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Jordan Release 2020, Rounding out the overall look is a pink liner, orange tongue, and a mint green midsole and rubber outsole. In 2005, LA's Undefeated linked up with the Swoosh on the slimmer "NL" - No Liner - Dunk for a creative take on the. Right in the midst of the SB Dunk Low's prime, the vibrant colors and premium materials on UNDFTD's efforts perfectly encapsulated collaborations of the era, yet stood alone as an audacious piece. The Tier 0 release was limited to just 5000 pairs worldwide and still remains a grail for many, with pairs fetching one stack or more on the aftermarket.
Buy New Jordans, Chicago-based sneaker boutique Notre has teamed up with Nike to release a new Dunk High collaboration during the holiday season. For the suede they took hints from the really thick but plush suede's like whats found on Birkenstock sandals, and for the mesh they wanted an old school mesh like the OG sneakers of the 80's. Both the Air Jordan 4s comes with stitched tongues that can be easily removed to reveal a normal tongue size depending on your preference. They come built with a mix of suede and mesh fabrics.
Union LA has officially revealed its Air Jordan collection that includes two Air Jordan 4 colorways, the Jordan Delta Mid, and the Jordan Zoom 92. One pair comes dressed in "Pearl White/Blue Void-Grand Purple" and the other in a "Light Orewood Brown/Light Orewood Brown-White" makeup. Both Nike Dunk High colorways features a leather build with shaggy suede overlays, leather interiors and dual tongue branding.
Nike Shoes continues their tie-dye theme with this new iteration of the Air Force 1 Low for the summer months. Nike will add more models that will come with alternating Swoosh logos and the next model to receive the treatment is the Air Force 1. This offering of the Nike Air Force 1 Low features a White smooth leather upper paired with Red and Blue alternating tumbled leather Swooshes on the sides. Branded tongues and heels atop a Black rubber outsole with a brick-like design on the insole completes the design. This Nike Air Force 1 features a White leather base covered fully in a tie dye pattern. A White midsole atop a solid Black rubber sole completes the design.
2021 New Jordan, This offering the Air Force 1 Sage Low features a fully covered Barely Volt upper with a lighter shade appearing on the heel. White outlines the side Swooshes completed with an all-White rubber sole. This Nike Air Force 1 features a Platinum Grey upper with exposed stitching highlighted with Volt Swooshes and heels. The recycled Crater Foam and other sustainable materials are used throughout the toe, midsole and rubber outsole. The Swoosh, which switches tones from lateral to medial, shines spotlight on red as it dresses the exterior while the brighter blue lies more subtle as it sprawls along the inside of both feet.
New Jordans, This LeBron James iteration of the Nike Air Max 95 features a mismatched design, having the left shoe dressed in Gold, and the right in Purple. Each come with Purple and Gold accents, respectively, on the eyelets, heel, and Air bubbles. One shoe is dressed in purple while the other arrives in Lakers gold. Each is detailed in contrasting Lakers detailing while black accents are added universally throughout. A black midsole is placed on the bottoms while matching purple/gold Air units add comfort to the soles. To solidify the design, LeBrons accomplishments are placed throughout that highlight the star's career thus far while a special LeBron Lakers Air Max box holds the shoes.
Jordan Release 2020, Dressed in a mismatched Lakers colorway, this Nike Air Max 95 has the left shoe dressed in gold/yellow and the right shoe done in purple. Each footwear characteristic LeBron's emblem on the tongue, in addition to customized outsoles printed together with his quantity and lengthy listing of profession accomplishments. Every pair is packaged in a particular LeBron version of the OG Air Max 95 field. Both the left and right shoe come with contrasting accents done in the color of the other shoe. The defining features is a translucent outsole with LeBron's career accolades such as the number of titles he's won, MVP awards, All-Star appearances, Gold medals, etc. To top it off, the edition is dressed in a Los Angeles Lakers theme which has detailed accomplishments the King has acquired over the past couple of years he's been on an NBA court.
