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1-12-13 Wyndham Street Races
Laverda (Moto Laverda S.A.S. – Dottore Francesco Laverda e fratelli) was an Italian manufacturer of high performance motorcycles. The motorcycles in their day gained a reputation for being robust and innovative.
The Laverda brand was absorbed by Piaggio when, in 2004, Piaggio absorbed Aprilia. Piaggio has elected to quietly close all activities related to the Laverda brand and has publicly stated that they would be willing to sell the rights to the brand if an investor should appear. Currently Laverda.com redirects to Aprilia's website.
750:
The true birth of Laverda as a serious big bike brand occurred with the introduction of 750 cc; its appearance halted sales of the recently introduced 650. Many of the first bikes were produced for the American market under the brand "American Eagle", which were imported to the US from 1968 until 1969 by Jack McCormack. The 750 was identical to the 650 except for the lower compression and carburettor rejetting. In 1969 the "750 S" and the "750 GT" were born, both equipped with an engine which would truly start the Laverda fame. Both engine and frame were reworked: power was increased to 60 bhp (45 kW) for the S. 3 bikes were entered by the factory at the 1969 Dutch 24 hour endurance race in Oss, the 750S was clearly the fastest bike until piston failure left just one machine to finish fourth.
Just like the agricultural machinery made by Laverda S.p.A., the other family business, Laverdas were built to be indestructible. The parallel twin cylinder engine featured no less than five main bearings (four crankcase bearings and a needle-roller outrigger bearing in the primary chaincase cover), a duplex cam chain, and a starter motor easily twice as powerful as needed. Of course, this made the engine and subsequently the entire bike heavier than other bikes of the same vintage, such as the Ducati 750.
Laverda 750 SFC
The SF evolved to include disc brakes and cast alloy wheels. Developed from the 750S road bike was the 750 SFC (super freni competizione), a half-faired racer that was developed to win endurance events like the Oss 24 hours, Barcelona 24 hours and the Bol D'Or at Le Mans. This it did, often placed first, second and third in the same race, and dominating the international endurance race circuit in 1971. Distinguished by its characteristic orange paint which would become the company's race department colour, its smooth aerodynamic fairing and upswept exhaust, the SFC was Laverda's flagship product and best advertisement, flaunting pedigree and the message of durability, quality, and exclusivity. The SFC "Series 15,000" was featured in the Guggenheim Museum in New York's 1999 exhibit The Art of the Motorcycle as one of the most iconic bikes of the 1970s.
Source: Wikipedia
Review:
By the late 1990s Laverda were developing their parallel twin sportster into a decent bike, which was also getting cheaper in the UK as the pound got stronger.
An almost entirely new engine, watercooled and breathing through fuel injection, boosted power to over 80bhp, plus vibration was reduced with balancer shafts.
The crude, twin cylinder motor had always been the Laverda’s weak point and now, with a torquier, smoother mill, the twin spar chassis and Brembo brakes could really shine. Suddenly, the old fashioned big twin concept seemed to make sense.
One quick blast up the road is all it takes to confirm that the 750S is the start of something big for Laverda. At a glance the bike is very similar to the firm’s previous parallel twins. Its chassis is almost identical, its styling owes much to earlier models, and despite being watercooled the new, grey-finished motor fires up with a mechanical whir and a familiar chuffing from its twin pipes.
But the 750S motor responds more quickly to a blip of the throttle, its clutch is notably lighter than before, and the new twin has a distinctly smoother feel as it pulls away. There’s still plenty of Laverda twin character, but the whole bike seems more refined. Then you crack open the throttle in first gear, and the front wheel heads for the clouds to show that, despite its sophisticated manners, this bike is much more of a hooligan than any of its predecessors.
If that hasn’t convinced you that the 750S is a brilliantly enjoyable motorbike, the first tight bend will do the trick. Squeeze the Laverda’s big front Brembo discs and you slow with tackle-crunching ferocity. Flick the clip-ons and the bike cranks onto its side with suspension and tyres carving a precise line through the corner. Wind open the throttle and the twin-pot motor revs smoothly and hard towards its redline at just over nine grand.
Those first few hundred yards are what stick in my mind after a day spent thrashing about on the new Lav mainly because I hadn’t expected the bike to be anything like this good. Laverda have been steadily refining the age-old parallel twin format since bike-mad local textile baron Francesco Tognon took over and began rebuilding the firm a little over three years ago. But despite that, the oil/aircooled parallel twin motors have always felt a bit crude, and I’d expected the 750S to be just another small step in the process of evolution.
Instead the new bike takes Laverda a big leap forward, thanks largely to a watercooled engine whose basic layout is similar to that of its predecessors, but which shares few components and is a far more sophisticated piece of work. The 750S is the first bike that the new company regards as its own design. Tognon says it represents the second phase of Laverda’s recovery and riding it shows that he ain’t exaggerating.
The five-strong design and engineering team at Laverda’s base in Zan in north-eastern Italy left no stone unturned in their attempt to uprate the twin-cam, eight-valve parallel twin unit that has helped put the firm back on the map. Boring out the motor from 78.5 to 83mm increases capacity to 747cc from the old lump’s 668cc.
The 180-degree crankshaft’s stroke remains at 69mm, but changes including a new balancer shaft are intended to reduce vibration. A new pair of camshafts sit in a narrower cylinder head that also features the novelty of watercooled seats for the exhaust valves. Compression ratio is up from 9:1 to 10.5:1 which, along with the new twin-pipe exhaust system, helps increase the claimed peak output from 70 to 82.5bhp at 7000rpm. The six-speed gearbox incorporates revised teeth and dogs; changes to the clutch include a new master cylinder designed to give a lighter feel at the lever.
The chassis is essentially that of the 668cc twins, based around a twin-spar aluminium frame built for the original 650 model that appeared back in 1992. Laverda have never skimped on cycle parts, and the new bike carries on the tradition. Paioli supply the 41mm upside-down forks and the rear shock, both multi-adjustable. Brembo provide brakes (four-pot calipers and 320mm discs up front); wheels are three-spoke Marchesinis wearing Pirelli Dragons.
Fork-tops are pushed well through the yokes to quicken the steering compared to the Ghost models (rake is still a less-than-racy 26.5 degrees, even so). At 192kg dry the Lav weighs a bit less than Ducati’s 748, the same as Honda’s VTR1000 and slightly more than Suzuki’s TL1000. But the 750S is very slim and low, and its under-seat fuel tank helps make for a very light and manoeuvrable bike that immediately makes you feel at home.
The motor’s new-found smoothness is obvious, and you soon discover that there’s extra power through most of the rev range too. At very low revs the bike judders like a road drill, shaking the mirrors that are mounted to the flimsy fairing. But the vibration fades by 3000rpm, and from then on the Laverda punches with a force that is not exactly earth-shattering (Ducati’s 900SS probably has slightly more midrange), but which is more than enough to make you grin.
Previous Laverda twins certainly don’t wheelie like this bike does given a first-gear crack of the throttle and they don’t tempt you to keep thrashing them in the same way either. Response from the revised, faster-reacting Weber fuel-injection system is ace. And the motor’s added smoothness is just as important as its extra power, because you’re more tempted to keep the revs in the sweet zone between 6000 and 8000rpm.
Same goes for the new gearbox, which is a big improvement on previous Laverda efforts. The box shifted cleanly at speed, and was let down only by an occasional reluctance to find neutral at a standstill. Word from the factory is that this was caused by this pre-production bike’s slightly dragging clutch, and that a modification has already been found to prevent the same thing happening to production machines. (What’s more, Laverda seem so on-the-ball these days that it’s probably true...)
Provided it’s kept revving the 750S is respectably quick as it heads for a top speed of close to 140mph. Granted, that makes it by no means the fastest sports bike in the world. Acceleration above 120mph is pretty gentle, and many riders would doubtless prefer a bit more poke for track days and serious Sunday morning scratching. But the rest of the time that performance gives the perfect excuse for plenty of full-throttle craziness.
Predictably the chassis copes effortlessly with everything the engine and rider can throw at it. Laverda really got it right with the 668cc models a few years ago, since when they’ve merely added a few refinements. The hefty twin-spar frame doesn’t have to break sweat to keep 80 horses under control. Forks and shock are firm enough to jar a bit over big bumps, and the riding position means you wouldn’t want to ride in traffic for long (steering lock is pretty tight too). But suspension control is superb and the bike feels better the harder it’s ridden.
Despite its less than radical geometry the short, light 750S steers pretty quickly. And it also has a stunningly stable, well-planted cornering feel, with no sign of TL1000-style twitchiness. The rear Dragon is a fairly narrow 160-section cover on a five-inch rim, but for road use the 750S has heaps of grip, and enough ground clearance to need it. The front tyre has to work hard, too, when Brembo’s excellent stoppers are used in anger.
Not that I needed the brakes to slow down when, only a few miles after setting off from importers Three Cross, the bike suddenly lost all life and coasted to a halt at the roadside. It turned out that the sidestand cut-out switch was killing the sparks, although the stand was fully retracted. A few turns of a spanner from the toolkit soon had it sorted, but this is the sort of silly problem that Laverda need to avoid if they’re going to steal sales from the big boys.
Another electrics-related niggle was that the 19 litre fuel tank’s low warning light had a habit of flashing on far too early, in typical Italian fashion. But quality generally seemed good. Laverda boss Tognon has made a serious investment in an attempt to improve reliability. Finish of parts such as the frame, bodywork and paint (any colour you like as long as it’s black) is well up to standard.
When you consider that only a few years ago Laverda seemed to be in a terminal crisis, following the collapse of yet another attempted revival, the appearance of the firm’s first truly new bike is a result in itself. That the 750S is so good is a minor miracle. And what’s more, the normal Italian bike sting in the tail a price several thousand quid higher than the Japanese competition doesn’t apply.
Three Cross have pitched the 750S at a very competitive £7499 on the road, hardly more than the 668cc Lavs and substantially cheaper than the TL1000S and VTR1000, let alone Ducati’s 748. If you’re looking for a twin-cylinder sports bike with a bit of character, the 750S is worth checking out. One quick blast up the road is all it takes...
Source: www.carolenash.com/insidebikes/bike-reviews/laverda/750s/
La mauvaise reputation / George Brassens
Au village, sans prétention,
J'ai mauvaise réputation.
Que je me démène ou que je reste coi
Je passe pour un je-ne-sais-quoi!
Je ne fait pourtant de tort à personne
En suivant mon chemin de petit bonhomme.
Mais les braves gens n'aiment pas que
L'on suive une autre route qu'eux,
Non les braves gens n'aiment pas que
L'on suive une autre route qu'eux,
Tout le monde médit de moi,
Sauf les muets, ça va de soi.
Le jour du Quatorze Juillet
Je reste dans mon lit douillet.
La musique qui marche au pas,
Cela ne me regarde pas.
Je ne fais pourtant de tort à personne,
En n'écoutant pas le clairon qui sonne.
Mais les braves gens n'aiment pas que
L'on suive une autre route qu'eux,
Non les braves gens n'aiment pas que
L'on suive une autre route qu'eux,
Tout le monde me montre du doigt
Sauf les manchots, ça va de soi.
Quand je croise un voleur malchanceux,
Poursuivi par un cul-terreux;
Je lance la patte et pourquoi le taire,
Le cul-terreux se retrouve par terre
Je ne fait pourtant de tort à personne,
En laissant courir les voleurs de pommes.
Mais les braves gens n'aiment pas que
L'on suive une autre route qu'eux,
Non les braves gens n'aiment pas que
L'on suive une autre route qu'eux,
Tout le monde se rue sur moi,
Sauf les culs-de-jatte, ça va de soi.
Pas besoin d'être Jérémie,
Pour deviner le sort qui m'est promis,
S'ils trouvent une corde à leur goût,
Ils me la passeront au cou,
Je ne fait pourtant de tort à personne,
En suivant les chemins qui ne mènent pas à Rome,
Mais les braves gens n'aiment pas que
L'on suive une autre route qu'eux,
Non les braves gens n'aiment pas que
L'on suive une autre route qu'eux,
Tout le monde viendra me voir pendu,
Sauf les aveugles, bien entendu.
George Brassens
La mala reputacion / Versió castellana de Paco Ibañez
En mi pueblo sin pretensión
Tengo mala reputación,
Haga lo que haga es igual
Todo lo consideran mal,
Yo no pienso pues hacer ningún daño
Queriendo vivir fuera del rebaño;
No, a la gente no gusta que
Uno tenga su propia fe
No, a la gente no gusta que
Uno tenga su propia fe
Todos todos me miran mal
Salvo los ciegos es natural.
Cuando la fiesta nacional
Yo me quedo en la cama igual,
Que la música militar
Nunca me pudo levantar.
