View allAll Photos Tagged Refuse
Walters Otto cart, I had it in maybe 06-07, but had to get it replaced because about midway through the cart it split horizontaly, almost following the catch bar. I kinda liked it too.
Even though it means I will be the exception among the vast majority of females when I go out-and-about, I will not give in (except on rare occasions) to the current trend to wear pants or leggings. I like dresses. I like skirts. They are very feminine. If you want to call them "girly," go ahead, but I would more accurately describe them as "ladylike." But being described as a "lady" seems to another term anathema to so many women these days.
So there you have it--to dress as a woman, in a dress, means you are special, and I can handle that :)
20-yard Roll-Off Dumpster
Royal Refuse Service
Eugene, OR
June 2017
©Bryn Erdman. All Rights Reserved.
The coolest gang: Steven, Lujza, Rob, Charlie, John and Malibu. (Some refused to look at the camera because they said it wasn’t too stylish.... huh... 😁😘)
Kailua-Kona, HI
6/18/17
Aloha once again, it is my pleasure to present to everyone a modern day Western Waste Industries and Waste Resources sister company, Pacific Waste and their brand new Diesel Peterbilt Amrep! For anyone not familiar with Western Waste Industries, they were founded by Kosti Shirvanian (owner of Pacific Waste, Aloha Waste and Waste Resources), in the early 1990's they were 1 of the top 5 largest Waste haulers in the U.S., they were Orange with a large White stripe down the middle of the body, they primarily bought Stagg and Amrep's on Peterbilt in SoCal and were bought out by U.S.A. Waste (Waste Management) in 1996.
Almost everyday in Hawaii I would drive past Pacific Waste's yard to see what trucks were on route. They have a fleet of (11) FL's along with I believe (4) Roll Off's Their FL's consist of (6) STS all of which are ex Waste Resources and still had WR on them, (1) AVI (3) New Way's and (1) brand new Amrep. Unfortunately to my knowledge all (6) STS and the AVI never left the yard along with (1) New Way (that was used once or twice). Both the AVI and few STS FL's were being worked on so hopefully someone can find a STS on route in Hawaii.
I had seen the Amrep a few times going to Waste Management's landfill a few times during the trip but never on route. Thankfully on my last weekday in Hawaii I finally found the Pacific Waste Peterbilt Amrep. This truck is beautiful and reminds me of Western Waste every time I look at it. I was informed by the scout truck driver that this shiny Diesel Peterbilt Amrep is currently the newest truck in Pacific Waste's fleet and had been used for less than 2 weeks. The Amrep sounded amazing and brought back memories of Western Waste.
A cool aspect of Pacific Waste is that over 3/4 of their dumpsters are plastic. Unfortunately I did not get a picture but I saw a couple times trough out the trip the scout trucks will stack 2 plastic dumpsters, bring them out to the street and leave them stacked with trash in them and the FL will pick up each one individually and then re-stack them for the scout trucks.
On a side note, while I was on my way to an event earlier in the week I saw a Blue and White Superior Sanitation ex LA AVI FL with the hopper still in LA colors. I did not have a camera at the moment and throughout the rest of the trip I looked for it but unfortunately never found it. Pacific Waste has 3 times the stops a Superior and to make things worse the Superior AVI was on recycle and I did not see many Superior recycle dumpsters. Amazing how there are 2 companies on Kona with a AVI.
Pacific Waste is the sister company of Waste Resources in California and Aloha Waste who are in Maui and as of 2016 Honolulu.
I also included a brief clip at the end of the Hawaiian Mongoose, the mascot from P.F.I. Rubbish. In case you missed P.F.I. Rubbish I strongly recommend watching the video. www.youtube.com/watch?v=--Xeaffzngw&t=38s
Pacific Waste Peterbilt Amrep Video: www.youtube.com/watch?v=b3Q2_jvqztY
Last of the set from Monday but first shot of the day.
37423 rounds the sharpe curve towards Kirkby in Furness station with 5Z60 08.45 Carlisle Kingmoor - Carnforth.
Another razz up because a bank of thick squiff stubbornly refused to clear fully until the train had just past me however its polished up ok.
