View allAll Photos Tagged competitive_pricing
Sometimes you see pictures online and you get that feeling: I gotta go there!
Mission to Mars was one of these locations. But when I was there I felt like visiting a awkward garden. Cause that's what it is. No wow factor but liked the cube shaped greenhouses anyway.
Please visit www.preciousdecay.com for more pictures and follow me on Facebook on www.facebook.com/Preciousdecay
If you are interesting in buying one of my pieces, please contact me by personal message. I can print on various materials and issue limited numbers per image against competitive prices.
See more car pics on my facebook page!
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The Jaguar E-Type (UK) or XK-E (US) is a British automobile, manufactured by Jaguar between 1961 and 1975. Its combination of good looks, high performance, and competitive pricing established the marque as an icon of 1960s motoring. A great success for Jaguar, more than 70,000 E-Types were sold during its lifespan.
Open headlights without glass covers, a wrap-around rear bumper, re-positioned and larger front indicators and tail lights below the bumpers, better cooling aided by an enlarged "mouth" and twin electric fans, and uprated brakes are hallmarks of Series 2 cars. De-tuned in US with twin strombergs and larger valve clearances, but still with triple SUs in the UK and the much tighter valve clearances, the engine is easily identified visually by the change from smooth polished cam covers to a more industrial "ribbed" appearance. Late Series 1½ cars also had ribbed cam covers. The interior and dashboard were also redesigned, with rocker switches that met US health and safety regulations being substituted for toggle switches. The dashboard switches also lost their symmetrical layout. New seats were fitted, which purists claim lacked the style of the originals but were certainly more comfortable. Air conditioning and power steering were available as factory options.
Production according to Graham is 13,490 of all types.
(Wikipedia)
Go North East's Deptford-based "Black Cats" branded Scania L94UB/Wright Solar 5213 (NK54 NVH) is pictured here on Pennywell Road, Sunderland, whilst working "Black Cats" service 39 to Doxford Park. 05/06/17
This vehicle has recently received "Black Cats" branding. "Black Cats" is the new brand identity being introduced to encompass a variety of different frequent services in and around the city of Sunderland, promoting the cheap and competitively priced day and weekly tickets available for travel in the city (£3.65 for a day ticket, and £12.15 for a weekly ticket).
See more car pics on my facebook page!
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The Jaguar E-Type (UK) or XK-E (US) is a British automobile, manufactured by Jaguar between 1961 and 1975. Its combination of good looks, high performance, and competitive pricing established the marque as an icon of 1960s motoring. A great success for Jaguar, more than 70,000 E-Types were sold during its lifespan.
Open headlights without glass covers, a wrap-around rear bumper, re-positioned and larger front indicators and tail lights below the bumpers, better cooling aided by an enlarged "mouth" and twin electric fans, and uprated brakes are hallmarks of Series 2 cars. De-tuned in US with twin strombergs and larger valve clearances, but still with triple SUs in the UK and the much tighter valve clearances, the engine is easily identified visually by the change from smooth polished cam covers to a more industrial "ribbed" appearance. Late Series 1½ cars also had ribbed cam covers. The interior and dashboard were also redesigned, with rocker switches that met US health and safety regulations being substituted for toggle switches. The dashboard switches also lost their symmetrical layout. New seats were fitted, which purists claim lacked the style of the originals but were certainly more comfortable. Air conditioning and power steering were available as factory options.
Production according to Graham is 13,490 of all types.
(Wikipedia)
As part of the Pinta Malasaña 2020 Art Project numerous examples of Urban Art have been incorporated into the decoration of the Market.
Located in the Plaza de los Mostenses, it is one of the city’s oldest markets. Built in 1946, much has changed since then. Today, its hallmark is undoubtedly its formidable mixture of cultures, gastronomy and food from the four compass points. East and west, north and south are represented in this central market, behind the Gran Vía, where we can find everything from Iranian caviar to a full range of the most exotic tropical fruit from South America.
The history of the Los Mostenses Market (which takes its name from the square in which it is held referring to St. Norbert’s Convent of the Premonstratensian or Montenses monks, who lived there until its demolition in 1810), is parallel to that of the Gran Vía. Behind it, inside a rationalist-style building, there is a market that has grown naturally.
Los Mostenses Market is a living organism combining the essential – a wide range of fresh products at competitive prices – with the unexpected: plenty of Korean products, a Chinese darner or an Iranian caviar dispensary. The market boasts more than one hundred stalls, spread out over three floors or located at street level, which are home to a wide spectrum of the food business – with a large representation of Latin American and oriental gastronomy – and it offers various services: hairdresser’s, reprography, florist’s...
(from left) My Scene Barbie china cabinet with RE-MENT china set (top shelf), beads (middle) and custom painted Barbie My Scene stereo and lamp; cruelty-free (and pet-friendly!) zebra "skin" rug from inkjet printed fabric glued on black felt base, vintage Allan head on VOLKS articulated body in vintage houndstooth sportcoat and fashion, repainted black flea market picture frames with added magnetic backing, custom inkjet printed pillows based on Jonathan Adler designs, Barbie My Scene repainted coffee table and RE-MENT tea set, vintage Barbie Go-Togethers end table with custom printed tabletop liner, white enamelled metal dollhouse birdcage (severed from original attached table bottom, lined with felt), Hobby Lobby photo frame chair, Silkstone Lingerie #3 Barbie doll in I Love Lucy Barbie fashion, Haute Traveler Susie doll in handmade reproduction Francie Japanese exclusive fashion by Joan Hudson; black and white wallpaper scanned in from fabric and printed on my Epson panoramic photo printer (about 3 pieces of 13x19 inch paper fitted together for each room width).
I have been getting all my new RE-MENT from Priscilla Wardlow at
as she has competitive prices, great selection, fast shipping and wonderful customer service.
McAllen/Miller International Airport for car Week in Monterey.
The Mercedes-Benz 300SL was the first iteration of the SL-Class grand tourer convertibles and fastest production car of its day. Internally numbered W198, it was introduced in 1954 as a two-seat sports car with distinctive gull-wing doors and later offered as an open roadster.
Built by Daimler-Benz AG, the fuel-injected production model was based on the company's highly successful yet somewhat less powerful carbureted 1952 race car, the Mercedes-Benz 300SL (W194).
The Jaguar E-Type (a.k.a. Jaguar XK-E) is a British sports car, which was manufactured by Jaguar Cars Ltd between 1961 and 1975. Its combination of good looks, high performance and competitive pricing established the marque as an icon of 1960s motoring. More than 70,000 E-Types were sold.
In March 2008, the Jaguar E-Type ranked first in a The Daily Telegraph online list of the world's "100 most beautiful cars" of all time.
In 2004, Sports Car International magazine placed the E-Type at number one on their list of Top Sports Cars of the 1960s.
Haynes can trace its origins to 1790 when the business was founded as an ironmongery and general store in the Edgware Road, London (now the site of the Metropole Hotel). In 1832 William Haynes took the two or three-day journey to Maidstone and went into partnership with John Gurney who had acquired an ironmongery business in 1817 on the corner of Week Street and Kings Street in Maidstone, which had been known to be trading there since 1771.
The Gurney and Haynes partnership continued until 1856 when John Gurney retired from the business and William Haynes bought his shares and took control. In 1857 William Haynes took into the business his eldest son, William Haynes, and traded in the name of Haynes & Son until 1863 when George Haynes, the second son, joined as a partner and it became Haynes & Sons. From the records that remain, the business expanded under the management of the father and his two sons, serving a large area of Mid and West Kent and part of East Sussex.
The business had active workshops and specialised in amongst other things, agricultural ironmongery, heating installations, kitchen ranges and developing patents. It secured important trading connections with the rising industries in the Maidstone area – paper mills, breweries and cement works. In 1872, following the death of William Haynes, the Company changed its name to Haynes Brothers – the name of the Holding Company today. The business continued to expand and with the advent of electricity the Company set up its own electrical contracting department. Additionally, with the introduction of the 'Penny Farthing' cycle, the Company capitalised on the boom in the 1890s in the cycle market.
Motorcycles followed and in 1903 the firm sold its first motor car – a Humber, and so the motor business was born with agencies for Daracq, DeDion, Sunbeam and the American Hupmobile. To house the expanding motor business additional premises were bought in 1906 in King Street. In 1894 the sons of George Haynes, Bernard and another William Haynes joined the Company, the third generation and two years later became a Limited company.
In 1911 one of the most significant events in the Company’s long history took place. Bernard Haynes was taken for a demonstration ride in a Model T Ford and was so impressed with its performance up Boxley Hill together with its competitive price that he ordered one immediately at a cost of £180. From this small beginning started the firm’s long connection with Ford Motor Company as one of their main distributors, the first in Kent and the 12th in the UK. In 1922 Ronald Haynes (eldest son of Bernard) joined the Company after studying at Cambridge and training with Ford Motor Company and he played an important role in the expansion of the developing motor business. He was joined by his brother Philip in 1928 and both became Directors in 1936.
Together they expanded the business and also bought the first 1¼ acres of the Company’s current 5 acres Ashford Road site. As times changed, the Company took the decision to focus on its motor and agricultural business acquiring a site in Parkwood, Maidstone in 1966 for its agricultural operation and body and paint division. This initiative was lead by David Haynes, son of Ronald, and then the fifth generation of the Haynes family to run the business, who joined the Company in 1953 and became Managing Director in 1966.
Under the leadership of David Haynes, the business again expanded significantly and included the opening up of an agricultural depot in 1962 at Appledore and a further depot at Eastry in 1992. Additionally, the Company began its long association with motorsport as David Haynes, a former successful saloon car driver for the Ford Willment team, took the decision to sponsor John Taylor in his Ford Escort in the widely televised and popular rally sports series in the 1970s, and who became the first European Rally Cross Champion.
In 2000, David Haynes’ son, Andrew Haynes, took over as Managing Director. In 2009 he took on the additional role of Chairman making him the sixth generation of the Haynes family to run the business. In 2021, to help spearhead the Company’s future growth, he took the decision to appoint the Company’s former Finance and Commercial Director, James Broadley, as Group Managing Director, with him becoming Chairman and CEO.
Since 2000 the Company has expanded significantly again and now operates with branches at Winchester, Newbury, Horsham, Uckfield, Wrotham Heath, Great Chart, Birchington and Ashford with its Head Office, Ford Transit-Centre, Accident Repair Centre and a new upgraded FordStore showroom situated on an expanded 5-acre site at Ashford Road in Maidstone. Today its major franchises include Ford, Iveco, New Holland, Case IH, JCB & Fiat Professional Commercials and with a staff of just under 340 the Company has sales in excess of £100 million
Opened for business in 1862, the Bury St Edmunds Corn Exchange was a grand building where traders exchanged cereal crops. A decline in prices and trading eventually saw much of the building, in time, given over to other shop merchants. It still looks imposing today. I was pretty surprised to find that it's mainly a JD Wetherspoon pub. Competitive prices etc.
The pub chain actually put in a substantial amount of renovation works and restored some of the original features. So, after my initial surprise at this beautiful landmark becoming a pub, it seems that everyone is a winner in this case. Well done Wetherspoons.
Taken with my Fujifilm X-T30 II camera and a XF18-55mm lens.
Mit der Strecke Brasov - Bukarest ist als dritter privater Betreiber die Firma Regio Calatori vor wenigen Wochen mit ehemals französischen Triebwagen angetreten. Zum Bummelzugtarif der Staatsbahn befördert dieses Gefährt seine Reisende relativ fix und komfortabel un die Hauptstadt. Wer dagegen im Erste-Klasse-Wagen auf Gleis drei mit demselben Fahrtziel platz nehmen möchte, muss gut das Dreifache berappen.