En el mundo pues no hay mayor pecado
Que el de no seguir al abanderado
Y a la gente no gusta que
Uno tenga su propia fe
Y a la gente no gusta que
Uno tenga su propia fe
Todos me muestran con el dedo
Salvo los mancos, quiero y no puedo.
Si en la calle corre un ladrón
Y a la zaga va un ricachón
Zancadilla doy al señor
Y he aplastado el perseguidor
Eso sí que sí que será una lata
Siempre tengo yo que meter la pata
Y a la gente no gusta que
Uno tenga su propia fe
Y a la gente no gusta que
Uno tenga su propia fe
Tras de mí todos a correr
Salvo los cojos, es de creer.
Ya sé con mucha precisión
Como acabará la función
No les falta más que el garrote
Pa' matarme como un coyote
A pesar de que no arme ningún lío
Con que no va a Roma el camino mío
Que a le gente no gusta que
Uno tenga su propia fe
Que a le gente no gusta que
Uno tenga su propia fe
Tras de mí todos a ladrar
Salvo los mudos es de pensar.
VARIANTE DU DERNIER COUPLET:
No hace falta saber latín
Yo ya se cual será mi fin,
En el pueblo se empieza a oir,
Muerte, muerte al villano vil,
Yo no pienso pues armar ningún lío
Con que no va a Roma el camino mío,
No a la gente no gusta que
Uno tenga su propia fe
No a la gente no gusta que
Uno tenga su propia fe
Todos vendrán a verme ahorcar,
Salvo los ciegos, es natural.
George Brassens
The 'Reputation Complex' is a moving combination of various factors, components and drivers that are linked in a close and complicated way. This combination brings with it, for all organizations, equal risks and opportunities – the first to be managed and the second to be exploited in the right manner.
MSLGROUP's Chief Strategy Officer Pascal Beucler shares his thoughts on the fast transformation of reputation management and what it means for our clients and for us.
Some background:
The Bentley 4½ Litre was a British car based on a rolling chassis built by Bentley Motors. Walter Owen Bentley replaced the Bentley 3 Litre with a more powerful car by increasing its engine displacement to 4.4 L (270 cu in).
Bentley buyers used their cars for personal transport and arranged for their new chassis to be fitted with various body styles, mostly saloons or tourers. However, the publicity brought by their competition programme was invaluable for marketing Bentley's cars.
At the time, noted car manufacturers such as Bugatti and Lorraine-Dietrich focused on designing cars to compete in the 24 Hours of Le Mans, a popular automotive endurance course established only a few years earlier. A victory in this competition quickly elevated any car maker's reputation.
A total of 720 4½ Litre cars were produced between 1927 and 1931, including 55 cars with a supercharged engine popularly known as the Blower Bentley. A 4½ Litre Bentley won the 24 Hours of Le Mans in 1928. Though the supercharged 4½ Litre Bentley's competitive performance was not outstanding, it set several speed records, most famously the Bentley Blower No.1 Monoposto in 1932 at Brooklands with a recorded speed of 222.03 km/h (138 mph).
Although the Bentley 4½ Litre was heavy, weighing 1,625 kg (3,583 lb), and spacious, with a length of 4,380 mm (172 in) and a wheelbase of 3,302 mm (130.0 in), it remained well-balanced and steered nimbly. The manual transmission, however, required skill, as its four gears were unsynchronised.
The robustness of the 4½ Litre's lattice chassis, made of steel and reinforced with ties, was needed to support the heavy cast iron inline-four engine. The engine was "resolutely modern" for the time. The displacement was 4,398 cc (268.4 cu in): 100 mm (3.9 in) bore and 140 mm (5.5 in) stroke. Two SU carburetters and dual ignition with Bosch magnetos were fitted. The engine produced 110 hp (82 kW) for the touring model and 130 hp (97 kW) for the racing model. The engine speed was limited to 4,000 rpm.
A single overhead camshaft actuated four valves per cylinder, inclined at 30 degrees. This was a technically advanced design at a time where most cars used only two valves per cylinder. The camshaft was driven by bevel gears on a vertical shaft at the front of the engine, as on the 3 Litre engine.
The Bentley's tanks - radiator, oil and petrol - had quick release filler caps that opened with one stroke of a lever. This saved time during pit stops. The 4½ was equipped with a canvas top stretched over a lightweight Weymann body. The hood structure was very light but with high wind resistance (24 Hours Le Mans rules between 1924 and 1928 dictated a certain number of laps for which the hood had to be closed). The steering wheel measured about 45 cm (18 in) in diameter and was wrapped with solid braided rope for improved grip. Brakes were conventional, consisting of 17-inch (430 mm) drum brakes finned for improved cooling and operated by rod. Semi-elliptic leaf springs were used at front and rear.
Building the kit and its display box:
I normally do not build large scale kits, except for some anime character figures, and I especially stay away from car models because I find it very hard to come close to the impression of the real thing. But this one was a personal thing, and I got motivated enough to tackle this challenge that caused some sweat and shivers. Another reason for the tension was the fact that it was intended as a present - and I normally do not build models for others, be it as a gift or on a contract work basis.
The background is that a colleage of mine will retire soon, an illustrator and a big oldtimer enthusiast at the same time. I was not able to hunt down a model of the vintage car he actually owns, but I remembered that he frequently takes part with his club at a local car exhibition, called the "Classic Days" at a location called Schloss Dyck. There he had had the opportunity some time ago to take a ride in a Bentley 4.5 litre "Blower", and I saw the fascinationn in his eyes when he recounted the events. We also talked about car models, and I mentioned the 1:24 Heller kit of the car. So, as a "farewell" gift, I decided to tackle this souvenir project, since the Bentley drive obviously meant a lot to him, and it's a quite personal gift, for a highly respected, artistic person.
Since this was to be a gift for a non-modeler, I also had to make sure that the car model could later be safely stored, transported and displayed, so some kind of base or display bon on top was a must - and I think I found a nice solution, even with integrated lighting!
As already mentioned, the model is the 1:24 Heller kit from 1978, in this case the more recent Revell re-boxing. While the kit remained unchanged (even the Heller brand is still part of the molds!), the benefit of this version is a very nice and thin decal sheet which covers some of the more delicate detail areas like gauges on the dashboard or the protective wire mesh for the headlights.
I had huge respect for the kit - I have actually built less than 10 car models in my 40+ years of kit building. So the work started with detail picture research, esp. of the engine and from the cockpit, and I organized appropriate paints (see below).
Work started slowly with the wheels, then the engine followed, the steerable front suspension, the chassis, the cabin section and finally the engine cowling and the mudguards with the finished wheels. Since I lack experience with cars I stuck close to the instructions and really took my time, because the whole thing went together only step by step, with painting and esp. drying intermissions. Much less quickly than my normal tempo with more familiar topics.
The kit remained basically OOB, and I must say that I am impressed how well it went together. The car kits I remember were less cooperative - but the Heller Bentley was actually a pleasant, yet challenging, build. Some issues I had were the chrome parts, which had to be attached with superglue, and their attachment points to the sprues (the same green plastic is used for the chrome parts, too - a different materiallike silver or light grey would have made life easier!) could only hardly be hidden with paint.
The plastic itself turned out to be relatively soft, too - while it made cleaning easy, this caused in the end some directional issues which had to be "professionally hidden": Once the cabin had been mounted to the frame and work on the cowling started, I recognized that the frame in front of the cabin was not straight anymore - I guess due to the engine block which sits deep between the front beams. While this was not really recognizable, the engine covers would not fit anymore, leaving small but unpleasant gaps.
The engine is OOB not über-detailed, and I actually only wanted to open the left half of the cocling for the diorama. However, with this flaw I eventually decided to open both sides, what resulted in having the cowling covers sawn into two parts each and arranging them in open positions. Quite fiddly, and I also replaced the OOB leather straps that normally hold the cowling covers closed with textured adhesive tape, for a more voluminous look. The engine also received some additional cables and hoses - nothing fancy, though, but better than the quite bleak OOB offering.
Some minor details were added in the cabin: a floor mat (made from paper, it looks like being made from cocos fibre) covers the area in front of the seats and the steering wheel was wrapped with cord - a detail that many Bentleys with race history shared, for a better grip for the driver.
Overall, the car model was painted with pure Humbrol 239 (British Racing Green) enamel paint, except for the passenger section. Here I found Revell's instructions to be a bit contradictive, because I do not believe in a fully painted car, esp. on this specific Le Mans race car. I even found a picture of the real car as an exhibition piece, and it rather shows a faux leather or vinyl cladding of the passenger compartment - in a similar dark green tone, but rather matt, with only a little shine, and with a lighter color due to the rougher surface. So I rather tried to emulate this look, which would also make the model IMHO look more interesting.
As a fopundation I used a mix of Humbrol 239 and 75 (Bronze Green), on top of which I later dry-brushed Revell 363 (Dark Green). The effect and the gloss level looked better than expected - I feared a rather worn/used look - and I eventually did not apply and clear varnish to this area. In fact, no varnish was applied to the whole model because the finish looked quite convincing!
The frame and the engine were slightly weathered with a black ink wash, and once the model was assembled I added some oil stains to the engine and the lower hull, and applied dust and dirt through mineral artist pigments to the wheels with their soft vinyl tires and the whole lower car body. I wanted the car to look basically clean and in good shape, just like a museum piece, but having been driven enthusiastically along some dusty country roads (see below). And this worked out quite well!
Since I wanted a safe store for the model I tried to find a suitable display box and found an almost perfect solution in SYNAS from Ikea. The sturdy SYNAS box (it's actually sold as a toy/Children's lamp!?) had very good dimensions for what I had in mind. Unfortunately it is only available in white, but for its price I would not argue. As a bonus it even comes with integrated LED lighting in the floor, as a rim of lights along the side walls. I tried to exploit this through a display base that would leave a 1cm gap all around, so that light could be reflected upwards and from the clear side walls and the lid onto the model.
The base was created with old school methods: a piece of MDF wood, on top of which I added a piece of cobblestone street and grass embankment, trying to capture the rural atmosphere around Schloss Dyck. Due to the large scale of the model I sculpted a light side slope under the pavement (a Tamiya print with a light 3D effect), created with plaster and fine carpenter putty. The embankment was sculpted with plaster, too.
The cobblestone cardboard was simply glued to the surface, trimmed down, and then a fairing of the base's sides was added, thin balsa wood.
Next came the grass - again classic methods. First, the surface was soaked with a mix of water, white glue and brown dispersion paint, and fine sand rinsed over the surfaces. Once dry, another mix of water, white glue and more paint was applied, into which foamed plastic turf of different colors and sizes was dusted. After anothetr drying period this area was sprayed with contact glue and grass fibres were applied - unfortunately a little more than expected. However, the result still looks good.
At the border to the street, the area was covered with mineral pigments, simulating mud and dust, and on the right side I tried to add a puddle, made from Humbrol Clearfix and glue. For some more ambiance I scratched a typical German "local sight" roadsign from cardboard and wood, and I also added a pair of "Classic Days" posters to the mast. Once in place I finally added some higher grass bushels (brush fibres) and sticks (dried moss), sealing everything in place with acralic varnish from the rattle can.
In order to motivate the Bentley's open cowling, I tried to set an engine failure into scene: with the car abandoned during the Classic Days' demo races along the local country roads, parked at the side of the street, and with a puddle of engine below and a small trail of oil behind the car (created with Tamiya "Smoke", perfect stuff for this task!). A hay bale, actually accessory stuff for toy tractors and in fact a square piece of wood, covered with straw chips, subtly hint at this occasion.
Finally, for safe transport, the model was attached to the base with thin wire, the base glued to the light box' floor with double-sided adhesive tape and finally enclosed.
Quite a lot of work, the car model alone took four patient weeks to fully materialize, and the base in the SYNAS box took another two weeks, even though work proceeded partly in parallel. However, I am positively surprised how well this build turned out - the Heller kit was better/easier to assemble than expected, and many problems along the way could be solved with patience and creative solutions.
Further enhancing the Cadillac Motor Car Company's reputation for engineering leadership, the introduction of the innovative new eight-cylinder Model 51 marked Cadillac's first application of the V8 in standard production, mass-produced vehicle. Since that debut, the V8 engine has continued to remain as Cadillac's standard powerplant since, for an ‘unbroken span of more than 65 years'.
Cadillac chose to replace its outdated four-cylinder Model 30 with the 1915 V-8 Type 51. The model 30 had been running for four years and it was considered by some to be outdated, though it had an outstanding reputation for both durability and reliability. In 1914 sales for Cadillac plummeted, possibly due to other luxury makers were running with sixes. The Model 51 V8 was introduced by Cadillac founder Henry M. Leyland and featured an amazing 70 hp and a water-cooled V8 engine.
