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...Look at the guy in the RV passing. That is a blind hill pass in an RV. Please calm the fuck down and don't pass. If you're on your way to Burning Man you're not in a rush by definition. I don't care how late your project is, reckless driving isn't worth it. Sorry had to rant there a little. My bad.
The spacing between tables is so narrow that it's easy to talk to even strangers. But it's kinda jam-packed with people.
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BMW R 1200 CL - Woodcliff Lake, New Jersey, August 2002 ... Some people consider a six-day cruise as the perfect vacation. Other's might agree, as long as the days are marked by blurred fence posts and dotted lines instead of palm trees and ocean waves. For them, BMW introduces the perfect alternative to a deck chair - the R 1200 CL.
Motorcyclists were taken aback when BMW introduced its first cruiser in 1997, but the R 1200 C quickly rose to become that year's best-selling BMW. The original has since spawned several derivatives including the Phoenix, Euro, Montana and Stiletto. This year, BMW's cruiser forms the basis for the most radical departure yet, the R 1200 CL. With its standard integral hard saddlebags, top box and distinctive handlebar-mounted fairing, the CL represents twin-cylinder luxury-touring at its finest, a completely modern luxury touring-cruiser with a touch of classic BMW.
Although based on the R 1200 C, the new CL includes numerous key changes in chassis, drivetrain, equipment and appearance, specifically designed to enhance the R 1200's abilities as a long-distance mount. While it uses the same torquey, 1170cc 61-hp version of BMW's highly successful R259 twin, the CL backs it with a six-speed overdrive transmission. A reworked Telelever increases the bike's rake for more-relaxed high-speed steering, while the fork's wider spacing provides room for the sculpted double-spoke, 16-inch wheel and 150/80 front tire. Similarly, a reinforced Monolever rear suspension controls a matching 15-inch alloy wheel and 170/80 rear tire. As you'd expect, triple disc brakes featuring BMW's latest EVO front brake system and fully integrated ABS bring the bike to a halt at day's end-and set the CL apart from any other luxury cruiser on the market.
Yet despite all the chassis changes, it's the new CL's visual statement that represents the bike's biggest break with its cruiser-mates. With its grip-to-grip sweep, the handlebar-mounted fairing evokes classic touring bikes, while the CL's distinctive quad-headlamps give the bike a decidedly avant-garde look - in addition to providing standard-setting illumination. A pair of frame-mounted lowers extends the fairing's wind coverage and provides space for some of the CL's electrics and the optional stereo. The instrument panel is exceptionally clean, surrounded by a matte gray background that matches the kneepads inset in the fairing extensions. The speedometer and tachometer flank a panel of warning lights, capped by the standard analog clock. Integrated mirror/turnsignal pods extend from the fairing to provide further wind protection. Finally, fully integrated, color-matched saddlebags combine with a standard top box to provide a steamer trunk's luggage capacity.
shown in the functional details. In addition to the beautifully finished bodywork, the luxury cruiser boasts an assortment of chrome highlights, including valve covers, exhaust system, saddlebag latches and frame panels, with an optional kit to add even more brightwork. Available colors include Pearl Silver Metallic, Capri Blue Metallic and Mojave Brown Metallic, this last with a choice of black or brown saddle (other colors feature black).
The R 1200 CL Engine: Gearing For The Long Haul
BMW's newest tourer begins with a solid foundation-the 61-hp R 1200 C engine. The original, 1170cc cruiser powerplant blends a broad powerband and instantaneous response with a healthy, 72 lb.-ft. of torque. Like its forebear, the new CL provides its peak torque at 3000 rpm-exactly the kind of power delivery for a touring twin. Motronic MA 2.4 engine management ensures that this Boxer blends this accessible power with long-term reliability and minimal emissions, while at the same time eliminating the choke lever for complete push-button simplicity. Of course, the MoDiTec diagnostic feature makes maintaining the CL every bit as simple as the other members of BMW's stable.
While tourers and cruisers place similar demands on their engines, a touring bike typically operates through a wider speed range. Consequently, the R 1200 CL mates this familiar engine to a new, six-speed transmission. The first five gear ratios are similar to the original R 1200's, but the sixth gear provides a significant overdrive, which drops engine speed well under 3000 rpm at 60 mph. This range of gearing means the CL can manage either responsive in-town running or relaxed freeway cruising with equal finesse, and places the luxury cruiser right in the heart of its powerband at touring speeds for simple roll-on passes.
In addition, the new transmission has been thoroughly massaged internally, with re-angled gear teeth that provide additional overlap for quieter running. Shifting is likewise improved via a revised internal shift mechanism that produces smoother, more precise gearchanges. Finally, the new transmission design is lighter (approximately 1 kg.), which helps keep the CL's weight down to a respectable 679 lbs. (wet). The improved design of this transmission will be adopted by other Boxer-twins throughout the coming year.
The CL Chassis: Wheeled Luggage Never Worked This Well
Every bit as unique as the CL's Boxer-twin drivetrain is the bike's chassis, leading off-literally and figuratively-with BMW's standard-setting Telelever front suspension. The CL's setup is identical in concept and function to the R 1200 C's fork, but shares virtually no parts with the previous cruiser's. The tourer's wider, 16-inch front wheel called for wider-set fork tubes, so the top triple clamp, fork bridge, fork tubes and axle have all been revised, and the axle has switched to a full-floating design. The aluminum Telelever itself has been further reworked to provide a slightly more raked appearance, which also creates a more relaxed steering response for improved straight-line stability. The front shock has been re-angled and its spring and damping rates changed to accommodate the new bike's suspension geometry, but is otherwise similar to the original R 1200 C's damper.
Similarly, the R 1200 CL's Monolever rear suspension differs in detail, rather than concept, from previous BMW cruisers. Increased reinforcing provides additional strength at the shock mount, while a revised final-drive housing provides mounts for the new rear brake. But the primary rear suspension change is a switch to a shock with travel-related damping, similar to that introduced on the R 1150 GS Adventure. This new shock not only provides for a smoother, more controlled ride but also produces an additional 20mm travel compared to the other cruisers, bringing the rear suspension travel to 4.72 inches.
The Telelever and Monolever bolt to a standard R 1200 C front frame that differs only in detail from the original. The rear subframe, however, is completely new, designed to accommodate the extensive luggage system and passenger seating on the R 1200 CL. In addition to the permanently affixed saddlebags, the larger seats, floor boards, top box and new side stand all require new mounting points.
All this new hardware rolls on completely restyled double-spoke wheels (16 x 3.5 front/15 x 4.0 rear) that carry wider, higher-profile (80-series) touring tires for an extremely smooth ride. Bolted to these wheels are larger disc brakes (12.0-inch front, 11.2-inch rear), with the latest edition of BMW's standard-setting EVO brakes. A pair of four-piston calipers stop the front wheel, paired with a two-piston unit-adapted from the K 1200 LT-at the rear. In keeping with the bike's touring orientation, the new CL includes BMW's latest, fully integrated ABS, which actuates both front and rear brakes through either the front hand lever or the rear brake pedal.
The CL Bodywork: Dressed To The Nines
Although all these mechanical changes ensure that the new R 1200 CL works like no other luxury cruiser, it's the bike's styling and bodywork that really set it apart. Beginning with the bike's handlebar-mounted fairing, the CL looks like nothing else on the road, but it's the functional attributes that prove its worth. The broad sweep of the fairing emphasizes its aerodynamic shape, which provides maximum wind protection with a minimum of buffeting. Four headlamps, with their horizontal/vertical orientation, give the CL its unique face and also create the best illumination outside of a baseball stadium (the high-beams are borrowed from the GS).
The M-shaped windshield, with its dipped center section, produces exceptional wind protection yet still allows the rider to look over the clear-plastic shield when rain or road dirt obscure the view. Similarly, clear extensions at the fairing's lower edges improve wind protection even further but still allow an unobstructed view forward for maneuvering in extremely close quarters. The turnsignal pods provide further wind coverage, and at the same time the integral mirrors give a clear view to the rear.