2020 Jordans, Durant, who's been a Nike athlete since signing what was at the time the second-largest rookie endorsement deal in basketball history in 2007, has enjoyed much success with his signature line. Ahead of a formal reveal, product images of the Nike KD 14 have surfaced online. Fans of the line's older models will be pleased to know Durant's 14th shoe includes the return of a midfoot support strap, a feature that hasn't been seen since 2014's KD 7. Shown here are two previewed colorways of the Nike KD 14, which brings back its mid-foot strap that was first debuted on the Nike KD 7. Another new feature is a medial cage that resembles to the Air Presto. And in his return, Durant will be debuting the Nike KD 14 - the newest model in his signature sneaker line with The Swoosh.
Jordan Release 2020, For perspective, he's been lacing up Nike kicks with his name on them since his first season as a Seattle Supersonic. A 14th signature shoe is extremely rare in the sneaker business and puts Durant in the same breath with LeBron James and Kobe Bryant as some of the other names with lines that have thrived for at least that long. Dressed in a Fire Pink, Gym Red, Mocha, White, Royal Blue, and Black color scheme. Sample photos of Parra's latest Nike SB Dunk Low have surfaced featuring a mismatched design in a mix of Dark Mocha suede with abstract patterns and White leather overlays. Blue inner lining atop a White rubber sole completes the design. The shoe also features an engineered mesh upper, which means that graphics can be uniquely layered for detailed colorway options, covering topics like art, music and more so expect a number of exciting colorways from Durant as the regular season unwinds and the playoffs get underway.
Cheap Jordans For Girl 2021, Add in the speckle detailing around the Swoosh, which only accentuates the inner workings and the exposed nature of the shoe. This styling of the Kobe AD NXT FF (FastFit) feature a full printed upper in a blotchy-like design. Speckled detailing outlining the transparent Swoosh logo with Red contrasting accents atop a Light Blue rubber outsole completes the design.
Jordan Release 2020, The pair's flexible base, which consists of a lightweight, breathable mesh on the toe, flaunts the shade Wheat. Like those before it, the design cherishes subtlety. Only the colorway itself could be considered overt as it mirrors the team's own jerseys. Royal blue canvas marks atop the toe, eye stay, Swoosh, and strap, while white lines underneath in a smoother leather. Behind, the heel further accents with calligraphic text whose style is not too unlike the flags of the Dodgers themselves. Picnic cloth-reminiscent gingham also makes its way onto the newest Air Max option, overtaking the inner lining, label on the tongue and pull tab at the heel; a keychain accessory packaged with the shoes also features a gingham ribbon.
Latest Ray-Ban Sunglasses, Explore our Ray-Ban eyeglasses collection for men and women to find glasses that speak to a wide range of tastes. Seen on everyone from military figures to celebrity icons, Ray-Ban has been a steadfast name in the world of eyewear since the 1930s. This well-rounded prescription eyewear collection includes the classic Ray-Ban Aviator, Wayfarer, and Clubmaster, along with updated styles that riff on the originals, and fresh eyeglasses designs featuring contemporary influences. Edgy, modern iterations of these popular styles complement an offbeat fashion sense. Opt for classic frames in Aviator, Wayfarer or Clubmaster styles. Dramatic cat-eye frames and bold geometric silhouettes satisfy fashion whims, while round wire-rimmed glasses and sophisticated semi-rimless styles speak to more refined tastes.
Top Fashion Sunglasses, With retro inspiration, the new Ray-Ban collection aims to be authentic and refined in order to fit all genders. You won't want to take them off! The brand creates a range which aims to be "eternal" with simple and timeless frames. The classic models reminiscent of the 50s of the last century are expanded with the latest trends. The lines are simple, the stridency is deliberately avoided and the just sobriety is preferred, but with that touch of originality so typical of the brand. The iconic international brand, Ray-Ban, leader in the creation of Thus was born the original Ray-Ban Hexagonal RB3548N model. A new original and innovative design that Visiofactory team wanted to add to his collection of Ray-Ban sunglasses.