As the Edwardian Era was coming to a close, the elegance and innocence of that time was manufactured into the 'Landaulette' model. The stylish transformable coupe made the Model 51 a legend as it featured sophistication and style. Cadillac advertised the Model 51 as 'The Penalty of Leadership' in an ad campaign that wowed consumers. The Model 51 was produced in significant numbers and became a Cadillac trademark for decades.
For years Leyland had been experimenting with a variety of engine types, and as a result of all of his hard research, he came to the conclusion that V8 would be much more popular than a six. The compact nature of the v-type design also appealed to Leyland and in some instance the long crankshaft that characterized the inline sixes had a tendency to ‘whip at high rpm'. At the time, most luxury models had moved on to much more powerful six-cylinder engines, but Cadillac continued to sport its mundane four cylinder engine. The Model 51 was then debuted by the luxury department, powered by eight cylinders that wowed the public.
The V8 was a strange and unique design for those days, and many people hadn't even seen such an engine. Two French manufacturers had developed V8's more than a decade previously and had utilized them to power racing machines. In America, as early as 1906 Howard Marmon had demonstrated an air-cooled V8. In 1910 the French firm of DeDion had marketed a production V8. The Cadillac Model 51 offered the first commercially available V8 engine in 1914.
The Model 30 was the original vehicle that included an all-new Delco system and an electric start. No more were drivers concerned with jamming a thumb or breaking a limb when cranking their cars. Unfortunately, though the Model 51 was impressive, but it paled deeply when placed alongside the 1912 Cadillac Model 30. This top-of-the-line Cadillac was the most expensive vehicle that GM produced, and at 1921, the Model 51 was priced at $5,190.
During the 1915 model year alone, Cadillac produced more than 13,000 units of the Model 51, which was a very impressive number for the first year on the market. The Cadillac Roadster, the four-passenger Cadillac Salon, the five-passenger touring car, and the Cadillac Seven-Passenger vehicle were all priced at $1,975, while the Cadillac Coupe was priced at $2,500, the Sedan for five-passengers at $2,800, the standard Cadillac Limousine was priced at $3,450 and the top-line vehicle, the formal 'Berlin Limousine' was sold at $3,600.
[Text taken from Conceptcarz.com]
www.conceptcarz.com/vehicle/z16349/Cadillac-Model-51.aspx
This Lego miniland-scale 1915 Cadillac Type 51 Tourer has been created for Flickr LUGNuts' 88th Build Challenge, - "Let's go Break Some records", - for vehicles that set the bar (high or low) for any number of vehicles statistics or records. Or for a vehicle which achieves a notable first. In the case of the Cadillac Type 51 - this model was the first production car V8 engine.
Niagara
•Church, Frederic Edwin
•American, 1826-1900
•1857
•Oil on Canvas
•Dimensions:
oOverall: 101.6 × 229.9 cm (40 × 90½ in.)
oFramed: 164.5 × 286.4 × 17.8 cm (64¾ × 112¾ × 7 in.)
•Corcoran Collection (Museum Purchase, Gallery Fund)
•2014.79.10
•On View
Overview
Niagara’s tremendous success both in the United States and abroad secured Frederic Edwin Church’s reputation as the most famous American painter of his time. The acquisition of Niagara by the young Corcoran Gallery of Art in 1876 secured the institution’s reputation and inspired other major artists to seek representation in the collection.
In the 19th century, many American artists attempted to capture the power and beauty of Niagara Falls. Widely considered the nation’s greatest natural wonder as well as a symbol of its youthful vigor and promise, the site was also deemed far superior to any natural phenomenon in Europe. Church’s majestic 1857 canvas reveals the vista from the Canadian shore, based on oil and pencil sketches he had made during several visits to the site in 1856. He was the first to render the spectacle on such a grand scale, with such fine detail, naturalism, and immediacy. He heightened the illusion of reality by selecting a non-traditional format of canvas with a width twice as wide as its height to convey the panoramic expanse of the scene. Moreover, he pushed the plane of the falls nearest the viewer significantly downward to reveal more of the far side as well as the dramatic rush of water. Most notably, he eliminated any suggestion of a foreground, allowing the viewer to experience the scene as if precariously positioned on the brink of the falls. As one writer enthusiastically noted, “this is Niagara, with the roar left out!”
Critics and public alike marveled at the painting, which debuted in a one-painting exhibition at a New York City gallery shortly after its completion. The 25-cent admission allowed each visitor to view the monumental canvas, sometimes using binoculars or other optical aids to enhance the experience. The admission price also included a pamphlet reprinting critics’ praises of the canvas and offered exhibition-goers the opportunity to purchase a chromolithograph of the painting. Within two weeks, Niagara had lured 100,000 visitors to glimpse what one newspaper critic described as “the finest oil picture ever painted on this side of the Atlantic.” Following its phenomenal success in New York, the painting was exhibited in major cities along the eastern seaboard, made two tours of Britain, and was included in the 1867 Exposition Universelle in Paris.
Inscription
•Lower Right: F.E. Church / 1857
Provenance
Sold 1857 by the artist to (Williams, Stevens & Williams, New York); forfeited to (Brown Brothers Bankers, New York); (sale, Exhibition to Benefit the Association for Improving the Condition of the Poor, Tiffany & Co., New York, December 1861);[1] purchased by John Taylor Johnston, New York; purchased 1876 by the Corcoran Gallery of Art, Washington; acquired 2014 by the National Gallery of Art.
[1] Jeremy Elwell Adamson, “Frederic Edwin Church’s ‘Niagara’: The Sublime as Transcendence,” 3 vols., Ph.D. dissertation, University of Michigan, 1981, believes there to have been an as-yet unidentified owner between the Brown Brothers and Johnston, but cites no evidence for this claim beyond a letter from Church to MacLeod, 11 January 1877, which makes no such assertion. Adamson believed that Niagara was purchased by this unidentified owner from the bank for $5,000. This is the amount Church believed Johnston paid for the painting.
Exhibition History
•1857—Lloyd’s Gallery, Gracechurch Street, London, June-August 1857, no catalogue.
•1857—Tenth-Street Studio Building, New York, May 1857, no. catalogue.
•1857—Williams, Stevens and Williams, New York, May 1857, unnumbered catalogue, as The Great Fall, Niagara.
•1858—German Gallery, London, April-May 1858, no catalogue.
•1858—James McClure and Son Gallery, Glasgow, June 1858, no catalogue.
•1858—Manchester, England, June-July 1858, no catalogue.
•1858—Mr. Grundy’s Gallery, Church Street, Liverpool, July 1858, no catalogue.
•1858—Samson Cariss and Co., Baltimore, December-December 1858, no catalogue.
•1858—Washington, D.C., December 1858-January 1859, no catalogue.
•1858—Williams, Stevens & Williams, New York, September-December 1858, no catalogue.
•1859—Armory Hall, New Orleans, March-May 1859, no catalogue.
•1859—Hall of the Mechanics’ Institute, Richmond, January-January 1859, no catalogue.
•1859—Williams and Everett’s Gallery, Boston, December 1859-February 1860, no catalogue.
•1859—Williams, Stevens & Williams, New York, July 1859, no catalogue.
•1860—Fifth Avenue Hotel, New York, 11 October 1860, no catalogue.
•1860—Messrs. James S. Earle & Sons, Philadelphia, 28 February 1860, no catalogue.
•1861—Tiffany Exhibition (To benefit the Association for Improving the Condition of the Poor), Old Dusseldorf Gallery, New York, 1861-1862, no catalogue.
•1864—Art Exhibition at the Metropolitan Fair, in Aid of the U.S. Sanitary Commission, New York, 4 April 1864, no. 14.
•1867—Exposition Universelle, United States Section, Class 1: Paintings on Canvas, Paris, 1867, no. 8.
•1867—First Winter Exhibition, Including the First Annual Collection of the American Society of Painters in Water Colors, and the Works from the American Art Department of the Paris Universal Exposition, National Academy of Design, New York, November 1867-March 1968, no. 646.
•1870—Second Annual Exhibition of the Yale School of the Fine Arts, Founded as a Department of Yale College, by the Late Augustus Russell Street, of New Haven, Conn., Yale School of Fine Arts, New Haven, 1870, no. 52.
•1874—Exhibition of Paintings, Engravings, Drawings, Aquarelles, and Works of Household Art, in the Cincinnati Industrial Exposition, Cincinnati, 1874, no. 132.
•1876—John Taylor Johnston’s Collection, National Academy of Design, New York, November-December 1876, no. 147.
•1876—New York Centennial Loan Exhibition, The Metropolitan Museum of Art, New York, July 1876, no. 102.
•1900—Paintings by Frederic E. Church, N.A., Special Exhibition at the Metropolitan Museum of Art, New York, 1900, unnumbered catalogue.
•1915—Panama-Pacific International Exposition, San Francisco, 1915-1916, no. 2935.
•1940—Survey of American Painting, Carnegie Institute, Pittsburgh, 1940, no. 97.
•1949—De Gustibus: An Exhibition of American Paintings Illustrating a Century of Taste and Criticism, Corcoran Gallery of Art, Washington, 1949, no. 12.
•1957—Painting in America: The Story of 450 Years, Detroit Institute of Arts, 1957, no. 106.
•1962—American Painting, 1857-1869, Wilmington Society of the Fine Arts, Delaware Art Center, 1962, no. 13.
•1964—Three Centuries of Niagara Falls, Albright-Knox Art Gallery, Buffalo, 1964, no. 23.
•1966—Frederic Edwin Church, National Collection of Fine Arts, Washington; Albany Institute of History and Art; M. Knoedler and Company, New York, 1966, no. 39 (shown only in Washington).
•1970—19th-Century America: Paintings and Sculpture, An Exhibition in Celebration of the Hundredth Anniversary of the Metropolitan Museum of Art, The Metropolitan Museum of Art, New York, New York, no. 105.
•1971—The Beckoning Land: Nature and the American Artist: a Selection of Nineteenth Century Paintings, High Museum of Art, Atlanta, April-June 1971, no. 49.
•1971—The Natural Paradise: Painting in America, 1800-1950, Museum of Modern Art, New York, October-November 1971, unnumbered catalogue.
•1971—Wilderness, Corcoran Gallery of Art, Washington, 9 October – 14 November 1971, no. 62 (organized by the National Endowment for the Arts).
•1976—Corcoran [The American Genius]. Corcoran Gallery of Art, Washington, 1976, unnumbered catalogue.
•1976—The Natural Paradise: Painting in America, 1800-1950, Museum of Modern Art, New York, 1 October – 30 November 1976, no. 23.
•1978—The American Landscape Tradition, Corcoran Gallery of Art, Washington, 31 January – 31 August 1978, no catalogue.
•1979—Close Observation: Selected Oil Sketches by Frederic E. Church, Museum of Fine Arts, Boston; University of Pittsburgh Art Gallery; Ulrich Museum of Art, Wichita State University; University of Michigan Museum of Art, Ann Arbor; Elvehjem Museum of Art, University of Wisconsin, Madison; Corcoran Gallery of Art, Washington; Brunnier Gallery, Iowa State University, Ames; Nelson-Atkins Museum, Kansas City, Missouri; Cooper-Hewitt Museum, New York, 1979, not in catalogue (shown only in Washington).
•1983—A New World: Masterpieces of American Painting 1760-1910, Museum of Fine Arts, Boston; Corcoran Gallery of Art, Washington; Grand Palais, Paris, 1983-1984, no. 38.
•1985—Niagara: Two Centuries of Changing Attitudes, 1697-1901, Albright-Knox Art Gallery, Buffalo; Corcoran Gallery of Art, Washington; New-York Historical Society, 1985-1986, no. 49.
•1987—American Paradise: The World of the Hudson River School, The Metropolitan Museum of Art, New York, 1987-1988, unnumbered catalogue.
•1989—Frederic Edwin Church, National Gallery of Art, Washington, 1989-1990, no. 30.
•1998—New Worlds From Old: 19th Century Australian and American Landscapes, National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne; Wadsworth Atheneum, Hartford; Corcoran Gallery of Art, Washington, 1998-1999, no. 73, repro.
•2002—American Sublime: Landscape Painting in the United States, 1820-1880, Tate Britain, London; Pennsylvania Academy of the Fine Arts, Philadelphia; Minneapolis Institute of Arts, 2002, unnumbered checklist (shown only in Philadelphia).
•2005—Encouraging American Genius: Master Paintings from the Corcoran Gallery of Art, Corcoran Gallery of Art, Washington; Museum of Fine Arts, Houston; Parrish Art Museum, Southampton; Mint Museum of Art, Charlotte; John and Mable Ringling Museum of Art, Sarasota, 2005-2007, checklist no. 26.
