In Norse mythology, Móði and Magni are the sons of Thor. Their names translate to "Mighty," respectively. Rudolf Simek states. Móði and Magni's descent from Thor is attested by the kennings "Móði's father" and "Magni's father". Snorri Sturluson confirms it. According to Skáldskaparmál Magni is the son of the Jötunn Járnsaxa. There is no mention of Móði's mother; the two brothers are mentioned among the survivors of Ragnarök in the Poetic Edda Vafþrúðnismál: Apart from his role after Ragnarök, there is nothing we know about Móði but, in the Prose Edda book Skáldskaparmál, Magni plays a role in the myth of Thor's battle with the giant Hrungnir: But the hammer Mjöllnir struck Hrungnir in the middle of the head, smashed his skull into small crumbs, he fell forward upon Thor, so that his foot lay over Thor's neck. Thjálfi struck at Mökkurkálfi, he fell with little glory. Thereupon Thjálfi went over to Thor and would have lifted Hrungnir's foot off him, but could not find sufficient strength. Straightway all the Æsir came up, when they, learned that Thor was fallen, would have lifted the foot from off him, could do nothing.

Magni came up, son of Thor and Járnsaxa: he was three nights old. Thor arose and welcomed his son, saying that he should become great. Odin spake and said that Thor did wrong to give the good horse to the son of a giantess, not to his father. —Skáldskaparmál, Brodeur's translationJohn Lindow draws a parallel between Magni and Odin's son Váli for they both have a giantess mother and achieve a feat at a young age. Móði and Magni are characters in Joanne Harris' Runemarks series. Móði and Magni are characters in Peter Madsen's Valhalla comics. Móði is the patron of the Berserker class in Mythic Entertainment's MMORPG, Dark Age of Camelot. Magni is the son of Enchantress in Marvel Comics. Modi is the son of Thor and Hela in Marvel Comics's Ultimate Marvel imprint, as well as one of the main villains of the Divided We Fall arc of The Ultimates. Modi is a Magni is an amplifier from Schiit Audio. Magni is the name of the Eldest Bronzebeard brother and ruler of the Dwarven kingdom of Khaz Modan in Blizzard Entertainment's hit MMORPG World of Warcraft Móði and Magni are Molly and Mardi, the daughters of Troy Overbrook in the book Triple Moon by Melissa de la Cruz.

Both Móði and Magni appear as antagonists in the 2018 video game God of War, voiced by Nolan North and Troy Baker respectively. Both follow under their uncle Baldur in attempting to kill the protagonist Kratos. Magni is subsequently killed with Modi fleeing. Modi is beaten by an enraged Thor for allowing his brother to perish, is killed by Kratos' son Atreus. Magni and Modi appeared in Philippine TV Series Victor Magtanggol, it is played by Miguel Faustman and Pancho Magno, Magni's alter ego in the series is Sir Magnus, the owner of the museum in Canada and the boss of Victor who will become his guide and mentor, while Modi is the arrogant and bloodlusted son of Thor and Magni's brother whose true purpose is to take Mjolnir for his own purpose and will become Victor's rival-ally in the battle. Magni's spirit is contained in a Class Card in the manga Fate/kaleid liner Prisma Illya, he is mistaken for Thor due to having inherited his Divine Core along with Mjolnir

The North American Aviation XB-70 Valkyrie was the prototype version of the planned B-70 nuclear-armed, deep-penetration strategic bomber for the United States Air Force Strategic Air Command. Designed in the late 1950s by North American Aviation, the six-engined Valkyrie was capable of cruising for thousands of miles at Mach 3+ while flying at 70,000 feet. At these speeds, it was expected that the B-70 would be immune to interceptor aircraft, the only effective weapon against bomber aircraft at the time; the bomber would spend only a brief time over a particular radar station, flying out of its range before the controllers could position their fighters in a suitable location for an interception. High speed made the aircraft difficult to see on radar displays and its high-altitude and high-speed capacity could not be matched by any contemporary Soviet interceptor or fighter aircraft; the introduction of the first Soviet surface-to-air missiles in the late 1950s put the near-invulnerability of the B-70 in doubt.