China's entertainment industry is the latest sector put on edge by increased regulatory scrutiny, in an environment already stifled by the pandemic and the country's overall slowing economy.To get more breaking entertainment news, you can visit shine news official website.
Authorities have previously exerted control over its multibillion-dollar celebrity and entertainment sectors, from banning broadcasters from showing tattooed music artists to requiring programmers to air more patriotic-themed content.
But the recent crackdown comes as a bigger swell. In early August, the official Xinhua News Agency-largely a press-release forum for the government-published a series of articles on the unhealthy phenomenon of fan groups that use their massive online presence to drive traffic to celebrities and products they hawk.
Since then, the internet regulator has removed thousands of fan groups and hashtags from social media. Even China's antigraft agency got into the mix, publishing a statement titled, "Bringing Under Control ‘Fan Club' Madness." Hours later, Twitter-like Weibo (ticker: WB) took down its tremendously influential Star Power List, a sort of Billboard chart for trending celebrities, at the behest of regulators.
Weibo said publicly some fan groups had become "irrational" and "unhealthy" and that it would devise a "new scoring mechanism to curb fan fundraising, encourage fans to chase stars rationally, and encourage stars to interact with fans through charity."
Leading video-streaming platform iQiyi (IQ)-often dubbed the Netflix (NFLX) of China-last week announced it would cease airing its super popular idol talent shows, which often require viewers to purchase products in order to vote for their contestants of choice.
The company, owned by search giant Baidu (BIDU), said in a social media statement it needed to be "responsible as a platform, resist bad influences, and maintain a healthy and clean internet for users."That crackdown came just after numerous A-list celebrities were named, shamed, and then essentially erased from China's social platforms for various indiscretions. Two top Chinese actresses had their likenesses disappear from China's internet in August following scandals. And after Canadian singer Kris Wu, a megastar in China, was recently arrested on charges of rape in Beijing, his fan groups attempted a public relations pushback and a fundraising campaign for his defense. Wu denies the charges.
One question that emerges is what this all means for the troves of traffic and money that have been channeled to products within this ecosystem. Social media advertising revenue alone in China is estimated to hit 107 billion yuan ($17 billion) this year, according to iResearch.
"Brands who are heavily invested in ambassadors whose fan clubs have been purged are likely to get less ROI from their endorsements. This will be the result of less online buzz created for idols, as much of this is often generated by fan club members," Mark Tanner, managing director of Shanghai-based marketing research firm China Skinny, told Barron's.
"It may also be a rude awakening that the ambassadors don't have as widespread appeal as they thought, as this is often inflated by calculated initiatives from club members."This week, China's television regulator also banned "effeminate men" from appearing on programs, and reminded broadcasters to promote communist ideology. The regulator's public statement used the Chinese term for "sissies" to describe the now-prohibited male types.
The constant government bombardment of sector after sector has left companies and investors confounded. Tech, education, housing, and entertainment are just the more visible industries that have been ordered to "rectify" various alleged misconduct.
Gaming, too, has faced sporadic restrictions, mostly to curtail "addiction" of minors to popular games. On Monday, perhaps the most draconian new rule was issued by the gaming regulator, which now restricts playing time for minors to merely one hour on Fridays and on weekends. Barron's has previously spoken to parents who say their children spend up to eight hours a day playing videogames.
Latest Nike Jordan Sneakers, The Air Jordan 1 High Switch zipper design has a hidden mystery. Air Jordan 1 has a new work that looks good, wears well and is fun The addition of , makes the whole pair of shoes more textured, and at the same time, the Zoom Air air cushion is embedded in the back of the insole, which improves the wearing comfort to a certain extent. The popular Air Jordan V was crafted by Tinker Hatfield in 1990. This time, Jordan Brand is coming with a new color matching of AJ5 Retro 'Jade'. The shoe draws inspiration from the colors naturally worn by time, showing an oxidized texture, showing a retro charm; the shark tooth-shaped part of the black midsole is presented in white, and is decorated with black ink splash elements.