Complementing the fairing, both visually and functionally, the frame-mounted lowers divert the wind blast around the rider to provide further weather protection. Openings vent warm air from the frame-mounted twin oil-coolers and direct the heat away from the rider. As noted earlier, the lowers also house the electronics for the bike's optional alarm system and cruise control. A pair of 12-volt accessory outlets are standard.
Like the K 1200 LT, the new R 1200 CL includes a capacious luggage system as standard, all of it color-matched and designed to accommodate rider and passenger for the long haul. The permanently attached saddlebags include clamshell lids that allow for easy loading and unloading. Chrome bumper strips protect the saddlebags from minor tipover damage. The top box provides additional secure luggage space, or it can be simply unbolted to uncover an attractive aluminum luggage rack. An optional backrest can be bolted on in place of the top box. Of course, saddlebags and top box are lockable and keyed to the ignition switch.
Options & Accessories: More Personal Than A Monogram
Given BMW's traditional emphasis on touring options and the cruiser owner's typical demands for customization, it's only logical to expect a range of accessories and options for the company's first luxury cruiser. The CL fulfills those expectations with a myriad of options and accessories, beginning with heated or velour-like Soft Touch seats and a low windshield. Electronic and communications options such as an AM/FM/CD stereo, cruise control and onboard communication can make time on the road much more pleasant, whether you're out for an afternoon ride or a cross-country trek - because after all, nobody says you have to be back in six days. Other available electronic features include an anti-theft alarm, which also disables the engine.
Accessories designed to personalize the CL even further range from cosmetic to practical, but all adhere to BMW's traditional standards for quality and fit. Chrome accessories include engine-protection and saddlebag - protection hoops. On a practical level, saddlebag and top box liners simplify packing and unpacking. In addition to the backrest, a pair of rear floorboards enhance passenger comfort even more.
The CL's riding position blends elements of both tourer and cruiser, beginning with a reassuringly low, 29.3-inch seat height. The seat itself comprises two parts, a rider portion with an integral lower-back rest, and a taller passenger perch that includes a standard backrest built into the top box. Heated seats, first seen on the K 1200 LT, are also available for the CL to complement the standard heated grips. A broad, flat handlebar places those grips a comfortable reach away, and the CL's floorboards allow the rider to shift position easily without compromising control. Standard cruise control helps melt the miles on long highway stints. A convenient heel/toe shifter makes for effortless gearchanges while adding exactly the right classic touch.
The R 1200 CL backs up its cruiser origins with the same superb attention to cosmetics as is
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Der Luxus-Cruiser zum genußvollen Touren.
Die Motorradwelt war überrascht, als BMW Motorrad 1997 die R 1200 C, den ersten Cruiser in der Geschichte des Hauses, vorstellte. Mit dem einzigartigen Zweizylinder-Boxermotor und einem unverwechselbar eigenständigen Design gelang es auf Anhieb, sich in diesem bis dato von BMW nicht besetzten Marktsegment erfolgreich zu positionieren. Bisher wurden neben dem Basismodell R 1200 C Classic die technisch nahezu identischen Modellvarianten Avantgarde und Independent angeboten, die sich in Farbgebung, Designelementen und Ausstattungsdetails unterscheiden.
Zur Angebotserweiterung und zur Erschließung zusätzlicher Potenziale, präsentiert BMW Motorrad für das Modelljahr 2003 ein neues Mitglied der Cruiserfamilie, den Luxus-Cruiser R 1200 CL. Er wird seine Weltpremiere im September in München auf der INTERMOT haben und voraussichtlich im Herbst 2002 auf den Markt kommen. Der Grundgedanke war, Elemente von Tourenmotorrädern auf einen Cruiser zu übertragen und ein Motorrad zu entwickeln, das Eigenschaften aus beiden Fahrzeuggattungen aufweist.
So entstand ein eigenständiges Modell, ein Cruiser zum genussvollen Touren, bei dem in Komfort und Ausstattung keine Wünsche offen bleiben.
Als technische Basis diente die R 1200 C, von der aber im wesentlichen nur der Motor, der Hinterradantrieb, der Vorderrahmen, der Tank und einige Ausstattungsumfänge übernommen wurden. Ansonsten ist das Motorrad ein völlig eigenständiger Entwurf und in weiten Teilen eine Neuentwicklung.
Fahrgestell und Design:
Einzigartiges Gesicht, optische Präsenz und Koffer integriert.
Präsenz, kraftvoller Auftritt und luxuriöser Charakter, mit diesen Worten lässt sich die Wirkung der BMW R 1200 CL kurz und treffend beschreiben. Geprägt wird dieses Motorrad von der lenkerfesten Tourenverkleidung, deren Linienführung sich in den separaten seitlichen Verkleidungsteilen am Tank fortsetzt, so dass in der Seitenansicht fast der Eindruck einer integrierten Verkleidung entsteht. Sie bietet dem Fahrer ein hohes Maß an Komfort durch guten Wind- und Wetterschutz.
Insgesamt vier in die Verkleidung integrierte Scheinwerfer, zwei für das Abblendlicht und zwei für das Fernlicht, geben dem Motorrad ein unverwechselbares, einzigartiges Gesicht und eine beeindruckende optische Wirkung, die es so bisher noch bei keinem Motorrad gab. Natürlich sorgen die vier Scheinwerfer auch für eine hervorragende Fahrbahnausleuchtung.
Besonders einfallsreich ist die aerodynamische Gestaltung der Verkleidungsscheibe mit ihrem wellenartig ausgeschnittenen oberen Rand. Sie leitet die Strömung so, dass der Fahrer wirkungsvoll geschützt wird. Gleichzeitig kann man aber wegen des Einzugs in der Mitte ungehindert über die Scheibe hinwegschauen und hat somit unabhängig von Nässe und Verschmutzung der Scheibe ein ungestörtes Sichtfeld auf die Straße.
Zur kraftvollen Erscheinung des Motorrades passt der Vorderradkotflügel, der seitlich bis tief zur Felge heruntergezogen ist. Er bietet guten Spritzschutz und unterstreicht zusammen mit dem voluminösen Vorderreifen die Dominanz der Frontpartie, die aber dennoch Gelassenheit und Eleganz ausstrahlt.
Der gegenüber den anderen Modellen flacher gestellte Telelever hebt den Cruisercharakter noch mehr hervor. Der Heckbereich wird bestimmt durch die integrierten, fest mit dem Fahrzeug verbundenen Hartschalenkoffer und das abnehmbare Topcase auf der geschwungenen Gepäckbrücke, die zugleich als Soziushaltegriff dient. Koffer und Topcase sind jeweils in Fahrzeugfarbe lackiert und bilden somit ein harmonisches Ganzes mit dem Fahrzeug.
Akzente setzen auch die stufenförmig angeordneten breiten Komfortsitze für Fahrer und Beifahrer mit der charakteristischen hinteren Abstützung. Luxus durch exklusive Farben, edle Oberflächen und Materialien.
Die R 1200 CL wird zunächst in drei exklusiven Farben angeboten: perlsilber-metallic und capriblau-metallic mit jeweils schwarzen Sitzen und mojavebraun-metallic mit braunem Sitzbezug (wahlweise auch in schwarz). Die Eleganz der Farben wird unterstützt durch sorgfältige Materialauswahl und perfektes Finish von Oberflächen und Fugen. So ist zum Beispiel die Gepäckbrücke aus Aluminium-Druckguß gefertigt und in weissaluminium lackiert, der Lenker verchromt und die obere Instrumentenabdeckung ebenfalls weissaluminiumfarben lackiert. Die Frontverkleidung ist vollständig mit einer Innenabdeckung versehen, und die Kniepads der seitlichen Verkleidungsteile sind mit dem gleichen Material wie die Sitze überzogen.
