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The Smert is an advanced, brutal hunter submarine. It has advanced sensors and sonar systems, and employs a few missiles to assist in it's goal.
It is designed to destroy ships stealthily without detection.
Armament:
• 12x Stroka II SLBM
• Strela-C Torpedoes
• Can be outfitted with cruise missiles
The Strela-C Torpedoes were made to detonate either on the hull or under the hull of an enemy ship, tearing it in half with tremendous force.
When asked about the uncanny resemblance to the UDKA Astute, UT officials don't reply...
Combat Logistics Battalion 11 Marines breach a doorway during a training event Jan. 23. The battalion provides logistics and services for the 11th Marine Expeditionary Unit. The 11th MEU is currently deployed as part of the Makin Island Amphibious Ready Group, a U.S. Central Command theater reserve force providing support for maritime security operations and theater security cooperation efforts here.
(U.S. Marine Corps photo by Cpl. Tommy Huynh)
The enemies (Syrians on one side and Nubians on the other) are shown in a chaotic and confused mass of chariots, soldiers and horses.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 61467
Egyptian Museum, Cairo
As part of a working trip to the de-occupied part of the Kherson region, President of Ukraine Volodymyr Zelenskyy presented state awards to the servicemen who distinguished themselves during the liberation of Kherson and the region.
The Head of State emphasized that the liberation of territories is not easy for Ukraine. This is due to the colossal efforts of Ukrainian defenders.
"The enemy does not give us anything just like that. We are paying a very high price in this war. Freedom costs us the lives and health of our best people," the President said.
He thanked the warriors for their courage and selflessness in defending Ukraine.
"Congratulations on the liberation of Kherson. I wish health to you, your families, children. And let’s move on towards victory! Glory to Ukraine!" said the Head of State.
On Friday I went to the family doctor. I am remembering two things from our conversation: He says the fridge is my enemy - he must know it... And adiposity is not a problem but a disease.
+++ DISCLAIMER +++
Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
AGO was founded in 1911 in Munich as Flugmaschinenwerke Gustav Otto by Gustav Otto and a Dr Herbert Alberti. Gustav, the son of Nicolaus Otto – inventor of the four-stroke engine, was a pioneer aviator (pilot's license No. 34) and engine-builder. As was usual in those days, a flying school was attached to the business – one of its later students was Ernst Udet. The initials AGO had a variety of meanings (such as Aktiengesellschaft Otto) during the company's lifetime, but in its final version stood for Apparatebau GmbH Oschersleben. At its peak, the company employed around 4,500 people.
After the outbreak of World War I, AGO built a series of military reconnaissance aircraft, beginning with the AGO C.I – a pusher-powered biplane designed by August Haefeli. The most successful of AGO's wartime aircraft was the C.IV of 1916, of which 70 examples were built. After the Armistice, Otto tried automobile manufacturing, but in 1919 had to dismiss the employees of the Berlin company and divest himself of the Oschersleben factory. He himself withdrew to Lake Starnberg where he died in 1926. The company continued, and in the same year developed 20 new hectares of factory space near the Sudenburger Maschinenfabrik und Eisengießerei AG plant at Magdeburg. By 1928 this enterprise was also forced to close. On 30 July 1930, AGO's remaining assets were sold at auction by order of the court.
In 1933 the government resurrected AGO by refurbishing the Oschersleben plant for aircraft production once more. The first order was for 36 Arado Ar 65 fighters, 197 Arado Ar 66 trainers, and 71 Heinkel He 51 fighters. The first of these to fly was an Ar 65s, on 1 May 1935. This was followed by an order for 140 Henschel Hs 123 dive-bombers delivered at the end of 1937, AGO's introduction to all-metal construction. Next came orders for 241 Gotha Go 145 trainers and 187 Arado Ar 96, and then 150 Henschel Hs 126 reconnaissance aircraft. This latter order was increased to 390 units in Summer 1938. Between March 1937 and March 1938, AGO built 121 Focke-Wulf Fw 44. In 1938, production of the Messerschmitt Bf 109 began, and from 1941 onwards, the Focke-Wulf Fw 190 became the mainstay of AGO's production.
AGO only designed a few aircraft on their own and produced them during WWII. The first new AGO aircraft becoming the AGO Ao 192 Kurier of 1937. The last type that went into production was the Ao 175, a reconnaissance and liaison aircraft. A design for a heavy fighter project, the Ao 225 did not progress past the wind-tunnel stage and even the 8−225 RLM airframe designator for the type was withdrawn by the RLM and reassigned to Focke-Achgelis.
The Ao 175 was conceived when the Henschel Hs 126, a pre-war twin-seat design from 1936 with a parasol wing reconnaissance and observation short range aircraft, entered service. While fulfilling its duties it lacked overall performance, the type showed little development potential, so that the Reichsluftfahrtministerium (RLM) issued a specification for an advanced short-range reconnaissance aircraft to succeed the type in the tactical support role provided by the Luftwaffe to the Wehrmacht. While Arado Flugzeugwerke (Arado) had responded with the Arado Ar 198, Focke-Wulf's design team produced the Fw 189, a twin-boom aircraft with a central crew gondola with a glazed stepless cockpit. AGO proposed the Ao 175, which was, using the Hs 126 as benchmark, the most conventional design, and it was adopted together with the bigger Fw 189.