Jordan Release, The Air Jordan III is a groundbreaking shoe from Tinker Hatfield and Michael Jordan that brings a new twist to the classic Jordan collection. This AJ3 'Muslin' upper features a combination of canvas and suede materials to help you meet everyday challenges; an off-white midsole and heel patch add a touch of retro to the shoe; in addition, front lace holes, The tongue and heel logo are embellished with bold red accents for a dazzling appeal. This Air Jordan 1 features a mix of leather, satin and plush suede materials in black, grey and gold tones. Highlighting the shoe is an iridescent beaded Swoosh on the outside of the Sail midsole and black rubber outsole to complete the design.
The Air Max 1 Treeline 2022 has been an integral part of the brand's rise to sportswear stardom over the past few decades. As Bruce Kilgore's original design celebrates its 40th anniversary, the low-top variant - which debuted a year later in 1983 - continues to expand an already extensive list of styles.Unofficially dubbed the "82" theme, a pair recently surfaced featuring recycled materials and a nod to the sneaker's inaugural year. An off-white hue reminiscent of "Sail" takes up much of the upper, which features dual stacked profile swooshes; a "Rust" hue animates the lower logo and introduces suede into the mix. Elsewhere, the Air Force 1 bears non-standard branding, likely inspired by the "82" theme - which is referenced via the tongue label - and the sneaker's Next Nature design philosophy (Next Nature is a series of products that use at least 20% recycled materials). Down below, the oft-imitated sole keeps things relatively simple, although the basketball-designed tread apparently has a cork construction which further contributes to the pair's eco-consciousness.
For this summer, the designers of the American giant Nike designed Look Boosts model for us. Recently you could get to know the version of "Oreo", and today we have the cult version of "Multi-Color" for you.The completely new model combines the sole of the relatively young Air Max Pre-Day model with an upper made of the iconic Flyknit Racer. You can admire the effect of this mix below.Moving on to the hero of this post - the construction of the upper is based on Flyknit yarn dyed probably in all shades of the rainbow. We see yellow, green and turquoise, plus pink, orange and everything in between. Black seems to be a great treatment as it gives a strong contrast. It appears on the Swoosh, heel cup, binding area, tongue and lining.
Americans have legitimate concerns about China-and, with House Speaker Nancy Pelosi's visit to Taiwan sparking new tensions, those concerns are only growing-but what many fail to see is that Beijing is not the economic juggernaut it is often believed to be. On the contrary, China's economy has become increasingly fragile. To use a word heavily overworked these days, its problems are systemic.To get more china economy latest news, you can visit shine news official website.
The root of the fears lies in China's impressive growth record. Some 40 years ago, China was one of the poorest and most backward countries in the world. But Deng Xiaoping's decision to open China to trade and foreign investment changed everything quickly. By the mid-1980s, the country's economy was growing at stupendous double-digit rates, in real terms. From then until 2010, real growth averaged just under 10 percent a year, outpacing just about every other economy in the world. (During that time, the United States saw 2.8 percent real growth a year.) China's rate of expansion decelerated after 2010 but still outdistanced almost every other economy, even considering the effects of Covid-19. The country is now the world's premier manufacturer and by some standards is already the world's largest trading nation. Its economy has climbed from a mere 3.2 percent of America's in 1980 to more than 70 percent today. Given this past performance, it is easy to understand why so many worry that China will soon blow past the United States to become the world's dominant economy.
Perhaps even more distressing than China's meteoric rise is the questions it has raised about America's approach to economic organization. China's purposeful, centralized approach, some say, might even be superior to America's seemingly chaotic market-based system. For years, many journalists returned from China full of praise for how Beijing's centralized planning had marshalled the nation's intellectual, labor, and natural resources to create huge ports seemingly overnight and whole cities in what shortly before were farmer's fields. After the planners in Beijing decided that the country needed high-speed rail, Western observers soon marveled at the phalanxes of powerful locomotives zipping along extensive webs of track. The stark contrast with the budget battles and political wangling that goes on in the United States made China's focused purpose seem all the more unsettling.