All dies unterstreicht den Anspruch auf Luxus und Perfektion.
Antrieb jetzt mit neuem, leiserem Sechsganggetriebe - Boxermotor unverändert.
Während der Boxermotor mit 1170 cm³ unverändert von der bisherigen R 1200 C übernommen wurde - auch die Leistungsdaten sind mit 45 kW (61 PS) und 98 Nm Drehmoment bei 3 000 min-1 gleich geblieben -, ist das Getriebe der R 1200 CL neu. Abgeleitet von dem bekannten Getriebe der anderen Boxermodelle hat es jetzt auch sechs Gänge und wurde grundlegend überarbeitet. Als wesentliche Neuerung kommt eine sogenannte Hochverzahnung zum Einsatz. Diese sorgt für einen "weicheren" Zahneingriff und reduziert erheblich die Laufgeräusche der Verzahnung.
Der lang übersetzte, als "overdrive" ausgelegte, sechste Gang erlaubt drehzahlschonendes Fahren auf langen Etappen in der Ebene und senkt dort Verbrauch und Geräusch. Statt eines Schalthebels gibt es eine Schaltwippe für Gangwechsel mit einem lässigen Kick. Schaltkomfort, Geräuscharmut, niedrige Drehzahlen und dennoch genügend Kraft - Eigenschaften, die zum Genusscharakter des Fahrzeugs hervorragend passen.
Dass auch die R 1200 CL, wie jedes seit 1997 neu eingeführte BMW Motorrad weltweit, serienmäßig über die jeweils modernste Abgasreinigungstechnologie mit geregeltem Drei-Wege-Katalysator verfügt, muss fast nicht mehr erwähnt werden. Es ist bei BMW zur Selbstverständlichkeit geworden.
Fahrwerkselemente für noch mehr Komfort - Telelever neu und hinteres Federbein mit wegabhängiger Dämpfung.
Ein cruisertypisches Merkmal ist die nach vorn gestreckte Vorderradführung mit flachem Winkel zur Fahrbahn und großem Nachlauf. Dazu wurde für die R 1200 CL der nach wie vor einzigartige BMW Telelever neu ausgelegt.
Die Gabelholme stehen weiter auseinander, um dem bulligen, 150 mm breiten Vorderradreifen Platz zu bieten.
Für die Hinterradfederung kommt ein Federbein mit wegabhängiger Dämpfung zum Einsatz, das sich durch hervorragende Komforteigenschaften auszeichnet. Der Gesamtfederweg wuchs um 20 mm gegenüber den anderen Cruisermodellen auf jetzt 120 mm. Die Federbasisverstellung zur Anpassung an den Beladungszustand erfolgt hydraulisch über ein bequem zugängliches Handrad.
Hinterradschwinge optimiert und Heckrahmen neu.
Die Hinterradschwinge mit Hinterachsgehäuse, der BMW Monolever, wurde verstärkt und zur Aufnahme einer größeren Hinterradbremse angepasst.
Der verstärkte Heckrahmen ist vollständig neu, um Trittbretter, Kofferhalter, Gepäckbrücke und die neuen Sitze sowie die modifizierte Seitenstütze aufnehmen zu können. Der Vorderrahmen aus Aluminiumguss wurde mit geringfügigen Modifikationen von der bisherigen R 1200 C übernommen.
Räder aus Aluminiumguss, Sitze, Trittbretter und Lenker - alles neu.
Der optische Eindruck eines Motorrades wird ganz wesentlich auch von den Rädern bestimmt. Die R 1200 CL hat avantgardistisch gestaltete neue Gussräder aus Aluminium mit 16 Zoll (vorne) beziehungsweise 15 Zoll (hinten) Felgendurchmesser, die voluminöse Reifen im Format 150/80 vorne und 170/80 hinten aufnehmen.
Die Sitze sind für Fahrer und Beifahrer getrennt ausgeführt, um den unterschiedlichen Bedürfnissen gerecht zu werden. So ist der breite Komfortsattel für den Fahrer mit einer integrierten Beckenabstützung versehen und bietet einen hervorragenden Halt. Die Sitzhöhe beträgt 745 mm. Der Sitz für den Passagier ist ebenfalls ganz auf Bequemlichkeit ausgelegt und etwas höher als der Fahrersitz angeordnet. Dadurch hat der Beifahrer einen besseren Blick am Fahrer vorbei und kann beim Cruisen die Landschaft ungestört genießen.
Großzügige cruisertypische Trittbretter für den Fahrer tragen zum entspannten Sitzen bei. Die Soziusfußrasten, die von der K 1200 LT abgeleitet sind, bieten ebenfalls sehr guten Halt und ermöglichen zusammen mit dem günstigen Kniebeugewinkel auch dem Beifahrer ein ermüdungsfreies Touren.
Der breite, verchromte Lenker vermittelt nicht nur Cruiser-Feeling; Höhe und Kröpfungswinkel sind so ausgelegt, dass auch auf langen Fahrten keine Verspannungen auftreten. Handhebel und Schalter mit der bewährten und eigenständigen BMW Bedienlogik wurden unverändert von den anderen Modellen übernommen.
HighTech bei den Bremsen - BMW EVO-Bremse und als Sonderausstattung Integral ABS.
Sicherheit hat bei BMW traditionell höchste Priorität. Deshalb kommt bei der
R 1200 CL die schon in anderen BMW Motorrädern bewährte EVO-Bremse am Vorderrad zum Einsatz, die sich durch eine verbesserte Bremsleistung auszeichnet. Auf Wunsch gibt es das einzigartige BMW Integral ABS, dem Charakter des Motorrades entsprechend in der Vollintegralversion. Das heißt, unabhängig ob der Hand- oder Fußbremshebel betätigt wird, immer wirkt die Bremskraft optimal auf beide Räder. Im Vorderrad verzögert eine Doppel-Scheibenbremse mit 305 mm Scheibendurchmesser und im Hinterrad die von der K 1200 LT übernommene Einscheiben-Bremsanlage mit einem Scheibendurchmesser von 285 mm.
Fortschrittliche Elektrik: Vierfach-Scheinwerfer, wartungsarme Batterie und elektronischer Tachometer.
Vier Scheinwerfer, je zwei für das Abblend- und Fernlicht, geben dem Motorrad von vorne ein einzigartiges prägnantes Gesicht. Durch die kreuzweise Anordnung - die Abblendscheinwerfer sitzen nebeneinander und die Fernscheinwerfer dazwischen und übereinander - wird eine hohe Signalwirkung bei Tag und eine hervorragende Fahrbahnausleuchtung bei Dunkelheit erzielt.
Neu ist die wartungsarme, komplett gekapselte Gel-Batterie, bei der kein Wasser mehr nachgefüllt werden muss. Eine zweite Steckdose ist serienmäßig. Die Instrumente sind ebenfalls neu. Drehzahlmesser und Tachometer sind elektronisch und die Zifferblätter neu gestaltetet, ebenso die Analoguhr.
Umfangreiche Sonderausstattung für Sicherheit, Komfort und individuellen Luxus.
Die Sonderausstattung der R 1200 CL ist sehr umfangreich und reicht vom BMW Integral ABS für sicheres Bremsen über Komfortausstattungen wie Temporegelung, heizbare Lenkergriffe und Sitzheizung bis hin zu luxuriöser Individualisierung mit Softtouchsitzen, Chrompaket und fernbedientem Radio mit CD-Laufwerk.