The Ao 175 was a conservative design and followed the Hs 126’s parasol layout with a fixed landing gear but differed in some details and offered a better overall performance. The aircraft’s overall dimensions were like the Hs 126, but the all-metal fuselage was sleeker, with a fully closed and generously glazed cockpit for pilot and observer who sat in tandem. The cabin offered space for an additional folding seat for a passenger or a third crewman, e.g. an observer or a camera operator.
For reconnaissance duties the Ao 175 featured three camera compartments behind the cabin: a vertical rack, an oblique forward rack, and a compartment for a horizontal camera with a window in the port side flank. Rb 20/30 and Rb 50/30 cameras could be mounted in each, the oblique rack could even hold a longer Rb 75/30 camera.
The Ao 175’s high wing was mounted above the cockpit and braced against the fuselage, but with less struts and drag than on the Hs 126. A fixed slat ran along the entire length of the wing's leading edge while a hinged and slotted set of control surfaces ran along the entire length of trailing edge. This arrangement was allegedly inspired by an earlier Junkers wing design concept, referred to as a “Doppelflügel” or "double-wing" aircraft wing control surface. On the Ao 175, this setup along each wing panel's trailing edge was split nearly 50/50 between the inboard-located flaps and outboard-located ailerons, which, in turn, included trim tab devices over half of each aileron's trailing edge length. This combination of flaps and slats created an impressive STOL and slow airspeed performance – in fact, the design was so effective that the Ao 175 could land almost vertically when flying against the wind and also required less than 100 m of runway for taking off.
The Ao 175’s powerplant was a liquid-cooled Jumo 211A with 1.000 hp – an unusual choice for a reconnaissance aircraft that operates at low altitudes, but the engine was chosen because it was available and proven, and it offered a relatively low cowling that resulted in a very good field of view for the pilot ahead and downwards. Thanks to the relatively powerful engine and good aerodynamics the Ao 175 achieved a top speed of more than 400 km/h, considerably more than any other German reconnaissance type of the early and mid-war period.
The Ao 175’s armament was still relatively light. It consisted of a synchronized single 13 mm MG 131 in the cowling in front of the cockpit which fired through the propeller disc, and for defense a 7.92 mm (.312 in) MG 15 machine gun in a dorsal flexible mount position fired to rear – even though several other, heavier weapons like the twin-barrel MG 81Z or another MG 131 were frequently mounted by the crews.
A ventral hardpoint could carry a single 250 kg (550 lb) bomb or similar loads (e .g. a rack with 2x2 50 kg bombs), but in practice this was hardly ever used. Instead, a 300 l drop tank was frequently carried to extend range and loiter time, or a cargo container of similar shape when the aircraft was used for liaison missions.
During early 1940, Luftwaffe pilots commenced training on the new type. While operational trials of the type were quite successful, Luftwaffe officials concluded that there was little advantage to withdrawing the existing Hs 126s in favor of Ao 175s. Instead, the service decided to introduce the type relatively slowly, thus the Ao 175, just like the Fw 189, was not operational at any meaningful quantity until the summer of 1942. This delay did allow for some refinements to the aircraft, though, particularly its airframe, to be performed during 1941. Modifications around this time included desert survival gear and floats, because most of the first Ao 175 A-1 production models were sent into the MTO and operated in North Africa, Italy, and the Balkans.
By September 1942, 172 Ao 175s were reportedly operational at the Southern front, making up the majority of short-range reconnaissance aircraft present. After that, more aircraft of the improved B variant were delivered, primarily to the Eastern front. Thanks to its relatively high speed and maneuverability Soviet fighters had difficulties targeting the Ao 175, and the Flamingo was often able to out-turn attacking fighters by flying in a tight circle into which enemy fighters could not follow or use the aircraft’s excellent climbing ability at low altitude to move out of fighters’ way. Ao 175 also saw service on other fronts, including West in France and Belgium and even the Middle East.
Production ended in 1944 after roughly 750 aircraft, exact production numbers remain uncertain because production was, beyond ARO’s Oschersleben factory, also carried out in France and Czechoslovakia.
General characteristics:
Crew: 2 (plus 1 optional passenger)
Length: 11.5 m (37 ft 8.75 in)
Wingspan: 13.86 m (45 ft 4.75 in)
Height: 4,18 m (13 ft 8 in)
Wing area: 30.0 m² (322 ft²)
Empty weight: 2,030 kg (4,480 lb)
Loaded weight: 2,493 kg (6,483 lb)
Powerplant:
1× liquid-cooled Jumo 211A with 1.000 hp (736 kW) at 2.200 rpm,
driving a three-blade Junkers constant speed propeller
Performance:
Maximum speed: 395 km/h (245 mph, 215 kn) at 2,500 m (8,200 ft)
Cruise speed: 317 km/h (197 mph, 171 kn)
Landing speed: 65 km/h (40 mph; 35 kn)
Stall speed: 55 km/h (34 mph; 30 kn)
Take-off distance to 50 ft (15 m): 150 m (491 ft)
Range: 1,500 km (620 mi, 540 nmi)
Service ceiling: 7,000 m (23,000 ft)
Rate of climb: 550 m/min (1,800 ft/min)
Time to altitude: 4,000 m (13,000 ft) in eight minutes and 18 seconds
Wing loading: 166 kg/m² (34 lb/ft²)
Armament:
1x 13 mm MG 131 machine gun in the nose, synchronized to fire through the propeller
1x 7.92 mm MG 15 machine gun in a flexible dorsal mount
(often replaced with a 7.92 mm MG 81Z or a 13 mm MG 131).