Monday 4 May 2015.
This appears to be a vintage press photo of an older photo. This young lady comes with quite the story, as you'll read below.
That is what I imagine to be a nude body suit used for artist-modeling which allowed them to be clothed, but naked in a time when public nudity was a major crime?
Written on back:
#44387
Irene Kelynack
"The Venus of the 20th Century"
Artist's Model
Hesser
===================================================
Dorothea Irene Kelznack/Kelynack was born on January 27, 1895, in New York City, New York to RICHARD & Mary Kelynack. She married Ernest J. Turley on December 21, 1917, in Boston, Massachusetts. She died in 1973 in New York at the age of 78.
===================================================
From a 2016 Article by Lynn Peril:
On March 15, 1916, New York’s Evening World newspaper declared 21-year-old Dorothea Irene Kelynack “an exact flesh-and-blood replica of the marble Venus of the Louvre.” This was newspaper hyperbole, of course; to begin with, the Venus de Milo is six feet eight inches tall. Nevertheless, for a short period of time just before America entered the First World War, newspapers declared one or another young woman “a modern Venus” based on her measurements’ adherence to a scaled-down version of the statue. There was a Swarthmore Venus and one from Wellesley (the women’s colleges had such data at the ready as incoming freshmen were routinely measured nude in a relentless hunt for scoliosis; men’s colleges did the same, but no competition to discover a “modern David” followed). Now, Venus had emerged from New York City.
According to the paper’s “Venus Chart,” Kelynack was a smidge under five feet four inches tall, weighed 125 pounds, and measured as follows: neck, 12.5 inches; chest, 34.2 (two inches larger when inflated); waist 25.9. Her ankle measured a dainty 8.2 inches. The female reporter cooed about the “springing, supple lines” and “arresting charm” of Dorothea’s “perfectly modeled, perfectly managed body.”
The new Venus conceded she wore a corset, albeit a “very loose” one. Otherwise, she was a bit of a rebel. “I drink a little wine with my dinner when I feel like it, and I eat candy,” she said, though she practiced “temperance” when it came to both (this may have been a jibe at prohibition bluenoses to whom temperance meant full abstinence where alcohol was concerned). She believed that a career kept a woman “mentally alert” and helped to “preserve her beauty longer than the mere idler.” Dorothea herself had trained at the London Academy of Music, and aspired to appear on the stage or in the movies.
She had been a tomboy, who loved to climb trees and ride horses. “I believe that the tomboy has a better chance of becoming a Venus than the affected, artificial, repressed child whose one duty in life is to be ‘be a little lady,’” she concluded, in the type of statement for which the word “foreshadowing” was invented.
One might have expected Dorothea to make a match equal to that of her non-Venusian sister, who married a wealthy linen dealer after a shipboard romance. Instead, Dorothea eloped with Ernest Turley, a Navy man, in early 1918. The papers later called him “a handsome, two-fisted, go-getting sort of fellow” who “put up a whirlwind wooing that made paunchy millionaires, in Dorothea’s eyes, seem just funny,” but he was without question a bit player in the drama that followed. A daughter, Mattie, was born in December, and a son the following year.
The family moved to California, then, in July 1933, to Arizona, hoping the climate would aid Dorothea’s asthmatic lungs. News photos showed a rustic shack in which Ma and Pa Kettle would have felt right at home. It was easy to imagine a skunk taking up residence under the house. Mattie said she was aiming at one on November 18, 1933, when she tripped and unloaded both barrels of her shotgun into her father’s back. He was wounded, but alive. Mattie was a month shy of her fifteenth birthday.
But when the sheriff asked why, if the gun discharged as she fell, the shot’s path through her father’s body angled up and not down, Mattie let loose with a bombshell. She shot Ernest Turley on purpose — because the Ouija board she and her mother consulted said that her father must die in order for Dorothea to marry a handsome cowboy. “Mother told me the Ouija board could not be denied,” Mattie later told a jury, “and that I would not even be arrested for doing it.” Despite her professed belief in the Ouija’s infallibility, Dorothea nevertheless sought a second opinion. She reached for a deck of cards and drew one. “The ace of spades,” Mattie testified, “meant death for Daddy.” She lost her nerve when she first took aim, then thought about “how much it would mean” to her mother and fired.