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☆ Берни Эггерян :: rumoto images
differs from all the turkeys out there
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August 30, 2020:
20-592289
Toronto,
Toronto Transit,
TTC (Toronto Transit Commission),
TTC Subway System,
TTC Subway Fleet Interior,
TTC COVID-19 Issues,
TTC Notice/Sign,
TTC T1 Car Still Has Signs Place on The Seats Where Not To Sit For COVID -19 Spacing,
THE HISTORY OF THE DRIVE IN THEATER:
The DRIVE IN THEATER was the creation of Camden, New Jersey, chemical company magnate Richard M. Hollingshead, Jr., whose family owned and operated the R.M. Hollingshead Corporation chemical plant in Camden. In 1932, Hollingshead conducted outdoor theater tests in his driveway at 212 Thomas Avenue in Riverton. After nailing a screen to trees in his backyard, he set a 1928 Kodak projector on the hood of his car and put a radio behind the screen, testing different sound levels with his car windows down and up. Blocks under vehicles in the driveway enabled him to determine the size and spacing of ramps so all automobiles could have a clear view of the screen. Following these experiments, he applied August 6, 1932, for a patent of his invention, and he was given U.S. Patent 1,909,537 on May 16, 1933.
Hollingshead's drive-in opened in New Jersey June 6, 1933, on Admiral Wilson Boulevard at the Airport Circle in Pennsauken, a short distance from Cooper River Park. It offered 400 slots and a 40 by 50 ft (12 by 15 m) screen. He advertised his drive-in theater with the slogan, "The whole family is welcome, regardless of how noisy the children are." The first film shown was the Adolphe Menjou film Wife Beware. The facility only operated three years, but during that time the concept caught on in other states. The April 15, 1934, opening of Shankweiler's Auto Park in Orefield, Pennsylvania, was followed by Galveston's Drive-In Short Reel Theater (July 5, 1934), the Pico Drive-In Theater at Pico and Westwood boulevards in Los Angeles(September 9, 1934) and the Weymouth Drive-In Theatre in Weymouth, Massachusetts (May 6, 1936). In 1937, three more opened in Ohio, Massachusetts and Rhode Island, with another 12 during 1938 and 1939 in California, Florida, Maine, Maryland, Massachusetts, Michigan, New York, Texas and Virginia. Early drive-in theaters had to deal with noise pollution issues. The original Hollingshead drive-in had speakers installed on the tower itself which caused a sound delay affecting patrons at the rear of the drive-in's field. In 1935, the Pico Drive-in Theater attempted to solve this problem by having a row of speakers in front of the cars. In 1941, RCA introduced in-car speakers with individual volume controls which solved the noise pollution issue and provided satisfactory sound to drive-in patrons.
The drive-in's peak popularity came in the late 1950s and early 1960s, particularly in rural areas, with some 4,000 drive-ins spread across the United States. Among its advantages was the fact that a family with a baby could take care of their child while watching a movie, while teenagers with access to autos found drive-ins ideal for dates. Revenue is more limited than regular theaters since showings can only begin at twilight. There were abortive attempts to create suitable conditions for daylight viewing such as large tent structures, but nothing viable was developed.
In the 1950s, the greater privacy afforded to patrons gave drive-ins a reputation as immoral, and they were labeled "passion pits" in the media. During the 1970s, some drive-ins changed from family fare to exploitation films, as a way to offset declining patronage and revenue. Also, during the 1970s, some drive-ins began to show pornographic movies in less family-centered time slots to bring in extra income. This allowed censored materials to be viewed by a wide audience, some for whom viewing was illegal, and it was reliant upon the whims of local ordinances controlling such material. It also required a relatively remote location distant from populated areas such as towns and cities.
Over time, the economics of real estate made the large property areas increasingly expensive for drive-ins to operate successfully. Land became far too valuable for businesses such as drive-ins, which in most cases were summer-only. Widespread adoption of daylight saving time subtracted an hour from outdoor evening viewing time. These changes and the advent of color televisions, VCRs and video rentals led to a sharp decline in the drive-in popularity. Drive-ins were subject to the whim of nature as inclement weather often caused
cancellations. They eventually lapsed into a quasi-novelty status with the remaining handful catering to a generally nostalgic audience, though many drive-ins continue to successfully operate in some areas. By 2013, drive-ins comprised only 1.5 percent of movie screens in the United States. At the industry's height, 25 percent of the nation's movie screens had been in a drive-in. As of 2012, a figure of 368 drive-ins has been published as for how many Drive-Ins remain in use through out the United States.
THIS DRIVE IN THEATER....
opened for business on August 12, 1949. As developed by Courtney Evans, on land owned by Mildred and Albert Steele, the drive-in, in 1949 was quite different than what remains of it today. tod During its first year of operations, two large speakers mounted on opposite sides of the screen broadcast the sound. When conditions were right, it was possible to hear the movie three miles away in the town. When the Steeles' purchased Mr. Evans’ interest in the operation in 1950, the sound system was replaced by in-car speakers.
The original screen was also quite different from the one that still stands today. Transplanted from Camden, New Jersey, it was constructed of fabric and could be raised or lowered on a supporting framework. A well-corroborated story has it, that one night some local boys cut the tethers during a show, sending the screen to the ground just as a plane in the picture went down in flames. This screen was eventually replaced by a rather small but more conventional movie screen, which was succeeded, in 1972, by the steel screen structure that remains today.
While the amenities of public accommodations have changed along with popular expectations, those found along rural roadsides in the 40’s and 50’s were often quite rudimentary by contemporary standards. The facilities featured at this Drive-In Theater during this period were no exception. Until the Roller Rink opened on the premises in 1954, ladies and gentlemen were offered restroom accommodations in outhouses concealed behind a rose trellis. When the adjacent roller rink opened in ‘54, women were offered accommodation inside and the men's outdoor facilities remained until 1968 when separate indoor restrooms were constructed.
During the drive-in’s early years, this states Blue Laws prohibited the exhibition of motion pictures on Sundays. To circumvent these restrictions, the Steeles presented music shows on a stage in front of the screen. Albert’s band, The Blue Hen Ramblers, was a familiar attraction, as was Pollie Peach Tree, a comedy routine between sets, featuring Mildred Steele. Bill Haley performed at the Drive-In, without his Comets, as did Tex Ritter.
In 1966, the Drive-In was leased to a Baltimore-based exhibition circuit for the next 20 years. Disappointed with the results from their initial engagements, R/C Theaters ventured into the burgeoning field of adult entertainment. Though tame by the standards of contemporary features, the adult films of the late 60’s were an instant success at the drive-in. By the mid 80’s, though, even this market had lost its vitality, and as occurred with so many outdoor theaters at the time, and the Drive-In closed its doors in 1986 as audiences migrated to a new generation of indoor theaters and patrons stayed at home choosing movies on cable and video cassette instead.
In 1996, veteran New England drive-in operator Don Brown leased the Drive-In Theater property, renovating and reopening it again and bringing it back to its glory days of mass-appeal drive-in entertainment. But, This would end in November 2008, and the last Movie to screened at this Drive-In was Madagascar 2, this is when the Steeles' heirs opted not to renew the lease in order to put the land on the market.
Much good this did the family as the land, 5 years later still sits Abandoned to this day...
I've always considered spacing material to be as important (well almost) as the printing types. I've saved spacing for years, and finally feel comfortable that I won't run out of any one size in the middle of a job. Now the only size missing in my collection is 5 point - anyone got any spares? I might add that the copper spaces are so light, if dropped they flutter to the floor.
From Frank Herbert's seminal Science Fiction novels in the Dune series interplanetary travel is a closely held monopoly controlled by the elusive spacing guild. At the core of the Guild are the Navigators.
"A Guild Navigator was a senior rank of artificially super-evolved humans within the Spacing Guild and for many Guildsmen the pinnacle of their ambitions. Mutated through the consumption of and exposure to massive amounts of the spice Melange; Navigators are able to use a mentally conditioned and trained form of prescience to safely navigate interstellar and galactic space in long-range starships called Heighliners." Dune Wiki Guild Navigator | Dune Wiki | Fandom
This MOC is build from 1,705 parts and depicts a Navigator, in his tank, being escorted by a group of Guildsmen of various ranks.