•2008—Nature as Nation: 19th-Century American Landscapes from the Collection, Corcoran Gallery of Art, Washington, 30 August 2008 – 18 October 2009, unpublished checklist.
•2009—American Paintings from the Collection, Corcoran Gallery of Art, Washington, 6 June – 18 October 2009, unpublished checklist.
•2013—American Journeys: Visions of Place, Corcoran Gallery of Art, Washington, 21 September 2013 – 28 September 2014, unpublished checklist.
Hastings tattoo artist Rebecca aka Madam Butterfly.
Rebecca has an excellent local and national reputation with customers coming from all over the uk to her two tattoo parlours in town.
strobist single SB600 through ezybox triggered by CLS
=====Gotham City====
Twag- *This* is his house?
Bill- My information is scarcely wrong Mr Twag.
Twag- Yes but a man of his... reputation...
*They press the doorbell. A woman opens the door*
Tara- Yeah?
Twag- Mrs-?
Tara- Stevens. Yeah. Stevens. What do you want?
Bill- We'd like to speak to your husband, is that alright?
...
Tara- Are you cops?
Bill- Oh, far from it.
...
Tara- Come in then. Marty! Visitors!
Bill- *whistles* Nice place.
Tara- Suppose so. Marty sued Wayne Enterprises a month or so ago. Biiiig cash settlement. Tell ya, I ain't ever seen so much money.
Bill- I can imagine.
*Twag's gaze wanders over to a picture*
Tara-...My son.
Twag- *Your son*? ... Yes, of course, I heard about what happened ... My 'condolences'
Tara- It's nothing. Let's move on shall we?
Twag- Please.
*She leads them into the living room*
Tara- He must be upstairs. I'll call him again.
Help yourself.
*she gestures to a pile of old gossip magazines.
Bill takes one*
Tara- Marty!
*There is a noise from the landing*
Marty- Coming.
*Martin appears at the door*
Marty- What is-?
Twag- Hello *Martin*
Marty- Oh, not this again. Read my lips Twag: NO. I've done this team up nonsense twice and believe me, it's never exactly gone well for me.
Bill- That's hardly a reason now is it?
Marty- Uh huh. And you are?
Bill- William Garth.
Twag- Blaze's kid.
Marty- Oh. The insane cultist. You were on the news. Piss off.
Bill- I think you're being overly dismissive here.
Marty- I don't think I am.
Tara- Ok, is something going on I don't know about?
Marty- Nothing. Just make some coffee.
Tara- Uh, excuse me? I'm not your slave!
Marty- Coffee. Please!
Tara- *grumble* Just wait until you're fat..
*exits*
Marty- Now look what you've done. I'm finally on top of things I'm not letting you ruin this. I'm going to give you five seconds to get out-
Twag- Don't turn your back on me! Onomatopoeia.
*Martin's body language suddenly becomes a lot tenser. His neck grips, his back straightens and when he speaks, his voice is cold and emotionless*
Ono- Yes?
Twag- I'm going to ask you a question. Is that ok? Are you really on top Ono?
...
Twag- Yes, you're rich. Yes you've this nice life, and that bratty stepson's locked up...
Ono- And?
Twag- Don't you want more? I can give you that!
Ono- Tell me, do you know who else said that?
...
Ono- The Moth. Charaxes. Mr Moth. Ted Carson. But in the end, Mr Twag, it was my own efforts that got me here.
Twag- Let me put it this way-
*To the tune of "In or Out"*
Twag- I remember a time
When crime was sublime
There was plenty of loot in the lair
We'd shoot and we'd score
And the money would pour
We'd nary a worry or care
Then along came this mayor
With his soft-hearted dream
And he ratted Bill out in the end,
We'll rally the troops!
We were meant to regroup
And return to our roots once again!
Are you in or out?
Gotta know without a doubt
I'm the one you need for a dirty deed
I'm the best, success is guaranteed
Are you man or mouce?
Listen here you little louse
You want a fearless leader, one that's strong and stout?
Better vote for me
Are you in or out?
Bill- I used to be smart, yes,
Horrendously heartless
Without corruption, times are tough
I knew what I had
To be blissfully bad;
Then Walker brought this sensitive stuff!
And we strayed from the path
Of our rigorous wrath;
Now we're taking a bath in the dust!
But you'll reclaim your winnings,
Your humble beginnings,
In turmoil and torture I trust!
Twag- Are you in or out?
Double-crosser or devout?
Put your faith in me,
Pretty soon you'll see
I'm the king of generosity
Are you foe or friend?
Here's the path I recommend
You want a ride to fame?
I've got the fastest route;
What's it gonna be?
Are you in or out?
Bill- We'll be ruling in all the right places,
From City Hall to the Hattery
Imagine the fear on their faces
When we drop by for cookies and tea
Twag- Come on, Ono!
Follow me!
Are you in or out?
If you're with me, give a shout
I'll lead you all the way,
Into the glory days
Bill- We'll start a whole new monarchy!
Are you out or in?
Make your choice now, sink or swim!
Twag- You can stick with me, or stay behind and pout
What's it gonna be?
Consider carefully.
Are you in or out?
Ono- Clap. Clap. Clap.
In the early 1960s, Maserati's reputation was at a high. With growing sales, Prince Karim Aga Khan ordered a special Maserati 5000 WP, chassis no. 103,060, designed by Pietro Frua. The following year, Maserati showed the first-generation Quattroporte of 1963, which bore a striking resemblance to the earlier drawing. While the design was by Frua, construction was carried out by Vignale.
This, the 1963 'Tipo 107' Quattroporte, joined two other notable grand tourers, the Facel Vega and the Lagonda Rapide, which could comfortably do 200 km/h (124 mph) on the new motorways of Europe. However, the Quattroporte could be said to have been the first car specifically designed for this purpose.
(Wikipedia)
- - -
Der Maserati Quattroporte I war eine viertürige Limousine des italienischen Sportwagenherstellers Maserati, die von 1964 bis 1970 produziert wurde. Der Quattroporte besetzte als erstes Auto die Nische schneller und großer Limousinen, die später auch von zahlreichen Konkurrenten beansprucht wurde.
(Wikipedia)
The 'Reputation Complex' is a moving combination of various factors, components and drivers that are linked in a close and complicated way. This combination brings with it, for all organizations, equal risks and opportunities – the first to be managed and the second to be exploited in the right manner.
MSLGROUP's Chief Strategy Officer Pascal Beucler shares his thoughts on the fast transformation of reputation management and what it means for our clients and for us.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
The Messerschmitt Me 510 was a further development of the Me 410 Hornisse ("Hornet"), a German heavy fighter and Schnellbomber used by the Luftwaffe during World War II. The 410 itself had a troubled start, because it essentially had only been a straightforward modification of the Me 210, which had suffered from serious stability flaws and had a bad reputation among its crews.
The 410 handled bettr but did not show much improvement in performance, though. Me 410 deliveries began in January 1943, two years later than the original plan had called for, and continued until September 1944, by which point a total of 1.160 of all versions had been produced by Messerschmitt Augsburg and Dornier München. When it arrived, it was liked by its crews, even though its performance was not enough to protect it from the swarms of high performance allied fighters they faced.
Still not giving up on the original construction (and with the jigs and tools still available), Messerschmitt started in early 1944 with research into further means of improving the Me 410's performance. One direction was the addition of one or two jets under the fuselage as boosters for combat situations.
Another design path, which eventually led to the Me 510, was the development of turboprop and compound engines as propulsion options, which were based on the respective pure jet engines but offered much better performance and fuel economy than the pure jets. It would also be the more efficient solution compared to added turbojets for pure piston planes, since no dead weight had to be carried, and the overall system was less complex than a mixed powerplant system.
This turboprop concept, as best compromise between performance and short-term readiness for service, was chosen and the modified aircraft, called Messerschmitt Me 510, came to be. The design target was to outperform the Me 410 with as little change to the overall construction as possible, so that old tooling could be used for new aircraft cells. Alternatively, old aircraft should potentially be converted to the improved standard.
Core of the new development was the compact HeS 021 turboprop, a PTL development of the HeS 011 jet engine which was also planned for Focke Wulfs FW P.0310226-127 fighter (a turboprop version of the light 'Flitzer' day fighter). This engine was theoretically to deliver up to 3.300hp (2.426 kw) shaft output, plus 1.100kg (2.424 lb) additional thrust, even though serial types would produce less power under the aspect of reliability.
In order to incorporate this engine into the modified Me 410 a new main wing with laminar profile and new engine nacelles had to be designed. The HeS 021sat in the front part of the engine nacelles above the wings, driving four-bladed propellers. The landing gear retracted into the nacelle's lower section, rotating 90°, much like the Me 410, with the exhaust running above the landing gear wells.
In order to improve directional stability further, the tail surfaces were slightly enlarged, receiving characteristic, square tips. The fuselage was more or less taken from the original Me 410, since it offered a very good field of view and appropriate aerodynamics. With this package, the idea of retrofitting former Me 410 cells was kept, even though later flight tests showed that some more detail modifications had to be made. Most of these concerned the internal structures, the most obvious external change was the nose section, where the original glazing had to be reinforced and finally replaced by solid material – an experience similar to the modification from Douglas’ piston-driven XB-42 to the faster, jet-driven XB-43 of the same era.
Maiden flight of the first prototype took place in Augsburg on 6th of May 1945, with little problems. As benchmark, the Me 410's maximum speed was 625 km/h (388 mph), a cruise speed of 579 km/h (360 mph) and a combat range of 2.300 km (1,400 mi) with up to 1.000 kg (2,204 lbs) of disposable stores carried in- and externally.
The overall flying characteristics of the Me 410 did not change much, but rate of climb and top speed were considerably improved. In level flight, the third prototype Me 510 V3 reached a top speed of 812 km/h (504 mph), and even the serial version with added armament and equipment easily reached 750 km/h (465 mph) top speed and a cruising speed with no external stores of 650 km/h (405 mph). At its time, the Me 510, which quickly received the rather inofficial nickname "Bremse" (Horsefly), was superior to its pure piston engine and turbojet rivals, even though it was clear that the turboprop was only a preliminary solution.
Due to its high speed and under the pressure of Allied bomber raids, the Me 510 was primarily used as a Zerstörer against daylight bombers. Many aircraft received additional weapons, both directly incorporated at the factory but also as field accessories. Popular modifications included two extra 30mm guns (MK 108 or 103) in the bomb bay, or provisions for guided and unguided air to air missiles. A camera equipment package (Rüstsatz 'U3') allowed the fast aircraft to be used for daylight reconnaissance.
Many equipment packages from the earlier Me 410 could be fitted, too, including the massive 50mm BK 5 auto cannon against allied bomber groups. Initially, this package (‘U4’ Rüstsatz) comprised the original autocannon which fired at 45 RPM, with 21 shells in a drum magazine.
This weapon soon was replaced by the even more effective MK 214 B gun of 55mm caliber (Rüstsatz 'U5'). The BK 214 B fired at 180 RPM and proved to be a highly effective weapon at long ranges, outside of the bombers’ defensive armament range. As a drawback the heavy system (the gun plus the ammunition belt with 96 shells weighed 1.124 kg/2.475 lb) filled the whole internal bomb bay and precluded heavy external stores. Therefore, the 13mm machine guns in the nose were frequently removed in order to save weight, sometimes the weapons in the side barbettes, too. But: a single hit with one of the 1.54kg (3.4 lb) shells was enough to bring down a four-engined bomber, so that the fast Me 510 with this weapon became a serious threat in the course of late 1946.
510 general characteristics:
Crew: 2
Length: 42 ft (12,60 m)
Wingspan: 49 ft (14.69 m)
Height: 13 ft 1½ in (4.0 m)
Wing area: 480.11 ft² (44.78m²)
Empty weight: 10.665 lb (4.842 kg)
Loaded weight: 14.405 lb (6.540 kg)
Max. take-off weight: 18.678 lb (8.480 kg)
Maximum speed: 790 km/h (490 mph) at 7.200m (23.500 ft)
Range: 1.400 mi (2.300 km ) with full combat TOW
Service ceiling: 40.900 ft (12.500 m)
Rate of climb: 4.635 ft/min (23,6 m/s)
Wing loading: 29.8 lb/ft² (121.9 kg/m²)
Power/mass: 0.24 hp/lb (0.39 kW/kg)
Engine:
2× Heinkel-Hirth HeS 021 turboprop engines, 1.438 kW (2.500 hp) plus 980 kp (2.158 lb) residual thrust each
Armament: Varied, but typical basic equipment was:
2× 20 mm MG 151/20 cannons with 350 rpg, fixed in the nose
2× 13 mm (.51 in) MG 131 machine guns with 500 rpg in the nose flanks
2× 13 mm (.51 in) MG 131 machine guns with 500 rpg, each firing rearward from FDSL 131/1B remote-operated turret, one per side;
Up to 1.200 kg (2.643 lb) of disposable stores in- and externally
In the field, many modifications were made and several additional weapon packages with guns, guided and unguided missiles or special weapons were available (so-called ‘Rüstsätze’).