Mattie pleaded guilty to a charge of attempted murder. Law enforcement wisely looked to the other set of hands on the planchette during that fateful session with the Ouija board and jailed Dorothea as an accomplice.
Ernest Turley died six weeks after the shooting. Dorothea was charged with murder, and the newspapers went berserk. Mattie was now the “beautiful 15-year-old shotgun slayer of her father.” Still “pretty” at 38, Dorothea had been chosen the American Venus over 3,000 or 50,000 other beauty contest entrants (in 1916 she told a New Jersey paper that her resemblance to the statue had been “discovered by accident” when “a relative noticed in the papers something about a would-be Venus at one of the colleges, and asked her to have herself measured”). Pictures of mother and daughter ran side by side for comparison.
Details were lurid. The handsome cowboy was tracked down, a 22-year-old named Kent Pearce. Like Dorothea before him, he dreamed of a movie career. Mattie testified that her mother and Pearce frequently drove out of town for late-night petting parties, with 14-year-old Mattie and a friend of Pearce’s in the backseat. Once the foursome stayed out until morning. “I have a hell of a good time on the Mesa,” Dorothea told a neighbor.
Dorothea maintained that the shooting was accidental. Yes, she owned a Ouija board, but she never asked it “Shall we kill father?” as her daughter testified. Mattie was angry with her and her father because they “didn’t want her to use rouge or to run about at night with cowpunchers or to cross her legs the way she did or to wear such short dresses.” She tried to pin the blame on her mother, Dorothea said, “because some of the cowboys didn’t like me.”
Through it all, Mattie stuck to the Ouija story. She also expressed deep remorse. “They thought I wouldn’t take the rap,” she said. “But I killed Daddy and I want to pay for it. That’s the only way I can show the world and him how sorry I am.” When she was taken away to begin serving her sentence at the grim-sounding State School for Girls, Dorothea told her, in what Mattie called and cold and sarcastic tone: “I thank you for your cooperation. Be a good girl.”
Dorothea was sentenced to 15 to 25 years for masterminding her husband’s murder, but had served less than three when she was granted a new trial and the charges against her were dropped. She went straight to the convent where Mattie remained in custody following the closure of the reform school. A “happy and contented” Mattie at first refused to meet with her mother, then relented long enough to tell Dorothea she never wanted to see her again. She was paroled shortly thereafter, and disappeared into what one can only hope was a satisfying adult life.
Dorothea told reporters that the day would come when Mattie would “realize the terrible wrong” she had done her to her mother. In the meantime, she unsuccessfully sued the former superintendent of the State School for Girls for “poisoning” her daughter’s mind against her.
© All Rights Reserved
====================
This is a scanned image from a batch of wire photos, publicity photos, vintage snapshots, cabinet cards, CDVs and real photo postcards purchased at auction. You are welcome to pin, re-post, embed and share this image, but please do not reproduce for your personal gain or profit without my permission.
I did some small, cosmetic clean-up retouches in photoshop.
Any comments or observations are much appreciated!
Chassis: Sterling Acterra
Body: Heil DuraPack 5000
Hauler: City of Richland Solid Waste
Location: Richland, WA
Date: December 2018
Outfitted with a Qwik-Tip Rhino XL commercial container system
See More Trashy Photos & Videos At: The Thrash 'N' Trash Website
©Bryn Erdman. All Rights Reserved.
and hang it on the wall!
New main store release.
Original mesh and textures, materials enabled.
Comes in silver, gold, copper and black.
4LI at size (approx 2 meters)
CCC / Maxon
Many thanks to the office of the San Diego City Clerk and to Andy Patriquin for these photos.
"The Brazilian administration tries to gain the Americans as their ally. Our enemy is struggling for survival, their military refuses to fight the resistance within their own country and our troops steadily proceed northbound into enemy territory. Brazil can´t single handedly win this war, but with American support this may change, especially considering what happened in Mexico. Your strike team´s objective is to end their negotiations right now, before we lose control over the war.