1x ventral hardpoint for a 250 kg (550 lb) bomb or a 300 l (66 imp. gal/80 US gal) drop tank
The kit and its assembly:
This build is the result of a long gestation and the use of several kitbashing remains from former projects – incidentally all German donors. At the core was a leftover but complete MPM Ju 87 A fuselage, a typical early short-run kit with thick sprues and massive attachment points of the parts, lack of locator pins on the parts, dubious fit, and a very thin and wobbly vacu canopy. Nothing you really want to work with…
I also had wings and landing gear from an Italeri Hs 126, and recently it struck me to combine these with the Ju 87 fuselage into a mid-war recce/spotter aircraft.
However, as simple as this sounds, closer inspection of the hardware revealed several flaws in my plan, and overcoming these required more planning. This led eventually to more/extra donor parts in the form of Fi 156 wings (Academy kit) to bring the concept to fruition, because the deep Hs 126 wings and their elliptical shape would not match well with the rest of the Ju 87, and especially not with its cockpit position and glazing. As a bonus, though, the Fi 156 wings also had the benefit of a square shape which would match well with the Ju 87 stabilizers, and they also had a kinked root for a direct attachment to the fuselage instead of the Hs 126’s indirect struts arrangement. The Hs 126’s spatted landing gear was to be retained, though, because it would fit very well under a Ju 87.
Work started with the chunky fuselage, and I kept it mostly OOB. The only major change is the addition of an adapter for the propeller mounted on an axis (OOB there is NOTHING – you are supposed to glue the spinner to the hull, and that’s it!), and I added some struts inside of the cockpit (inspired by the Westland Lysander’s construction) because the wings would require some support in real life. Major PSR and body work was required to make the Ju 87 wing roots disappear on the fuselage, a ventral display holder adapter was added, as well as camera fairings behind the cockpit. On the original Ju 87 stabilizers simpler support struts were used (actually from the Ju 87 A’s landing gear), and the Hs 126 landing gear and its spats were glued to the lower hull behind the engine.
The biggest challenge became the attachment of the wings, though, because they had to be mounted somehow to the glazing. This would already be tricky with a styrene canopy, but the Ju 87’s thin vacu canopy – due to its instability and the material as such – called for a scratched solution/construction! I initially tried to use the clear parts from the Fi 156 kit, but they would not fit. My solution eventually was again inspired by the Westland Lysander, or better the Matchbox kit’s construction: I cut two slits into the vacu canopy and placed a horizontal styrene bar through them, so that the Fi 156 wings could be mounted on their original attachment points. However, they ended up quite ahead, but at least I had them in a plausible position, even though the whole thing was not stable.
The next problem arose through the canopy itself: mounting a thin and rather flexible vacu piece on the OOB Ju 87 would already have been a stunt, but now it also carried very fragile and instable wings! With much patience and after several failed attempts I was able to fix the vacu canopy in place (with super glue and white glue), and once it was in position I added the wings support struts from the Hs 126 to stabilize the whole parasol construction and somewhat relieve the canopy from the wings’ weight. Never again…!
Painting and markings:
Putting the Ao 175 into the MTO was a good excuse to apply a German North Africa paint scheme, brought to Northern Italy with withdrawing units. The plan was to create an aircraft with field camouflage over a standard paint scheme, and to this end the painting process became a bit more complex than usual.
The core scheme is a simple, uniform RLM 78/79 (Himmelblau and Sandgelb) livery with a low and straight waterline, plus white MTO markings on fuselage and wing tips. For the Sandgelb I used Modelmaster 4789, which is a nice brownish tone that is not too bright and yellow-ish, and Tamiya XF-23 for Himmelblau, which is a tad darker and more greyish than RLM65. At this stage the white wingtip undersides were painted, too.
For the post-camouflage look the markings were added now – puzzled together from various sources. The tactical code is a mix of the Academy Storch’s individual “BA” code, which is a staff code with an unusual green letter, with a smaller unit code. The underwing “Bs” came from the Storch, as well as the fuselage Iron Crosses. The national markings above and under the wing came from a TL Modellbau aftermarket sheet, the Iron Crosses on the upper side lack black edges, so that there is no stark contrast with the Sandgelb around them. The unit badge under the windscreen is fictional, IIRC from a late German Bf 109, though. A light black ink washing was used to emphasize some seams, esp. for the flaps, and a light post-shading was done to add surface structure.
After that the tedious process of adding a meander pattern with RLM 80 (Olivgrün) over the Sandgelb base, around all markings. For the sake of easy application, I used acrylic Revell 65 (Bronzegrün, RAL 6031). Everything was done with a relatively small brush and took some time and several turns to cover area by area with the green wiggles. Some wet sanding was later used to simulate some wear and tear around the leading edges.
The propeller spinner became green with a white spiral, repeating the staff marking from the individual code letter. The propeller blades were painted with a very dark mix of green-grey and black.
As finishing steps some soot stains were created with graphite behind the exhausts, the position lights were made with clear paint on a silver base, the camera lenses (black decal material) received a glossy finish with ClearFix, and the wire antennae from the wingtips to the fin were created with heated black sprue material.
The finished aircraft looks disturbingly plausible – either like a sinewy and streamlined Henschel Hs 126, or a Fi 156 on steroids! The Fieseler Storch’s square wings are a great supplement to the equally shaped Ju 87 stabilizers, and the fixed landing gear with spats does not look out of place, either. Biggest stunt was the fitting of the high wings into/with the wobbly vacu canopy, though, and while this was a really complicated affair I am very happy how it turned out, and it’s even quite stable/rigid, thanks to the Hs 126 support struts. And the complex paint scheme effectively hides some flaws…
Public Enemy (PE)
September 16th, 2014
Brooklyn Bowl
Williamsburg, Brooklyn (NY)
© 2014 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
A composite image made up from four separate photographs.