The kit and its assembly:
I am not certain when inspiration struck me for this fantasy aircraft - I guess it was when I tinkered together the Hü 324 whif, which was itself based on a 1:72 scale Il-28 bomber. When I browsed for a respective donation kit I also came across the 1:100 scale kit of the Soviet light bomber from Tamiya, and that stirred something: The Il-28's vintage contours would perfectly suit a Luft '46 aircraft, and with some calculations it was clear that the 1:100 wings would be suitable for something in the class of a 1:72 DH Mosquito or Bf 110. Then, the ill-fated Me 410 came to the scene as a potential late war basis aircraft, and from this starting point the idea of an evolutionary next step of the type, the Messerschmitt Me 510, was born.
Basically this model is a kitbashing of a Tamiya Il-28 in 1:100 (wings & engine nacelles) and the fuselage of a Matchbox Me 410. The IL-28's wings were turned upside down, so that the nacelles would now ride on the wings' top.
This not only looks cool and 'different', it's also plausible because the landing gear could retract into the wings under the nacelles (with the main landing gear doors closed, just like the original Me 410), it would also reduce the angle of the aircraft on the ground to a sensible degree - with the engines under the wings plus the landing gear would have been much to steep!
Fitting the wings to the fuselage was pretty easy, even though the original Me 410 wing profile was much thicker than the slender Il-28 wings. Cleaning and blending the wing root areas was a bit tricky, but the parts get together well.
As a design twist and for a uniform look I also replaced the whole tail section, matching the angular look of the thin new main wings. The horizontal stabilizers are wing tips from a Matchbox Me 262, the vertical fin is a modified outer wing part from a Matchbox Grumman Panther.
The engine nacelles were taken OOB. I just filled the Il-28's landing gear wells and their covers with putty, since they'd end on top of the new engines.
The propellers come from Matchbox P-51 Mustangs, outfitted with pointed spinners and held by a metal pin in a polystyrene tube which runs through the original intake splitter. Looks pretty martial, even though the nacelles ended up a bit close to the fuselage. The overall look reminds of the Short Sturgeon, but is not inplausible. A compact aircraft!
The cockpit received some side panels, news seats and some equipment, since the original Matchbox kit features almost nothing beyond a floor plate, two broad benches as seats and pilot figures. I also opened the cockpit hatches, since the aircraft would be built for ground display, with the landing gear extended.
From the original kit the BK 5 cannon installation was taken over, but I added a scratch-built, bigger muzzle brake. Since the aircraft was to become a high speed interceptor/Zerstörer for daylight operations, I did not add any further external ordnance.
Painting and markings:
I pondered about a potential livery for a long time. Almost any Me 410 was delivered in RLM 74/75/76 livery, and some at the Western front in France were operated in RLM 70/71/65, with a low waterline. But I found this pretty... boring. So I made up a fantasy livery which I found suitable for high altitude operations and based on my knowledge of late Luftwaffe paint scheme - pretty complex:
The aircraft was to be light in color, primarily camouflaged for aerial combat. I ended up with something that was planned as something that could have almost been called 'low-viz': all lower surfaces received a basic tone of RLM 76 (from Testors), with a raised waterline on all flanks. This light blue-grey would blend into a slightly darker FS 36320 on the higher flanks, almost up to the upper surfaces.
But in the end, the flanks received more spots than intended, and I ended up with a rather conservative livery - but it ain't bad at all. But so it goes...
The upper wing surfaces received a wavy scheme in RLM 71 (Drak Green) and 75 (Middel Grey). These are not typical late war colors, I rather used them due to the lighter shades. On the fuselage, just the fuselage crest was painted with more or less dense blotches of these tones, blending into more patches of RLM 02 on the flanks.
To add some more unconventional detail, the fuselage sides and undersides also received large, cloudy patches of RLM 77 - a very light grey. This detail was featured on some late-war He 177 bombers, but you can hardly tell these extra blotches because they have only little contrast to the RLM 76.
The tail fin was painted all white - a formation sign for a squadron leader, typical for German late WWII fighters. The black and white fuselage stripe is the ID of Jagdgeschwader 26 (which operated Fw 190D-9 from airfields in northern Germany, Flensburg was one of them), the red number abd the "+" code identify the machine as being part of the eighth Staffel.
In the end, a very subtle whif. The new engines are most obvious, and they change the look of the Me 410 dramatically. But only on second glance you recognize the other changes. The new wings/stabilizers with their square-shaped tips create a very slender and elegant look, the aircraft just looks fast and agile like a true heavy fighter should. Mission accomplished!
The new tool, developed by Rome's La Sapienza University with support from Nestlé, is hoped will enable food producers, growers, processors and marketeers to better understand what we think about when we think of food.
The reputation of Burkina Faso and, more particularly, of the Mossis in grilling meats is well established. In Ouagadougou, certain butchers have become institutions, like El Hadj in the popular district of Kamsaoghin. The wall covered with white catelles was a symbol (replaced today), and the corner still offers excellent cuts of beef and goat till now. The nearby refreshment bar allows you to taste the meat on-site while drinking beers in a friendly atmosphere. The neighbourhood is, however, undergoing rapid change, notably with the construction of a large building just opposite, which does not guarantee the presence of the two structures in the medium term.
La réputation du Burkina Faso et plus particulièrement des Mossis dans la grillade de viandes n'est plus à faire. A Ouagadougou, certains bouchers sont devenus de vraies institutions à l'exemple de El Hadj dans le quartier populaire de Kamsaoghin. Le mur couvert de catelles blanches en était un symbole (remplacé aujourd'hui) et le coin propose jusqu'à nos jours d'excellents morceaux de bœuf et de chèvre. La buvette à-côté permet de déguster la viande sur place tout en consommant des bières en toute convivialité. Le quartier est toutefois en pleine mutation avec notamment la construction d'un grand immeuble juste en face, ce qui ne garantit pas la présence des deux structures dans le moyen terme.
Château d'Ilbarritz.
In 1854 Biarritz became renowned when Empress Eugenie, wife of Napoleon III, built a luxurious palace on the beach (now called the Hôtel du Palais). The city now has an international reputation as a glamourous seaside resort, making it much more famous than the whaling village it once was, and has been frequented by the British royal family; European royalty such as Queen Victoria, Edward VII, and Alfonso XIII of Spain. A variety of architecture adornes the cliffs of Biarritz including one eclectic residence built by Gustave Huguenin, know for his secrecy, which faces Spain and still intrigues locals.
What goes on up on the hill of Handia? The new owner is reclusive, eccentric, and very strict about trespassing on his land and insists he does not was to be disturbed. To help him keep his privacy he has erected 2 iron fences on the 148 acres of land making it a fortress to all who would hope to visit. He is quite open that no one is welcomed on his land. Not only that but he rarely leaves his estate and has nothing to do with society in general. Who is this modern day Howard Hughes? We may never know.
The Castle of The Baron de l'Espée
Gaston Lacroix’s Phantom of the Opera struck a cord with Baron de l’Espée who hated humanity and was wealthy enough not to care. He developed an obsession with pipe organs that forced him to live alone on his many properties scattered throughout France.
This changed a bit when he met the famous vocalist Biana Duhamel, who was 20 years his junior, and he became infatuated. She was drawn to the Baron’s eccentric personality as well as his vast wealth. Biana was the soft spot in the Baron’s armor and he would give in to her every whim, want, and need as long as she remained at his disposal. Their relationship is still not fully understood throughout the Ilbaritz region.
Baron de L'Espée is an avante garde dreamer and designer. He wants his romance and he wants it to take place in an impenetrable fortress of solitude. In addition to the castle, the Baron has built the "villa des Sables" a luxury villa housing his sweetheart Biana Duhamel and her mother.
This glamorous property is surrounded by high walls and is connected to the castle through a covered path allowing Biana to be taken wherever she wants on the Baron’s property without fearing for the weather.
Delusions of Grandeur
On the beach, from the South to the North; except the kitchen and the hydro-electric factory, one could find the bath cabins, the marine establishments (heated pools and Turkish baths), and the medieval castle (a small neo-gothic castle).
On the East of the Ilbarritz castle, an extraordinary panoramic living room built on pillars which architecture was similar to a mausoleum. Underneath the castle, an artificial cave wonderfully decorated leading to a natural spring and allowed the lovers to take refuge and to quench their thirst...
All of these locations provided the couple with new adventures to enjoy together on a daily basis. Compared to other properties built by Baron de L'Espée none of them shows such unabandoned creativity and fantasy that Ilbaritz afforded him. In the end Ilbaritz was designed as a gigantic theater to appeal to his lover and offer them endless hours of amusement.
All was not as lush and happy as it seemed though. The Baron took it upon himself to become the jailer of Biana and forced her to stay by his side or on the property at all times. In Januaray 1898 Biana began attempting to escape her lover’s prison to enjoy the nightlife in Biarritz. The Baron became furious at these attempts and installed a giant spot light on top of Castle Belvedere to watch the villa des Sables (this light was so bright and blinding it caused the auto accident of the Queen of Serbia). Try as he might the Baron could not keep Biana locked up forever and in February 1898 she left him for good.
The Organs Castle
The mystery surrounding the castle is not limited to the eerie quiet that engulfs the property. Long ago some evenings a rumble would seep out from the very heart of the manor and escape into the moist night air. This beating heart drumming out Wagner’s tunes was the largest pipe organ ever built for a private person by the world famous Cavaillé-Coll.
The castle was actually built around this masterpiece to enhance the acoustics and overall sound. This pipe organ was the jewel in the crown of the famous organ-smith Cavaillé-Coll. It was built using cutting edge technology in its day which included: 4 manual keyboards and pedals, 78 stops, mechanic traction of games and keyboards. This great organ was dismantled in 1903 and returned to Cavaillé-Coll (relocated to La Basilique du Sacré Coeur de Montmartre in 1919).The original organ was replaced in 1906 because the Baron had found a slightly smaller, but more technologically advanced organ built by Mutin. This second organ can now be seen in the church of Uzurbil, close to San Sebastian in Spain.
Sold in 1911 the building was transformed into a hospital around 1917. It then shut its doors again in 1923 and doesn’t see activity until 1939. In the 1940’s the building is requisitioned by the Pyrenees Inférieures and is used as a recovery location for refugees from the Spanish Civil War and then as a holiday resort used by Hitler’s SS Divisions (especially “Das Reich”) fighting on the Eastern front and allowed them a strategic lookout point while enjoying their time.
While fortifying the cliffs from Biarritz to Hendaye by the Todt Organization, it is found that Organ Castle is so enormous and built of concrete and iron that no fortifying was necessary. In 1945 the FFI staying in the castle testify to the excellent state of the castle and comment on the marble tops, woodwork, and titled floor covering the 1200m² terraces are in pristine condition.
The End of the Story?
After the turmoil of World War II the castle was left to the elements and was used as an annex for a farm. Looting also took place during this time as supplies were scarce.
Within 10 years of neglect the castle is torn apart. Fireplaces and rare marble covering first floor rooms and the organ room up to its gallery are all stolen. Fine chiseled woodwork, golden bronze doors, window frames, and anything of the remotest value are stolen. All that is left after this period of plunder are a few tiles from the terraces.
In 1958, an attempted renovation of the castle is started by a new owner, but he files for bankruptcy in 1986 and the castle is again left to the elements, looters, and squatters.
In 2002, the building is taken over by a private project for reclamation but they find the iron work of the building in sad shape. The metallic structures are badly damaged and require severe work. This slows down the progress of the project, not-to-mention that the design of the building itself (initially planned for an organ an a couple!) makes the use of the building difficult.
In 2008 the building is a permanent residence and is guarded around the clock. Although it may appear as a ghost ship this incredible building shines once again over the Basque Coast.
From: www.forbidden-places.net/urban-exploration-The-Castle-of-...
The website shows some old pictures of the building as well as photos of the inside.
File name: 10_03_003597a
Binder label: Special Cards: Beverages
Title: Bulletin. Chase & Sanborn's Boston roasted coffees have a national reputation representing the finest grown Seal Brand Java & Mocha coffee is justly called the aristocratic coffee of America surpassing all others in its richness and delicacy of flavor. [front]
Created/Published: Boston : Armstrong & Co., Lith.
Date issued: 1870-1900 (approximate)
Physical description: 1 print : chromolithograph ; 16 x 12 cm., folded to 8 x 12 cm.