One of our infiltrators reported that Brazil´s Minister of Defense has a secret meeting with a G.R.A.N.D. Commander in the ruins of Panama, the CIA seems to be involved, too. Your team will be equipped with weapons of the Brazilian resistance. All witnesses of the meeting will be eliminated, let it look like a raid. We can win this war today, failure is not acceptable."
My entry for the Lego Military Annual Build Competition Infiltration Diorama category. It is 48x64 studs large and features my Boxdog APC which is my entry for the Wheeled Warriors category. Special thanks to Julien for editing!
Again these are out of sequence because Flickr 10 photos in decided to get hung up and refuse to continue downloading
Brand: Cascade Cart Solutions
Model: ICON Series
Size: 96 gallons
Hauler: Waste Management
Location: Kennewick, WA
Date: September 2018
See More Trashy Photos & Videos At: www.thrash-n-trash.com
©Bryn Erdman. All Rights Reserved.
La Canada, CA
12/22/16
Broken down Athens Services ex Foothill Waste McNeilus Mack MR FL late at night after SoCalRefuse and I got a clip of it.
We still have government officials in high places who refuse to say "Black Lives Matter" and even more bizarre, refuse to utter the word "masks". Pretending that blacks have not been and continue to be targeted, and trying to paint a picture of the handling of the COVID crisis as something to boast about while 34 states are in the process of shutting down again, with ICU's filling up in Florida, Texas, Arizona, and California isn't fooling anyone other than those who refuse to accept reality. With each passing day, it's becoming more obvious that "the American people" are on to the truth. If you've got any doubts, dial up the major hospitals in Florida, Texas, Arizona, or California. Ask them about their COVID ICU's. Ask a black friend how they feel about Black Lives Matter.
Saying "Black Lives Matter" doesn't negate that "All Lives Matter". Telling the truth about the COVID crisis doesn't make anyone less of a man or a woman. But lying about both for the sake of politics is pathetic.
Indianapolis
2020
Superstitious people may refuse to speak, or may even hold their breath, when walking under this 250 year old cedar tree in Caterham High Street.
The fear is of a witches curse after one was either hanged from the branches, or tied to the tree until she died. It is said that the witch placed a curse on the tree.
The curse takes different forms depending on who you ask, but most versions state that if you talk while passing under the tree something bad will happen to your loved ones.
Other versions of the curse state that if you share gossip under the tree the same gossip will come back to hurt you.
Just to be on the safe side I kept my trap shut (well I was on my own!) when I took this shot, and felt it looked better in black and white. The latter decision was mainly because I felt the lighting suited it, but also having read up about it's dark history.
American postcard by Classico San Francisco, no. 105-022. Photo: 20th Century Fox. Marilyn Monroe and Don Murray in Bus Stop (Joshua Logan, 1956).
By 1953, Marilyn Monroe (1926-1962) was one of the most marketable Hollywood stars, with leading roles in three films: the Noir Niagara, which focused on her sex appeal, and the comedies Gentlemen Prefer Blondes and How to Marry a Millionaire, which established her star image as a "dumb blonde". Although she played a significant role in the creation and management of her public image throughout her career, she was disappointed at being typecast and underpaid by the studio. She was briefly suspended in early 1954 for refusing a film project, but returned to star in one of the biggest box office successes of her career, The Seven Year Itch (1955).