The Main image of the Lancaster & background was taken in July 2011 at the Duxford Flying legends airshow. The other three aircraft that appear in the image are in fact the same Lancaster & an ME 109 taken from three other photographs.
these other photographs were taken last year at Duxford on a Nikon D7000 with an 80 - 400 fitted
Hand painted & screenprinted.
Edition of 10.
Somerset cream textured 300gm.
42 x 59cms.
Signed & numbered.
Available from: www.ink-d.co.uk/artists/hutch/all/enemy-mind
Operator 1: I spotted enemy vehicle at my 10 o'clock. Need the MAAWS here.
Operator 2: Roger. On my way.
A special operations reconnaissance team encountered enemies during their patrol.
Public Enemy (PE)
September 16th, 2014
Brooklyn Bowl
Williamsburg, Brooklyn (NY)
© 2014 LEROE24FOTOS.COM
ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
This is my first MOC.
After a long dark age, it recently became obvious to me, while playing with my three years old daughter, that LEGO was a fabulous source of inspiration and creation.
The discovery of the AFOL community and a few recent amazing TLG sets made me realize how far LEGO had gone since my childhood (we're talking CS and CC era here).
This immediately made me feel the urge to try building stuff on my own.
A natural inclination towards architecture and organic structures made me want to try building a castle first. Welcome to Arboretum!
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Arboretum is an outpost castle situated in a damp tropical region, not too far away from the sea coast (somewhere between the Black Marsh, Stranglethorn Vale, and Belfalas ;-), lying deep within a wet forest where walls have ears and mushrooms have eyes.
Its inhabitants are made of a wide bunch of characters and species, which seem to cohabit in a peaceful atmosphere, as well as a few unwanted guests.
Human guards keep watch of the main entrance on the catwalk (they mostly want to know when they'll get to eat the turkey), while an unidentified bearded man in black seems to be the only one to know what the heck he's doing here.
Wood elves keep watch of the weapons and treasure stashes, scrutinizing the horizon with their keen eyes while dreaming about the stars.
Hidden in the shadow of the Great Tree in the Arboretum room, William the Alchemist, lost in his thoughts, is imagining his next recipe while keeping an eye on the skull of his predecessor, freezed in resin.
On the terrace of the arboretum, a Kaï Man and an Orc share a game of apples, while a Dwarf is about to stove an argonian thief in front of the main entrance door.
The courtyard is equipped with a small weapons keep, food and drink for a small feast, as well as a tiny library for 101 situations - how to cook a roast on a rainy night, how to stop bleeding when the enemy just cut one of your limbs, and other useful fun facts.
The chapel is where the phials are kept and alchemical experiments made in the shade of the central oculus.
The conference hall on the second floor of the back tower has a hearth (lit by leds). It's the room where the most precious - material and intellectual - treasures are kept in deep shadow.
The arboretum itself is kept on the third floor of the back tower. Its Great Tree is all at once the source and fruit of the castle's inhabitant's high level of alchemical knowledge and power. The alchemically enhanced tree growing in the room is powerful enough to have broken through the roof and part of the walls of the room now lying in ruins.
-----
The original sparkle for this MOC was Sebaastian Art's (www.flickr.com/photos/30639040@N02/) great castle tutorial in The LEGO Ideas Book (as is pretty obvious if you compare the front faceted low wall of Arboretum to the suggested model in the book ;-). Trying out some of his very elegant wall techniques led me to try and build a whole new thing; a vertical setup was chosen to save physical space, and because I love towers :-)
I wanted to try out a few "advanced" techniques (advanced to me, anyway), and online documentation was amazing for this matter. I also wished to use a few "special" pieces out of context (the SW cockpit, the big trans-clear motorcycle rim, the planet hemisphere), which led to some tricky technical problems to solve. Yummy!
Arboretum stands on a 32x32 baseplate. It's a modular building, which makes it easy to move around : the second floor of the front tower, the second and third floors as well as the roof of the back tower can be lifted up to have access to the room interiors, which have furniture and specific decoration elements.
I spent about a week (four or five nights, to be more realistic) building the castle. It took me much longer than that to set up my own photo "studio" and begin to understand the use of a camera and lighting setup...
Lack of elements and experience led me to some choices I would probably solve differently three months later. It certainly doesn't pretend to respect any kind of castle building or historical orthodoxy.
But hey, I had great fun building it.
Hope you enjoy Arboretum!
Some track remains. This is on the rear (drive) sprocket and behind is the transmission from the engine. The engine is missing.
***
The Titchwell RSPB (Royal Society for the Protection of Birds) site is dotted with left-overs from its time as a WW2 anti-tank gun training site and its post-WW2 use as an RAF bombing and strafing range. There are various concrete bunkers where range crews could hide safely while armour-piercing solid shots (rather than exploding shells) were fired at range targets. AP solid shot was the primary anti-tank ammunition in those days and it still is.
Full album of two visits here: www.flickr.com/photos/barryslemmings/albums/7215765007278...