Impressive as this past is, China and its system are nonetheless poised for troubles. Partly, this has to do with the country's changing state of development. While the Chinese economy remained underdeveloped, planners had little trouble seeing the path ahead. All they needed to do was look at what the developed world had: roads, ports, rail links, and the construction of decent housing and reliable public utilities. Such obvious moves paid handsome economic returns. But as China's economy has advanced and just about caught up to the fully developed economies, the planners no longer have a clear model. Now, like any economy on the forefront of development, they must guess at future needs-a much harder task, and one that Beijing has not demonstrated it can do well.
China's centralized plans have increasingly gone awry. Part of the problem is that the planners have had trouble adjusting to the new reality. Instead of embracing the growth of services and other more advanced activities, they have frequently doubled down on the kinds of early development projects that once paid such high dividends but are no longer as urgent. Misguided central direction has given China roads, bridges, and high-speed rail links to nowhere. After decades of emphasis on housing, the Ministry of Statistics now estimates that some 65 million housing units are unoccupied in China, fully 20 percent of the country's entire housing stock. A growing list of misguided projects has wasted resources and left a legacy of debt.
The failure of the giant property developer Evergrande serves as a dramatic example. Much of the media attention has put the blame on the company's management. The managers are certainly not free of blame, but the bulk of the problem stems from an inappropriate government emphasis on residential construction, something that has become more and more obvious as other property companies find that they cannot service the debt they incurred following these government directives. At last count, the questionable debt already announced verges on some 10 percent of China's gross domestic product.
It is at the cutting edge of development, where there are no models, that market-based systems show their advantages. Without central direction, markets rely on a great diversity of decisions by individuals and companies. Because each of these actors makes independent efforts to envision the unknown future, the economy effectively spreads its bets across a wide variety of efforts. Most fail. There is considerable waste. But without the focused marshalling of resources typical of Chinese-like central planning, that waste tends to happen on a smaller scale. Indeed, large-scale failures in a market-based system tend to occur only when some central authority nudges market participants in one direction, as when government encouragement to lend to those with lower credit scores on favorable terms brought on the financial crisis of 2008-09. Still more important in meeting future challenges is how a market system's great diversity of efforts increases the chance that one or more of these independent projects will indeed capture future needs and score big, both for those who devised it and for the whole economy. Of course, if the central planners manage to capture a future need, their success can be huge, but their focused effort makes that hit a lot less likely.
We can see proof of the difference, albeit dimly, in the relative growth of debt in China. It is true that Beijing has kept the central government's debt burden light, certainly lighter than has Washington, but it is not this debt that finances the planners' projects. That burden falls instead on private firms, state owned enterprises (SOEs), and provincial governments, making the relevant debt measure the total of public and private debt. From 2010 to 2020, the most recent year for which complete data are available, this composite debt measure in China grew 23 percent per year-far faster than the nominal economy, which grew about 8 percent per year. Total debt rose from 180 percent of the nation's gross domestic product (GDP) in 2010 to almost 300 percent at last measure. This exploding debt overhang offers a rough estimate of the waste created by centralized mistakes. Compare it to the United States, where the equivalent debt aggregate grew about 5.6 percent a year. To be sure, that's faster than the 4 percent average growth of the nominal economy, but the gap between the two is much narrower than China's. The accumulated outstanding debt as a percent of U.S. GDP has risen just 14 percentage points during this time. Mistakes are apparent, but on a much smaller scale than China's centralized arrangements.
For all the growing evidence of the centralized system's weaknesses, President Xi Jinping strangely has pushed for greater centralization. Already his central planners, showing a lack of sensitivity to China's more advanced state of development, have pushed the same sorts of infrastructure projects that once worked so well but are more questionable now. True, the planning authority has also focused on more advanced activities. The Made in China 2025 plan, for example, stresses electric vehicles, biotech, aerospace, and artificial intelligence. But China retains the manufacturing focus from the earliest days of its opening and continues to ignore the undeniable developmental trend toward services present in other advanced economies. And the concentration-though it certainly garners positive press-carries risks. Especially where technology is concerned, there is no telling when something new will render today's "next big thing" obsolete. Should something like this happen-and it is far from unlikely-the record shows that China's central planners will have a hard time changing course.