Marilyn Monroe was born Norma Jeane Mortenson in 1926 in Lemmon, South Dakota. She was the third child of Gladys Pearl Baker née Monroe, who suffered from mental illness and later worked as a film cutter at RKO. Marilyn was abandoned by her mother and she spent most of her childhood in foster homes and an orphanage. Just after her 16th birthday, she married 21-year-old aircraft plant worker James 'Jim' Dougherty. In 1943, Dougherty enlisted in the Merchant Marine. He was initially stationed on Catalina Island, where she lived with him until he was shipped out to the Pacific in April 1944; he would remain there for most of the next two years. While working in a factory as part of the war effort in 1944, Marilyn met photographer David Conover and began a successful modelling career. She began to occasionally use the name Jean Norman when working and had her curly brunette hair straightened and dyed blond to make her more employable. As her figure was deemed more suitable for pin-up than fashion modelling, she was employed mostly for advertisements and men's magazines. By early 1946, she had appeared on 33 magazine covers for publications such as Pageant, U.S. Camera, Laff, and Peek. She divorced Dougherty in 1946. The work led to a screen test by 20th Century Fox executive and former film star Ben Lyon. Head executive Darryl F. Zanuck was unenthusiastic about it, but he was persuaded to give her a standard six-month contract to avoid her being signed by rival studio RKO Pictures. Monroe began her contract in August 1946, and together with Lyon selected the screen name, Marilyn Monroe. Among her first film parts were nine lines of dialogue as a waitress in the drama Dangerous Years (Arthur Pierson, 1947) and a one-line appearance in the comedy Scudda Hoo! Scudda Hay! (F. Hugh Herbert, 1948). After a series of other minor film roles, she moved to Columbia. While at Fox her role had been that of a 'girl next door', at Columbia she was modelled after Rita Hayworth. Monroe's hairline was raised by electrolysis and her hair was bleached even lighter, to platinum blond. She also began working with the studio's head drama coach, Natasha Lytess, who would remain her mentor until 1955. Her only film at the studio was the low-budget musical Ladies of the Chorus (Phil Karlson, 1948), in which she had her first starring role as a chorus girl who is courted by a wealthy man. After leaving Columbia in September 1948, Monroe became a protégée of Johnny Hyde, vice president of the William Morris Agency. Hyde began representing her and their relationship soon became sexual, although she refused his proposals of marriage. To advance Monroe's career, he paid for a silicone prosthesis to be implanted in her jaw and arranged a bit part in the Marx Brothers' film Love Happy (David Miller, 1949). That year, she also made minor appearances in two critically acclaimed films: John Huston's crime film The Asphalt Jungle (1950) and Joseph Mankiewicz's drama All About Eve (1950). Following Monroe's success in these roles, Hyde negotiated a seven-year contract with 20th Century Fox in December 1950. Over the next two years, she became a popular actress with roles in several comedies, including As Young as You Feel (Harmon Jones, 1951) and Monkey Business (Howard Hawks, 1952) with Cary Grant, and in the dramas Clash by Night (Fritz Lang, 1952) and Don't Bother to Knock (Roy Ward Baker, 1952) with Richard Widmark. Her popularity with audiences was growing: she received several thousand letters of fan mail a week. The second year of the Fox contract saw Monroe become a top-billed actress, with gossip columnist Florabel Muir naming her the year's 'it girl' and Hedda Hopper describing her as the 'cheesecake queen' turned 'box office smash'. She began a highly publicized romance with retired New York Yankee baseball legend Joe DiMaggio, one of the most famous sports personalities of the era. A month later, Monroe faced a scandal when it was revealed that she had posed for nude photos before becoming a star, but rather than damaging her career, the story increased interest in her films.