On the sandy beach are the notable wrecks of two WW2 Covenanter cruiser tanks. The Covenanter was one of several designs based on the chassis and running gear of J. Walter Christie, a maverick U.S. inventor who managed to alienate almost the entire U.S. military to the extent that they would not buy his invention. But the Soviet Union DID buy it, sparking the succesfull BT and T-34 series of tanks. When British observers saw the BTs charging around in 1930s Soviet manouevres, the War Department was also impressed enough to buy the Christie suspension system and spark off the A13 Cruiser, Covenanter, Crusader, Cavalier, Centaur, Cromwell and Comet series of WW2 tanks.
en.wikipedia.org/wiki/J._Walter_Christie
The secret of Christie's suspension was large springs hidden in the side armour, attached to the axles of large road wheels. It allowed a considerable amount of 'float' at high speeds. Some Soviet BT light tanks could achieve speeds well over 50mph and - while credited with 27mph as a gun tank - my late father, a REME vehicle fitter, told me that the turret-less and gutted Crusader gun tractors in his unit had their 'governors' removed and were capable of 55mph on roads. This speed boost allowed them to out-run the 50mph Military Police motorcycles which only had low grade war-time petrol.
I had previously seen the Titchwell tanks when almost covered with sand and it was interesting to note late last year that the sand had now washed away, exposing details of the tanks’ Christie suspension and parts of the hull armour, wheels, track and final drive assemblies. The engines are missing. When I had first seen them I doubted the local story that they were old range targets - it appeared that one had just bogged down and the second tank had bogged down as well while trying to tow out the first one. I now believe this was a mistake on my part. They ARE range targets.
Close examination of both exposed hulls show several shot holes right through the armour (about 30 to 40mm thick in some places) with spalling on the exit side of several. Also there is a major deformation in the glacis - front plate - of one vehicle which may have been caused by the impact of a 4.5 or 5.5-inch medium gun's shot. These mediums were given emergency anti-tank training at Titchwell just prior to D-Day, in case they ever needed to function as anti-tank guns. That sort of close range work is not their normal role. The drill was to fire these medium guns at enemy tanks loaded with an H.E. (high explosive) shell from which the explosive fuse has been removed. The effective of this was that there was no explosion but massive disruption of the tank due to pure kinetic energy - in extreme cases the turret would be torn off by the impact.
The tank wrecks are very rusty and colourful on a sunny day. But enough of the armour remains together to see clear entry and exit holes on both vehicles.
The Covenanter was never used in action but solely relegated to training, partly due to its creative (and rather vulnerable) front radiator. For many years these Titchwell Covenanters were the only ones on show in the UK, until a complete one was dug up in a Dorking field, restored and is now on display at the Bovington Tank Museum, Dorset. Interestingly, further digging in the same Dorking field has now unearthed two more Covenanters and they have also been recovered.
Note: constructive critiques accepted, i'd love to know my mistakes and ways to make better images in the future.
==================
Yokohama, Japan
October, 2009
Originally known as RAF Bury St Edmunds Airfield, Rougham Airfield is situated 3 miles east of the Suffolk market town of Bury St Edmunds. The airfield was built between 1941 and 1942, and had three intersecting concrete runways. The main runway was approximately 2,000 yards long, and ran in an east to west direction. It was designed for a United States Army Airforce unit (U.S.A.A.F) Bomb Group. Fifty concrete hardstands were constructed just off the encircling perimeter track. Two T2 type Hangars were erected, one on each side of the airfield, accommodation was provided for some 3,000 personnel in Nissen Huts and other temporary type buildings.
The airfield was opened in September 1942 and was used by the U.S.A.A.F Eighth Air Force, and given the designation Station 468 (BU). The first U.S.A.A.F group to use Bury St. Edmunds airfield was the 47th Bombardment Group (Light) arriving from Greensboro A.A.F North Carolina in mid-September 1942. The 47th was equipped with the Douglas A-20 Havoc bomber, but the group quickly moved to RAF Horham, as Bury St. Edmunds was still under construction. On 2nd November the 47th was ordered to North Africa, departing for Medina Air Field 15 miles south of Casablanca in Morocco. The 322nd Bombardment Group (Medium) arrived in December 1942 from Drane Army Airfield, Florida, a satellite installation of nearby MacDill Field, where the 322nd originally began their pre-deployment training. The group was assigned to the 3rd Bomb Wing and flew Martin B - Z6B/C Marauders.
Ongoing construction at RAF Bury St. Edmunds forced two of the group's squadrons to locate to RAF Rattlesden. The group's aircraft did not arrive until late in March 1943. Once operational, the 322nd flew two low-level bombing operations from RAF Bury St. Edmunds. The first, on the 14th of May when it dispatched 12 planes for a minimum-level attack on an electrical generating plant near Ijtnuiden. This was the first operational combat mission flown by B-26's. The second was a disastrous mission to the Netherlands on Monday, 17th May, when the group sent 11 aircraft on a similar operation from which none of the aircraft penetrating the enemy coast, returned. Sixty crewmen were lost to flak and interceptors. Group morale was not improved when, on the 29th of May, a B-26 crashed onto the airfield killing the crew and damaging a hangar. After these missions, the group was re-equipped and trained for medium-altitude operations for several weeks before returning to combat operations.
On the 13th of June, the 322nd moved to RAF Andrews Field in Essex. The 94th Bombarment Group (Heavy) arrived from RAF Earls Colne on the 15th of June 1943. The 94th was assigned to the 4th Combat Bombardment Wing, and the group tail code was a 'Square-A'. The group flew the Boeing B-17 Flying Fortress as part of the Eighth Air Force's strategic bombing campaign and served chiefly as a strategic bombardment organization throughout the war.