In response, the United States Air Force began flying its missions at low level, where the missile radar's line of sight was limited by terrain. In this low-level penetration role, the B-70 offered little additional performance over the B-52 it was meant to replace, while being far more expensive with shorter range. Other alternate missions were proposed. With the advent of intercontinental ballistic missiles during the late 1950s, manned bombers were seen as obsolete; the USAF gave up fighting for its production and the B-70 program was canceled in 1961. Development was turned over to a research program to study the effects of long-duration high-speed flight; as such, two prototype aircraft, designated XB-70A, were built. In 1966, one prototype crashed after colliding with a smaller aircraft while flying in close formation. In an offshoot of Boeing's MX-2145 manned boost-glide bomber project, Boeing partnered with RAND Corporation in January 1954 to explore what sort of bomber aircraft would be needed to deliver the various contemporary nuclear weapons under development.

At the time, nuclear weapons weighed several tons, the need to carry enough fuel to fly that payload from the continental United States to the Soviet Union demanded large bombers. They concluded that after the release of the bombs, the aircraft would need supersonic speed to escape the critical blast-radius; the aviation industry had been studying this problem for some time. From the mid-1940s, there was interest in using nuclear-powered aircraft in the bomber role. In a conventional jet engine, thrust is provided by heating air using jet fuel and accelerating it out a nozzle. In a nuclear engine, heat is supplied by a reactor, whose consumables last for months instead of hours. Most designs carried a small amount of jet fuel for use during high-power portions of flight, such as takeoffs and high-speed dashes. Another possibility being explored at the time was the use of boron-enriched "zip fuels", which improve the energy density of jet fuel by about 40 percent, could be used in modified versions of existing jet engine designs.

Zip fuels appeared to offer sufficient performance improvement to produce a strategic bomber with supersonic speed. The U. S. Air Force followed these developments and in 1955 issued General Operational Requirement No. 38 for a new bomber, combining the payload and intercontinental range of the B-52 with the Mach 2 top speed of the Convair B-58 Hustler. The new bomber was expected to enter service in 1963. Both nuclear and conventional designs were considered; the nuclear-powered bomber was organized as "Weapon System 125A" and pursued with the jet-powered version, "Weapon System 110A". The USAF Air Research and Development Command's requirement for WS-110A asked for a chemical-fuel bomber with Mach 0.9 cruising speed and "maximum possible" speed during a 1,000-nautical-mile entrance and exit from the target. The requirement called for a 50,000-pound payload and a combat radius of 4,000 nautical miles; the Air Force formed similar requirements for a WS-110L intercontinental reconnaissance system in 1955, but this was canceled in 1958 due to better options.

In July 1955, six contractors were selected to bid on WS-110A studies. Boeing and North American Aviation submitted proposals, on 8 November 1955 were awarded contracts for Phase 1 development. In mid-1956, initial designs were presented by the two companies. Zip fuel was to be used in the afterburners to improve range by 10 to 15 percent over conventional fuel. Both designs featured huge wing-tip fuel tanks that could be jettisoned when their fuel was depleted before a supersonic dash to the target; the tanks included the outer portions of the wing, which would be jettisoned to produce a smaller wing suitable for supersonic speeds. Both became trapezoidal wings after ejection, they featured flush cockpits to maintain the highest fineness ratio possible in spite of its effects on visibility. The two designs had takeoff weights of 750,000 pounds with large fuel loads; the Air Force evaluated the designs, in September 1956 deemed them too large and complicated for operations. General Curtis LeMay was dismissive, declaiming, "This is not an airplane, it's a three-ship formation."

The USAF ended Phase 1 development in October 1956 and instructed the two contractors to continue design studies. During the period that the original proposals were b

Mısırlı Ahmet is a Turkish virtuoso darbuka player. Ahmet Yıldırım started his music life playing a Turkish-style darbuka in the Turkish style, he travelled to France and to Egypt to learn from the tabla masters: during this trip he developed his unique technique, now known as the split-finger technique, which allows quick playing. He was called "Ahmed el Turkî" in Egypt and after his journey he became known as "Mısırlı Ahmet" everywhere else, he tours and gives workshops all over the world, has recorded a number of solo albums and many contributions, 2007 he created a percussion school in Istanbul, drawing musicians of all nationalities. He began to play darbuka when he was 17. There were no musicians in his family so he learned how to play by himself, carried on his music life in Ankara until 1987. After learning the Turkish style of playing the darbuka, Yıldırım went to France to work individually. There, he started developing the basis of his peculiar technique, he decided to go to Egypt, home to mythical percussion masters.