By 1953, Marilyn Monroe was one of the most marketable Hollywood stars with leading roles in three hits: the Film Noir Niagara and the comedies Gentlemen Prefer Blondes and How to Marry a Millionaire. In Niagara (Henry Hathaway, 1953), she played a femme fatale scheming to murder her husband, played by Joseph Cotten. While Niagara made Monroe a sex symbol, the satirical musical comedy Gentlemen Prefer Blondes (Howard Hawks, 1953), established her screen persona as a 'dumb blonde'. Based on Anita Loos' bestselling novel and its Broadway version, the film focuses on two 'gold-digging' showgirls, Lorelei Lee and Dorothy Shaw, played by Monroe and Jane Russell. It became one of the biggest box office successes of the year by grossing $5.3 million, more than double its production costs. Her next film, How to Marry a Millionaire (Jean Negulesco, 1953), co-starred Betty Grable and Lauren Bacall. It featured Monroe in the role of a naïve model who teams up with her friends to find rich husbands, repeating the successful formula of Gentlemen Prefer Blondes. Despite mixed reviews, the film was Monroe's biggest box office success so far, earning $8 million in world rentals. Although she played a significant role in the creation and management of her public image throughout her career, she was disappointed at being typecast and underpaid by the studio. She was suspended in early 1954 for refusing a film project. The suspension was front-page news and Monroe immediately began a publicity campaign to counter any negative press and to strengthen her position in the conflict. On 14 January, she and Joe DiMaggio were married at the San Francisco City Hall. They then travelled to Japan, combining a honeymoon with his business trip. From there, she travelled alone to Korea, where she performed songs from her films as part of a USO show for over 60,000 U.S. Marines over a four-day period. She settled with Fox and returned to star in one of the biggest box office successes of her career, The Seven Year Itch (Billy Wilder, 1955). Then followed the release of Otto Preminger's Western River of No Return (1955), in which Monroe appeared opposite Robert Mitchum. When the studio was still reluctant to change her contract, Monroe and photographer Milton Greene founded a film production company in late 1954, Marilyn Monroe Productions (MMP). She dedicated 1955 to building her company and began studying method acting at the Actors Studio. She grew close to the studio's director, Lee Strasberg and to his wife Paula, receiving private lessons at their home due to her shyness, and she soon became like a family member. In late 1955, Fox awarded her a new contract, which gave her more control and a larger salary. Monroe did a critically acclaimed performance in Bus Stop (Joshua Logan, 1956). She played Chérie, a saloon singer whose dreams of stardom are complicated by a naïve cowboy who falls in love with her. She received a Golden Globe for Best Actress nomination for her performance. Then she acted opposite Laurence Olivier in the first independent production of MMP, The Prince and the Showgirl (Laurence Olivier, 1957), made in Great Britain. It was released in June 1957 to mixed reviews and proved unpopular with American audiences. The film was better received in Europe where it won Crystal Star awards and was nominated for a BAFTA.
Then Marilyn Monroe acted opposite Jack Lemmon and Tony Curtis in the classic comedy Some Like It Hot (Billy Wilder, 1959). The film was an absolute smash hit, with Curtis and Lemmon pretending to be females in an all-girl band, so they can get work. This was to be Marilyn's only film for the year. She won a Golden Globe for Best Actress for her role. Monroe took a hiatus until late 1959, when she returned to Hollywood to star in the musical comedy Let's Make Love (George Cukor, 1960), about an actress and a millionaire (Yves Montand) who fall in love when performing in a satirical play. Her affair with Montand was widely reported by the press and used in the film's publicity campaign. Her last completed film was the drama The Misfits (John Huston, 1961), which Arthur Miller had written to provide her with a dramatic role. She played a recently divorced woman who becomes friends with three ageing cowboys, played by Clark Gable, Eli Wallach, and Montgomery Clift. Monroe returned to the public eye in the spring of 1962: she received a 'World Film Favorite' Golden Globe award and began to shoot a new film for 20th Century-Fox, Something's Got to Give, a re-make of My Favorite Wife (Garson Kanin, 1940). Days before filming began, Monroe caught sinusitis; despite medical advice to postpone the production, Fox began it as planned in late April. Monroe was too ill to work for the majority of the next six weeks, but despite confirmations by multiple doctors, the studio tried to put pressure on her by alleging publicly that she was faking it. On 19 May 1962, she took a break to sing Happy Birthday on stage at President John F. Kennedy's birthday celebration at Madison Square Garden in New York. She drew attention with her costume: a beige, skintight dress covered in rhinestones, which made her appear nude. Monroe next filmed a scene for Something's Got to Give in which she swam naked in a swimming pool. To generate advance publicity, the press was invited to take photographs of the scene, which were later published in Life. It was the first time that a major star had posed nude while at the height of their career. When she was again on sick leave for several days, Fox decided that it could not afford to have another film running behind schedule when it was already struggling to cover the rising costs of Cleopatra (Joseph L. Mankiewicz, 1963). The studio blamed Monroe for the film's demise and began spreading negative publicity about her, even alleging that she was mentally disturbed. Fox soon regretted its decision, and re-opened negotiations with Monroe later in June; a settlement about a new contract, including re-commencing Something's Got to Give and a starring role in the black comedy What a Way to Go! (J. Lee Thompson, 1964), was reached later that summer. To repair her public image, Monroe engaged in several publicity ventures, including interviews for Life and Cosmopolitan and her first photoshoot for Vogue. For Vogue, she and photographer Bert Stern collaborated on two series of photographs, one a standard fashion editorial and another of her posing nude, which were both later published posthumously with the title The Last Sitting. In the last weeks of her life, she was also planning on starring in a biopic of Jean Harlow. Only 36, Marilyn Monroe died on 5 August 1962 from an overdose of barbiturates. She was discovered dead at her home at 12305 Fifth Helena Drive in Brentwood. She had a phone in one of her hands, and her body was completely nude and face down, on her bed. During her life and also after her death, her troubled private life received much attention. She struggled with addiction, depression, and anxiety. She had two highly publicized marriages, to baseball player Joe DiMaggio and playwright Arthur Miller, which both ended in divorce. Although the death was ruled a probable suicide, several conspiracy theories have been proposed in the decades following her death. There are over 600 books written about her.