"Spacing Signals": the dwarf signals with two white lights are used at HZ only in the station of Zagreb!
(View Full Size)
Just to demonstrate, ths Casio's keyboard spacing is slightly wider than the Yamaha. (one white key / 3 octaves).
Back then I thought they used a same 'mini' standard!
Therefore the Casio has wider mini key and hence, not all mini keys are the same!
Illegal spacing of registration numbers and letters , me thinks !
JO12DSB - BMW 420D Gran 190 Coupe M Sport Auto . First registered 30th-September-2016
Bishop's Stortford , Hertfordshire
Tuesday morning 22nd-March-2022
(Re)Spacing
Mittwoch, 08.05.2024 Kunsthalle Gießen
(Re)Spacing – „A Journey to Share“
Tanzperformances von und mit Pin-Chen Hsu,
Omar Torrico Real & Rose Marie Lindstrøm
Eine Kooperation mit dem Stadttheater Gießen
Die Tänzer*innen des Stadttheaters Gießen setzen sich in zwei miteinander verschränkten Performances mit den Umbrüchen und Vergänglichkeiten verschiedener
Stadien des Lebens auseinander. Damit setzen sie sich zur jüngsten Ausstellung der Kunsthalle Gießen ins Verhältnis,
„A Journey You Take Alone“ der britischen Künstlerin
Emma Talbot.
Kunsthalle Giessen
Copyright: Rolf K. Wegst
Lansium parasiticum, also known as langsat (/ˈlɑːŋsɑːt/) or lanzones, is a species of tree in the Mahogany family. The plant, which originates from western Southeast Asia, bears edible fruit. It is the provincial flower for the Indonesian province of South Sumatra.
Description:
The tree is average sized, reaching 30 meters (98 ft) in height and 75 centimeters (30 in) in diameter. Seedling trees 30 years old planted at 8 x 8 meter spacing can have a height of 10 meters and diameter of 25 cm. The trunk grows in an irregular manner, with its roots showing above ground. The tree's bark is a greyish color, with light and dark spots. Its resin is thick and milk colored.
The pinnately compound leaves are odd numbered, with thin hair, and 6 to 9 buds at intervals. The buds are long and elliptical, approximately 9 to 21 centimeters (3.5 to 8.3 in) by 5 to 10 centimeters (2.0 to 3.9 in) in size. The upper edge shines, and the leaves themselves have pointed bases and tips. The stems of the buds measure 5 to 12 millimeters (0.20 to 0.47 in).
The flowers are located in inflorescences that grow and hang from large branches or the trunk; the bunches may number up to 5 in one place. They are often branched at their base, measure 10 to 30 centimeters (3.9 to 11.8 in) in size, and have short fur. The flowers are small, with short stems, and have two genders. The Sheathe is shaped like a five lobed cup and is colored a greenish-yellow. The corona is egg-shaped and hard, measuring 2 to 3 millimeters (0.079 to 0.118 in) by 4 to 5 millimeters (0.16 to 0.20 in). There is one stamen, measuring 2 millimeters (0.079 in) in length. The top of the stamen is round. The pistil is short and thick.
The fruit can be elliptical, ovoid or round, measuring 2 to 7 centimeters (0.79 to 2.76 in) by 1.5 to 5 centimeters (0.59 to 1.97 in) in size. Fruits look much like small potatoes and are borne in clusters similar to grapes. The larger fruits are on the variety known as duku. It is covered by thin, yellow hair giving a slightly fuzzy aspect. The skin thickness varies with the varieties, from 2 millimeters (0.079 in) to approximately 6 millimeters (0.24 in). The fruit contains 1 to 3 seeds, flat, and bitter tasting; the seeds are covered with a thick, clear-white aril that tastes sweet and sour. The taste has been likened to a combination of grape and grapefruit and is considered excellent by most. The sweet juicy flesh contains sucrose, fructose, and glucose. For consumption, cultivars with small or undeveloped seeds and thick aril are preferred.
Vernacular names:
The tree and its fruit are known under a variety of common names
Balinese: ceruring
Bengali: lotka, bhubi,lotkon(লটকন)
Burmese: langsak, duku
Cebuano: buahan, lansones
English: langsat, lanzones
Khmer: long kong
Indonesian: duku, langsat, kokosan
Malay: langsat, lansa, langseh, langsep, duku, dokong
Sinhalese: gadu guda
Philippine Spanish: lanzón (plural: lanzones)
Tagalog: lansones, buwa-buwa
Thai: langsat (ลางสาด) (for the thin-skinned variety), longkong (ลองกอง) (for the thick-skinned variety)
Vietnamese: dâu da đất, lòn bon, bòn bon
Cultivars:
L. parasiticum sold in a bunch in a roadside stall in West Kutai
There are numerous cultivars of L. parasiticum. Overall, there are two main groups of cultivars, those named duku and those named langsat. There are also mixed duku-langsat varieties.
Those called duku generally have a large crown, thick with bright green leaves, with short bunches of few fruit. The individual fruit are large, generally round, and have somewhat thick skin that does not release sap when cooked. The seeds are small, with thick flesh, a sweet scent, and a sweet or sour alin.
Meanwhile, the variant commonly known as langsat generally has thinner trees, with a less dense crown consisting of dark green leaves and stiff branches. The bunches are longer, and each bunch holds between 15 and 25 large, egg-shaped fruit. The skin is thin and releases a white sap when cooked. The flesh is watery and tastes sweet and sour. Unlike duku, langsat fruit does not last long after being picked. Three days after being picked, the skin blackens; this does not affect the fruit's taste.
L. parasiticum cultivation in Mandi Angin, Rawas Ilir, Musi Rawas.
L. domesticum var. aquaeum is distinguished by its hairy leaves, as well as the tightly packed dark yellow fruit on its bunches. The fruit tends to be small, with thin skin and little sap; the skin is difficult to remove. To be eaten, the fruit is bitten and the flesh sucked through the hole created, or rubbed until the skin breaks and the seeds are retrieved. In Indonesia the fruit has several names, including kokosan, pisitan, pijetan, and bijitan.The seeds are relatively large, with thin, sour flesh.
Reproduction:
The seeds of L. parasiticum are polyembryonic, the multiple embryos resulting from apomixis.The apomictic embryos are formed from the parent's tissue and have the same genetic make up. The seeds are also recalcitrant, with quick deterioration in fertility after seven days.
L. parasiticum is traditionally reproduced by spreading seedlings, either cultivated or collected from below the tree. It has been said that new seedlings require 20 to 25 years to bear fruit, with the possibility of the quality being inferior. However other sources quote 12 years to first production from seed and no variations. Production often varies from year to year, and depends to some extent on having a dry period to induce flowering. One example of ten trees in Costa Rica about twenty-five years old produced during five years the following weights of salable fruits: 2008: 50 kilos, 2009: 2000 kilos, 2010: 1000 kilos, 2011: 100 kilos, 2012: 1500 kilos. Experiments in the Philippines with grafting where two trees are planted close to each other and then grafted when one to two meters tall to leave twin root systems on a single main trunk have resulted in earlier and less erratic fruit production.
Another common method is by air layering. Although the process requires up to several months, the new rooted tree produced is itself ready to bear fruit within two years. Trees cultivated with this method have a high death rate, and the growths are less resilient.
The third common way to reproduce L. parasiticum is with grafting. This results in the new trees having the same genetic characteristics as their parent, and being ready to bear fruit within 5 to 6 years. The offspring are relatively stronger than transplanted shoots.
Ecology:
A L. parasiticum agroforest in Mandi Angin, Rawas Ilir, Musi Rawas.