He states that he was a ordinary player before he went to Egypt, to play with and learn from some of the best tabla players. Yıldırım lived in the desert-bound valley of Cairo, during which he developed his unique technique, now known as the split-finger technique, which allows quick playing, he stayed in Egypt for years, working alongside famous musicians and singers such as Omar Khayrat, singing idol Mohammad Fuad, Fethi Salamah. In his own words, from an interview to Today's Zaman:“I found that technique before I went to Egypt, but I was still working on it; the Egyptians played the darbuka so well that I could only subsist with my own style,” explains Yıldırım. “The reactions I received in Egypt encouraged me more than ever. The biggest masters of the darbuka were startled by my style, this was promising for me, they supported me, they saw me as one of them.” In 1991 he joined the "Sharkiat" ensemble with which he performed in many tours in Europe and the Middle East. In 1992 in Egypt he recorded his first album Oriental Percussion.

Returning to Turkey, he worked with many Turkish musicians in live recordings. He became a member of the Asia Minor rhythmic ensemble in Istanbul and participated in Istanbul's Jazz Festival, the Salvador Percussion Festival of Bahia, in the same year. In 1999 he began to work on the "Deholla" in the Sinai Desert, he created a new playing technique on deholla as well. He created the "Sinai ensemble", with which he toured Israel for two months, gave two more concerts in Barcelona. Liking Spain, he decided to live there. In Spain he worked on flamenco style and he recorded two albums within two years, Mel de Cabra and The Search. In 2003, within the Medimuses project sponsored by the European Union, he represented Turkey in the "1st International Percussion Conference" in Tunisia, attended by percussionists from the entire Mediterranean Region. After that, in the album series, recorded in honour of Mediterranean Great Masters, in the percussion section, Mısırlı Ahmet was deemed worthy of recording an honorary album and with this album - Natural Moments he was given “The Master” degree.

In 2006 Mısırlı Ahmet was awarded the “Leardership Summit Prize”, given by Eduplus annually. At some point, he was the owner of the Mısırlı Ahmet Ritim Atölyesi, a music school, music venue, restaurant in Istanbul - which closed after a while. After giving numerous workshops all over the world, seeing the lack of a proper music school for percussion in Turkey, in 2007 he founded the “Galata Rhythm School” in Istanbul. Besides the rich ethnic rhythms of Turkey and the world, the countless rhythms produced by Mısırlı Ahmet are practised in three different groups divided according to their levels; the approach is different from the usual, great importance is given to improvisation. Every summer, the Galata Rhythm School organizes the “International Rhythm & Art Camp” in some village in natural surroundings. In 2012 Mısırlı Ahmet was invited to participate in Stéphane Galland's Lobialbum. Mısırlı Ahmet has appeared in concerts in many countries, including all countries in Europe, he considers as highlights of his career the album he recorded with Carlos Benevant, his collaboration with Anjelika Akbar in the show "Bach al Oriental" and his participation in the concert of Nana Vasconselos in Turkey.

He has performed with flamenco guitarist Tomatito. He continues touring all over the world. In 2008 he was one of the highlights of the festival Turkey Now and in October he gave concerts in Thessaloniki and in the Netherlands: in Bimhuis Amsterdam and in World Music and Dance Centre, Rotterdam. In 2011 he was at the Baku Jazz Festival in Azerbaijan In 2013 he gave a solo concert in Kiev, Ukraine. Oriental Dance & Percussion Mel De Cabra The Search The dZihan & Kamien Orchestra / "Live in Vienna" Mısırlı Ahmet – Akdenizli Büyük Üstatlar - Great Mediterranean Masters Mısırlı Ahmet Collection Various - Very Belly Dance 2 Various - Homegrown Istanbul Volume 1 Milliyet Pazar, 14/12/05 AkMuzik.com.tr Misirli ahmet soloing on a Turkish television channel Misirli Ahmet's website Interview in Today's Zaman, 19 Feb. 2010 Interesting opinions about his performing style Biography in Turkish