This article examines the practices, policies and politics of the Chinese Communist Party's (CCP's) governance of entertainment celebrities from 2005 to 2020. We identify and critically analyse four principle governing approaches with related examples: ‘banning celebrities', ‘governing through professional associations, laws and notices', ‘platform governance' and ‘co-opting stars'. We argue that celebrity governance should be understood within the broader framework of the CCP's ‘cultural governance' and encompasses two dimensions: ‘governance of celebrity' and ‘governance through celebrity'. We conclude the increasing governance of this elite group has shaped the formation of a ‘neoliberal subjectivity' with Chinese characteristics, which allows them to navigate the complex trade-off between the intertwined neoliberal market ideology and Party ideology in China's cultural and entertainment industry. The article sheds vital light not only on the understanding of China's celebrity and entertainment politics, but also on the logic, approach and politics of the CCP's celebrity and cultural governance.To get more latest entertainment news, you can visit shine news official website.
The Chinese Communist Party (CCP) has a long tradition of utilising mass entertainment to mobilise and educate to fulfil its political and ideological purposes (Cai Citation2016). From the ‘yangge drama' in the Yan'an area during the Anti-Japanese Resistance War (Liu Citation2010) and the ‘loyalty dance' and ‘model opera' during the Cultural Revolution (Lu Citation2004, McGrath Citation2010), through to the anti-corruption TV drama and the Chinese New Year Gala run by China Central Television (CCTV) in the reform era (Bai Citation2015, Zhao Citation1998), the CCP has enlisted and co-opted almost all possible cultural and artistic forms to promote Party ideology, innovate official propaganda and educate people about socialist values and ethics, all in the name of entertaining the masses. Mao Zedong's famous speech at the Yan'an Forum on Literature and Art in 1942, which stressed that art and cultural work should serve the socialist state and socialism, has shaped China's mass cultural and entertainment practices, and guided the CCP's art and cultural policies in Mao and post-Mao China (Fu Citation2015).
Since China's economic reform in the late 1970s, increased individual prosperity, leisure activities, transnational cultural flows, and the dramatic development of market-driven mass media have supported the rapid growth of mediated mass entertainment and China's cultural and entertainment industry (Xu and Zhao Citation2019). The ever increasing number of entertainment celebrities, as the public face of the industry and as a new type of sociocultural elite in post-socialist China, has demonstrated an enormous impact on young people's style, cultural values and consumption through their artistic works, commercial endorsements and lifestyles (Yue and Cheung Citation2019). To harness the influence of these cultural icons, the state proactively incorporates entertainment celebrities into the CCP's publicity work, such as in its television melodramas, public service advertising, cultural ambassadorship, and legal and educational campaigns (Yu Citation2012). Celebrities have also become a focus of state governance to ensure they pursue ‘professional excellence and moral integrity' , a lofty ideal promoted by the CCP for socialist artists and cultural workers. The instrumental role of mass entertainment and the legacy of China's socialist ‘role model' determine that because idols should play an ‘edutainment' role or, at the very least, be harmless to socialist values, ethics, Party policies and ideology, they require the constant guidance and supervision of the CCP.
Research literature on the governance of China's mediated mass entertainment has expanded over the last decade. Scholars, mainly in Chinese media and cultural studies, have studied media policies, regulations and censorship of TV drama, reality shows, imported foreign TV programmes, films, popular music, and the cultural and creative industry in general (Schneider Citation2012, Bai Citation2013, Chan Citation2016). By examining the legitimacy, practices, policies and politics of governing diverse types of popular media and cultural products, these studies have collectively revealed the dilemma confronting China's mediated mass entertainment in the reform era, that is, to simultaneously pursue market success and play an ‘edutainment' role within the CCP's cultural, moral and political framework. However, research on the governance of entertainment celebrities who are the public face of these entertainment products is needed. In celebrity studies, scholars have focused on the transformation, roles and politics of celebrities and celebrity practices in contemporary China (Edwards and Jeffreys Citation2010, Jeffreys Citation2015, Sullivan and Kehoe Citation2019). In a recently published paper, Lin and Zhao (Citation2020) examine ‘celebrity as governmentality' in China by tracing the history of celebrities in Confucian, Maoist and post-Maoist governmentalities. However, celebrity as subject of governance in the Chinese context remains understudied. This article aims to fill the gap by identifying and critically analysing the principle approaches utilised by the CCP to govern entertainment celebrities since 2005.
