View post tag: Systems Share this article USA: Northrop Grumman Receives Contract to Provide LAIRCM Missile Defense Systems View post tag: contract View post tag: Northrop View post tag: Provide View post tag: receives March 20, 2012 View post tag: LAIRCM Equipment & technology View post tag: usa View post tag: Missile Back to overview,Home naval-today USA: Northrop Grumman Receives Contract to Provide LAIRCM Missile Defense Systems View post tag: Grumman View post tag: Defense Northrop Grumman Corporation has been awarded a $334 million firm-fixed-price contract from the U.S. Air Force to provide Large Aircraft Infrared Countermeasure (LAIRCM) systems and support.Critical to the safe return of troops abroad, the LAIRCM system functions by automatically detecting a missile launch, determining if it is a threat and activating a high-intensity laser-based countermeasure system to track and defeat the missile.Under the terms of the contract Northrop Grumman will deliver LAIRCM hardware and provide associated support to the Air Force beginning immediately and continuing through April 2014.“Aircraft survivability equipment is essential to protecting our warfighting customers serving abroad,” said Carl Smith, vice president of infrared countermeasures programs at Northrop Grumman’s Land and Self Protection Systems Division. “This latest award is a continuation of our long term relationship with the U.S. Air Force and further demonstrates confidence in our battle proven AN/AAQ-24(v) LAIRCM system.”Northrop Grumman’s various infrared countermeasure systems are now installed or scheduled for installation on several hundred military aircraft across the U.S. Department of Defense to protect approximately 50 different types of large fixed-wing transports and rotary-wing platforms from infrared missile attacks.Northrop Grumman is a leading global security company providing innovative systems, products and solutions in aerospace, electronics, information systems, and technical services to government and commercial customers worldwide.[mappress]Naval Today Staff, March 20, 2012; Image: defence
Edit this setlist | More Eric Clapton setlists[cover photo via @gobriphi on Instagram] On Monday night, guitar god Eric Clapton returned to the stage at Madison Square Garden for the second straight night on his final tour. His live band includes keyboardists Walt Richmond and Chris Stainton, drummer Steve Gadd, bassist Nathan East and vocalists Sharon White and Michelle John, with Gary Clark Jr. and Jimmie Vaughan as special guests.The setlist was almost identical, with the rearrangement of a few songs. Fans in New York were lucky to see the 71-year-old legend perform a special mix of originals and covers, from “Badge” by Cream, to “I Shot the Sheriff” by The Wailers to songs by Robert Johnson and J.J. Cale, switching between electric and acoustic guitars throughout the night. Iconic originals like “Tears in Heaven,” “Layla,” “Wonderful Tonight,” and “Sunshine of Your Love” all found there way to the spotlight, as Clapton delivered a career-spanning setlist on the first night of his final tour. Gary Clark Jr. joined at the encore for “Before You Accuse Me,” by Bo Diddley.He will go on to play two nights at The Forum in Los Angeles this month, and then return to NYC and LA in September for another two nights in both venues due to popular demand. He will also play three shows at London’s Royal Albert Hall in May.Enjoy these video highlights from Monday night’s rock concert below: Gary Clark Jr., Bright LightsEric Clapton, I Shot The SherriffEric Clapton, Cross Road BluesEric Clapton, Sunshine of Your LoveBefore You Accuse Me w/ Gary Clark Jr.