*The private romanian operator Regio Calatori started operations between Brasov and Bucharest some weeks ago, using DMUs bought second-hand from France. Offering quite competitive prices, the company is the third peivate operator on the branch besides Softrans (using their seld-made EMU) and Astra TransCarpatic (using DMUs bought from Denmark). R 16034 leaves Brasov central for Bucharest.*
See more car pics on my facebook page!
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The Jaguar E-Type (UK) or XK-E (US) is a British automobile, manufactured by Jaguar between 1961 and 1975. Its combination of good looks, high performance, and competitive pricing established the marque as an icon of 1960s motoring. A great success for Jaguar, more than 70,000 E-Types were sold during its lifespan.
Open headlights without glass covers, a wrap-around rear bumper, re-positioned and larger front indicators and tail lights below the bumpers, better cooling aided by an enlarged "mouth" and twin electric fans, and uprated brakes are hallmarks of Series 2 cars. De-tuned in US with twin strombergs and larger valve clearances, but still with triple SUs in the UK and the much tighter valve clearances, the engine is easily identified visually by the change from smooth polished cam covers to a more industrial "ribbed" appearance. Late Series 1½ cars also had ribbed cam covers. The interior and dashboard were also redesigned, with rocker switches that met US health and safety regulations being substituted for toggle switches. The dashboard switches also lost their symmetrical layout. New seats were fitted, which purists claim lacked the style of the originals but were certainly more comfortable. Air conditioning and power steering were available as factory options.
Production according to Graham is 13,490 of all types.
(Wikipedia)
IKEA dollhouse chest of drawers, white enameled and silver beads and wall ornaments, Barbie lamp, starburst wall mirrors made of foam core circles with metal rings, mylar reflective adhesive paper, and metallic spray-painted toothpicks.
RESOURCE LIST:
Room With A View magnetic diorama
www.cleabella.com/SceneShop.html
Carolyn Allen
Mod-O-Rama Fashion Doll Furniture
cda311@myway.com
Matt Trujillo
Custom OOAK reflocked Ken dolls
rubbermatt2000@yahoo.com
Joan Hudson
Reproduction Francie fashion
jhudson1101@hotmail.com
B&J Fabric (for black and white pattern on wallpaper)
525 Seventh Avenue, 2nd fl at 38th St
New York, NY
(212) 354-8150
TOHO Shoji Bead Store
990 Avenue Of The Americas/36-37th St
New York, NY
(212) 967-2088
RE-MENT Miniatures
I have been getting all my new RE-MENT from Priscilla Wardlow at
as she has competitive prices, great selection, fast shipping and wonderful customer service.
The ELA-4 launch zone at Europe’s Spaceport in French Guiana is currently undergoing reconstruction in preparation for Europe’s Ariane 6 launch vehicle.
In this image you see both the launch pad and, in the background, the steel frame of the mobile gantry.
ESA and European industry are currently developing a new-generation launcher: Ariane 6. This follows the decision taken at the ESA Council meeting at Ministerial level in December 2014, to maintain Europe’s leadership in the fast-changing commercial launch service market while responding to the needs of European institutional missions.
The overarching aim of Ariane 6 is to provide guaranteed access to space for Europe at a competitive price without requiring public sector support for exploitation.
The targeted payload performance of Ariane 6 is over 4.5 t for polar/Sun-synchronous orbit missions at 800 km altitude and the injection of two first-generation Galileo satellites. Ariane 6 can loft a payload mass of 4.5–10.5 tonnes in equivalent geostationary transfer orbit.
The exploitation cost of the Ariane 6 launch system is its key driver. Launch service costs will be halved, while maintaining reliability by reusing the trusted engines of Ariane 5. The first flight is scheduled for 2020.
Credits: ESA - S. Corvaja
Go North East's Deptford-based "Black Cats" branded Scania L94UB/Wright Solar 4992 (YR02 ZYM) is pictured here on Admiral Way, Sunderland, whilst working "Black Cats" service 39 to Pennywell. 05/06/17
This vehicle has recently received "Black Cats" branding. "Black Cats" is the new brand identity being introduced to encompass a variety of different frequent services in and around the city of Sunderland, promoting the cheap and competitively priced day and weekly tickets available for travel in the city (£3.65 for a day ticket, and £12.15 for a weekly ticket).
This English beauty was seen at the Heartland All British Car and Cycle Show held in Merriam Kansas.
History of MGA 1600
The MGA began production in 1955. The styling and mechanics were different from previous MG models. The public had been given hints of its new design during the 1951 Le-Mans 24 Hour endurance race. The car was driven by George Phillips and was actually a TD Midget with body modifications.
The XPAG engine that had power many previous MG's was replaced by a new power plant. This 1489 cc four-cylinder, B-series engine provided between 68 and 72 horsepower. The BMC B-series unit had made its debut in the MG Magnette saloon and proved to be a reliable and powerful engine.
To create enthusiasm for the cars prior to release, three aluminum-bodied prototypes were created and dubbed EX182. They were entered into the Le Man's race where they finished fifth and sixth in their class. This epic achievement gave the MGA racing credibility and mechanical reliability.
The styling of the car was undeniably elegant. Its aerodynamic design and two-seat open-body were stylish and sporty. The vehicle sat very low to the ground providing an excellent center of gravity. This improved handling and cornering ability. The chassis was a modified TD Midget unit with widely spaced side rails allowing for a low-seating position.
In the rear of the vehicle was a spare wheel mounted on the upper portion of the outside of the vehicle. Underneath was adequate trunk space for luggage. At the front of the vehicle sat the engine.
Steel disc wheels were standard equipment but center-locking wire wheels could be substituted at an additional fee. Since the car had an open-top, it was subjected to the elements. A hard-top could be purchased making the vehicle more versatile.
A coupe version quickly followed and offered features such as wind-up windows, soft-top versions, and other amenities that helped appeal to a wider customer base. To stay competitive on the race track, the MGA twin-cam version was introduced in 1958. This high-performance version could be driven to the race track, race, and then be driven home. The engine had been modified with aluminum components, twin overhead camshafts, and dual SU carburetors. These enhancements increased the horsepower rating to 110 and the overall top speed to 115 miles per hour. Disc brakes replaced the drums which not only made the car more competitive, it made it safer. Unfortunately, the vehicle suffered from reliability issues and did not hold up well to the strain of racing. So in 1960, MG discontinued its production.
In 1959, MG introduced the MGA 1600's and offered them in a coupe and open form. These were the standard MGA cars but with 1588 cc B-series pushrod engines. Drum brakes were used in the rear of the vehicle, but disc brakes were placed in the front.
In 1961, the MGA 1600 MKII was introduced. It featured a 1622 cc. B-series engine that was capable of producing 93 horsepower. 100 miles per hour was easily achieved by the MKII. Minor aesthetic changes were made to the front and rear of the vehicle.
In 1962, MG ceased the production of the MGA. Nearly 100,000 examples had been produced during its life span making it the longest-running and best-selling MG. The success of the vehicle was in part to its styling, racing history, performance, and competitive pricing. Many of the MGA's produced were exported to the United States. In the end and after so many years, the MGA was having trouble staying competitive with models offered by other manufacturers.
Source: Coceptcarz
Barbie and fashion doll collector Cindy Whiteside creates beautiful 1:6 scale dioramas and dollhouse interiors in her spacious two bedroom apartment in Brooklyn, NY, photographed April 8, 2006. MANDATORY CREDIT: Photo by Michael Williams/Haute Doll Magazine
BFMC SILKSTONE TOWNHOUSE Dining Room - Wallpaper: Wrapping paper; Floor: checkerboard Contact paper; Furniture: Mostly Sindy, including tableware, with Re-Ment accessories in china cabinet and desk, and unique corner table jewelry box from an antique mall with dollhouse bust and Re-Ment brandy bottles; Dolls: In The Pink
I have been getting all my new RE-MENT from Priscilla Wardlow at
as she has competitive prices, great selection, fast shipping and wonderful customer service.
The Fiat 500, commonly known as "Topolino", is an Italian city car produced and manufactured by Fiat from 1936 to 1955.
The name "Topolino" translates literally as "little mouse" in Italian, but is also the Italian name for Mickey Mouse.
The Topolino was one of the smallest cars in the world at the time of its production. Launched in 1937, three models were produced until 1955, all with only minor mechanical and cosmetic changes. It was equipped with a 569 cc four-cylinder, side-valve, water-cooled engine mounted in front of the front axle, (later an overhead valve motor) and so was a full-scale car rather than a cyclecar. The radiator was located behind the engine which made possible a lowered aerodynamic nose profile at a time when competitors had a flat, nearly vertical grille. The shape of the car's front allowed exceptional forward visibility.
Rear suspension initially used quarter-elliptic rear springs, but buyers frequently squeezed four or five people into the nominally two-seater car, and in later models the chassis was extended at the rear to allow for more robust semi-elliptic springs.
With horsepower of about 13 bhp, its top speed was about 53 mph (85 km/h), and it could achieve about 39.2 miles per US gallon (6.00 L/100 km; 47.1 mpg-imp). The target price given when the car was planned was 5,000 lire. In the event the price at launch was 9,750 lire, though the decade was one of falling prices in several part of Europe and later in the 1930s the Topolino was sold for about 8,900 lire. Despite being more expensive than first envisioned, the car was competitively priced. Nearly 520,000 were sold.
Three models were produced. Model A and B shared the same body, only the engine of model B had 16 hp, vs. 13 hp of Model A. Model A was produced from 1937 to 1948, while B was produced in 1948 and 1949. Model A was offered as a 2-door coupé, 2-door cabriolet and a 2-door van, while Model B also introduced a 3-door estate under the name 500 B Giardinetta ("estate car"). Model C was introduced in 1949 with a restyled body and the same engine as Model B, and was offered in 2-door coupé, 2-door cabriolet, 3-door estate and 2-door van versions. In 1952, Giardinetta was renamed Belvedere ("A turret or other raised structure offering a pleasant view of the surrounding area", referring to its sunroof). Model C was produced until 1955.
In 1955 the larger rear-wheel-drive Fiat 600 was launched by Fiat and that would become the design basis for the new Fiat 500, the Nuova 500.
The 500A is known to be hot rodded, once the car came to America. It was mostly hot rodded to a dragster, or a street rod.
This little FIAT 500 Topolino is certainly the smallest miniland-scale car I have ever built, 7-wide and 17.5 stud long. Nonetheless, the car has rear beam axle suspension and opening engine cover and doors.
[Text from Wikipedia]
en.wikipedia.org/wiki/Fiat_500_%22Topolino%22
This Lego miniland-scale 1947 FIAT 500 Topolino has been created for Flickr LUGNuts' 103rd Build Challenge, titled - 'The Fabulous Forties!' - a challenge for any vehicle produced through the decade of the 1940s.
2013 I’ve vowed to reinvent myself a little bit. Try new things and experiment with different sorts of photography. My wedding business was down last year and whether that was from me raising my prices to accommodate new gear, more experience and higher quality images (which I have since reduced in 2013 to 2010 levels) or because my creativity has become stale, Flickr black-listing me from Explore, or there is more competition from the “I got a new DSLR kit from Costco for Christmas so I’m a professional photographer!” I find the competitive side of me searching more for how to continue to help those who need quality images and competitive prices.
People are generally attracted to photography because it offers a creative outlet and technical challenge of one sort or another. But if that drive to be creative, different and trying new things fade, so will the quality of your work.
