail/starboard side. Since the VF-1's structure, with VG wings at shoulderposition and a twin tail, differs from the benchmark F-4, I drew up a three-side profile view of a VF-1 and laid the paint scheme out - it made painting much easier.

The Heather Ferris warp-around scheme consists of four tones FS 36375 (Light Ghost grey), 36307 (Light Sea Grey, it was a brownish hue), 35237 (Grey bLue AMT-11) and 35164 (Intermediate Blue). The paints I used were Humbrol 127, a 3:1 mix of 64 and 140, 145 and 144, respectively. The cockpit interior became, according to the look in the TV series, medium grey (Revell 47) with black seats and brown cushions. The landing gear became white and the GU-11 gun pod iron metallic (Humbrol 53), for a toned.down look.

After basic painting, the model received an overall washing with thinned black ink to emphasize the engraved panel lines. A little post-shading was done, too, for a more graphic look, and then the decals were applied. The low-viz "kite" roundels were printed at home, the tactical markings came from an Authentic Decals F-18 sheet (which turned out to be rubbish - very thin but brittle and prone to crack like vintage ESCI decals!!!) and the stencils were taken from the VF-1 OOB sheet. For some contrast to the dull livery, and as a hommage to the "Delta November" markings of the F-4Ss that carried this unique paint scheme, I gave the VF-1D small red markings on the fins and under the cockpit - very subtle, but I think that this improves the overall look a lot. Generic decal material was used to create the grey wing leading edges and some black hull details, e.g. the bands around the nose.

Finally, after some more detail painting (antennae, position lights) , the VF-1 was sealed with a semi-gloss acrylic varnish. The jet nozzles/feet were treated with graphite for a used abnd metallic look.

A small and quick interim project, realized in just three days (plus two more for the pictures). There are certainly better VF-1 models than the vintage ARII kits, but I just love them because they are small, simple and easy to modify. Creating a benchmark profile for painting was quite a challenge, but it was IMHO worthwhile because it made adapting the F-4 scheme to the rather different VF-1 easier.

The super versatile Jasper Round Top Cupboards are available for this week's round of K9 WEEKEND!

Each pack includes 2 versions (with or without functional doors), stop by the mainstore to snatch them up while they're on sale ♡

◢◤Release Details◢◤

⇢ Available colors: Ash + Pine + Maple + Walnut + Ebony

⇢ Fatpack includes HUD: 5 Door + 5 Frame + 5 Inner Panels

➥Elm. Jasper Round Top Cupboard//Static - 4Li

➥Elm. Jasper Round Top Cupboard//Functional - 6Li

please note: the Fatpack versions are 5-7 Land Impact due to additional scripts.

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Italian postcard by Grafiche Corsini, Firenze, no. C 11. Photo: Riccardo Bettini.

American actress and singer Liza Minnelli (1946) became world famous for her impersonation of Sally Bowles in the film musical Cabaret (1972). She won an Oscar for her role, but during her long career, she also won an Emmy, a Grammy., a Golden Globe and several Tony awards. Through the years, she became a versatile interpreter of songs from the Great American Songbook. Songs by John Kander and Fred Ebb in particular formed the basis for some of her concert programmes and Minnelli starred in several of this duo's stage musicals, including 'Flora the Red Menace' (1965) and 'The Act' (1977/1978). Liza is the daughter of film legend Judy Garland and director Vincente Minnelli.

Liza May Minnelli was born in 1946 in Los Angeles, California. She was the daughter of Judy Garland and film director Vincente Minnelli. Her parents named her after Ira Gershwin's song 'Liza (All the Clouds Will Roll Away)'. She was practically raised at MGM studios while her parents worked long hours there and she made her film debut at fourteen months of age in the musical In the Good Old Summertime (Robert Z. Leonard, 1949). Her parents divorced in 1951 when Liza was only 5 years old. In 1952, her mother married Sidney Luft and in the following years, sister Lorna Luft and brother Joey Luft were born. Her father, Vincente Minnelli, later married Georgette Magnani, mother of her half-sister Christiane Nina "Tina Nina" Minnelli. Because Liza constantly travelled with her mother, she spent most of her childhood in hotels. She was the inspiration for the character Eloise, who grew up in the Plaza Hotel. The Eloise books were written by Liza's godmother, Kay Thompson. At sixteen, Liza was on her own in New York City, struggling to begin her career in show business. Her first recognition came for the play 'Best Foot Forward' which ran for seven months in 1963. A year later, Judy invited 18-year-old Liza to appear with her for a show at the London Palladium. This show sold out immediately and a second night was added to it. Liza's performance in London was a huge turning point in both her career and her relationship with her mother. The audience absolutely loved Liza and Judy realised that Liza was now an adult with her own career. It was at the Palladium that Liza met her first husband, Peter Allen, a friend of Judy's. Liza won a Tony award at age nineteen for 'Flora, the Red Menace' (1965). It marked the start of her lifelong collaboration with John Kander and Fred Ebb. They wrote, produced or directed many of Minnelli's future stage acts and television series and helped create her stage persona of a stylised survivor, and her anthems 'New York, New York', 'Cabaret', and 'Maybe This Time' This contributed to Minnelli's status as an enduring gay icon.