L. parasiticum grows well in mixed agroforests. The plant, especially the duku variant, prefers damp, shaded areas. It can be grown in the same agroforest as durian, petai, and jengkol, as well as wood-producing trees.[
L. parasiticum is grown from low grounds up to heights of 600 metres (2,000 ft) above sea level, in areas with an average rainfall of 1,500 to 2,500 millimetres (59 to 98 in) a year. The plant can grow and blossom in latosol, yellow podzol, and alluvium.[11] The plant prefers slightly acidic soil with good drainage and rich in mulch. The langsat variant is hardier, and can weather dry seasons with a little shade and water. The plant cannot handle floods.
L. parasiticum generally bears fruit once a year. This period can vary between areas, but blooming is generally after the beginning of the rainy season and fruit production some four months later.
Distribution:
Lansium parasiticum was originally native to Southeast Asia. It grows wild in Sumatra forests where a wide and longest river in Indonesia lay across the southern part of Sumatra. The river rises and floods the forest lands for a few months, when it subsides, the flood leaves plenty of fallen leaves and twigs enriching and moistening a large area of the forest bed, resulting in ideal conditions for the plant to grow naturally. Local people will come and harvest it as natural forest produce. They climb up the tree with ripe fruits (after observing it), holding with their hands on the smaller branches and shaking it. Mature fruits will fall easily down to the ground. They will then collect it and transport it on a small boat on a nearby river to the villages and sell it. In a good year a 20-year-old tree can produce 100 kg of fruits, however fruiting is often uneven.
Agriculturally, the tree is grown throughout the entire Southeast asian region, ranging from Southern India to the Philippines for its fruit. In the Philippines, where it is locally referred to as the lanzones or langsa, the plant is grown mostly on the southern parts of the island of Luzon, especially in Paete, Laguna, due to the species' narrow range of conditions favorable to its survival. It is also found in abundance on Northern Mindanao particularly in places as Butuan, Cagayan de Oro, and Camiguin. The Camiguin variety is especially sweet and succulent.
In Indonesia, Langsat is very popular fruit in West Kalimantan (Pontianak, Indonesia), Sulawesi and South Sumatra (also called 'Duku'). In Sarawak, northern Borneo, the name Duku is reserved for the larger-sized varieties of Langsat, near the size of golf balls, claimed sweeter and with less sap in the peel. A variety called Dokong exported to mainland Malaysia from Thailand (this variety is called 'Longkong' Thai: ลองกอง in Thailand) grows tighter in the clusters, giving it a faceted shape, and is preferred by many over the standard Langsat.
Within mainland Asia, the tree is cultivated in Thailand (Thai: ลางสาด, langsat), Cambodia, Vietnam, India, and Malaysia. Outside the region, it has also been successfully transplanted and introduced to Hawaii and Surinam. It grows well in the wetter areas (120 inches/3 meters or more annual rainfall) of Costa Rica, where it is still very rare, having been introduced decades ago by the United Fruit Company. A major hindrance to its acceptance seems to be that it is very slow in bearing, said to take 12 years or more from seed. However, air layering from mature trees, as well as grafting, are said to work well and produce much faster.
Uses:
Peeled L. parasiticum, showing the clear-white aril around the seed.
L. parasiticum is cultivated mainly for its fruit, which can be eaten raw. The fruit can also be bottled in syrup. The wood is hard, thick, heavy, and resilient, allowing it to be used in the construction of rural houses.
Some parts of the plant are used in making traditional medicine. The bitter seeds can be pounded and mixed with water to make a dewormingand ulcer medication. The bark is used to treat dysentery and malaria; the powdered bark can also be used to treat scorpion stings. The fruit's skin is used to treat diarrhea, and in the Philippines the dried skin is burned as a mosquito repellent. The skin, especially of the langsatvariety, can be dried and burned as incense.
The greatest producers of Lansium parasiticum are Malaysia, Thailand, the Philippines and Indonesia. The production is mostly for internal consumption, although some is exported to Singapore and Hong Kong.
Testing my FakMatic cartridge in a Kodak Instamatic 500. Three shots at first with lens covered, then one between shots gets the spacing right on the 35mm film
Gemeentemuseum Den Haag. Artist: Sol LeWitt, 1982/83/2000
Wall Drawing no. 373, Lines in Four Directions (equal spacing on unequal walls), 1982/83/2000, zwarte inkt op wand (publiekstrap)
Bildüberlappungen / Film spacing KIEV 60
Das überlappen der Bilder ist ein weit verbreitetes Problem bei der KIEV 60.
Vermutlich haben die neuen (oder einige, wie z.B. KODAK Ektar) Filme ein dünneres Rückpapier als z.B.Sovietfilme die ein dickeres Papier oder/und dickere Spulen haben.......Folge: Die KIEV transportiert den Film zu kurz!
Folgende Schritte haben bei mir geholfen:
1. Film einlegen und bis zur Startmarkierung “spulen”
2. Filmtransporthebel zwei mal betätigen
3. Rückwand einen kleinen Spalt öffnen, bis das Bildzählwerk zurückspringt (am besten im Schatten oder dunklem).
4. Betätige den Filmtransporthebel zwei mal.
Jetzt kannst du “normal” weiter fotografieren (hoffentlich ohne Überlappungen).
Allerdings beginnt die erste Aufnahme nicht bei “1”, sondern bei einem Punkt im Zählwerk.
Filmende ist nun bei Bild “10”.
Wem das nicht “elegant” genug ist...
Im Internet findest du Anleitungen den Filmschritt zu justieren. Anleitungen findest du z.B. unter den Suchbegriff “kiev60 calibration”!
Viel Glück und Erfolg, aber natürlich alles ohne Gewähr :)
From Frank Herbert's seminal Science Fiction novels in the Dune series interplanetary travel is a closely held monopoly controlled by the elusive spacing guild. At the core of the Guild are the Navigators.
"A Guild Navigator was a senior rank of artificially super-evolved humans within the Spacing Guild and for many Guildsmen the pinnacle of their ambitions. Mutated through the consumption of and exposure to massive amounts of the spice Melange; Navigators are able to use a mentally conditioned and trained form of prescience to safely navigate interstellar and galactic space in long-range starships called Heighliners." Dune Wiki Guild Navigator | Dune Wiki | Fandom
This MOC is build from 1,705 parts and depicts a Navigator, in his tank, being escorted by a group of Guildsmen of various ranks.
How to add paragraph spacing in Scrivener for Mac OS X.
1. Open the Preferences window, from the Scrivener menu.
2. Click the Formatting tab.
3. Open the Line Spacing popup-menu, and choose the "Other…" option.
4. Set paragraph spacing in the resulting sheet.
To apply your new default settings to the selected documents in the binder, choose "Formatting to Default Text Style…" from the "Convert" submenu in the "Documents" menu.
STOCK CONDITION This photo above presents the original Macintosh logic board with 128k of RAM and the 64k ROM, designed by Burrell Smith at Apple. The board was housed inside a stock Macintosh 128k, serial number F4060B5M0001 built the 6th week of 1984. The two ROM chips show part numbers: 342-0220-A & 342-0221-A.
HISTORY For a fascinating look into the design of this first Mac, I highly recommend this Feb. 1984 Byte magazine article, An Interview: The Macintosh Design Team. Steve Jobs, Bill Atkinson, Andy Hertzfeld, Larry Kenyon, Joanna Hoffman, Burrell Smith, Dave Egner, Chris Espinosa, Steve Capps, Jerry Manock, and Bruce Horn reveal how their magical computing innovation was born. Numerous in-depth stories on the making of the Mac can be found at Andy Hertzfeld's Folklore site.