In the fall of 1833, an English nobleman and novelist by the name of Edward Bulwer-Lytton passed through Milan — part of a journey to both regain his health and escape a hectoring wife. (Yes, that Bulwer-Lytton, who wrote the most famous opening line in literature: “It was a dark and stormy night. …”)He visited the Brera Gallery, and was unimpressed by the paintings — except one: a depiction of crowds fleeing Pompeii, the doomed city that in A.D. 79 was buried in ash from an erupting Mount Vesuvius.“The picture is full of genius, imagination, and nature,” Bulwer-Lytton wrote later. “The faces are fine, the conception grand.” That winter, he was inspired again by studying the city itself, unearthed nearly 100 years before but just being fully excavated. The result was “The Last Days of Pompeii” (1834), which became the most popular historical novel of the 19th century. Its opening line — “Ho, Diomed, well met!” — promised another dark and stormy night for readers. But instead, Bulwer-Lytton inspired imagery so durable that it lives today.A pair of Harvard events last week looked at the artistic legacy of Pompeii — a kind of “Apocalypse Then.”In “Images of a Doomed City” on Sept. 20, archaeologist Adrian Staehli traced portrayals of the disaster, from 19th-century painting through early-20th-century cinema. (The occasion was the M. Victor Leventritt Lecture of the Harvard Art Museums.) It was the Pompeii disaster, Staehli said, that first inspired many of the visual templates of the ancient world we still use today.On Sept. 23, the Harvard Film Archive sponsored a screening of “Gli ultimi giorni di Pompei” (“The Last Days of Pompeii”) an extravagantly produced 1926 Italian silent that was intended to revive Italy’s flagging film industry. It failed to do that, said Staehli, who is Harvard’s Loeb Professor of Classical Archaeology. But the film does illustrate the durability of imagery rooted in 19th-century paintings and in Bulwer-Lytton’s admiring obsession with the grand architecture, sumptuous interiors, and fleshy pleasures of ancient Roman culture.The novelist also leaned heavily on the racial and cultural divides of A.D. 79: Pompeii was a wealthy, cosmopolitan city that blended Roman, Greek, and Egyptian influences. Bulwer-Lytton’s imagined city was a cauldron: stalwart Roman soldiers, brawling gladiators, late-empire dissipates, plotting priests of Isis, wealthy Greek lovers, and hounded early Christians forced to worship in private.People to the front It is this same cast of characters who set aside differences to take center stage in the 19th-century paintings. Panic and destruction create a democracy of fear. One “landmark history painting” stands out, said Staehli to his audience at the Arthur M. Sackler Museum: “The Last Day of Pompeii” (1827-1833), by Karl Brullov — the same painting to inspire Bulwer-Lytton. It was monumental in scale — 18 feet by nearly 15 feet. And its design was monumentally radical. Nature and the volcano — the centerpieces of 18th-century depictions — became mere backdrops. People, in vignettes of panic, were what mattered: a soldier rescuing his father, a dead woman and her baby, a fleeing family — “even Brullov himself,” in a self-portrait, said Staehli, escaping with his painting supplies.Brullov’s painting broke the traditional boundaries of representation by putting people at the forefront. Earlier depictions of Pompeii, like Joseph Rebell’s “Eruption of Vesuvius at Night” (1822), played into the “aesthetics of the sublime,” said Staehli, and “the delightful horror of nature” that shrank humans to dots, or left them out altogether.Brullov’s view of Pompeii reflected another radical idea: that there could be disasters “without theocracy or heroes,” said Staehli — that in catastrophic moments humankind was on its own, without benefit of God or moral exemplars. “There is only fear, avarice, greed, and struggle to survive,” he added — “no meaning or allegory here, just history.”“Just history” was behind many later depictions of Pompeii — paintings and engravings that laid out in anthropological detail the marketplaces, streets, interiors, and placid tepidaria (bathhouses) of the city before its fall. It’s another echo of Bulwer-Lytton, a novelist more interested in Pompeii than the disaster that wiped it out. (The volcano does not rumble until page 333 of his 356-page book.)But art brought the disaster back, too, chiefly in the form of what Staehli called “toga dramas” or “pyrodramas” — traveling outdoor shows that featured hundreds of extras, tableaux vivant, and spectacular fireworks in place of volcanic flames and ash. James Pain’s “Last Days of Pompeii” toured the world, and played regularly at Coney Island from 1879 to 1914.Make way for cinema Spectacle productions paved the way for the disaster to make its way to cinema, said Staehli, beginning with a 1908 film version of the fall of Pompeii and two in 1913 — both Italian. All were big at the box office.So when the Italian film industry was struggling to compete with American products in the 1920s — including “Ben-Hur” (1925) — it was reasonable to think that another version of “The Last Days of Pompeii” would do the trick. “Gli ultimi giorni di Pompei” — based on the Bulwer-Lytton story — went all out: 4,240 takes, hundreds of extras, and lavish sets depicting realistic interiors, façades, costumes, and street scenes, all based on archaeological evidence and 19th-century paintings. The final film was more than three hours long.“The movie is further enhanced with many nude bathing scenes,” Staehli told the Harvard Film Archive audience. (He is an expert in depictions of nudity and the body in ancient Greek and Roman art.)Despite men and women peeling off togas and leaping into tepidaria, success eluded the film, which was compressed to just over two hours in the print seen at Harvard. (Borrowed from the British Film Institute, it is one of only three in the world.)An American attempt to freshen the story fared no better. “The Last Days of Pompeii” appeared in 1935, directed by the same duo — Merian C. Cooper and Ernest B. Schoedsack — who had made “King Kong” two years earlier. Despite those impressive credentials, said Staehli, the film was “a spectacular disaster.”