The 94th flew its first mission on the 13th of June 1943, bombing an airfield at Saint Omer. After that, the group attacked such strategic objectives as the port of St Nazaire, shipyards at Kiel, an aircraft component parts factory at Kassel, a synthetic rubber plant at Hanover, a chemical factory at Ludwigshafen, marshalling yards at Frankfurt, oil facilities at Mersburg, and ball-bearing works at Eberhausen. The 94th took part in the campaign of heavy bombers against the enemy aircraft industry during ''Big Week'' between the 20th and the 25th of February, 1944. Prior to ''D-Day'' on June 1944, they helped to neutralize V-Weapon sites, airfields, and other military installations along the cob Industrial Estate.
The T2 hangars are still in use, for storage, the Control Tower was used for many years as a private dwelling, and has now been restored and is used as a museum. The airfield, once again known as Rougham Airfield, now has two grass runways available for civil use. Gliding and model aircraft flying are frequent and several open-air events are organised each year.
Information sourced from – military-history.fandom.com/wiki/RAF_Bury_St_Edmunds
“The greatest challenge for me is to keep improving every aspect of the compositions and arrangements,” says ARCH ENEMY founder/guitarist Michael Amott about new album, War Eternal. “I’m always searching for ‘the perfect ARCH ENEMY song.’ When I started the band in 1995 I had the idea to create the most heavy melodic band of all time.”
And he did. Over the course of 19 years, ARCH ENEMY, under Amott’s guidance, crafted 10 acclaimed full-lengths, dominated sales charts, and toured the globe. If Amott were a smart man, he’d retire now to some tropical island with his favorite Michael Schenker records in tow and the setting sun on his face. But neither he nor ARCH ENEMY are done. Not by a long shot.
With vocalist Alissa White-Gluz replacing long-time frontwoman Angela Gossow in 2014 respectively, War Eternal is ARCH ENEMY reborn. “Changes in the band lineup are hardly ever looked upon favorably by the fans,” Amott acknowledges, “which I completely understand. Nonetheless, it does happen and the changes that have been made in the ARCH ENEMY camp were necessary in order for the band to survive and keep going. I love the energy of working with new people and Alissa has certainly brought a lot of talent and enthusiasm to the band!”
When Amott recruited Angela Gossow to front ARCH ENEMY for the Wages of Sin effort, he changed extreme metal forever. With White-Gluz, he has a new weapon. She’s a veritable firebrand on War Eternal, her unrelenting roar, cruel rasp and unique looks are the mark of a woman ready to conquer the world. “My goal is to keep ARCH ENEMY alive and thriving!” White-Gluz exclaims. “I want to open a whole new chapter for ARCH ENEMY, powerful and diverse, all the while respecting the legions of fans that love traditional ARCH ENEMY. Fans can expect loads of pure fucking metal.”
At 13 tracks, War Eternal is the quintessential ARCH ENEMY album. It’s both a nostalgic nod to the band’s past (“Never Forgive, Never Forget”, “No More Regrets”) and stunning example of what’s possible in the future (“Down to Nothing”, “Time is Black”). But if there’s a standout track—a spearhead—it’s the title song. Unveiled to the world on Youtube, “War Eternal” marches defiantly against the mundane, two raised fists to the constraints of society and the cage it desperately tries to put on us all. In it, White-Gluz proves she’s the next generation of great, while Amott and the rest of ARCH ENEMY play as if ”War Eternal” is their last song. That ”War Eternal” amassed an astonishing 1.5 million views the first 10 days is telling of its conviction and power. “There are a lot of details in this album that excite me as a songwriter and guitarist,” Amott grins. “Personally, I’ve pushed myself harder as player on War Eternal and feel I’ve gone to another level this time, which is very rewarding. I actually think the whole band has kicked everything up a notch or two.”
Produced by the band and mixed and mastered by Jens Bogren (Opeth, Paradise Lost) at Fascination Street Studio, the Swedes’ 10th full-length is unrelentingly brutal yet remarkably polished. “We could afford any big name producer at this stage in the game,” says Amott. “Having the band produce the album was a natural and logical way of working for us at this point. It was critical that we bring out the true ARCH ENEMY sound, the essence of the band on this record and who knows that better than us? Jens Bogren did an outstanding mixing and mastering the album. It was my first time working with him and I am more than impressed with his talent.”
The album was hailed as “Album Of The Month” in Terrorizer (UK), Powerplay (UK), Metal Hammer (Germany), Rock Hard (France), Metallian (France), Scream (Norway), Sweden Rock (Sweden) and got more than positive reviews all over the world; additionally, War Eternal achieved career-best chart positions for the band in the USA (#44), Germany (#9), Finland (#5), France (#56), and The Netherlands (#36), plus the best UK chart entry (#85) since Doomsday Machine (#81). ARCH ENEMY were also honored to appear on the front covers of Revolver (USA), Legacy (Germany), Rock Hard (France), Inferno (Finland), Up (Netherlands), Aardschok (Netherlands), Metal Maniac (Italy),Pro Rock (Bulgaria), Into The Pit (Thailand) and many more magazines.
Right after the release of War Eternal, the band kicked off their eternal touring with sublime festival shows at Wacken, Sweden Rock and many more, followed by a world tour with Kreator (with whom they released a split 7” single later in October 2014).
During the USA headline tour with Kreator, the band decided to part ways with guitarist Nick Cordle.