A new drone has been introduced by Ukraine, claiming its ability to conduct missions in enemy-controlled areas with remarkable efficiency. Notably, this drone has been specifically engineered to counteract Russian attempts to disrupt its communication signals.
Ukraine claims that the Backfire is equipped with a GPS antenna for navigation purposes and has a range of 20 miles.
The dominance of UAVs in modern warfare has spurred Ukraine and Russia to make notable progress in their drone technology.
The latest drone introduced by Ukraine has the remarkable ability to traverse extensive distances beyond enemy borders while effectively countering ongoing Russian attempts to disrupt its operations.
Constant technological advancements and the omnipresence of drones on the battlefield and in the airspace have fueled the ongoing drone war between Russia and Ukraine, marking the latest development in this conflict.
The Backfire unmanned aerial vehicle (UAV) was introduced by Mykhailo Fedorov, the Vice Prime Minister of Ukraine for Innovation, Education, Science, and Technology, on Monday. Fedorov referred to it as a "formidable drone" that can fly up to 20 miles and cause "tremendous losses" to the enemy's rear positions.
Ukrainska Pravda reported that Federov mentioned the drone's ability to aid Ukrainian forces in striking Russian artillery, logistics hubs, enemy storage points, and command posts.
According to Fedorov's statement on X, the social networking site formerly referred to as Twitter, the Backfire's key characteristic is its "highly effective GPS antenna, resilient against Russian interference" and electronic warfare. Ukrainska Pravda conveyed that Fedorov also emphasized that this antenna is "nearly impervious to disruption," and thanks to the drone's "complete autonomy, the Russians cannot trace its coordinates and ground crew."
Ukraine's Backfire drone is on the verge of being mass produced and will soon join the country's array of UAVs in combat. Fedorov revealed that it has already completed more than 50 successful missions in the recent months.
Ukraine's latest contribution to the ongoing drone warfare is the Backfire, a development that has kept both sides on high alert due to the constant need for innovation driven by technological advancements. In combat scenarios, troops have increasingly relied on drones, with one Ukrainian service member disclosing in September that his unit had barely used rifles in the past six months, instead heavily relying on drones for their fighting capabilities.
Amidst the ongoing conflict, cost-effective UAVs have proven to be highly efficient in eliminating tanks and armored vehicles, which are primarily asymmetrical targets, as well as any mobile entity encountered on the battlefield. Regularly documented videos from the war exhibit first-person view (FPV) drones engaging in collisions with tanks, penetrating open hatches in armored vehicles, discreetly approaching troops in trenches, and causing explosions upon impact.
The continuous hum from above acts as a constant warning of the lurking danger, signifying that an unassuming target may fall victim to a sudden attack by an exploding UAV. Both Ukraine and Russia are actively involved in a race to acquire superior drone capabilities, driving them to pursue innovative technologies in order to gain an advantage over their adversary.
The significance of operators cannot be overlooked in the progress of Ukraine and Russia's specific flight and control abilities, in addition to the advancements in autonomous drones. Nevertheless, their importance also exposes them to enemy threats, leading to operators engaging in drone-based conflicts.
Efforts to counter the growing impact of drones have intensified over time. The front lines are now equipped with advanced jamming signal technology that disrupts the navigation controls of drones. While drones controlled by operators are usually less susceptible to such interference and are more affordable if lost or destroyed in battle, gps jamming still poses a significant obstacle. This underscores the vital importance of Ukraine's new Backfire system in blocking Russian interference, granting Ukraine the upper hand to maneuver along and behind enemy lines.