MAINTENANCE With most 128k logic boards now over 25 years old, it is necessary to replace all 3 axial electrolytic capacitors used to ensure proper operating performance:
C22 (black) = 4.7uF, 35V, Axial, D=5.2mm, L=12.6mm, Lead Spacing=20mm (Tantalum replacement: 173D475X9050X)
C5 & C20 (blue) = 33uF, 16V, Axial, D=5.2mm, L=12.6mm, Lead Spacing=20mm (Tantalum replacement: T322E336K025AT. Alternatively, you can use lower cost radial electrolytic capacitors with their legs spread: UPV1V330MGD1TA.)
Axial Tantalum replacements are the most attractive looking and they will last the life of the circuit board, but they are also expensive. If you want replacement capacitors that are much lower cost and that will not need to be replaced for another 20 years, Radial aluminum electrolytic capacitors rated at 5000 hours @105°C will work, and they can be laid flat on the board to fit with their legs spread.
I have a complete list of replacement capacitors for the Analog Boards on my Google Docs Spreadsheet.
Also checkout my video on YouTube: Macintosh 128K~Plus Analog Board Recapping Walkthrough
And don't forget there's a capacitor inside the keyboard that needs to be replaced too. Here's my recommended replacement: 173D105X9050VWE3.
THE HISTORY OF THE DRIVE IN THEATER:
The DRIVE IN THEATER was the creation of Camden, New Jersey, chemical company magnate Richard M. Hollingshead, Jr., whose family owned and operated the R.M. Hollingshead Corporation chemical plant in Camden. In 1932, Hollingshead conducted outdoor theater tests in his driveway at 212 Thomas Avenue in Riverton. After nailing a screen to trees in his backyard, he set a 1928 Kodak projector on the hood of his car and put a radio behind the screen, testing different sound levels with his car windows down and up. Blocks under vehicles in the driveway enabled him to determine the size and spacing of ramps so all automobiles could have a clear view of the screen. Following these experiments, he applied August 6, 1932, for a patent of his invention, and he was given U.S. Patent 1,909,537 on May 16, 1933.
Hollingshead's drive-in opened in New Jersey June 6, 1933, on Admiral Wilson Boulevard at the Airport Circle in Pennsauken, a short distance from Cooper River Park. It offered 400 slots and a 40 by 50 ft (12 by 15 m) screen. He advertised his drive-in theater with the slogan, "The whole family is welcome, regardless of how noisy the children are." The first film shown was the Adolphe Menjou film Wife Beware. The facility only operated three years, but during that time the concept caught on in other states. The April 15, 1934, opening of Shankweiler's Auto Park in Orefield, Pennsylvania, was followed by Galveston's Drive-In Short Reel Theater (July 5, 1934), the Pico Drive-In Theater at Pico and Westwood boulevards in Los Angeles(September 9, 1934) and the Weymouth Drive-In Theatre in Weymouth, Massachusetts (May 6, 1936). In 1937, three more opened in Ohio, Massachusetts and Rhode Island, with another 12 during 1938 and 1939 in California, Florida, Maine, Maryland, Massachusetts, Michigan, New York, Texas and Virginia. Early drive-in theaters had to deal with noise pollution issues. The original Hollingshead drive-in had speakers installed on the tower itself which caused a sound delay affecting patrons at the rear of the drive-in's field. In 1935, the Pico Drive-in Theater attempted to solve this problem by having a row of speakers in front of the cars. In 1941, RCA introduced in-car speakers with individual volume controls which solved the noise pollution issue and provided satisfactory sound to drive-in patrons.
The drive-in's peak popularity came in the late 1950s and early 1960s, particularly in rural areas, with some 4,000 drive-ins spread across the United States. Among its advantages was the fact that a family with a baby could take care of their child while watching a movie, while teenagers with access to autos found drive-ins ideal for dates. Revenue is more limited than regular theaters since showings can only begin at twilight. There were abortive attempts to create suitable conditions for daylight viewing such as large tent structures, but nothing viable was developed.
In the 1950s, the greater privacy afforded to patrons gave drive-ins a reputation as immoral, and they were labeled "passion pits" in the media. During the 1970s, some drive-ins changed from family fare to exploitation films, as a way to offset declining patronage and revenue. Also, during the 1970s, some drive-ins began to show pornographic movies in less family-centered time slots to bring in extra income. This allowed censored materials to be viewed by a wide audience, some for whom viewing was illegal, and it was reliant upon the whims of local ordinances controlling such material. It also required a relatively remote location distant from populated areas such as towns and cities.
Over time, the economics of real estate made the large property areas increasingly expensive for drive-ins to operate successfully. Land became far too valuable for businesses such as drive-ins, which in most cases were summer-only. Widespread adoption of daylight saving time subtracted an hour from outdoor evening viewing time. These changes and the advent of color televisions, VCRs and video rentals led to a sharp decline in the drive-in popularity. Drive-ins were subject to the whim of nature as inclement weather often caused
cancellations. They eventually lapsed into a quasi-novelty status with the remaining handful catering to a generally nostalgic audience, though many drive-ins continue to successfully operate in some areas. By 2013, drive-ins comprised only 1.5 percent of movie screens in the United States. At the industry's height, 25 percent of the nation's movie screens had been in a drive-in. As of 2012, a figure of 368 drive-ins has been published as for how many Drive-Ins remain in use through out the United States.
THIS DRIVE IN THEATER....
opened for business on August 12, 1949. As developed by Courtney Evans, on land owned by Mildred and Albert Steele, the drive-in, in 1949 was quite different than what remains of it today. tod During its first year of operations, two large speakers mounted on opposite sides of the screen broadcast the sound. When conditions were right, it was possible to hear the movie three miles away in the town. When the Steeles' purchased Mr. Evans’ interest in the operation in 1950, the sound system was replaced by in-car speakers.
The original screen was also quite different from the one that still stands today. Transplanted from Camden, New Jersey, it was constructed of fabric and could be raised or lowered on a supporting framework. A well-corroborated story has it, that one night some local boys cut the tethers during a show, sending the screen to the ground just as a plane in the picture went down in flames. This screen was eventually replaced by a rather small but more conventional movie screen, which was succeeded, in 1972, by the steel screen structure that remains today.
While the amenities of public accommodations have changed along with popular expectations, those found along rural roadsides in the 40’s and 50’s were often quite rudimentary by contemporary standards. The facilities featured at this Drive-In Theater during this period were no exception. Until the Roller Rink opened on the premises in 1954, ladies and gentlemen were offered restroom accommodations in outhouses concealed behind a rose trellis. When the adjacent roller rink opened in ‘54, women were offered accommodation inside and the men's outdoor facilities remained until 1968 when separate indoor restrooms were constructed.
During the drive-in’s early years, this states Blue Laws prohibited the exhibition of motion pictures on Sundays. To circumvent these restrictions, the Steeles presented music shows on a stage in front of the screen. Albert’s band, The Blue Hen Ramblers, was a familiar attraction, as was Pollie Peach Tree, a comedy routine between sets, featuring Mildred Steele. Bill Haley performed at the Drive-In, without his Comets, as did Tex Ritter.
In 1966, the Drive-In was leased to a Baltimore-based exhibition circuit for the next 20 years. Disappointed with the results from their initial engagements, R/C Theaters ventured into the burgeoning field of adult entertainment. Though tame by the standards of contemporary features, the adult films of the late 60’s were an instant success at the drive-in. By the mid 80’s, though, even this market had lost its vitality, and as occurred with so many outdoor theaters at the time, and the Drive-In closed its doors in 1986 as audiences migrated to a new generation of indoor theaters and patrons stayed at home choosing movies on cable and video cassette instead.
In 1996, veteran New England drive-in operator Don Brown leased the Drive-In Theater property, renovating and reopening it again and bringing it back to its glory days of mass-appeal drive-in entertainment. But, This would end in November 2008, and the last Movie to screened at this Drive-In was Madagascar 2, this is when the Steeles' heirs opted not to renew the lease in order to put the land on the market.
Much good this did the family as the land, 5 years later still sits Abandoned to this day...
my contribution to the book, the original sea-hi famous chinese food (chinese restaurant) neon sign and frontage.