So in 2013 I want to try new things. As a recovering metrosexual, I’ve always been fascinated with fashion. Fashion has change dramatically over the past 10 years. Years ago you would never shoot into the sun, that was a big portrait no-no. It was about high contrast, sharp images and not cutting off any limbs at the joints. Rules. Then the influx of digital cameras helped make photographers out of everyone, even those who didn’t follow the rules. And just like when slang becomes accepted as official lexicon, so does different ways of photography. Either you adapt or you fall behind.
So I’m experimenting with models, with my studio, with accepting different gigs (paid and not paid) to expand my horizons and not be so closed-minded when it comes to what I feel is an acceptable way of taking a picture. Like I preach in my classes, “If you like the picture, then it’s a great photograph”
Katie is on Flickr and we hung out a few weeks ago close to sunset in a dry riverbed where she was nice enough to put her camera down and work it for my lens. I was intentionally going for the blown-out, high key look and she was gracious enough to accommodate my silly requests of posing like, “you’re being thrown off a train”
The famous Overell department store was established in Brisbane in 1883 as a small drapery store in Fortitude Valley. Moving to Brisbane from Tasmania, William James Overell had opened the store with Thomas White in premises on the corner of Ann and Warner Streets which had been run as a drapery store since the mid-1860s. The partners bought a 15 perch (379.4m2) block of land fronting Brunswick Street in 1886, but did not occupy the site initially, instead leasing it to tenants. White left the business in 1889, transferring his share of the Brunswick Street site to Overell. Overell renamed the business ‘Overell’ and expanded to additional premises in Queen Street and other stores around southern Queensland. He adopted the motto ‘While we live we grow’ for the store, a statement that proved true over the following decades.
As Overell was branching out, other retailers were looking into the Valley for premises. Thomas Beirne and James McWhirter both started their drapery businesses in the centre of the Valley in the 1890s, with Foy and Gibson following, and the long-established drapers Stewart and Hemmant had a clothing factory constructed on McLachlan Street. The drapers’ stores and their competitive prices played a large role in making the Valley a vital commercial and industrial centre. By the turn of the twentieth century, helped by improvements to public transport and roads, the Valley had become a favourite shopping destination for Brisbane residents.
With the growing commercial importance of the Valley, Overell bought 28.83 perches of land (729.2m2) near the corner of Brunswick and Wickham Streets from the Bank of New South Wales in 1899. The site had a connection with the Brunswick Street property that Overell already owned, though they did not share a street front, giving the block an odd shape. An ‘exceedingly handsome building’ was designed by Addison and Corrie for the site and the firm relocated there in July 1900. The new premises caught fire and burned to the ground in February 1904, causing the death of one man, knocking out power to the trams and destroying the Bank of New South Wales premises next door.
After a dispute with Addison and Corrie, Overell engaged architects Eaton and Bates to design a replacement building. At that time the architectural firm was new to Brisbane, having shifted their Rockhampton practice to Brisbane in 1902, but had promptly designed impressive buildings, including Saint Bridgid’s Convent, Red Hill (1903), Bunburra, Clayfield (1902) and Cremorne, Hamilton (1905). Eaton and Bates also designed Swift’s Building, almost diagonally opposite Overell’s on the Valley corner, as well as the rebuilt Bank of New South Wales building on the corner (no longer extant).
The new three-storey brick building was featured in Brisbane’s newspapers on its opening on the 1st of December 1904. ‘It is a different building which has arisen from the ashes,’ wrote the Telegraph, ‘not perhaps in contour, but there is more light and ventilation, larger departments, finer windows, and generally more convenience from a public point of view.' The fire was credited with the development of the company’s trademark, the Phoenix, with the company’s new building almost literally rising from the ashes. The building had three entrances, with shopping on the ground level, furniture and delivery departments in the basement, and a workshop on the upper floor, where Overell’s ‘Phoenix’ shirts were made. Eight large display windows provided views of Overell’s wares, and a phoenix was displayed on one of three coloured glass windows at the back of the building. Pressed metal ceilings, wide staircases, suites and lunchrooms for the workers and electric lighting were all installed.
Further growth followed the opening of the new building. WJ Overell and Sons was registered as a limited liability company in August 1905, with £30,000 in capital. Factories were established in Spring Hill and South Brisbane. In May 1906 architect Claude Chambers called for tenders for additions and alterations to Overell’s Brunswick Street property. In July, William Overell purchased a further 11.53 perches of land (291.63m2) from the Bank of New South Wales, fronting Wickham Street and with a lane (now called Overells Lane) at the side. Overell’s extension plans were detailed in the Brisbane Courier in August, which noted that the new premises would be fitted with pneumatic cash carrying tubes and fire sprinklers. Plans were approved for brick and iron additions to the Overell premises, this time on Wickham Street, in September, and construction was underway by October. With the Bank of New South Wales still occupying the Wickham and Brunswick Street corner, Overell was unable to dominate the Valley Corner, but the back of the Wickham Street building was connected to the Brunswick Street shops, creating an uninterrupted shopping arcade for customers.
No architect was listed in the register of new buildings in September 1906, though Claude Chambers’ advertisements for tenders suggest that he was engaged to design the building. Chambers’ solo practice was one of the largest in Brisbane, resulting in commercial designs including Finney and Isles’ ‘Big Block’ Building (1908 - 1910) and Perry House on the corner of Elizabeth and Albert Streets (1910 - 1913). He also appears to have known William Overell personally, as both were active members of the Booroodabin Bowling Club in the early 1900s.
In March 1907 Overell held a sale to celebrate the opening of the new Wickham Street building. A kiosk provided free tea and biscuits to shoppers. The expansion enabled Overell to divide the store into departments, with the Wickham Street side devoted to male clothing while the Brunswick Street building sold women’s apparel and accessories. By 1910, Overell’s comprised twenty departments in the Valley store, and the company had branches in Charleville, Laidley and Pittsworth.
Further renovations were undertaken on Overell’s buildings in 1911. An extra storey was added to the Wickham Street frontage, bringing it to the height of the Brunswick Street shops, while the Brunswick Street store was extended at the back. Galleries were constructed inside the building, to be used as offices and for toy displays. The designer of these additions was Walter Carey Voller, a Sydney-born architect who had trained with F.D.G. Stanley and practised in Brisbane since 1891. Voller was a fellow in the Queensland Institute of Architects and had served as its president and vice-president by the time he was commissioned for Overell’s building. Voller’s design was approved in late November, although the extensions were partially completed and opened in December 1911, just in time for Christmas.
William Overell died in 1917 and his properties were transferred to the company, Overells Limited. William Overell, the first of the famous Valley drapers-turned-department store owners, had played a significant role in the development of the Valley as a commercial hub. Along with Beirne and McWhirter, the appeal of Overells’ impressive store drew customers to the Valley, providing a market for smaller businesses and entertainment venues that sprang up in the Valley in the first half of the twentieth century. Overell’s contribution to the business development of Brisbane was acknowledged with the observation that his death caused ‘a blank in Brisbane business circles’.
Management of the company passed to Overell’s eldest sons, Arthur and William, who continued the firm along the same expansionary lines. By 1923, Overells’ was a forty-year old business and had ‘the honour of being the oldest established firm in Fortitude Valley’. The company marked the occasion with the purchase of another block of land on Brunswick Street, a 15.1 perch (381.92m2) allotment adjoining the Overell store. The company extended their building along Brunswick Street and updated windows for the Wickham Street frontage, in accordance with designs by architectural firm Atkinson and Conrad.
Three storeys were added to the Wickham Street building in 1926 - 1927. The company obtained a mortgage from the National Mutual Association in February 1926 and plans were approved in June. The Council also granted permission for the architects to add a chiming clock on the front of the Wickham Street premises, though if installed, is no longer extant. Atkinson and Conrad were again engaged to design the new storeys, which were built by Blair Cunningham. The additions cost £30,000 and were finished and opened in September 1927. The building featured rest-rooms for staff and customers and sick-rooms, and the additional storeys made it one of the tallest buildings in the Valley.
The success of Overell’s continued well into the 1930s and 1940s. From the original drapery goods, the company branched into selling wireless radios, furniture, household goods, footwear, fancy goods including jewellery, toys, confectionary, and self-service groceries. There was also a mail-order service, a radio club, an employee benefit society, a war bonds group, fashion parades, child care centre for shoppers, employee sports clubs, charity balls, a social theatre, and tea rooms. Entries in Overell’s dressmaking competition were displayed in the Wickham Street island window. The company even applied to run a movie theatre in the basement but permission to do so was refused.
Several alterations were undertaken on the Brunswick Street building front in the 1950s, converting it to a masonry facade. In 1953 Overell’s was replaced by Sydney department store Walton-Sears, one of four branches opened in November 1953 as the company expanded into Queensland. Title passed to Waltons in 1956, and the company made significant internal alterations in 1960, 1962, 1967, 1973, and 1975. The Valley’s popularity as a shopping destination declined from the 1960s onwards, and the department store closed in the 1980s. In 1984 ownership passed to Mount Cathay Pty Ltd, which in 2016 continues to own all of the former Overell buildings.
Source: Brisbane City Council Heritage Register.
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The Jaguar E-Type (UK) or XK-E (US) is a British automobile, manufactured by Jaguar between 1961 and 1975. Its combination of good looks, high performance, and competitive pricing established the marque as an icon of 1960s motoring. A great success for Jaguar, more than 70,000 E-Types were sold during its lifespan.
Open headlights without glass covers, a wrap-around rear bumper, re-positioned and larger front indicators and tail lights below the bumpers, better cooling aided by an enlarged "mouth" and twin electric fans, and uprated brakes are hallmarks of Series 2 cars. De-tuned in US with twin strombergs and larger valve clearances, but still with triple SUs in the UK and the much tighter valve clearances, the engine is easily identified visually by the change from smooth polished cam covers to a more industrial "ribbed" appearance. Late Series 1½ cars also had ribbed cam covers. The interior and dashboard were also redesigned, with rocker switches that met US health and safety regulations being substituted for toggle switches. The dashboard switches also lost their symmetrical layout. New seats were fitted, which purists claim lacked the style of the originals but were certainly more comfortable. Air conditioning and power steering were available as factory options.
Production according to Graham is 13,490 of all types.
(Wikipedia)
This iconic Ford Model T Touring car was on display at the Classics on the Grand Car Show held in Kansas City Missouri at Crown Center.
The knowledge and skills needed by a factory worker were reduced to 84 areas. When introduced, the T used the building methods typical at the time, assembly by hand, and production was small. The Ford Piquette Avenue Plant could not keep up with demand for the Model T, and only 11 cars were built there during the first full month of production. More and more machines were used to reduce the complexity within the 84 defined areas. In 1910, after assembling nearly 12,000 Model Ts, Henry Ford moved the company to the new Highland Park complex. During this time the Model T production system (including the supply chain) transitioned into an iconic example of assembly line production. In subsequent decades it would also come to be viewed as the classic example of the rigid, first-generation version of assembly line production, as opposed to flexible mass production of higher quality products.
As a result, Ford's cars came off the line in three-minute intervals, much faster than previous methods, reducing production time from 12.5 hours before to 93 minutes by 1914, while using less manpower. In 1914, Ford produced more cars than all other automakers combined. The Model T was a great commercial success, and by the time Ford made its 10 millionth car, half of all cars in the world were Fords. It was so successful Ford did not purchase any advertising between 1917 and 1923; instead, the Model T became so famous, people considered it a norm. More than 15 million Model Ts were manufactured in all, reaching a rate of 9,000 to 10,000 cars a day in 1925, or 2 million annually, more than any other model of its day, at a price of just $260. Total Model T production was finally surpassed by the Volkswagen Beetle on February 17, 1972.