Liza Minnelli was nominated for her first Academy Award at age twenty-three for the acclaimed role of Pookie Adams in The Sterile Cuckoo (Alan J. Pakula, 1969). Other dramatic roles followed and, in 1972, she won an Oscar for her role as Sally Bowles in the musical Cabaret (Bob Fosse, 1972). The seventies were a busy time for Liza. She worked steadily in film, stage and music. Memorable films were her father's A Matter of Time (Vincente Minnelli, 1976) with Ingrid Bergman and New York, New York (Martin Scorsese, 1977) with Robert De Niro. The title song 'Theme from New York, New York', first sung by Minnelli, would become a big hit in Frank Sinatra's performance. Scorsese directed her again in 1977 in the Broadway musical 'The Act', for which she would receive her third Tony Award. She started focusing on stage performances and her singing career in later years. She often performed with Frank Sinatra and Sammy Davis Jr. At the time, she and her good friend Halston were regulars at Studio 54, the trendiest disco club in the world. She suffered three miscarriages during her third marriage to sculptor Mark Gero. The first occurred just a week after their wedding in December 1979. In the 1980s, she suffered from drug addictions and poor health. As a result, she had to undergo several operations, including on her hips and knees and spent time in rehab. Minnelli did not establish herself as a leading film star. Later films such as the thriller Rent-a-Cop (Jerry London, 1987) with Burt Reynolds and the musical comedy Stepping Out (Lewis Gilbert, 1991) with Julie Walters and Shelley Winters were not successful. Only the comedy Arthur (Steve Gordon, 1981) with Dudley Moore was a huge box-office hit. Minnelli married four times, to singer Peter Allen (1967-1974), film producer Jack Haley Jr. (1974 - 1979), sculptor Mark Gero (1979 - 1992) and concert promoter David Gest (2002-2003).

Over the past decades, Liza Minnelli's career has leaned more towards stage performances and she has a long list of musical albums which she continues to add to. She teamed with Frank Sinatra in his 'Duets' CD and Sammy Davis Jr. joined them for a series of concerts and TV shows which were extremely well-received. She has had to deal with tabloid stories of drug abuse and ill health and had a number of high-profile stays at drug rehabilitation clinics. Her hectic schedule slowed down in recent years, but she still has a large following of immensely loyal fans who continue to cheer her on. In 1990. Liza Minnelli received the Grammy Legend Award. It made her one of the few artists who have won American entertainment's top four awards - the Oscar, the Tony, the Emmy and the Grammy. She won the Tony twice, for 'Flora, the Red Menace' (1965) and 'The Act' (1977); an Oscar for Best Actress for Cabaret (1972); and an Emmy in 1973 for Liza with a Z (1972). In 1974, she also won a Special Tony Award "for adding lustre to the Broadway theatre season". In 2009, she was again awarded the Tony Award for her show, 'Liza's at the Palace' for Special Theatrical Presentation at the Palace Theatre in New York City. She was also nominated as Best Actress (Musical) in 1984 for 'The Rink', but lost that award to her co-star, Chita Rivera. Last but not least, Minnelli is a Knight of the French Legion of Honour.

Sources: Sheryl S. Reeder (IMDb), Wikipedia (Dutch, German and English) and IMDb.

And, please check out our blog European Film Star Postcards.

The GGE series ("George") robot is a versatile exploration robot of the Federation. With a curious, ingenuous programmed personality substrate, the George series sometimes border on naivety, though the Federation's hardwired Asimov Protocols prevent the excess of curiosity common to this series from resulting in actual harm.

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Classic Space robots are fun. A completely different challenge to the large microscales and just-squeaks-in-as-a-SHIP builds I also enjoy, the difficulty is to get something expressive yet small enough to be reasonably minifigure scaled.

The name of this robot came from the wide-eyed stare of those big trans clear eyes. "George" just seemed to fit with that.

Смена 8M + Kodak MAX Versatility 400 (expired 09/2006) / DIY Redscale