Sources: De Nieuwe Kerk, Marilyn Geek, IMDb and Wikipedia.
And, please check out our blog European Film Star Postcards.
port is decided in fractions of a second.
One player commits to the tackle. Another refuses to go down.
In that split moment between contact and escape, effort, instinct, and determination collide.
IMG_8383
Just leaving Dover, i bet the days are numbered on these first gen Econics, Germany already got rid of most of theirs.
This one is equipped with the Geesink Norba GPM 3 refuse body.
Arcadia, CA
8/9/17
MUST READ:
Let me start by saying WOW, I never thought this day would come. I did not think I would see my childhood driver Joe, in a Curotto Can again. Joe would collect all 3 streams (separately) from my house until 2003 when WM left my city. I still see Joe a couple times every year and the last time I saw him in a Curotto Can was in 2008. In early 2009 Joe was given a brand new ASL and has never driven a Curotto Can since then (Joe told me it has been almost 10 years since he drove a Curotto Can). The night before this video was filmed, WMmaster626 and I talked about how cool it would be to see Joe in a Curotto Can. The next day, WMmaster626 who had never seen Joe in a Curotto Can, asked his Trash driver for the heck of it if Joe was in a Curotto Can. Then (expecting his trash driver to say "no"), his trash driver said "Joe's ASL is down and Joe is in a Curotto Can today". WMmaster626 was shocked and immediately informed me Joe was in a Curotto Can and I immediately headed to Arcadia.
I found Joe on route in a Mack Wittke green Curotto Can 1.5 and I was shocked and excited. Considering the Volvos and Original Curotto Cans are gone this is the next closest thing to what Joe would drive everyday in my city, the truck even had the same type of Wittke body. I was amazed how after almost a decade of not driving a Curotto Can, he operated it as if it was still his everyday truck. He was still incredibly fast and had many 4-5 second "wheel stop to wheel go" dump cycles and revved the Curotto Can pretty fast into the hopper. I was even lucky enough to see Joe pickup bulky boxes (towards the end of the video). Which was fun to see because he used to pickup bulk with the Curotto Can while he was on residential trash in my city. The Mack and Wittke sounded amazing too, both were loud and had great roars. It was a all around fun trip, WMmaster626 saw Joe in a Curotto Can for the first time. On top of that, Joe was excited that WMmaster626 and I got to see him in a Curotto Can, and it reminded him of when he worked in my city.
Thank you for watching, make sure you watch the entire video to see Joe pickup bulky boxes with the Curotto Can.
Big thank you to Joe, I had a blast seeing him in a Curotto Can again, I did not think that day would come. And thank you so much WMmaster626 for informing me Joe was in a Curotto Can, this video would not have happened without you and it was fun filming Joe with you.
Joe Driving a Curotto Can: www.youtube.com/watch?v=9CP3-nmZAs4
Here is Joe in his normal ASL: www.youtube.com/watch?v=5HPUYfYcS7Y&t=34s