Christopher Amott (the brother of ARCH ENEMY founder/bandleader Michael Amott) joined the band for the remainder of their American headlining tour and Jeff Loomis (ex-Nevermore) stepped in for the following European dates with Kreator. Jeff will continue for another busy year in 2015 and beyond.
Jeff Loomis states: "I'm very excited to be playing with ARCH ENEMY. Michael Amott and I have stayed in contact over the years since we toured together when I was playing in Nevermore. Not only do I admire his guitar playing and songwriting, but I also consider him a close friend. To be able to share the stage with Michael, Sharlee, Daniel and Alissa is something I'm really looking forward to. 2015 is going to be a great year... See you all on tour!"
Michael Amott (guitars) comments: "The prospect of working with Jeff Loomis moving forward is truly awesome! Jeff Loomis is one of the best guitar players in the metal world in my opinion, as well as being a long time friend. I look forward to tearing it up on stages around the world together as we continue on the ‘War Eternal' touring cycle throughout all next year and beyond!"
There is no doubt that ARCH ENEMY are stronger than ever before. And the war is not over yet.
I didn't realize they had the same name under the World Peacekeepers umbrella. I like some of the gear this guy has too
Hello my friends and my many enemies top of the morning to ya,Todays painting is called (N.Y.Stock Exchange) and unless you have been living under a rock you know about how the market goes up and down like a ballon, people losing everything they have worked and saved for,wiped out in a snap of the finger, on the other hand some people walk away with more money than a person could spend in a lifetime.also this painting was inspired by a work of art I saw in jimoneilalaskas photostream called (Good morning America how are you?) also was inspired to do this painting in a style of the artist named stefan krikl and how he uses the colors red and black so effectively ,and the emotion in his art is amazing, it seems when I work with red and black the painting seems to have a stronger emotional value,also looking at this painting can you tell if this person has just found out they lost a billon dollars or perhaps gained a billon? and with that in mind I stir my cup of hot tea and bid you all a finefarewell,steve
The Direct Assault Weaponized Navigator is Dawn Forge's latest land vehicle. This particular D.A.W.N. Unit is part of the 4th Ironclad Division. Though mainly using a variety of mech, Dawn Forge occasionally needs something quick while still being lethal. These massive trucks usually travel in a pair, and their long range missiles can strike miles away from enemy lines, while its high caliber cannon can be deadly at medium range. They are plated in a polymer alloy armor that deflects even the toughest of blows.
Photo's from the concert Arch Enemy gave at the Alcatraz Metal Festival in Belgium 2014
© Robin Looy Fotografie
Concert, music, festival, band photographer. Popfotograaf
Instagram: @bandphotographer
Facebook: facebook.com/robinlooyphotography
The George Armstrong Custer Equestrian Monument, also known as Sighting the Enemy is an equestrian statue of George Armstrong Custer located in Monroe, Michigan. The statue was unveiled on June 4, 1910. It was designated a Michigan Historic Site on June 15, 1992 and was listed on the National Register of Historic Places on December 9, 1994.
While Custer was not born in Monroe, he lived much of his early childhood living with relatives and going to school in Monroe. During his youth, he met his future wife Elizabeth Bacon, whom he returned to marry in 1864. Custer eventually left Monroe to attend the United States Military Academy and fight in the Civil War. Because of his hard work and success during the war — as well as the Union's need for officers — he was promoted to the rank of Major General and was a very well known military figure. After the Civil War, he partook in the Indian Wars. His previous accomplishments in the Civil War, however, were overshadowed by his catastrophic defeat and death at the Battle of the Little Big Horn on June 25, 1876.
To honor him, a $24,000, 14-foot (4.27 m) bronze equestrian statue, sculpted by Edward Clark Potter, was unveiled in Monroe in 1910 by then-President William Howard Taft and Elizabeth Bacon Custer. The statue commemorates his successful actions during the Civil War and not his more well known failure during the Indian Wars.
The information above comes from Wikipedia:en.wikipedia.org/wiki/George_Armstrong_Custer_Equestrian_...
An imperial guard elite sniper unit lead by Lieutenant Ben Highburrow in the middle of a firefight with Eldar agressors on the desert world Torq XLII.
These photos are my first attempts to work with Photoshop (Photoshop Elements 11). Up to now i have only edited size and lighting on my photos with Photoscape, a free internet software download.
Older Warhammer 40k miniatures from Games Workshop.
28mm scale (roughly 1:56)
I paint the miniatures and build most of the terrain.
What enemy?
The one hidden in Lassie’s fur!
I found some wounds in her skin…and the vet told me it was the grass!
Those horrible golden things….
They go inside, deeper and deeper in the fur and they go even forward in the skin!
Ah! Malefic vegetal enemy!
Even worse than an animal one !
And I always groom Las but I found those by chance!
Candy seems safe…still…
But how can I avoid the fields?
Where should I go then?
No beach, no country…
I’ll do a better grooming… but…the fields call!
Have a good day my friends!
“The greatest challenge for me is to keep improving every aspect of the compositions and arrangements,” says ARCH ENEMY founder/guitarist Michael Amott about new album, War Eternal. “I’m always searching for ‘the perfect ARCH ENEMY song.’ When I started the band in 1995 I had the idea to create the most heavy melodic band of all time.”