A Cornell University political science professor critiqued the lack of foreign policy progress of both the former Bush and current Obama administrations in a lecture Tuesday in the Hesburgh Center for International Studies.Professor Matthew Evangelista’s lecture, titled “A ‘War on Terror’ by any other name … What has Obama changed?” was partly based on Evangelista’s book “New Wars, New Laws? Applying Laws of War to 21st Century Conflicts.”The lecture examined “how policies regarding the war on terror … have changed or not changed under the Obama administration,” Evangelista said.Much of the lecture focused on controversial topics like Guantanamo Bay, military torture and targeted killing using drone aircrafts.Evangelista compared statements made by former Secretary of Defense Donald Rumsfeld — like his description of Guantanamo Bay detainees as “the worst of the worst” — with CIA statements that classified most detainees “noncombatants.”“[Only] 8 percent of the detainees at Guantanamo were Al Qaeda,” Evangelista said.The treatment of detainees was one of the main focus areas of Evangelista’s examination.Evangelista quoted excerpts of Article 5 of the Geneva Convention, which calls for a determination of detainee status by “a competent tribunal.”Evangelista said that vague term typically implies a committee of officials from the military force itself.“The people who decide … are the people who capture them,” Evangelista said. “There is no right of appeal.”Evangelista said under these policies, officials often fall short of adhering to acceptable standards of treatment of prisoners.“Of course, we know their human rights are being violated,” he said.Torture, especially waterboarding, has become an especially hot topic, Evangelista said, as it has been contested on both legal and ethical bases.“The only time it wasn’t considered a form of torture was during the Bush administration,” he said.Targeted killings, like those initiated with the use of remote-controlled aircrafts to target presumed hostiles, have also come under fire in recent years.Evangelista noted a problem in the inefficiency of the practice.“The people being targeted … [are] not soldiers,” he said. “Civilians are protected under the Geneva Conventions.”The U.S. Supreme Court subsequently ruled that the U.S. had indeed violated the Common Article 3 of the Conventions, which states during armed conflicts, noncombatants and civilians should be treated “humanely.”“The Bush administration responded by making legal many of the things the Supreme Court had declared unconstitutional in the Military Commissions Act of 2006,” Evangelista said. “So, how would we recognize if things have changed?”He established three standards for evaluating the Obama administration regarding war practices: whether former policies were discontinued, whether the illegal practices were stigmatized and whether the crimes and perpetrators were investigated.Evangelista said Obama’s initial language on the subject was vague, as he said detainees would either be released, detained in the U.S. for trial or handled in a manner categorized as “other.”“This language worries people,” he said.Furthermore, Obama’s failure to follow through with the closing of Guantanamo Bay, Evangelista said, falls short of the first qualification of change: discontinuing practices.Evangelista said the shortcomings of the Obama administration, especially with regard to investigating the crimes, are associated with issues that date back to the Bush administration’s Justice Department.The current administration has, however, succeeded in stigmatizing the practices, Evangelista said, referencing a statement by Attorney General Eric Holder that called waterboarding torture.Evangelista offered a simple response as to why the administration has failed to identify and thwart policies deemed immoral and illegal by many.“The politically attuned advisers got scared, I think,” Evangelista said. “The answer is politics.”