Henry Ford's ideological approach to Model T design was one of getting it right and then keeping it the same; he believed the Model T was all the car a person would, or could, ever need. As other companies offered comfort and styling advantages, at competitive prices, the Model T lost market share and became barely profitable. Design changes were not as few as the public perceived, but the idea of an unchanging model was kept intact. Eventually, on May 26, 1927, Ford Motor Company ceased US production and began the changeovers required to produce the Model A. Some of the other Model T factories in the world continued a short while.
Model T engines continued to be produced until August 4, 1941. Almost 170,000 were built after car production stopped, as replacement engines were required to service already produced vehicles. Racers and enthusiasts, forerunners of modern hot rodders, used the Model T's block to build popular and cheap racing engines, including Cragar, Navarro, and famously the Frontenacs ("Fronty Fords") of the Chevrolet brothers, among many others.
The Model T employed some advanced technology, for example, its use of vanadium steel alloy. Its durability was phenomenal, and some Model Ts and their parts are in running order over a century later. Although Henry Ford resisted some kinds of change, he always championed the advancement of materials engineering, and often mechanical engineering and industrial engineering.
In 2002, Ford built a final batch of six Model Ts as part of their 2003 centenary celebrations. These cars were assembled from remaining new components and other parts produced from the original drawings. The last of the six was used for publicity purposes in the UK.
Although Ford no longer manufactures parts for the Model T, many parts are still manufactured through private companies as replicas to service the thousands of Model Ts still in operation today.
On May 26, 1927, Henry Ford and his son Edsel drove the 15-millionth Model T out of the factory. This marked the famous automobile's official last day of production at the main factory.
This is Fopps record store on Cambridge Circus, London.
The company began as a one-man stall in Glasgow, Scotland in 1981. The name "Fopp" comes from the title of a song by the Ohio Players on their 1975 album Honey.
The first Fopp store was a market stall in Decourcey's Arcade near Byres Road in Glasgow opened 1981 by Gordon Montgomery. Fopp operated a "keep-it-simple" approach to the pricing of its merchandise, with most prices rounded to whole-pound figures. It built a reputation for reasonable prices on new releases, and competitive prices (often £5) on non-mainstream catalogue CDs, DVDs and books. The company also had a policy called "suck it and see", whereby any purchase could be returned to the shop within 28 days for a full refund as long as it was as new.
By 2007, Fopp had expanded to become a chain of over 100 branches in the UK. With the demise of rival chain Music Zone, Fopp became the third largest specialist music retailer in the UK in terms of store numbers (after HMV and Virgin Megastores).
Having taken over rival chain Music Zone following its fall into administration, Fopp found itself with cash flow problems. The company cancelled book deliveries in June blaming a change in location of warehouse from Bristol to Stockport (the old Music Zone warehouse).
On 29 June 2007 Fopp called in receivers after a last-ditch deal that would have allowed Sir Richard Branson a way to devolve himself from the loss making Virgin Megastores without the negative PR of closing down multiple locations, but this deal failed to win support from Virgin's main supplier.
On 31 July 2007, it was announced that HMV would take control of the Fopp brand and its stores in Cambridge, Edinburgh Rose Street (but not Cockburn Street), Glasgow, London Covent Garden, Manchester and Nottingham. On 12 February 2008, Bristol Evening Post reported that a further store would open in Bristol (in a former HMV-owned Waterstone's store), a city in which three Fopp stores had traded prior to summer 2007.
It was also announced that the Leamington Spa store would be reopening as Head, a separate store from Fopp, but retaining Fopp's stock and assets.[5] The Head store opened on 1 November 2007 and employed some of its predecessor's former employees. The store intends to host regular performances from local bands, and hopes to allow musicians, artists and authors from Leamington and its surrounding areas to sell their work there. This was initially a single store, but has more recently expanded into a chain of four sites.
At their peak under HMV ownership, nine stores were trading as Fopp.
On 15 January 2013 Fopp, along with its parent company HMV went into administration.
HMV was bought out of administration by Hilco UK on 5 April 2013 saving Fopp's nine remaining stores.
Barbie and fashion doll collector Cindy Whiteside creates beautiful 1:6 scale dioramas and dollhouse interiors in her spacious two bedroom apartment in Brooklyn, NY, photographed April 8, 2006. MANDATORY CREDIT: Photo by Michael Williams/Haute Doll Magazine
KITCHEN - Wallpaper: Contact paper; Backdrop: Sindy Scenesetter Kitchen; Furniture: vintage Sindy with Re-Ment accessories; Red table from novelty gift catalog; China cabinet is from Barbie kitchen set spray-painted aqua blue; Dolls: Midge wearing Cotton Casuals, whipping up a pie for her husband.
I have been getting all my new RE-MENT from Priscilla Wardlow at
as she has competitive prices, great selection, fast shipping and wonderful customer service.
In Christianity, the Biblical Magi, also known as the Three Wise Men, Three Kings, and Three Magi, are distinguished foreigners who visit Jesus after his birth, bearing gifts of gold, frankincense, and myrrh in homage to him. They are commemorated on the feast day of Epiphany—sometimes called "Three Kings Day"—and commonly appear in the nativity celebrations of Christmas.
In the Christian tradition, a nativity scene (also known as a crib) is the special exhibition, particularly during the Christmas season, of art objects representing the birth of Jesus. While the term "nativity scene" may be used of any representation of the very common subject of the Nativity of Jesus in art, it has a more specialised sense referring to seasonal displays, in particular sets of individual sculptural figures and props that are arranged for display.
Other characters from the nativity story, such as shepherds, sheep, and angels may be displayed near the manger in a barn (or cave) intended to accommodate farm animals, as described in the Gospel of Luke. A donkey and an ox are typically depicted in the scene, and the Magi and their camels, described in the Gospel of Matthew, are also included. Many also include a representation of the Star of Bethlehem. Several cultures add other characters and objects that may or may not be Biblical.
Static nativity scenes depict Jesus, Mary, Joseph, farm animals, and sometimes other characters. While most home nativity scenes are packed away at Christmas or shortly thereafter, nativity scenes in churches usually remain on display until the feast of the Baptism of the Lord (January 6, or on the Sunday between January 2 and 8).
The nativity scene may not accurately reflect gospel events. With no basis in the gospels, for example, the shepherds, the Magi, and the ox and ass may be displayed together at the manger. The art form can be traced back to eighteenth-century Naples, Italy.
The setting for this scene is Avenue Nurseries, a family-run garden centre located in Lasham, Hampshire. They offer a wide range of products required for gardening at competitive prices.
en.wikipedia.org/wiki/Biblical_Magi
en.wikipedia.org/wiki/Nativity_scene
www.facebook.com/avenuenurseriesgardencentre.ltd/?locale=...
As we enter a new election cycle, every voter should be asking themselves, what is the Republican platform, not just for the midterms, but for 2024? What exactly does the GOP stand for, and what programs would they like to enact should they carry Congress and even the Presidency?
So far, all we’ve learned is what they don’t want. They don’t want people of color voting. As demographics shift to a more racially and ethnically diverse population, the party’s base is dwindling. So, legislatures in conservative states are passing a record number of voter suppression laws. They don’t want to make it easy to vote for anyone but them.
Vladimir Putin’s invasion of Ukraine presents an interesting parallel to the political and social upheavals in the United States. Both represent existential threats to our countries’ futures. Yet, unlike the united opposition Ukrainians have displayed against Russian aggression, Americans stand more divided than ever before.
The Republicans’ platform lacks any coherent substance to better people’s lives, but they are in lockstep unison with their messaging. In contrast, Democrats are committed to reducing income inequality and ending racial and gender discrimination. But they lack a coherent and united message. We are at an untenable impasse.
President Biden’s State of the Union got several bipartisan standing ovations when speaking out against Putin. The enemy of my enemy is my friend (well, temporarily).
The applause continued when Biden declared the police would not be defunded. But as The Nation’s justice correspondent, Elie Mystral, remarked on The View, the President failed to give his words any context. “Defund the police” was a confusing phrase that didn’t mean what it stated. The backlash was huge and unnecessary. And it didn’t get to the heart of the issue.
It was a call to restructure police departments so that social workers and psychologists, not police patrolling neighborhoods, handled marital disputes, the homeless, and those in psychological distress. These people were being jailed and killed at alarming rates when we should have been treating them for their mental health problems. And, when put that way, the police welcomed that change. Biden’s comment garnered rapturous applause from both sides of the aisle. Yet his message lacked any substance. It was a missed opportunity.
Was this another of his attempts to find common ground with Republicans, something to build on? Or was this a temporary Kumbaya moment? Bipartisanship is far from reality given the Republican’s response to the President’s State of the Union by Iowa Governor Kim Reynolds. Being an election year, using overly simplistic talking points makes it easier for the electorate to make choices. “On the economy, the contrast couldn’t be more stark,” Reynolds said. “While Democrats in DC are spending trillions, sending inflation soaring, Republican leaders around the country are balancing budgets and cutting taxes.”
In reality, both GOP and Democrat governors are cutting taxes. A booming economy and COVID relief have built huge tax surpluses across the country. However, there are fundamental differences between each party’s strategy for distributing those surpluses to its citizens. Republicans want to create tax cuts that benefit the rich, believing the already discredited “trickle-down economics” theory creates more jobs. Democrat-led states want to tailor amounts more to the middle class. In Iowa, Reynolds wants to do away with the state’s nine-tiered tax rate. She wants to replace it with a flat rate of 4%. That would put a more significant tax burden on the middle class and poor.
While politicians like Governor Reynolds would like voters to think Democrats are to blame, inflation is soaring for many reasons. The prolonged pandemic changed our lives virtually overnight. We stayed home. We didn’t eat out, go to the movies, or use our cars. Instead of spending, we saved. And the federal government helped millions in need with financial assistance. Oil prices plummeted, and OPEC reduced output to compensate. And, now that the pandemic might be easing up, we’re ready to spend that cash. We’re driving again, and with the greater demand for gas, oil production has yet to match our increased needs (and with higher profits, OPEC is taking its time). That’s one of the main reasons for the high cost of gas. Russia’s invasion of Ukraine has only added to this volatility. Chaos breeds unpredictability. Not surprisingly, the Governor failed to mention this.
COVID caused a lot of supply chain issues. Not only did sick and absent workers slow the production of many goods, but, like oil, the demand outstripped inventory. And let’s not forget the price-gouging shipping companies. The cost of shipping a cargo container from Shanghai to Rotterdam rose 547% compared to the seasonal high during the previous five years! So there are many reasons we’re encountering inflation right now. It’s a problem, but not a partisan one.
We are experiencing one of the most turbulent times since World War II. Neither the Democrats nor the Republicans have all the answers. Nor can either party fix it all. Unlike Ukrainians, we are far from united in our efforts to save our country. This stalemate will be the death of us.
Build Me a Wedge Issue
Without actual plans to help struggling Americans, Republicans create cultural wedge issues to ignite their base and bring out the vote. Not only did Donald Trump’s disdain for taking commonsense health precautions prolong the pandemic, but it also turned us against each other. That’s the Republicans’ plan right now.
We don’t teach critical race theory (CRT) in our children’s schools. So why are GOP-led states trying to ban it in K-12? Why are parents so whipped up about it, attacking school boards and threatening their members? Because anger brings out voters. Republicans accuse liberals of blaming Whites today for the sins of the past, and it’s incendiary. But that isn’t happening. Only current bigots are called to task. This is just one example of a bogus Republican ploy to divide us.