THE HISTORY OF THE DRIVE IN THEATER:
The DRIVE IN THEATER was the creation of Camden, New Jersey, chemical company magnate Richard M. Hollingshead, Jr., whose family owned and operated the R.M. Hollingshead Corporation chemical plant in Camden. In 1932, Hollingshead conducted outdoor theater tests in his driveway at 212 Thomas Avenue in Riverton. After nailing a screen to trees in his backyard, he set a 1928 Kodak projector on the hood of his car and put a radio behind the screen, testing different sound levels with his car windows down and up. Blocks under vehicles in the driveway enabled him to determine the size and spacing of ramps so all automobiles could have a clear view of the screen. Following these experiments, he applied August 6, 1932, for a patent of his invention, and he was given U.S. Patent 1,909,537 on May 16, 1933.
Hollingshead's drive-in opened in New Jersey June 6, 1933, on Admiral Wilson Boulevard at the Airport Circle in Pennsauken, a short distance from Cooper River Park. It offered 400 slots and a 40 by 50 ft (12 by 15 m) screen. He advertised his drive-in theater with the slogan, "The whole family is welcome, regardless of how noisy the children are." The first film shown was the Adolphe Menjou film Wife Beware. The facility only operated three years, but during that time the concept caught on in other states. The April 15, 1934, opening of Shankweiler's Auto Park in Orefield, Pennsylvania, was followed by Galveston's Drive-In Short Reel Theater (July 5, 1934), the Pico Drive-In Theater at Pico and Westwood boulevards in Los Angeles(September 9, 1934) and the Weymouth Drive-In Theatre in Weymouth, Massachusetts (May 6, 1936). In 1937, three more opened in Ohio, Massachusetts and Rhode Island, with another 12 during 1938 and 1939 in California, Florida, Maine, Maryland, Massachusetts, Michigan, New York, Texas and Virginia. Early drive-in theaters had to deal with noise pollution issues. The original Hollingshead drive-in had speakers installed on the tower itself which caused a sound delay affecting patrons at the rear of the drive-in's field. In 1935, the Pico Drive-in Theater attempted to solve this problem by having a row of speakers in front of the cars. In 1941, RCA introduced in-car speakers with individual volume controls which solved the noise pollution issue and provided satisfactory sound to drive-in patrons.
The drive-in's peak popularity came in the late 1950s and early 1960s, particularly in rural areas, with some 4,000 drive-ins spread across the United States. Among its advantages was the fact that a family with a baby could take care of their child while watching a movie, while teenagers with access to autos found drive-ins ideal for dates. Revenue is more limited than regular theaters since showings can only begin at twilight. There were abortive attempts to create suitable conditions for daylight viewing such as large tent structures, but nothing viable was developed.
In the 1950s, the greater privacy afforded to patrons gave drive-ins a reputation as immoral, and they were labeled "passion pits" in the media. During the 1970s, some drive-ins changed from family fare to exploitation films, as a way to offset declining patronage and revenue. Also, during the 1970s, some drive-ins began to show pornographic movies in less family-centered time slots to bring in extra income. This allowed censored materials to be viewed by a wide audience, some for whom viewing was illegal, and it was reliant upon the whims of local ordinances controlling such material. It also required a relatively remote location distant from populated areas such as towns and cities.
Over time, the economics of real estate made the large property areas increasingly expensive for drive-ins to operate successfully. Land became far too valuable for businesses such as drive-ins, which in most cases were summer-only. Widespread adoption of daylight saving time subtracted an hour from outdoor evening viewing time. These changes and the advent of color televisions, VCRs and video rentals led to a sharp decline in the drive-in popularity. Drive-ins were subject to the whim of nature as inclement weather often caused
cancellations. They eventually lapsed into a quasi-novelty status with the remaining handful catering to a generally nostalgic audience, though many drive-ins continue to successfully operate in some areas. By 2013, drive-ins comprised only 1.5 percent of movie screens in the United States. At the industry's height, 25 percent of the nation's movie screens had been in a drive-in. As of 2012, a figure of 368 drive-ins has been published as for how many Drive-Ins remain in use through out the United States.
THIS DRIVE IN THEATER....
opened for business on August 12, 1949. As developed by Courtney Evans, on land owned by Mildred and Albert Steele, the drive-in, in 1949 was quite different than what remains of it today. tod During its first year of operations, two large speakers mounted on opposite sides of the screen broadcast the sound. When conditions were right, it was possible to hear the movie three miles away in the town. When the Steeles' purchased Mr. Evans’ interest in the operation in 1950, the sound system was replaced by in-car speakers.
The original screen was also quite different from the one that still stands today. Transplanted from Camden, New Jersey, it was constructed of fabric and could be raised or lowered on a supporting framework. A well-corroborated story has it, that one night some local boys cut the tethers during a show, sending the screen to the ground just as a plane in the picture went down in flames. This screen was eventually replaced by a rather small but more conventional movie screen, which was succeeded, in 1972, by the steel screen structure that remains today.
While the amenities of public accommodations have changed along with popular expectations, those found along rural roadsides in the 40’s and 50’s were often quite rudimentary by contemporary standards. The facilities featured at this Drive-In Theater during this period were no exception. Until the Roller Rink opened on the premises in 1954, ladies and gentlemen were offered restroom accommodations in outhouses concealed behind a rose trellis. When the adjacent roller rink opened in ‘54, women were offered accommodation inside and the men's outdoor facilities remained until 1968 when separate indoor restrooms were constructed.
During the drive-in’s early years, this states Blue Laws prohibited the exhibition of motion pictures on Sundays. To circumvent these restrictions, the Steeles presented music shows on a stage in front of the screen. Albert’s band, The Blue Hen Ramblers, was a familiar attraction, as was Pollie Peach Tree, a comedy routine between sets, featuring Mildred Steele. Bill Haley performed at the Drive-In, without his Comets, as did Tex Ritter.
In 1966, the Drive-In was leased to a Baltimore-based exhibition circuit for the next 20 years. Disappointed with the results from their initial engagements, R/C Theaters ventured into the burgeoning field of adult entertainment. Though tame by the standards of contemporary features, the adult films of the late 60’s were an instant success at the drive-in. By the mid 80’s, though, even this market had lost its vitality, and as occurred with so many outdoor theaters at the time, and the Drive-In closed its doors in 1986 as audiences migrated to a new generation of indoor theaters and patrons stayed at home choosing movies on cable and video cassette instead.
In 1996, veteran New England drive-in operator Don Brown leased the Drive-In Theater property, renovating and reopening it again and bringing it back to its glory days of mass-appeal drive-in entertainment. But, This would end in November 2008, and the last Movie to screened at this Drive-In was Madagascar 2, this is when the Steeles' heirs opted not to renew the lease in order to put the land on the market.
Much good this did the family as the land, 5 years later still sits Abandoned to this day...
Look who’s back, its CX02 EGF (60040)! Now looking very different to before, well at the front anyway. A short list:
1. Repainted are the following: Bumper door area, above windscreen (Including first section of roof), below windscreen (half of it).
2. Half the windscreen has been replaced
3. Strange alignment and font for the 'School Bus - Bws Ysgol' sticker(s)
4. Fleet number in same font as above and placed in same place as 60036 and like 60036 doesn’t have the 'School Bus Sign'. On the same panel which has been repainted they haven’t pained over the black handle to open it like most of the other repaints have.
5. The left hand side of the bus left the same, so the original 'Wrexham CBC' vinyl still lives on.
6. It’s actually a new round mirror by the door as it has a different way of joining onto the pole, which was bent some time ago and hasn’t been straightened.
7. Interestingly, but not in this picture, is the fact that they have replaced the small 60040 fleet number by the door, which was randomly and oddly there before, why they did that I am not too sure. 16/10/11