Genre: Advertising cards; Metamorphic works
Subject: Adults; Horses; Coffee
Notes: Title from item.
Statement of responsibility: Chase & Sanborn
Collection: 19th Century American Trade Cards
Location: Boston Public Library, Print Department
Rights: No known restrictions.
After making a reputation with lighter-than-air craft, Thomas Scott Baldwin turned to heavier-than-air flying machines in 1909. In the spring of 1911, he began testing a new airplane. It was similar to the basic Curtiss pusher design that was becoming quite popular with builders by this time, but it was innovative in that it had steel-tube structural components. It was powered by a 60-horsepower Hall-Scott V-8. Baldwin called his new machine the Red Devil III.
For more photography highlights, check out the Air and Space Photo: airandspace.si.edu/albums/air-and-space-photo
This photo is subject to Smithsonian Terms of Use: si.edu/termsofuse
Paimpont forest, also known as Brocéliande, is in the French commune of Paimpont, near the city of Rennes in Brittany. As Brocéliande it had a reputation in the Medieval imagination as a place of magic and mystery. It is the setting of a number of adventures in Arthurian legend, notably Chrétien de Troyes's Yvain, the Knight of the Lion, and locals claim the tree in which the Lady of the Lake supposedly imprisoned Merlin can still be seen today. Other legendary places said to lie within the forest include the Val sans Retour, the tomb of Merlin, the Fountain of Youth, and Hotié de Vivianne (castle of the Lady of the Lake). The medieval chronicler Wace visited the forest but left disappointed:
"...I went there in search of marvels; I saw the forest and the land and looked for marvels, but found none. I came back as a fool and went as a fool. I went as a fool and came back as a fool. I sought foolishness and considered myself a fool."
For those living close to Paimpont, the Arthurian legend is very strong. Many names in the legend can be translated into Breton or French, for example the name Lancelot translates as "wanderer" or "vagabond" in Breton. There is also a strong influence from the Druids, and all around Brittany are standing stones or alignments, the most famous of which are nearby at Carnac; a group of the alignments at Kerlescan are nicknamed "the soldiers of Arthur."
Paimpont is a forest of broadleaf trees, oaks and beeches mainly, with areas of conifers either inside after clear-felling or on the periphery as transition with the moor, for example towards the west in the sector of Tréhorenteuc and the Val-sans-Retour (= Valley of no Return) which was devastated by several fires in particular in 1976, a year of great drought. It occupies mainly the territory of the commune of Paimpont, but extends to bordering communes, mainly Guer and Beignon in the south, Saint-Péran in the northeast, and Concoret in north. The forest of Paimpont is the largest remnant of an ancient forest occupying Argoat, the interior region of Brittany. It was more often called the forest of Brécélien, but its ancient character and other qualities underlined by many authors decided on its name of "forest of Brocéliande," tallying of the adventures of the legend of the Round Table. This flattering designation was reinforced by the birth of the Pays de Brocéliande at the end of the 20th century, an institution intended to facilitate the development of the communes of the west of the département.
The relative altitude of the forested massif contributes to give it a climate close to the oceanic climate of the coasts of Finistere. This mode, where west and south-west winds carry of clouds and regular rain supports the vegetation, dominates. The surplus of water feeds the many brooks occupying the bottoms of small valleys before flowing into the river Aff, then the Vilaine, to the area around Redon in the south of the department. The highest point is at 256 m in the western part called Haute forêt. Altitude decreases regularly while offering viewpoints towards the department of Morbihan; viewpoints which one finds the equivalents in the north on the commune of Mauron, port of the Côtes-d'Armor. It is not far from there that the Paimpont Biological Station of the University of Rennes 1, built in 1966 and 1967, dominates the lake of Chatenay. The varied forest and its surroundings constitute a framework favorable to many training courses in which the Rennes 1 biology students as well as foreign researchers take part. These buildings can accommodate approximately 70 people, and researchers work all the year on subjects generally very far away from the local biotope such as behavior of primates, represented by Cercopithecus, whose cries are familiar for the area but surprising to the walker little accustomed to this exotic fauna. The first researchers lengthily studied the ecology of the Armorican moors, the grounds, and the hydrology.
The forest belongs mainly to owners who maintain it and exploit it for timber and hunting; only in the north-eastern part, a small part (10%) is "domanial" and is managed by the National Forestry Commission. This situation prevents freedom of movement in the forest even with the access to the borough and its pond. The owners, however, signed a convention authorizing, from April 1 to the end of September, the use of some hiking trails in the forest. Among the responsibilities of the forest guards are watching for behaviors that threaten the forest, its flora, and its fauna. For example, behaviors that pose the risk of fire, and those that endanger the game, like dogs running loose. The gathering of mushrooms is not absolutely prohibited, but it is only tolerated near the approved trails. Because of its importance before the French Revolution, the forest was the responsibility of a royal jurisdiction called the National Forestry Commission, as the traditional jurisdictions of the seigneurs did not occupying itself with forest management. The wood was excessively exploited for the power supply of the charcoal blast furnaces for the nearby industry, at least in the 17th and 18th centuries; the assignment of the trees of first choice to the navy was a marginal role.
An extract of the files of the correctional court of Montfort:
"Having left the forging mills of Paimpont on Monday morning, he passed by the workshop of the carpenter who was far away from the forging mills but in the middle of the forest, he drank there with Julien Auffray his cousin and foreman of the carpenters." (Foreman of the carpenters and sawyers on contract to the naval yards elsewhere). Auffray interrogation, 1826.
The Matter of Britain is a name given collectively to the legends that concern the Celtic and legendary history of Great Britain, especially those focused on King Arthur and the knights of the Round Table. The 12th century French poet Jean Bodel created the name in the following lines of his epic Chanson de Saisnes:
Ne sont que III matières à nul homme atandant,
De France et de Bretaigne, et de Rome la grant.
The name distinguishes and relates the Matter of Britain from the mythological themes taken from classical antiquity, the "matter of Rome", and the tales of the paladins of Charlemagne and their wars with the Moors and Saracens, which constituted the "matter of France". While Arthur is the chief subject of the Matter of Britain, other lesser-known legendary history of Great Britain, including the stories of Brutus of Britain, Old King Cole, King Lear, and Gogmagog, is also included in the Matter of Britain: see Legendary Kings of the Britons.
Legendary history of Britain
It could be said that the legendary history of Britain was created in part to form a body of patriotic myth for the island. Several agendas thus can be seen in this body of literature.
The Historia Britonum, the earliest known source of the story of Brutus of Britain, may have been devised to create a distinguished genealogy for a number of Welsh princes in the 9th century. Traditionally attributed to Nennius, its actual compiler is unknown; it exists in several recensions. This tale went on to achieve greater currency because its inventor linked Brutus to the diaspora of heroes that followed the Trojan War, and thus provided raw material which later mythographers such as Geoffrey of Monmouth, Michael Drayton, and John Milton could draw upon, linking the settlement of Britain to the heroic age of Greek literature, for their several and diverse literary purposes. As such, this material could be used for patriotic mythmaking just as Virgil linked the mythical founding of Rome to the Trojan War in The Æneid. Geoffrey of Monmouth also introduced the fanciful claim that the Trinovantes, reported by Tacitus as dwelling in the area of London, had a name he interpreted as Troi-novant, "New Troy".
More speculative claims link Celtic mythology with several of the rulers and incidents compiled by Geoffrey of Monmouth in his Historia Regum Britanniæ. It has been suggested, for instance, that Leir of Britain, who later became Shakespeare's King Lear, was originally the Welsh sea-god Llŷr (see also the Irish sea-god Lir). Various Celtic deities have been identified with characters from Arthurian literature as well: Morgan le Fay was often thought to have originally been the Welsh goddess Modron (cf. the Irish goddess Mórrígan). Many of these identifications come from the speculative comparative religion of the late 19th century, and have been questioned in more recent years.
William Shakespeare seems to have been deeply interested in the legendary history of Britain, and to have been familiar with some of its more obscure byways. Shakespeare's plays contain several tales relating to these legendary kings, such as King Lear and Cymbeline. It has been suggested that Shakespeare's Welsh schoolmaster Thomas Jenkins introduced him to this material, and perhaps directed him to read Geoffrey of Monmouth[citation needed]. These tales also figure in Raphael Holinshed's The Chronicles of England, Scotland, and Ireland, which also appears in Shakespeare's sources for Macbeth. A Welsh schoolmaster appears as the character Sir Hugh Evans in The Merry Wives of Windsor.
Other early authors also drew from the early Arthurian and pseudo-historical sources of the Matter of Britain. The Scots, for instance, formulated a mythical history in the Picts and the Dál Riata royal lines. While they do eventually become factual lines, unlike those of Geoffrey, their origins are vague and often incorporate both aspects of mythical British history and mythical Irish history. The story of Gabhran especially incorporates elements of both those histories.
The Arthurian cycle
"Parsifal before the Castle of the Grail" - inspired by Richard Wagner's Opera Parsifal - painted in Weimar Germany 1928 by Hans Werner Schmidt (1859-1950)
The Arthurian literary cycle is the best known part of the Matter of Britain. It has succeeded largely because it tells two interlocking stories that have intrigued many later authors. One concerns Camelot, usually envisioned as a doomed utopia of chivalric virtue, undone by the fatal flaws of Arthur and Sir Lancelot. The other concerns the quests of the various knights to achieve the Holy Grail; some succeed (Galahad, Percival), and others fail (Lancelot).
The medieval tale of Arthur and his knights is full of Christian themes; those themes involve the destruction of human plans for virtue by the moral failures of their characters, and the quest for an important Christian relic. Finally, the relationships between the characters invited treatment in the tradition of courtly love, such as Lancelot and Guinevere, or Tristan and Iseult. In more recent years, the trend has been to attempt to link the tales of King Arthur and his knights with Celtic mythology, usually in highly romanticized, early twentieth century reconstructed versions.
Additionally, it is possible to read the Arthurian literature in general, and that concerned with the Grail tradition in particular, as an allegory of human development and spiritual growth (a theme explored by mythologist Joseph Campbell amongst others).
Sources wikipedia
20 April 2007. Faraway places listed on the windows.
Barcelona, Bologna, Edinburgh, Frankfurt, Prague, Palma, Roma and Reykjavík. (In orange lettering. Right-click for larger versions of the photo.)
I wonder how often someone asks for: "A ticket to Reykjavík, please."
Alternatively, you may prefer Hackney Downs or Stratford East.
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London Transport had an enviable reputation for excellent graphic design ― including its posters, signage, and the famous map and roundel.
An advantage of the proposed redevelopment of Tottenham Hale Station is the opportunity to dump the puerility of the existing 'artwork'. We could take a leaf not just from the past, but from interesting and beautiful designs appearing elsewhere on the network.
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Links
§ One of my 2007 photos from Whitechapel station.
§ One from Rotherhithe taken from Kake Pugh's set.
§ Link to Kake Pughs sets from: Whitechapel; from Wapping; and her favourite - Shadwell ― with other links.
§ Kake also records the simple but elegant black horse at our neighbouring tube station.
§ Link to an article on the East London Line murals.
§ Transport for London's Art on the Underground project.
§ Tottenham Hale mainline station was designed in 1988 and completed in 1991. The architects were Alsop Lyall & Störmer. Here's some deliciously sycophantic archiburble about the building and the "widely acclaimed collaboration between architect and artist".
From Alsop and Störmer : selected and current works (1999)
"The design gives a new identity' to the station which continues its use — for local commuter trains — and provides a strong sense of arrival for air travel passengers. This is achieved with simple steel structure that spans across the tracks, from which are suspended the electrification cables, information sign, lights and glass “valances" which protect the covered platforms from rain.
Architecturally, the station is a clean and pure composition of white-painted steel, transparent glass walls and silver aluminium roof sheeting. This gives a clear, open feel to the station platforms themselves, ensuring good visibility through the station and making it a safe environment for people on their own, especially at night. The track is spanned by an elegant steel and glass footbridge served by an escalator and stairs which discharge passengers into the ticket hall of the London Transport station.
Next to the "downside"; platform is a dramatically curved waiting room building which also houses a buffet and shop, lavatories and staff facilities. This steel and aluminium building looks out through sheer glass walls towards the platforms and can accommodate up to 300 waiting passengers. On the outside of the waiting room, above the curved façade, is a giant frieze by artist Bruce McLean. This collaboration between architect and artist has been widely acclaimed.”
§ When I took this photo and added the comment above I hadn't yet come across the concept of "starchitect"; and I didn't realise that taking our local trains I was - sort of - in the presence of celebrity. So hushed reverence, please. Wikipedia entry for Starchitect.