Teaching age-appropriate social-emotional skills in K-12, such as cooperation and empathy, can lead to more specific discussions about our history as children grow into adults. But if we continue to politicize everything, how will we learn to live together—how will we teach our children to live together? Parents have a right to know what their children are learning and why. But conservative attempts to embrace discord at school board meetings, install cameras in classrooms, and ban books are symbolic of Republicans’ desire to stir outrage, not embrace common goals. How can we acknowledge the past while making opportunities for all Americans in the present?
Politicians like Florida Governor Ron DeSantis (who chastised high school students for wearing masks) and Texas Attorney General Ken Paxton (who recently issued a legal opinion defining gender-affirming health care for transgender kids as “child abuse”) are just two examples of Republican attempts to create theatrics for political gain.
Partisan grandstanding also has a dangerous side. Florida’s legislature just passed the “Parental Rights in Education” bill (termed the “Don’t Say Gay” bill by its detractors). It bans lessons on gender identity and sexual orientation from kindergarten through third grade. But these subjects aren’t even taught in these grades. So why even propose such legislation? But additional language in the bill (§8(c)3) also bans any discussions “not age-appropriate or developmentally appropriate for students.” This could broaden the range of grades affected.
The law allows parents to sue teachers and schools who teach it. Teachers often provide safe havens for children in crises. And this would put both them and their students in jeopardy. It sends a message to already at-risk LGBTQ youth and children of same-sex parents that these subjects are taboo and their lives are marginalized.
Forging a More Unified Nation
If the GOP is unwilling to work with Democrats to address these economic and social issues, the Democrats must go it alone. (In a recent essay, I outlined The Washington Post’s Perry Bacon, Jr.’s three suggestions on how Biden can do this.) Georgetown University history professor Michael Kazin also has some ideas. In his recent New York Times essay, he says the Democrats’ problem is that they lack a social movement that can turn much of the working class into active supporters of sustainable social change. We need to create a powerful message that is class rather than racially based. Political elites, Kazin states, have never initiated essential policy changes on their own.
Looking at America’s past successes to create significant policy shifts, Kazin sees two lessons we can use now. First, a social movement must be large and powerful enough to force Democrat leaders to listen and grant some of our demands. Second, progressive programs that were successful and long-lasting, like social security, helped Americans no matter their race. And most importantly, they were perceived as helping everyone. During the New Deal, the Congress of Industrial Organizations welcomed African Americans as equals and pushed the Democrats to focus on civil rights. A movement based on the working class would be inclusive, with Whites and people of color united for common causes.
The pandemic has forced major social shifts in our society, something Democrats can take advantage of. There is a resurgent interest in unions—people cooperating to forge change at their workplaces. With “The Great Resignation,” people are quitting their jobs en masse to look for better pay, working conditions, and a more balanced life. Small businesses and large companies can’t find enough workers and offer signing bonuses, even for fast-food jobs. Suddenly, it’s a seller’s market we haven’t seen for decades. From Starbucks to Google and Apple, workers are looking for a more democratic workplace by unionizing for the greater good. The results could reduce economic inequality and racial animus.
Historically, it’s been workers’ rights and working conditions versus corporate interests. One crucial difference now is that some corporate and financial leaders realize the danger of income inequality. Billionaire and hedge fund manager Ray Dalio has said, “The most intolerable situation is how our system fails to take good care of so many of our children. Low incomes, poorly funded schools, and weak family support for children lead to poor academic achievement, which leads to low productivity and low incomes of people who become economic burdens on the society.” This cements the poor in their place for generations. Another billionaire, Mark Cuban, has just launched CostPlus Drug Company, a low-cost pharmacy to make medications more affordable to Americans (something the federal government has failed to do).
While corporations reward their CEOs and stockholders for profitable quarters, companies should also reward their workers for companies’ successes. A large class-based movement can accelerate this change. JPMorgan Chase Chairman and CEO Jamie Dimon has said, “Capitalism enables competition, innovation, and choice. This is not to say that capitalism does not have flaws, that it isn’t leaving people behind, and that it shouldn’t be improved.”
Dr. Kazin points out that progressive politicians in red states can win elections. He points to Ohio’s Senator Sherrod Brown and Montana’s Senator Jon Tester, who speak about class inequality. Brown talks about the “dignity of work,” and Tester has proposed a bill to bar corporations who lock out their employees during labor disputes from receiving tax breaks and deductions.
Like Bacon, Kazin suggests paths President Biden can take to build this coalition of working people. Talk often and forcibly about how legislation in his Build Back Better program, like child credit and lower health care costs, could improve most Americans' lives. Promote the Protect the Right to Organize Act, which the House passed a year ago, but the filibuster has stalled it in the Senate. In a poll, 80% of West Virginia’s working-class backs these programs, even Republicans. But the state’s Joe Manchin has continued to block their passage. Time to go around him. A large and vocal working-class movement could transcend party politics. The President’s messaging needs to emphasize this coalition strategy every single day.
Kazin states, “Last fall, a liberal polling firm conducted a survey in swing states and battleground districts to test how voters would react to a Democratic candidate who articulated such an aggressive pro-worker, anti-corporate message.” After hearing the pitch, support for Democrat candidates rose five points, enough to win elections in these contested districts.
It’s time to call out the GOP for its feckless We Got Nada strategy to win elections. When asked to reveal the Republican platform if they take back the Congress, Senate Minority Leader Mitch McConnell said, “That’s a very good question. And I’ll let you know when we take it back.” Their goal is to distract us with canards like Florida’s law outlawing mask mandates while they ignore our actual problems. Their politics are divisive and deaf to our critical needs. Democrats can effectively do an end-around this political standoff by honing their message: one that encourages massive support that transcends race and politics for programs that improve Americans’ lives.
We’re all mentally and physically exhausted by our hostile and suspicious neighbors. I’m sick of American politicians who revel in this discord. To sustain economic growth and political stability in the face of more turbulent times, we must create a fairer society. Let’s be more like Ukraine. They’re in a fight for their lives. So are we.
Feel free to pass this poster on. It's free to download here (click on the down arrow just to the lower right of the image).
See the rest of the posters from the Chamomile Tea Party! Digital high res downloads are free here (click the down arrow on the lower right side of the image). Other options are available. And join our Facebook group.
Follow the history of our country's political intransigence from 2010-2020 through a seven-part exhibit of these posters on Google Arts & Culture.
The Jaguar E-Type is a British sports car that was manufactured by Jaguar Cars Ltd between 1961 and 1975.
Its combination of beauty, high performance, and competitive pricing established the model as an icon of the motoring world.
The E-Type's 241 km/h top speed, sub-7-second 0 to 60 mph (97 km/h) acceleration, monocoque construction, disc brakes, rack-and-pinion steering, and independent front and rear suspension where innovative technical solution for the time.
On its release in March 1961 Enzo Ferrari called it "the most beautiful car ever made"
The E-Type is featured in the Italian comic series Diabolik, Austin Powers films, the television series Mad Men and few 007 movies
The model shown here has a 4.2 liter 6 cylinder engine capable of 269hp and 250km/h
MAUTO - Museo dell'Automobile - Torino
LENS MANIA: ASAHI OPT. CO. SMC PENTAX-M 150mm f3.5
A couple of weeks ago I came across a copy of this rather peculiar lens at a very competitive price and I decided not to let it pass by. Very glad I did so.
I have found the 150/3.5 most undeservingly labelled as ‘oddbal’ in a number of reviews, blogs or lens commentaries - possibly together with the two 120/2.8 models - for its closeness to the 135mm focal length, while apparently not being expected to offer much more in terms of performance than the 135. Thing that could hold true in some contexts; yet, if you look at the history of SLR cameras, focal lengths included in the 135 -200 gap were never missing - sometimes also with illustrious representatives (Sonnar 180mm f2.8); and if you look into the medium format, you will notice that most of its basic standards happened to migrate into 35mm world as they were, temporarily or permanently (perhaps also as a result of an easier customizability in a field not yet blessed by computer calculations): so 50, 80, 105, 150, etc. were all typical in that environment.
The SMC PENTAX-M 150mm f3.5 was listed into Asahi Pentax catalog from from 1977 until 1986. A relatively long time for the comparatively modest number of copies you happen to stumble upon on the used market - some make of it even a ‘rarity’. Something that could, indeed, point to a lack of appeal or quality in the eyes of past photographers - whose reasons and tastes are beyond interest and possible scrutiny here. But it certainly wasn’t for the lack of quality, as can easily be demonstrated. The original catalogs described it as “21mm shorter and 50g lighter than its highly popular predecessor [probably the Super-Multi-Coated Takumar 150mm f4]” and again “the 150mm lens offers a larger image than the 135mm f/2.5 lens, yet, due to its M-type compact design it is almost 40% lighter”. So, together with image quality, others were the concern s of makers & customers back at the time.
The lens is indeed mechanically solid and esthetically essential; completely consistent with the other ‘M’ models. Same reliable feel when you put it at work. It is made up of 5 lenses in 5 sparate groups, exactly like the 135/3.5 and the following ‘K’ generation 120/2.8 (not the earlier ‘M’ one, with inherited Takumar formula); and it has only 6 blades (probably in order to help the speed of the automatic movement). As a matter of fact it looks like a slightly larger version of the 135. The min. focus distance is aprox. 150cm - several blogs perpetuates a 180cm, relaying probably on the lens scale, but when you use it, you can actually go closer than that.
It is a very nice and inconspicuous tool when mounted on K1. I used it quite regularly since I acquired it and I like very much its compact size/reach, the easy focusing, its performance, last but not least the built-in retractable hood. The rendering is very pleasant to the eye, despite nothing groundbreaking, with a surprising - even if logic - ability to separate the subject from its background. It provides almost a 3D pop effect, if you like, without swirls. I wouldn’t call it is soft wide open, as some reviews do: it is pretty sharp for a lens of its time, even if modern glass pixel-peeper could find something to say. For portrait it is very good, right thanks to its relatively ‘dark’ f3.5 nature: head-shots, upper torso and even full figure. You can shot it even wide open, without being too concerned about leaving much out of focus. The subject hardly need any attention or pprocessing. The foreground and background blur get a lovely retrò touch: soft transitions, yet without loosing completely the bubbles and the light spots. Contrast is gentle, but not lacking, in most situations (also against lights); colors are well saturated.
If I have to find a defect, I do not hesitate in pointing at quite some CA wide open in strong contrast light situations. You do have to be aware of the position of the light in relation to subject and the amount of it in the frame - differently your image might acquire quite some ’golden hour’ levels of orange/purple casts, and not just in limited lines. I was quite surprised in a couple of instances when I unsuspectingly shot it as I often do modern lenses: none of the standard 135/2.5 135/2.8 135/3.5 is known for that, even if they do produce some CA too. Evidently there are some limitations in enlarging a specific design (particularly the 135/3.5) beyond the original purpose, making more evident previously irrelevant issues. You can live with the not perfectly round bokeh of the 6 blades, I figure.
Despite I've found myself enjoying more working with this lens, in general I miss a a bit the colors/depiction and particularly the bokeh of the earlier classic Takumar 150mm f4 (particularly the first version) - let aside its long thing shape, resembling a stick protruding from your camera.
Photo taken in Kungsholmstorg at Gärdesloppet, or Prins Bertil Memorial, Stockholm, Sweden.
Driver: Christer Fallenius.