Nineteen-year-old Warren Tanoesoedibjo, son of business tycoon Hary Tanoesoedibjo, was named the winner of an electric motorcycle owned and signed by President Joko “Jokowi” Widodo after he agreed to match the winning bid of Rp 2.55 billion (US$178,037).Warren had been the second-highest bidder in the auction, which was held during a virtual charity concert on May 17.The initial winner, a Jambi construction worker named M. Nuh, failed to pay for the motorcycle, saying he was unaware that he was participating in an auction. “He thought he had won [the motorcycle] as a gift at the charity event,” Jambi Police chief Insp. Gen. Firman Santyabudi said on Thursday.The virtual charity concert organizer, Olivia Zalianty, then contacted Warren to see if he still wanted to buy the motorcycle.“It turned out he was only 19 years old and said he really wanted to buy the motorcycle with the President’s signature,” Olivia said in a press conference on Friday. “And he was prepared to buy it for the same price as the winning bid.”Hary, who represented Warren at the press conference, said his son had asked his permission to take part in the auction.“He asked my permission to use his savings for the charity auction. I told him to go ahead if he wished to do so,” Hary said.Topics :
O’Neill said: “I would say that he would make a good manager, I have always said this about Roy Keane. I think the experiences he has had at Sunderland and Ipswich will stand him in good stead. “He is naturally disappointed by the Ipswich affair, and it’s not something he wants to leave. “He has this opportunity to come with me as my assistant here at this moment, but I have often said to you that he will be a manager, he will be a manager. “I think this particular element – it’s just my view – is good for him. It gives him a chance to look at it, maybe work with somebody with a bit of experience like myself. “But he will become a manager, there’s no question about it. “Naturally having brought him in, I’d be disappointed if it went through that he’s gone, but I wouldn’t really be standing in his way in that sense. “I’d speak to him, I’d speak to [FAI chief executive] John Delaney as well – I think Roy mentioned that the other day – if that’s the case, but it is honestly pure speculation at this minute. “But it doesn’t bother me too much at all – or at least I am trying to show that.” Ireland boss Martin O’Neill has insisted he would not stand in Roy Keane’s way if he was offered the chance to manage Celtic. O’Neill’s 42-year-old assistant has been heavily linked with the post vacated by Neil Lennon earlier this week despite distancing himself from the role on Friday. However, as the former Manchester United skipper jetted out to Lisbon in his role as a television pundit for the Champions League final, the Ulsterman was unequivocal when asked what his reply would be should he be asked by Hoops’ majority shareholder Dermot Desmond about Keane. Desmond, of course, helped broker the deal which established the unlikely partnership between former Celtic boss O’Neill and Keane as the Football Association of Ireland looked for a replacement for Giovanni Trapattoni. There were more than a few raised eyebrows when the younger man accepted the subordinate post having previously managed in his own right at both the Stadium of Light and Portman Road. He was not being mentioned in dispatches for vacancies at the time, but O’Neill has no problem with the fact that his name now appears to be back on the horizon. He said: “When I took him on in the first place, I can’t say I had really thought that particular element of it through. “It wasn’t top of list at the time because he wasn’t being mentioned for jobs, but such is the profile of the man that really I probably should have expected it. “He was linked also as assistant to [Louis] Van Gaal at Manchester United, he is being linked everywhere. “It genuinely isn’t a problem to me. Obviously it may well be when he is actually specifically asked for a managerial job. I will deal with that when it comes, if it comes.” O’Neill’s relaxed attitude may stem in part from the fact that the focus of attention has already shifted markedly in the few days since Lennon ended his four-year stay at Parkhead. Henrik Larsson was swiftly installed as the bookmakers’ favourite, prompting a series of questions about him to his one-time manager as he held his press conference on Thursday afternoon, although the Swede has since slipped in the reckoning. O’Neill said: “When we were doing a press conference, Henrik Larsson was nailed on for it, and then suddenly he was nailed off again, so I don’t know how serious it is at all. “If it arrives, then I’ll deal with it, if that’s the case.” Press Association