The Liverpool Playhouse is a theatre in Williamson Square in the city of Liverpool, Merseyside, England. It originated in 1866 as a music hall, and in 1911 developed into a repertory theatre. As such it nurtured the early careers of many actors and actresses, some of which went on to achieve national and international reputations. Architectural changes have been made to the building over the years, the latest being in 1968 when a modern-style extension was added to the north of the theatre. In 1999 a trust was formed, joining the management of the Playhouse with that of the Everyman Theatre.
The present theatre on the site was designed by Edward Davies, and opened in 1866. It replaced an earlier theatre called the Star Concert Hall. The present theatre was originally named the Star Music Hall. In 1895 its name was changed to the Star Theatre of Varieties. The theatre was improved in 1898 by Harry Percival with a new auditorium and foyer, and electricity was installed. In 1911 the Liverpool Repertory Theatre Limited was established, with Basil Dean as its "controller and producer". The company could not afford to build a new theatre, and bought the Star Theatre for £28,000 (£2,110,000 as of 2011). This made it the first repertory in Britain to own the freehold of a theatre. The company spent a further £4,000 (£300,000 as of 2011) on redesigning and modernising the theatre. The auditorium and the basement foyer were redesigned by Stanley Adshead, the Professor of Civic Design at the Liverpool School of Architecture. The theatre was renamed the Liverpool Repertory Theatre, and in 1916 renamed again, as the Liverpool Playhouse. Minor structural alterations were made to the theatre in 1961 and in 1966. In 1968 a modern-style extension was added to the north of the theatre to accommodate new foyers, bars, dressing rooms and a workshop In the 1990s the theatre company went into liquidation. In 1999 the Liverpool and Merseyside Theatres Trust Limited was established as a charity, and the theatre re-opened. It is managed jointly with the Everyman Theatre by Liverpool City Council.
LIVERPOOL AFTER DARK NOVEMBER 2011The Pier Head is a riverside location in the city centre of Liverpool, England. It is part of the Liverpool Maritime Mercantile City UNESCO World Heritage Site, which was inscribed in 2004.
Liverpool Pier Head by night: the 'Three Graces'
The historic site encompasses a trio of landmarks, built on the site of the former George's Dock and referred to since at least 2000 as 'The Three Graces':
Royal Liver Building, built between 1908 and 1911 and designed by Walter Aubrey Thomas. It is a grade I listed building consisting of two clock towers, both crowned by mythical Liver Birds. The building is the headquarters of the Royal Liver Friendly Society.
Cunard Building, constructed between 1914 and 1916 and a grade II* listed building. It is the former headquarters of the Cunard Line shipping company.
Port of Liverpool Building, built from 1903 to 1907 and also grade II* listed. It is the former home of the Mersey Docks and Harbour Board.
Also on the site is the grade II listed Mersey Tunnel building, to the east of the Port of Liverpool building. It was built in the 1930s and contains offices and ventilator equipment for the Queensway Tunnel.
Liverpool Pier Head, with the Royal Liver Building, Cunard Building and Port of Liverpool Building, as well as the Anglican cathedral in the background
The Pier Head, and the adjacent Mann Island, were subjected to an ill-fated scheme in 2002 to develop a "Fourth Grace".
The Fourth Grace project; the winning entry, designed by Wil Alsop and known as "the Cloud", was abandoned in 2004 after "fundamental changes" to the original waterfront plan left it unworkable.
In 2007 work commenced on a new scheme, to re-house the Museum of Liverpool Life. Work also commenced in 2007 to build a canal link between the Leeds-Liverpool Canal and the South Docks. The £22 million pound 1.6 mile extension to the Leeds-Liverpool Canal was officially opened on 25 March 2009. It opens to boaters at the end of April and links the 127 miles of the existing canal to the city’s South Docks, passing Pier Head and the famous Three Graces.
and it isn't just talk, talk, talk.
Also one of those songs from a cd that hit me like a brick in the face. Freedy Johnston is so good.
Video here. Photo courtesy of my 10th grade yearbook. I promise these lies aren't true.
The 'Reputation Complex' is a moving combination of various factors, components and drivers that are linked in a close and complicated way. This combination brings with it, for all organizations, equal risks and opportunities – the first to be managed and the second to be exploited in the right manner.
MSLGROUP's Chief Strategy Officer Pascal Beucler shares his thoughts on the fast transformation of reputation management and what it means for our clients and for us.
Sir_Designer aka Internet personality pl.wikipedia.org/wiki/Mareklug, overdressed, certainly not to be confused with Wikipedian Mareklug, who edits Wikipedia and gets involved in squandering his online reputation butt nekkid, or at best, attired in rags suitable for breaking the local rules pertaining to refusing, as he egregiously refuses his refuse at about 3 a.m., whereas the local rules mandate doing so between the hours of 9, on the OPPOSITE side of the interval the antisocial Wikipedian Mareklug avails himself of. Note the elements of Mareklug's attire, all genuine best-of-kind Merkin and Canadian artifacts: a contemporary Hopi Silver bolo tie made in 1988 by Phillip Sekaquaptewa, www.AmericanMastersOfStone.com/Biographies/Biographies/Ph... Sekaquaptewa.htm, obtained by Sir_Designer in person during a week-long stay in Hopiland and specifically visiting with Master Phil and his apprentice on Third Mesa, a genuine Resistol felt cowboy hat Made in Garland, Texas, a Costco house-brand (Kirkland Signature) deep blue dress shirt (18 bucks!), Canada Goose Borden bomber jacket parka, a genuine production BIC ballpoint pen stowed away in a special parka pen pocket, one of 2, with NO BRANDING WHATSOEVER save for BIC brand's own, and Nikon Eyes ultra-high index transition single-vision prescription glass lenses with every coating and anti-UV/anti-glare/anti-scratch feature sold in the USA by opticians, mounted in a Made in China (non-counterfeit!) titanium eyeglass flex-frame, available at Walmart Vision Centers throughout United States for a fraction of retail cost elsewhere. In the background, St. Ita's Parish Catholic Church in Edgewater neighborhood of The Steenkin' Field of Onions, aka the Second City Youesaye, and further in the background, northern reaches of the ORD International, 6 miles away as the crow flies, and yet further on back, sky over the the State of Iowa. Self-indulgent, self-aggrandizing free-license self-portraiture effected by the lesser camera of the WHITE Apple iPad Air 128 GB/T-Mobile cellular radio by Marek Wojciech Ługowski (Lugowski), on this, the very first day (barely after midnight local time) of his certified decrepitude (i.e., 55-year-oldness). That 15 February 1959 birthday Lugowski shares with other notable and Wikipedia-encyclopedic persons such as Galileo Galilei and Douglas R. Hofstadter.
Golfing might have the reputation of being a less strenuous sport, but that does not mean that you may not fall in any injuries. When you will get older, your joints will become stiffer, your bone would lose its density, your muscle mass would also drop, and most probably you may become overweight. In such situation, your body may not permit you to play for a long period of time. But, there are some workouts which help you do to fight back the damage of your golfing game to extend your over time.
Today, we're going to talk about 5 best exercises for senior golfers. We got asked several times by some of the senior golfers that what exercise would help them to continue golfing. So, we have put together a list of five simple golf exercises. These exercises are pretty simple and they're going to help senior golfers in many different ways.
Learn More: bit.ly/2YpxR9x
Some background:
The Bentley 4½ Litre was a British car based on a rolling chassis built by Bentley Motors. Walter Owen Bentley replaced the Bentley 3 Litre with a more powerful car by increasing its engine displacement to 4.4 L (270 cu in).
Bentley buyers used their cars for personal transport and arranged for their new chassis to be fitted with various body styles, mostly saloons or tourers. However, the publicity brought by their competition programme was invaluable for marketing Bentley's cars.
At the time, noted car manufacturers such as Bugatti and Lorraine-Dietrich focused on designing cars to compete in the 24 Hours of Le Mans, a popular automotive endurance course established only a few years earlier. A victory in this competition quickly elevated any car maker's reputation.
A total of 720 4½ Litre cars were produced between 1927 and 1931, including 55 cars with a supercharged engine popularly known as the Blower Bentley. A 4½ Litre Bentley won the 24 Hours of Le Mans in 1928. Though the supercharged 4½ Litre Bentley's competitive performance was not outstanding, it set several speed records, most famously the Bentley Blower No.1 Monoposto in 1932 at Brooklands with a recorded speed of 222.03 km/h (138 mph).
Although the Bentley 4½ Litre was heavy, weighing 1,625 kg (3,583 lb), and spacious, with a length of 4,380 mm (172 in) and a wheelbase of 3,302 mm (130.0 in), it remained well-balanced and steered nimbly. The manual transmission, however, required skill, as its four gears were unsynchronised.
The robustness of the 4½ Litre's lattice chassis, made of steel and reinforced with ties, was needed to support the heavy cast iron inline-four engine. The engine was "resolutely modern" for the time. The displacement was 4,398 cc (268.4 cu in): 100 mm (3.9 in) bore and 140 mm (5.5 in) stroke. Two SU carburetters and dual ignition with Bosch magnetos were fitted. The engine produced 110 hp (82 kW) for the touring model and 130 hp (97 kW) for the racing model. The engine speed was limited to 4,000 rpm.
A single overhead camshaft actuated four valves per cylinder, inclined at 30 degrees. This was a technically advanced design at a time where most cars used only two valves per cylinder. The camshaft was driven by bevel gears on a vertical shaft at the front of the engine, as on the 3 Litre engine.
The Bentley's tanks - radiator, oil and petrol - had quick release filler caps that opened with one stroke of a lever. This saved time during pit stops. The 4½ was equipped with a canvas top stretched over a lightweight Weymann body. The hood structure was very light but with high wind resistance (24 Hours Le Mans rules between 1924 and 1928 dictated a certain number of laps for which the hood had to be closed). The steering wheel measured about 45 cm (18 in) in diameter and was wrapped with solid braided rope for improved grip. Brakes were conventional, consisting of 17-inch (430 mm) drum brakes finned for improved cooling and operated by rod. Semi-elliptic leaf springs were used at front and rear.
Building the kit and its display box:
I normally do not build large scale kits, except for some anime character figures, and I especially stay away from car models because I find it very hard to come close to the impression of the real thing. But this one was a personal thing, and I got motivated enough to tackle this challenge that caused some sweat and shivers. Another reason for the tension was the fact that it was intended as a present - and I normally do not build models for others, be it as a gift or on a contract work basis.
The background is that a colleage of mine will retire soon, an illustrator and a big oldtimer enthusiast at the same time. I was not able to hunt down a model of the vintage car he actually owns, but I remembered that he frequently takes part with his club at a local car exhibition, called the "Classic Days" at a location called Schloss Dyck. There he had had the opportunity some time ago to take a ride in a Bentley 4.5 litre "Blower", and I saw the fascinationn in his eyes when he recounted the events. We also talked about car models, and I mentioned the 1:24 Heller kit of the car. So, as a "farewell" gift, I decided to tackle this souvenir project, since the Bentley drive obviously meant a lot to him, and it's a quite personal gift, for a highly respected, artistic person.
Since this was to be a gift for a non-modeler, I also had to make sure that the car model could later be safely stored, transported and displayed, so some kind of base or display bon on top was a must - and I think I found a nice solution, even with integrated lighting!
As already mentioned, the model is the 1:24 Heller kit from 1978, in this case the more recent Revell re-boxing. While the kit remained unchanged (even the Heller brand is still part of the molds!), the benefit of this version is a very nice and thin decal sheet which covers some of the more delicate detail areas like gauges on the dashboard or the protective wire mesh for the headlights.
I had huge respect for the kit - I have actually built less than 10 car models in my 40+ years of kit building. So the work started with detail picture research, esp. of the engine and from the cockpit, and I organized appropriate paints (see below).
Work started slowly with the wheels, then the engine followed, the steerable front suspension, the chassis, the cabin section and finally the engine cowling and the mudguards with the finished wheels. Since I lack experience with cars I stuck close to the instructions and really took my time, because the whole thing went together only step by step, with painting and esp. drying intermissions. Much less quickly than my normal tempo with more familiar topics.
The kit remained basically OOB, and I must say that I am impressed how well it went together. The car kits I remember were less cooperative - but the Heller Bentley was actually a pleasant, yet challenging, build. Some issues I had were the chrome parts, which had to be attached with superglue, and their attachment points to the sprues (the same green plastic is used for the chrome parts, too - a different materiallike silver or light grey would have made life easier!) could only hardly be hidden with paint.
The plastic itself turned out to be relatively soft, too - while it made cleaning easy, this caused in the end some directional issues which had to be "professionally hidden": Once the cabin had been mounted to the frame and work on the cowling started, I recognized that the frame in front of the cabin was not straight anymore - I guess due to the engine block which sits deep between the front beams. While this was not really recognizable, the engine covers would not fit anymore, leaving small but unpleasant gaps.