The Jaguar E type brought style and performance together to create a mass-produced supercar. Jaguar introduced their E-Type at the March 1961 Geneva Motor Show. It's design was created by an aerodynamic engineer named Malcolm Sayer. The front engine, rear-wheel drive vehicle featured a moncoque body and a tubular front chassis.
The E-Type was a popular vehicle. It was fast, performed well, and was competitively priced. Production for the E-Type ceased in 1975, after 72,520 examples being produced.
www.conceptcarz.com/vehicle/z1617/Jaguar-XKE-E-Type.aspx
Gärdesloppet, or Prins Bertil Memorial:
Prince Bertil Memorial takes place each year in Stockholm, Sweden, in honour of Prince Bertil, uncle to Sweden's King Carl XVI Gustaf. The Prince was a race-car driver in the 1930s, using the pseudonym "Monsieur Adrian" to placate his disapproving father, later King Gustaf VI Adolf. Prince Bertil continued to act in the monarchy's best interests by forgoing marriage to his British girlfriend, Lilian Craig. Under Swedish law, which has since been changed, such a union with a commoner would have rendered him ineligible to serve as regent, should the need have arisen, to Carl Gustaf, son of Prince Bertil's deceased older brother. The Prince finally married the patient Lilian in 1976, three years after nephew Carl Gustaf was safely on the throne.
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206608042011-Dry Box -2
Plz View This Image by ,** 5 9 5 0 3 6 ** on Flickeflu
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How to make your own dry box
Why does the camera lens get molds?
Molds love to grow on DSLR lens coating as they love growing in warm, moist and humid places. Generally, molds will grow when the relative humidity (RH) is more than 70%. And there is a very specific type of molds which can only grow when the RH level is less than 20%.
The most ideal RH level to store the camera gear is between 40-50%.
The RH level at my home during winter time is around 75% and I use a 20L dehumidifier to help reducing the RH level. Unfortunately, dehumidifier is expensive to run, so I had to find a cheaper alternative.
My friend suggested a dry box with silica gel & hygrometer. I shopped around and discovered that dry box for one camera and one lens is quite affordable. However, if you have more than one lens, dry box can be quite expensive, it costs more than $100.
If you don't want to spend a fortune to purchase a dry box, why don't you make your own? Making your own dry box will cost less than $60
CONTENTS AT A GLANCE
Making your own dry box
1. Airtight Lock & Lock Container
2. Small wireless dehumidifier / silica...
3. Hygrometer Digital Hygrometer Dry Box on the market More
Note:
When you use the dry box for the first time, put the silica gel & hygrometer inside the box and keep the box empty & airtight for a minimum of 6 hours.
The reason?
Because when the silica gel is used for the first time, it is in full strength means that it will absorb the moisture in full capacity making the dry box drier than anticipated.
It is based on my friend's personal experience, he put his camera & gear inside the brand new dry box & silica gel; and he found out that the RH level was 35% (too dry). After several hours, the RH level stabilized to 50% and stayed around that level until the silica gel needed to be recharged / renewed.
Making your own dry box
Three essential things you'll need to make your own dry box:
1. Airtight container
2. Silica gel or small wireless dehumidifier
3. Hygrometer
1. Airtight Lock & Lock Container
Choose the right size container that will fit all your camera gear (camera & lenses).
The airtight container will prevent the outside air to enter into the container hence maintaining the right RH inside it.
Place the sealed container in a cool dry area
Cost: Start from $8.00 from Amazon or less than $20 at any of your local / DIY store
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Tips On Hygrometer
A hygrometer is a simple device that is used to measure relative humidity. Yet as simple as hygrometers may be, they can be quite delicate, and prone to giving inaccurate readings over time or with use. Using nothing more than a few kitchen supplies, however, you can determine the accuracy of your hygrometer, and calibrate it accordingly.
Easy
Instructions
Things You'll Need
•1/2 cup of table salt
•1/4 cup of water
•Hygrometer
•Ziploc bag
1.
o1
Mix the salt and water in a small cup, stirring until totally saturated. After a few minutes, the mixture should resemble wet sand.
o2
Place the cup and hygrometer in a Ziploc (or otherwise resealable) bag. Keep the salt and the hygrometer completely separate.
o3
Seal the bag and place it aside to sit at a consistent room temperature, away from drafts or direct sunlight. Let sit for 8 to12 hours.
o4
Check the hygrometer, while keeping the bag completely sealed. In ideal conditions, the humidity should read as 75 percent. (Your hygrometer may be off by a couple of points.)
o5
Remove the hygrometer from the bag. If you can, quickly adjust it to read 75 percent; otherwise, simply make a note as to how much you need to adjust your figure for each reading.
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Important Feature FAQ: www.xdry.com/technical-data/faq.asp
Photo taken in Kungsholmstorg at Gärdesloppet, or Prins Bertil Memorial, Stockholm, Sweden.
Driver: Anette Beijer.
The Jaguar E-Type is a British sports car, which was manufactured by Jaguar Cars Ltd between 1961 and 1975. Its combination of beauty, high performance, and competitive pricing established the marque as an icon of 1960s motoring.
At a time when most cars had drum brakes, live rear axles, and mediocre performance, the E-Type sprang on the scene with 150 mph and a sub-7 second 0-60 time, monocoque construction, disc brakes, rack and pinion steering, independent front and rear suspension, and unrivaled looks.
The E-Type was based on Jaguar's D-Type racing car which had won the 24 Hours of Le Mans three consecutive years (1955-1957) and, as such, it employed the racing design of a body tub attached to a tubular framework, with the engine bolted directly to the framework.
In March 2008, the Jaguar E-Type ranked first in a The Daily Telegraph online list of the world's "100 most beautiful cars" of all time.
The E-Type was a popular vehicle. It was fast, performed well, and was competitively priced. Production for the E-Type ceased in 1975, after 72,520 examples being produced.
Wikipedia
Ford Escort (Mk.VI) Ghia X Saloon (1995-04) Engine 1753cc Endura D S4 TDDi
Registration Number V 275 KCX (Huddersfield)
FORD EUROPE
www.flickr.com/photos/45676495@N05/sets/72157623665118181...
The sixth and final generation Escort appeared in January 1995 revised from the 5th generation on which it was still based. This version had new front lights, bonnet, front wings, front and rear bumpers, wing mirrors, door handles and 4 different front radiator grilles (slats, honeycomb, circles and chrome). At the rear, the Ford logo moved from the right to the centre of the boot, except for the van and convertible models. The interior of the car was hugely revised too following heavy criticism of the original 1990 car which featured low quality plastics for its interior mouldings - the car now featured an all new dashboard arrangement of competitive quality.
The two entry level engines were revised – the 1.3 L received the latest version of the Kent/Valencia family – the Endura-E from the recently launched Mk IV Fiesta and Ka, whilst the 1.4L CVH was replaced by the updated CVH-PTE unit. There were no changes to either the venerable 1.8 diesel or the 1.6/1.8 Zetec units at the top end of the range. Dynamically, the handling and ride were also much improved with revised suspension set up from that on the previous Mark V models. The Ghia X sat at the top of the luxury end of the range
In 1998 Escort range was cut down to just the Flight and Finesse editions, and sold for a further two years in parallel with the Focus. In the United Kingdom, all engines except the 1.6 L petrol and 1.8 L turbo diesel were dropped, as were the three-door hatchback, four-door saloon and cabriolet bodystyles. The Flight cost £10,380 and offered electric front windows, a three-speed fan and a cassette player. For an additional £1,000 the Finesse added alloy wheels, air conditioning, a CD player, fog lamps and metallic paint. The more competitive prices managed to keep European Escort sales going until the last one rolled off the Halewood assembly line in July 2000, although remaining stocks were sold into 2001, making it the last Ford car to be assembled there.
The Hailwood plant was transferred to Jaguar, then under the ownership of Ford, for the production of the entry level Jaguar X type .and following the later merger with Land Rover and the sale of the plant to Tata, Ford now only has a small presence at Halewood – retaining the transmission works at the site
Diolch am 75,699,898 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 75,699,898 amazing views, every one is greatly appreciated.
Shot 21.07.2019 at , Ashover Classic Car Show, Ashover, Derbyshire 143-429
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Cutty Sark was ordered by shipping magnate John Willis, who operated a shipping company founded by his father. The company had a fleet of clippers and regularly took part in the tea trade from China to Britain. Speed was a clear advantage to a merchant ship, but it also created prestige for the owners: the 'tea race' was widely reported in contemporary newspapers and had become something of a national sporting event, with money being gambled against a winning ship. In earlier years, Willis had commanded his father's ships at a time when American-designed ships were the fastest in the tea trade, and then had owned British-designed ships, which were amongst the best available in the world but had never won the tea race. In 1868 the brand new Aberdeen-built clipper Thermopylae set a record time of 61 days port to port on her maiden voyage from London to Melbourne and it was this design that Willis set out to better.[6][7]
It is uncertain how the hull shape for Cutty Sark was chosen. Willis chose Hercules Linton to design and build the ship but Willis already possessed another ship, The Tweed, which he considered to have exceptional performance. The Tweed (originally Punjaub) was a frigate designed by Oliver Lang based on the lines of an old French frigate, built in Bombay for the East India Company as a combination sail/paddle steamer. She and a sister ship were purchased by Willis, who promptly sold the second ship plus engines from The Tweed for more than he paid for both. The Tweed was then lengthened and operated as a fast sailing vessel, but was considered too big for the tea runs. Willis also commissioned two all-iron clippers with designs based upon The Tweed, Hallowe'en and Blackadder. Linton was taken to view The Tweed in dry dock.
Willis considered that The Tweed 's bow shape was responsible for its notable performance, and this form seems to have been adopted for Cutty Sark. Linton, however, felt that the stern was too barrel-shaped and so gave Cutty Sark a squarer stern with less tumblehome. The broader stern increased the buoyancy of the ship's stern, making it lift more in heavy seas so it was less likely that waves would break over the stern, and over the helmsman at the wheel. The square bilge was carried forward through the centre of the ship.[6][8] In the matter of masts Cutty Sark also followed the design of The Tweed, with similar good rake and with the foremast on both ships being placed further aft than was usual.[9]
A contract for Cutty Sark's construction was signed on 1 February 1869 with the firm of Scott & Linton, which had only been formed in May 1868. Their shipyard was at Dumbarton on the River Leven on a site previously occupied by shipbuilders William Denny & Brothers. The contract required the ship to be completed within six months at a contracted price of £17 per ton and maximum weight of 950 tons. This was a highly competitive price for an experimental, state-of-the-art vessel, and for a customer requiring the highest standards. Payment would be made in seven installments as the ship progressed, but with a penalty of £5 for every day the ship was late. The ship was to be built to Lloyd's A1 standard and her construction was supervised on behalf of Willis by Captain George Moodie, who would command her when completed. Construction delays occurred when the Lloyd's inspectors required additional strengthening in the ship.[10]
Work on the ship was suspended when Scott and Linton ran out of money to pay for further work. Rather than simply liquidate the company, an arrangement was made for Denny's to take over the contract and complete the ship, which was finally launched on 22 November 1869 by Captain Moodie's wife. The ship was moved to Denny's yard to have her masts fitted, and then on 20 December towed downriver to Greenock to have her running rigging installed. In the event, completing the ship meant the company's creditors were owed even more money than when work had first been halted.[11]
Broadly, the parts of the ship visible above the waterline were constructed from East India teak, while American rock elm was used for the ship's bottom. The keel (16.5 in × 15 in (42 cm × 38 cm)) had on either side a garboard strake (11 in × 12 in (28 cm × 30 cm)) and then 6 in (15 cm) planking decreasing to 4.75 in (12.1 cm) at 1/5 the depth of the hold. Teak planking began at approximately the level of the bilge stringer. All the external timbers were secured by Muntz metal (brass) bolts to the internal iron frame and the hull covered by Muntz sheeting up to the 18 ft (5.5 m) depth mark. The stem (15 in × 15 in (38 cm × 38 cm)) and sternpost (16.5 in × 15 in (42 cm × 38 cm)) were of teak while the rudder was of English oak. The keel was replaced in the 1920s with one constructed from 15 in (38 cm) pitch pine.[12] The deck was made of 3.5 in (8.9 cm) thick teak while the 'tween deck was 3 in (7.6 cm) yellow pine. Her length was 212 feet 5 inches (64.74 m) with a draft of 21 feet (6.40 m) and a deadweight of 921 tons.[13]
Performance[edit]
A speck on the horizon
One day we sighted a vessel, a mere speck on the horizon, astern of us, and the way she came into view it was evident she was travelling much faster than ourselves. 'Bringing the wind up with her' was remarked on board, and that seemed the only feasible conclusion to arrive at and account for the manner in which she overhauled us. In a few hours she was alongside us, and proved to be the famous British clipper Cutty Sark, one of the fastest ships afloat. She passed us going two feet to our one, and in a short time was hull down ahead of us."