And he did. Over the course of 19 years, ARCH ENEMY, under Amott’s guidance, crafted 10 acclaimed full-lengths, dominated sales charts, and toured the globe. If Amott were a smart man, he’d retire now to some tropical island with his favorite Michael Schenker records in tow and the setting sun on his face. But neither he nor ARCH ENEMY are done. Not by a long shot.
With vocalist Alissa White-Gluz replacing long-time frontwoman Angela Gossow in 2014 respectively, War Eternal is ARCH ENEMY reborn. “Changes in the band lineup are hardly ever looked upon favorably by the fans,” Amott acknowledges, “which I completely understand. Nonetheless, it does happen and the changes that have been made in the ARCH ENEMY camp were necessary in order for the band to survive and keep going. I love the energy of working with new people and Alissa has certainly brought a lot of talent and enthusiasm to the band!”
When Amott recruited Angela Gossow to front ARCH ENEMY for the Wages of Sin effort, he changed extreme metal forever. With White-Gluz, he has a new weapon. She’s a veritable firebrand on War Eternal, her unrelenting roar, cruel rasp and unique looks are the mark of a woman ready to conquer the world. “My goal is to keep ARCH ENEMY alive and thriving!” White-Gluz exclaims. “I want to open a whole new chapter for ARCH ENEMY, powerful and diverse, all the while respecting the legions of fans that love traditional ARCH ENEMY. Fans can expect loads of pure fucking metal.”
At 13 tracks, War Eternal is the quintessential ARCH ENEMY album. It’s both a nostalgic nod to the band’s past (“Never Forgive, Never Forget”, “No More Regrets”) and stunning example of what’s possible in the future (“Down to Nothing”, “Time is Black”). But if there’s a standout track—a spearhead—it’s the title song. Unveiled to the world on Youtube, “War Eternal” marches defiantly against the mundane, two raised fists to the constraints of society and the cage it desperately tries to put on us all. In it, White-Gluz proves she’s the next generation of great, while Amott and the rest of ARCH ENEMY play as if ”War Eternal” is their last song. That ”War Eternal” amassed an astonishing 1.5 million views the first 10 days is telling of its conviction and power. “There are a lot of details in this album that excite me as a songwriter and guitarist,” Amott grins. “Personally, I’ve pushed myself harder as player on War Eternal and feel I’ve gone to another level this time, which is very rewarding. I actually think the whole band has kicked everything up a notch or two.”
Produced by the band and mixed and mastered by Jens Bogren (Opeth, Paradise Lost) at Fascination Street Studio, the Swedes’ 10th full-length is unrelentingly brutal yet remarkably polished. “We could afford any big name producer at this stage in the game,” says Amott. “Having the band produce the album was a natural and logical way of working for us at this point. It was critical that we bring out the true ARCH ENEMY sound, the essence of the band on this record and who knows that better than us? Jens Bogren did an outstanding mixing and mastering the album. It was my first time working with him and I am more than impressed with his talent.”
The album was hailed as “Album Of The Month” in Terrorizer (UK), Powerplay (UK), Metal Hammer (Germany), Rock Hard (France), Metallian (France), Scream (Norway), Sweden Rock (Sweden) and got more than positive reviews all over the world; additionally, War Eternal achieved career-best chart positions for the band in the USA (#44), Germany (#9), Finland (#5), France (#56), and The Netherlands (#36), plus the best UK chart entry (#85) since Doomsday Machine (#81). ARCH ENEMY were also honored to appear on the front covers of Revolver (USA), Legacy (Germany), Rock Hard (France), Inferno (Finland), Up (Netherlands), Aardschok (Netherlands), Metal Maniac (Italy),Pro Rock (Bulgaria), Into The Pit (Thailand) and many more magazines.
Right after the release of War Eternal, the band kicked off their eternal touring with sublime festival shows at Wacken, Sweden Rock and many more, followed by a world tour with Kreator (with whom they released a split 7” single later in October 2014).
During the USA headline tour with Kreator, the band decided to part ways with guitarist Nick Cordle.
Christopher Amott (the brother of ARCH ENEMY founder/bandleader Michael Amott) joined the band for the remainder of their American headlining tour and Jeff Loomis (ex-Nevermore) stepped in for the following European dates with Kreator. Jeff will continue for another busy year in 2015 and beyond.
Jeff Loomis states: "I'm very excited to be playing with ARCH ENEMY. Michael Amott and I have stayed in contact over the years since we toured together when I was playing in Nevermore. Not only do I admire his guitar playing and songwriting, but I also consider him a close friend. To be able to share the stage with Michael, Sharlee, Daniel and Alissa is something I'm really looking forward to. 2015 is going to be a great year... See you all on tour!"
Michael Amott (guitars) comments: "The prospect of working with Jeff Loomis moving forward is truly awesome! Jeff Loomis is one of the best guitar players in the metal world in my opinion, as well as being a long time friend. I look forward to tearing it up on stages around the world together as we continue on the ‘War Eternal' touring cycle throughout all next year and beyond!"
There is no doubt that ARCH ENEMY are stronger than ever before. And the war is not over yet.
spent the memorial day weekend at a friend´s home in upstate NY and this cute little fellow, seen here, is his public enemy number1. Our friend really enjoys bird watching and has several bird feeders filled with different types of feed for the many varieties of birds that are indigenous to the area. He has tried just about everything to keep this little guy away, by installing pressure sensitive feeders that will spin with the slightest weight to greasing the poles from which they hang; yet this fellow always finds a way to outsmart him and get to the feed.
I fear for his life and hate to imagine just what measures our friend might one day resort to if his buttons are pushed too far