The engine is OOB not über-detailed, and I actually only wanted to open the left half of the cocling for the diorama. However, with this flaw I eventually decided to open both sides, what resulted in having the cowling covers sawn into two parts each and arranging them in open positions. Quite fiddly, and I also replaced the OOB leather straps that normally hold the cowling covers closed with textured adhesive tape, for a more voluminous look. The engine also received some additional cables and hoses - nothing fancy, though, but better than the quite bleak OOB offering.
Some minor details were added in the cabin: a floor mat (made from paper, it looks like being made from cocos fibre) covers the area in front of the seats and the steering wheel was wrapped with cord - a detail that many Bentleys with race history shared, for a better grip for the driver.
Overall, the car model was painted with pure Humbrol 239 (British Racing Green) enamel paint, except for the passenger section. Here I found Revell's instructions to be a bit contradictive, because I do not believe in a fully painted car, esp. on this specific Le Mans race car. I even found a picture of the real car as an exhibition piece, and it rather shows a faux leather or vinyl cladding of the passenger compartment - in a similar dark green tone, but rather matt, with only a little shine, and with a lighter color due to the rougher surface. So I rather tried to emulate this look, which would also make the model IMHO look more interesting.
As a fopundation I used a mix of Humbrol 239 and 75 (Bronze Green), on top of which I later dry-brushed Revell 363 (Dark Green). The effect and the gloss level looked better than expected - I feared a rather worn/used look - and I eventually did not apply and clear varnish to this area. In fact, no varnish was applied to the whole model because the finish looked quite convincing!
The frame and the engine were slightly weathered with a black ink wash, and once the model was assembled I added some oil stains to the engine and the lower hull, and applied dust and dirt through mineral artist pigments to the wheels with their soft vinyl tires and the whole lower car body. I wanted the car to look basically clean and in good shape, just like a museum piece, but having been driven enthusiastically along some dusty country roads (see below). And this worked out quite well!
Since I wanted a safe store for the model I tried to find a suitable display box and found an almost perfect solution in SYNAS from Ikea. The sturdy SYNAS box (it's actually sold as a toy/Children's lamp!?) had very good dimensions for what I had in mind. Unfortunately it is only available in white, but for its price I would not argue. As a bonus it even comes with integrated LED lighting in the floor, as a rim of lights along the side walls. I tried to exploit this through a display base that would leave a 1cm gap all around, so that light could be reflected upwards and from the clear side walls and the lid onto the model.
The base was created with old school methods: a piece of MDF wood, on top of which I added a piece of cobblestone street and grass embankment, trying to capture the rural atmosphere around Schloss Dyck. Due to the large scale of the model I sculpted a light side slope under the pavement (a Tamiya print with a light 3D effect), created with plaster and fine carpenter putty. The embankment was sculpted with plaster, too.
The cobblestone cardboard was simply glued to the surface, trimmed down, and then a fairing of the base's sides was added, thin balsa wood.
Next came the grass - again classic methods. First, the surface was soaked with a mix of water, white glue and brown dispersion paint, and fine sand rinsed over the surfaces. Once dry, another mix of water, white glue and more paint was applied, into which foamed plastic turf of different colors and sizes was dusted. After anothetr drying period this area was sprayed with contact glue and grass fibres were applied - unfortunately a little more than expected. However, the result still looks good.
At the border to the street, the area was covered with mineral pigments, simulating mud and dust, and on the right side I tried to add a puddle, made from Humbrol Clearfix and glue. For some more ambiance I scratched a typical German "local sight" roadsign from cardboard and wood, and I also added a pair of "Classic Days" posters to the mast. Once in place I finally added some higher grass bushels (brush fibres) and sticks (dried moss), sealing everything in place with acralic varnish from the rattle can.
In order to motivate the Bentley's open cowling, I tried to set an engine failure into scene: with the car abandoned during the Classic Days' demo races along the local country roads, parked at the side of the street, and with a puddle of engine below and a small trail of oil behind the car (created with Tamiya "Smoke", perfect stuff for this task!). A hay bale, actually accessory stuff for toy tractors and in fact a square piece of wood, covered with straw chips, subtly hint at this occasion.
Finally, for safe transport, the model was attached to the base with thin wire, the base glued to the light box' floor with double-sided adhesive tape and finally enclosed.
Quite a lot of work, the car model alone took four patient weeks to fully materialize, and the base in the SYNAS box took another two weeks, even though work proceeded partly in parallel. However, I am positively surprised how well this build turned out - the Heller kit was better/easier to assemble than expected, and many problems along the way could be solved with patience and creative solutions.
The alley next to where I used to work. There is a lot of graffiti on the walls in this alley, no where else, just in here. A lot of it is about some girl I don't know called Shauna being a prostitute and performing sexual acts (which I consider is an important part of being a prostitute)
We're back at the Monaco Ballroom on Friday December 12th for the final show of 2008!! Make sure you make it to see how the year's feuds end at this season ending super show - GPW: "Christmas Crunch"
We promise we wont crunch your credit.... we'll only crunch your Christmas!!
GPW Heavyweight Title Match
Bubblegum © vs. Dirk Feelgood
Just a few months ago you'd be forgiven for taking a double take at this match. The friendship between the two former friends totally imploded with the desire to become Heavyweight champion. Refusing to accept the demise of his friendship with Dirk Feelgood, Bubblegum spent months in turmoil not wanting to retaliate to the cutting comments and brutal attacks levelled his way by former friend and champion Feelgood. As time went by however, Bubblegum eventually unloaded on Feelgood but this will be the first time the two have ever come face to face in a one on one match. And to make things just a little more interesting... it's for the GPW Heavyweight Title. Can the fairytale championship reign continue for Bubblegum, or can Dirk shatter his dreams and become the first ever 2 time Heavyweight Champ?
Tag Team Special, Skeletor vs. Stella
Lethal Dose vs. Voodoo & "Sober" Mike Holmes
Alan Alan Alan Tasker's henchmen, Lethal Dose march into battle against former stable member Mike Holmes and the man they hold responsible for Holmes' new found sobriety - Voodoo. Cyanide and Toxic hope to tempt Holmes back over to the stable that two months ago he turned his back on. They want to snap him out of the spell they accuse Voodoo of putting him under. However, Holmes seems very happy with his new outlook on life and he and Voodoo look to send Lethal Dose packing in this tag team special. Lethal Dose have warned they will not be coming to the ring alone though, with them along with their attorney and law - Alan Alan Alan Tasker will be a 12 pack of Stella. Hoping the case of beer will prove to be a bigger demon to Holmes than the tag team itself. To fend off the 12 pack, Holmes and Voodoo will have Vooodoo's trusty skull, Skeletor in their corner. An unpredictable tag team match. Can MIke Holmes stay sober? Will Voodoo's spells work? Or will Lethal Dose deliver a beating big enough to break Voodoo's spell?
GPW British Title Match
Jak Dominotrescu vs. "Super" Sam Bailey
After pinning the British Champion last month in a tag team match, WKD's "Super" Sam Bailey has earned himself a title shot at GPW: "Christmas Crunch". Bailey, already a former tag team champion looks to add to his growing reputation by capturing his first ever singles gold in GPW. While reigning champion, Romanian Jak Domitrescu along with his cohorts - The Eastern Bloc look to make life as difficult as possible for the energetic live wire. Domitrescu has held onto the title since April this year with help from his fellow countrymen, but are his days numbered as champ? He surely wont be alone in this title outing and will have the Eastern Bloc close by, but can "Super" Sam Bailey overcome the odds to win his first singles gold in GPW?
And, the main event for the evening is...
GPW Tag Team Title 2/3 Falls Match
MIl-Anfield Connection © vs. Young Offenders
The heat just got turned up in this feud. The re-united Young Offenders have the most established tag team in GPW - The Mil-Anfield Connection firmly in their sights and not to mention the tag team trophy. These two teams met in September this year where there was no clear winner decided after the match ended in a draw. There will be NO excuses this time to not find a winner. This, for the first time in our history will be a 2/3 Falls Match for the tag team titles. A winner HAS to be decided, but who will it be? A truley epic encounter is in our midst as Jiggy Walker & "The Model" Danny Hope try to cling onto the championship that has defined them as a team and "Dangerous" Damon Leigh & Joey Hayes, The Young Offenders chase the title that one of the most popular tag teams in Europe have never held. Can the re-united friends overcome the well established unit that is The Mil-Anfield Connection? Or can the well oiled duo of the Mil-Anfield do what they've been doing all year and win again?
GPW British Title No.1 Contenders Match
Harry Doogle vs. Juice vs. Dylan Roberts vs. Chris Echo
After an eye catchingly good year from rookie Dylan Roberts, he has been included in this battle to earn a shot at the British Title. With a burning desire to win and the fans firmly behind him, Roberts could well mark his arrival onto the main roster by becoming the No.1 Contender and going for gold here. However, his opponents wont give him an easy ride. In a wonderful CC-08 tournament, no one impressed more than WKD's Chris Echo. Echo reached the CC-08 finals with two broken wrists and proved he is ready to take a step up. His previous attempts for British gold have been thwarted by the foreign legion numbers of the Eastern Bloc, is he ready to prove again that he is worthy of being No.1 Contender and finally lift the British title? Juice, the current CC8 champion has been as impressive as ever in singles competition this year, but can he compete in this match with 3 others all vying to be No.1 Contender? Also replacing Jervis Cottonbelly due to injury is Harry Doogle as a last minute entry could one half of the next gen score the upset win? , but with so many possible outcomes who will leave with the plaudits and go on to challenge for the British Title next year?
Lumberjack Match
Si Valour vs. Heresy
A violent and personal feud that has lasted all year long finally comes to a head in what promises to be a violent Lumberjack Match. Ever since brutalising Valour and cutting off all his hair, Heresy has, in some form or other dodged the challenge of Valour. Heresy claimed not to have lost his bottle or be running scared of the 2007 Break Out Star, yet during their Bull Rope clash at GPW: "V" where the two were tied to one another, Heresy still managed to find a way of escaping and creating distance between him and Valour. This time, in a special Lumberjack Match, no matter where either man go - there will be no escape. All lumberjacks will be at the ready to ensure neither man can escape the others clutches and a clear winner, one way or the other will HAVE to be decided. There will be nowhere to run to and nowhere to hide, no matter where they look. Heresy has been one step ahead of Valour all year, is this where he runs out of excuses, or can the master manipulator manipulate another win?
The 'Reputation Complex' is a moving combination of various factors, components and drivers that are linked in a close and complicated way. This combination brings with it, for all organizations, equal risks and opportunities – the first to be managed and the second to be exploited in the right manner.
MSLGROUP's Chief Strategy Officer Pascal Beucler shares his thoughts on the fast transformation of reputation management and what it means for our clients and for us.
The 'Reputation Complex' is a moving combination of various factors, components and drivers that are linked in a close and complicated way. This combination brings with it, for all organizations, equal risks and opportunities – the first to be managed and the second to be exploited in the right manner.
MSLGROUP's Chief Strategy Officer Pascal Beucler shares his thoughts on the fast transformation of reputation management and what it means for our clients and for us.
With a reputation unequalled in the Tibetan world, many visitors come here exclusively to see the monastery's collection of centuries old Thanka paintings and watch the resident artists continuing the tradition. Though the art is undoubtedly the headliner the rebuilt grounds are a fine example of modern Tibetan architecture elaborately decorated with brightly painted wood carvings. The complex is divided into upper（上寺） and lower（下寺） monasteries, each with its own set of prayer halls, courtyards and artist studios.
elements of critical digital literacies relating to persona, as outlined in Hinrichsen & Coombs (2013) found at journal.alt.ac.uk/index.php/rlt/article/view/1433#Abstract
The 'Reputation Complex' is a moving combination of various factors, components and drivers that are linked in a close and complicated way. This combination brings with it, for all organizations, equal risks and opportunities – the first to be managed and the second to be exploited in the right manner.
MSLGROUP's Chief Strategy Officer Pascal Beucler shares his thoughts on the fast transformation of reputation management and what it means for our clients and for us.
Participants enjoy an intense arms/abs workout with instructor Holly at the Dowd YMCA's Taylor Swift: Reputation Party.
FINALLY finished with this transformation. After being completely rerooted and rebodied, my Funny Face Vanessa is finally the badass I invisioned her to be :)
The 'Reputation Complex' is a moving combination of various factors, components and drivers that are linked in a close and complicated way. This combination brings with it, for all organizations, equal risks and opportunities – the first to be managed and the second to be exploited in the right manner.
MSLGROUP's Chief Strategy Officer Pascal Beucler shares his thoughts on the fast transformation of reputation management and what it means for our clients and for us.