—Wool clipper crewman, 1879[14]
The maximum logged speed for Cutty Sark was 17.5 knots (32.4 km/h; 20.1 mph). The speed of a sailing ship is not so straightforward as a steam ship, as winds vary and a ship must tack when sailing into the wind, both requiring the crew to make constant adjustments to sails, so her speed also depended greatly on the skill of her captain and crew. Her greatest recorded distance in 24 hours was 363 nautical miles (672 km; 418 mi) averaging 15 knots (28 km/h; 17 mph), although she recorded 2163 miles[clarification needed] in six days, which given the weather over the whole period implied she had achieved over 370 nmi (690 km; 430 mi) some days.[15] By comparison, Thermopylae 's best recorded 24-hour distance was 358 nmi (663 km; 412 mi). Cutty Sark was considered to have the edge in a heavier wind, and Thermopylae in a lighter wind.[16]
Ref: Wikipedia
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The Fiat 500, commonly known as "Topolino", is an Italian city car produced and manufactured by Fiat from 1936 to 1955.
The name "Topolino" translates literally as "little mouse" in Italian, but is also the Italian name for Mickey Mouse.
The Topolino was one of the smallest cars in the world at the time of its production. Launched in 1937, three models were produced until 1955, all with only minor mechanical and cosmetic changes. It was equipped with a 569 cc four-cylinder, side-valve, water-cooled engine mounted in front of the front axle, (later an overhead valve motor) and so was a full-scale car rather than a cyclecar. The radiator was located behind the engine which made possible a lowered aerodynamic nose profile at a time when competitors had a flat, nearly vertical grille. The shape of the car's front allowed exceptional forward visibility.
Rear suspension initially used quarter-elliptic rear springs, but buyers frequently squeezed four or five people into the nominally two-seater car, and in later models the chassis was extended at the rear to allow for more robust semi-elliptic springs.
With horsepower of about 13 bhp, its top speed was about 53 mph (85 km/h), and it could achieve about 39.2 miles per US gallon (6.00 L/100 km; 47.1 mpg-imp). The target price given when the car was planned was 5,000 lire. In the event the price at launch was 9,750 lire, though the decade was one of falling prices in several part of Europe and later in the 1930s the Topolino was sold for about 8,900 lire. Despite being more expensive than first envisioned, the car was competitively priced. Nearly 520,000 were sold.
Three models were produced. Model A and B shared the same body, only the engine of model B had 16 hp, vs. 13 hp of Model A. Model A was produced from 1937 to 1948, while B was produced in 1948 and 1949. Model A was offered as a 2-door coupé, 2-door cabriolet and a 2-door van, while Model B also introduced a 3-door estate under the name 500 B Giardinetta ("estate car"). Model C was introduced in 1949 with a restyled body and the same engine as Model B, and was offered in 2-door coupé, 2-door cabriolet, 3-door estate and 2-door van versions. In 1952, Giardinetta was renamed Belvedere ("A turret or other raised structure offering a pleasant view of the surrounding area", referring to its sunroof). Model C was produced until 1955.
In 1955 the larger rear-wheel-drive Fiat 600 was launched by Fiat and that would become the design basis for the new Fiat 500, the Nuova 500.
The 500A is known to be hot rodded, once the car came to America. It was mostly hot rodded to a dragster, or a street rod.
This little FIAT 500 Topolino is certainly the smallest miniland-scale car I have ever built, 7-wide and 17.5 stud long. Nonetheless, the car has rear beam axle suspension and opening engine cover and doors.
[Text from Wikipedia]
en.wikipedia.org/wiki/Fiat_500_%22Topolino%22
This Lego miniland-scale 1947 FIAT 500 Topolino has been created for Flickr LUGNuts' 103rd Build Challenge, titled - 'The Fabulous Forties!' - a challenge for any vehicle produced through the decade of the 1940s.
The E-Type was built by Jaguar between 1961 and 1975. Its combination of good looks, high performance and competitive pricing established the marque as an icon of 1960's motoring. More than 70,000 E-Types were made.
I magazzini Mas di Via dello Statuto, sono da sempre una istituzione per la città di Roma. Agli inizi del secolo portavano il nome di Magazzini Castelnuovo e già da allora cambiò la scena del commercio della Capitale.
Specializzato nell'abbigliamento e confezioni uomo, donna e bambino, jeans e moda giovane,intimo, biancheria, calzature uomo e donna offre da sempre il meglio a prezzi assolutamente concorrenziali . L’arredo dei locali e l’odore che si respira passeggiando nei corridoi e nei piani del magazzino è di altri tempi, in perfetto stile Amarcord.
Se Émile Zola avesse trascorso la sua vita a Roma probabilmente per il suo "Al paradiso delle Signore", si sarebbe ispirato ai magazzini Mas di Via dello Statuto. O meglio a quello che erano agli inizi del XX secolo, quando col nome di Magazzini Castelnuovo questo gigante dell’abbigliamento rappresentava il nuovo che avanzava nel commercio romano.
Ora, a distanza di oltre un secolo, i magazzini Mas rappresentano qualcosa di "unico", in questa Roma dove ormai ipermercati e centri commerciali sono ovunque, snaturando la vecchia anima della città.
All'interno dei magazzini Mas (1000mq.) non c’è alcuna modernità "ricercata" nell’arredo dei locali, sembra che il tempo si sia fermato, quasi a voler celebrare una Roma da vecchie pellicole. I cartelloni delle offerte sono ancora rigorosamente scritti a mano col pennarello come nelle bancarelle per strada delle quali non sembra proprio sentire la concorrenza visti i prezzi bassissimi.
Chi non ha ancora visitato questi grandi magazzini non potrà mai dire di conoscere veramente Roma.
The warehouses Mas Via the Statute , have always been an institution for the city of Rome. At the beginning of the century bore the name of Castelnuovo Warehouses and since then changed the trading scene of the capital.
Specializing in clothing and clothing for men, women and children, and young fashion jeans , underwear, lingerie , footwear for men and women has always been the best at extremely competitive prices. The decor of the rooms and the smell you breathe while walking in the corridors and floors of the warehouse is of another time , in perfect Amarcord .
If Émile Zola had spent his life in Rome, probably for his " On the paradise of God ," it would be inspired by the warehouses Mas Via Statute . Or rather to what they were in the early twentieth century, when the name of this giant clothing stores Castelnuovo represented the new advancing in Roman trade .
Now , after more than a century , the warehouses Mas represent something "unique " in this Rome, where he now hypermarkets and shopping centers are everywhere, distorting the old core of the city.
Inside the store (1000mq.) there is no modernity Mas " refined " In furnishing of the premises, it seems that time has stood still , as if to celebrate a Roma from old films . Billboards of the offers are still strictly handwritten with a marker such as street stalls of which does not seem to feel the competition given the very low prices.
Who has not visited these stores can never really claim to know Rome.
Jaguar Mk.IX (1959-61) Engine 3781cc S6 DOC Production 10.009
Registration Number 6582 EL (Bournemouth)
JAGUAR SET
www.flickr.com/photos/45676495@N05/sets/72157623671588245...
Powered by the 220bhp version of the 3.8ltr. engine, the Mk.IX was the last of the big separate chassis saloons, plus all disc brakes and power assisted steering. Choice of manual or automatic transmissions, but more automatics..
In the luxury car market, the Jaguar Mk IX was very competitively priced, selling for ₤1995 with manual gearbox, ₤2063 with overdrive, and ₤2163 with automatic transmission, which was less than half the price of similar competitors.
Thanks for a stunning 59,070,726 views
Diolch am 59,070,726 gwych, golygfeydd, mwy na phoblogaeth y Lloegr honno yn y Gorllewin
Enillwyr y Goron Driphlyg Cymru 2021
Shot 21.05.2017 at Chiltern Hills Classic Sar Show, Weedon Hill, Aylesbury REF 126-169
Vauxhall VX2300 FE (1976-78) Engine 2279cc S4 OC Production 25,185 (incl. VX 1800)
Registration Number UYO 796 S (London C) OGS 235 P (Luton)
VAUXHALL SET
www.flickr.com/photos/45676495@N05/sets/72157623863172810...
The FE Series launched as the last of the Victors in 1972 despite appearances the car remained the same width as its predecessor and largely on account of its bumpers just two inches longer. Though the new design increased cabin space with extra front legroom and 4 inches more for rear passengers. The new Victor shared its floorpan with the Opel Rekord but retained a distinct bodyshell, its own suspension and rack-and-pinion steering rather than the Opel Reckords recirculating ball unit. The front end incorporated the then advanced detail of having the slim bumper bisect the grille, with a third of the grille and the side-lights (on quad headlamp models) below the bumper line. Perhaps the most notable difference was in the rear doors Opel door incorporated rear quarter lights and windows that wound fully down into the door whereas Vauxhall's designers preferred the cleaner uncluttered look arising from their elimination of rear quarter lights. The Vauxhall rear windows only wound down around a third of their distance before being baulked on the rear wheel arch, but this was muted as a safety feature complemented by he fitting of child-proof locks
The VX Series came about in 1976 in an effort to move the FE upmarket, its previous competitive pricing was now causing an imbalance in pricing with the new and smaller Cavalier introduced at a higher price. To try to move the Victor upmarket, Vauxhall upgraded the trim level of the basic Victor 1800 cc to match that of the 2300 cc version, with improvements that included fabric seat trim, a new instrumentation, refreshed interiors. The 1800 engine was boosted to 88bhp. To draw attention to the changes Vauxhall also dropped the Victor and VX 4/90 model names and the range was renamed the Vauxhall VX in January 1976. The VX2300 was powered by a 108bhp 2279 cc four-cylinder engine. In 1977 an more sporty and upmarket version of the VX2300 known as the VX2300 GLS appeared with engine output boosted to 116bhp courtesy of twin carburrettors the car also received a five speed close-ratio Getrag gearbox with dog-leg first gear and was distinguished by with twin halogen headlights and supplementary front fog-lights fitted beneath the front bumper, fashionably blackened side window frames and extra sound deadening
Diolch am 74,940,645 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 74,940,645 amazing views, every one is greatly appreciated.
Shot 07.07.2019 at Cars in the Park, Beacon Park, Lichfield 143-136
On the strength of masterminding the original Ford Mustang, Lee Iacocca made the cover of TIME Magazine, rose via Machiavellian corporate scheming to become Number 2 at Ford Motor Company - and then got unceremoniously bundled out by Henry Ford II. Chrysler Corporation, at the time on its beam ends, snapped up Iacocca’s talent. He saved the company. Iacocca’s skills were in marketing rather than engineering. The simply-engineered and cheap-to-produce K-Car was competitively priced and Iacocca himself fronted the TV ads that caught the public’s imagination. In addition to the base Plymouth Reliant model, the car was available in various gussied-up versions. I personally liked the design, which reminded me of a late-model Ford Cortina. This fine example is the first I have seen in several years - classic car enthusiasts have largely shunned the Plymouth Reliant and its K-Car ilk.
NeoView KOLON- OLED technique (South Korea)
wikipedia :
en.wikipedia.org/wiki/Organic_light-emitting_diode
2010 oled expo :
Mankind's constant effort to satisfy his curiosity and five senses has resulted in civilization and immense prosperity in technology. Now we are able to enjoy the outcomes of civilization that our ancestors had never dreamed of. Still, the desire of mankind is continuously growing and it is now reaching out of the stage where just eliminating inconvenience or solving problems is not an issue any more. Territories that are new to human reach are being pursued. For example, televisions, videos, cellular phones, notebook PCs and many other instruments are steadily improved with the goal to reproduce true natural color and sound.
To fulfill the dream of reproducing true natural color that current LCDs have not actualized, NeoView Kolon has developed and is producing an innovative OLED (Organic Light Emitting Diode) display. OLED exceeds existing LCDs and other display instruments in quality, luminosity, resolution, field of vision, response performance, and power consumption. Unfortunately a few technical difficulties are hindering the wider use of OLED at the present time. NeoView Kolon is overcoming these technical difficulties and is obtaining all technologies and systems needed for mass-producing OLED. With the base of devoted researchers and engineers whose focus have been OLED only, unique equipment, and know-how, it intends to provide highly reliable OLED products at competitive price.
NeoView Kolon is about to produce mono/multi and full-color panels for cellular phones in passive matrix mode by using already developed 4'' full-color panel technology and supplying them to clients in the latter half of this year. It is also arranging to supply panels for PDAs and developing panels in active matrix mode as well.
NeoView Kolon does not limit itself to OLED. It has a larger vision of reproducing true natural color in almost anything. With the vision at heart, it is challenging OLED first. To obtain true natural color in OLED is still out of reach, but it moves at least one step closer to the actualization of the true color.
NeoView Kolon will move closer to the natural color actualization, and seeks our reason of existence through customer satisfaction, affection and senses. So, NeoView Kolon wants to be remembered as a pioneer in An era of Progress in Display.
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Taken on 29-10-2007 (just before this shot) from the very rear seat of a Boeing 737-800 - FR925 BLK-DUB - as we left Blackpool to return to Ireland after Cormac's stag weekend.
Splendid craic was had by all :-)
Lovely sunny but blustery afternoon there.
From the wikipedia:
Blackpool is a seaside town in Lancashire, England. Lying along the coast of the Irish Sea, it has a population of 142,900. Blackpool rose to prominence as a major centre of tourism during the 19th century, particularly for the inhabitants of northern mill towns
Blackpool is heavily dependent on tourism. In what is often regarded as its heyday (1900-1950), Blackpool thrived as the factory workers of northern England took their annual holidays there en masse. Any photograph from that era shows crowds of tourists on the beach and promenade. Blackpool was also a preferred destination of visitors from Glasgow and remains so to this day. Reputedly, the town still has more hotel and B&B beds than the whole of Portugal. The town went into decline when cheap air travel arrived in the 1960s and the same workers decamped to the Mediterranean coast resorts due to competitive prices and the more reliable weather. Today Blackpool remains the most popular seaside resort in the UK, however the town has suffered a serious drop in numbers of visitors which has fallen from 17 million in 1992 to 10 million today. Similarly Blackpool Pleasure Beach remains the country's most popular free attraction with 6 million visitors a year but has lost over a million visitors since 1998. Today, many visitors stay for the weekend rather than for a week at a time.
Blackpool boasts some important landmarks, most of which appeared originally as part of the flourishing tourist industry.
* Blackpool Tower, opened in 1894; it has been a dominant landmark of the Blackpool skyline since that time. Inspired by the Eiffel Tower of Paris, France, it is 158m (518ft 9in) tall. Beneath the tower is a complex of leisure facilities, entertainment venues and restaurants, including the world famous Tower Ballroom and Tower Circus.
* North Pier - The northernmost of Blackpool's three piers. It includes a small shopping arcade, a small tramway and the North Pier Theatre toward the end of the pier. The pier end also used to have a helicopter pad, but this was damaged at Christmas 1997 by a windstorm and collapsed into the Irish Sea.
* Central Pier - The middle pier, includes a large ferris wheel and shops.
* South Pier - The southernmost pier. Almost directly opposite the Pleasure Beach, it houses a theme park.
* Pleasure Beach Blackpool - a famous theme park. Rides include the Pepsi Max Big One, which is the largest roller coaster in the theme park and one of the largest in the UK.
* The Winter Gardens is a large entertainment and conference venue in the town centre. Includes the Opera House (one of the largest theatres in Europe), Pavilion Theatre, Empress Ballroom, Spanish Hall, Arena and Olympia.
A controversial aspect of Blackpool's night-life is its hen and stag parties. Brides- or bridegrooms-to-be and their friends, often dressed alike in absurd or risqué attire, roam the town's many bars and clubs getting increasingly drunk. Their rowdy behaviour is claimed to discourage family visitors and has led to complaints from hotel and guest house owners keen to attract a more upmarket clientele.
I obviously cannot possibly comment on that last statement :-)
Funny story about this photo....
• • • • •
Quoting from Wikipedia: Jaguar E-Type:
• • • • •
The Jaguar E-Type (UK) or XK-E (US) is a British automobile manufactured by Jaguar between 1961 and 1974. Its combination of good looks, high performance, and competitive pricing established the marque as an icon of 1960s motoring. A great success for Jaguar, over seventy thousand E-Types were sold during its lifespan.
In March 2008, the Jaguar E-Type ranked first in Daily Telegraph list of the "100 most beautiful cars" of all time.[2] In 2004, Sports Car International magazine placed the E-Type at number one on their list of Top Sports Cars of the 1960s.
Contents
•• 4.2 Lightweight E-Type (1963-1964)
Overview
The E-Type was initially designed and shown to the public as a grand tourer in two-seater coupé form (FHC or Fixed Head Coupé) and as convertible (OTS or Open Two Seater). The 2+2 version with a lengthened wheelbase was released several years later.
On its release Enzo Ferrari called it "The most beautiful car ever made".
The model was made in three distinct versions which are now generally referred to as "Series 1", "Series 2" and "Series 3". A transitional series between Series 1 and Series 2 is known unofficially as "Series 1½".
In addition, several limited-edition variants were produced:
• The "'Lightweight' E-Type" which was apparently intended as a sort of follow-up to the D-Type. Jaguar planned to produce 18 units but ultimately only a dozen were reportedly built. Of those, one is known to have been destroyed and two others have been converted to coupé form. These are exceedingly rare and sought after by collectors.
• The "Low Drag Coupé" was a one-off technical exercise which was ultimately sold to a Jaguar racing driver. It is presently believed to be part of the private collection of the current Viscount Cowdray.
Concept versions
E1A (1957)
After their success at LeMans 24 hr through the 1950s Jaguars defunct racing department were given the brief to use D-Type style construction to build a road going sports car, replacing the XK150.
It is suspected that the first prototype (E1A) was given the code based on: (E): The proposed production name E-Type (1): First Prototype (A): Aluminium construction (Production models used steel bodies)
The car featured a monocoque design, Jaguar's fully independent rear suspension and the well proved "XK" engine.
The car was used solely for factory testings and was never formally released to the public. The car was eventually scrapped by the factory
E2A (1960)
Jaguar's second E-Type concept was E2A which unlike E1A was constructed from a steel chassis and used a aluminium body. This car was completed as a race car as it was thought by Jaguar at the time it would provide a better testing ground.
E2A used a 3 litre version of the XK engine with a Lucas fuel injection system.
After retiring from the LeMans 24 hr the car was shipped to America to be used for racing by Jaguar privateer Briggs Cunningham.
In 1961 the car returned to Jaguar in England to be used as a testing mule.
Ownership of E2A passed to Roger Woodley (Jaguars customer competition car manager) who took possession on the basis the car not be used for racing. E2A had been scheduled to be scrapped.
Roger's wife Penny Griffiths owned E2A until 2008 when it was offered for sale at Bonham's Quail Auction. Sale price was US$4.5 million
Production versions
Series 1 (1961-1968)
Series I
• Production
2-door coupe
2-door convertible
96.0 in (2438 mm) (FHC / OTS)
105.0 in (2667 mm) (2+2) [5]
• Length
175.3125 in (4453 mm) (FHC / OTS)
184.4375 in (4685 mm) (2+2) [5]
• Width
65.25 in (1657 mm) (all) [5]
• Height
48.125 in (1222 mm) (FHC)
50.125 in (1273 mm) (2+2)
46.5 in (1181 mm) (OTS)[5]
2,900 lb (1,315 kg) (FHC)
2,770 lb (1,256 kg) (OTS)
3,090 lb (1,402 kg) (2+2) [6]
• Fuel capacity
63.64 L (16.8 US gal; 14.0 imp gal)[5]
The Series 1 was introduced, initially for export only, in March 1961. The domestic market launch came four months later in July 1961.[7] The cars at this time used the triple SU carburetted 3.8 litre 6-cylinder Jaguar XK6 engine from the XK150S. The first 500 cars built had flat floors and external hood (bonnet) latches. These cars are rare and more valuable. After that, the floors were dished to provide more leg room and the twin hood latches moved to inside the car. The 3.8 litre engine was increased to 4.2 litres in October 1964.[7]
All E-Types featured independent coil spring rear suspension with torsion bar front ends, and four wheel disc brakes, in-board at the rear, all were power-assisted. Jaguar was one of the first auto manufacturers to equip cars with disc brakes as standard from the XK150 in 1958. The Series 1 can be recognised by glass covered headlights (up to 1967), small "mouth" opening at the front, signal lights and tail-lights above bumpers and exhaust tips under the licence plate in the rear.
3.8 litre cars have leather-upholstered bucket seats, an aluminium-trimmed centre instrument panel and console (changed to vinyl and leather in 1963), and a Moss 4-speed gearbox that lacks synchromesh for 1st gear ("Moss box"). 4.2 litre cars have more comfortable seats, improved brakes and electrical systems, and an all-synchromesh 4-speed gearbox. 4.2 litre cars also have a badge on the boot proclaiming "Jaguar 4.2 Litre E-Type" (3.8 cars have a simple "Jaguar" badge). Optional extras included chrome spoked wheels and a detachable hard top for the OTS.
An original E-Type hard top is very rare, and finding one intact with all the chrome, not to mention original paint in decent condition, is rather difficult. For those who want a hardtop and aren't fussy over whether or not it is an original from Jaguar, several third parties have recreated the hardtop to almost exact specifications. The cost ranges anywhere from double to triple the cost of a canvas/vinyl soft top.
A 2+2 version of the coupé was added in 1966. The 2+2 offered the option of an automatic transmission. The body is 9 in (229 mm) longer and the roof angles are different with a more vertical windscreen. The roadster remained a strict two-seater.
There was a transitional series of cars built in 1967-68, unofficially called "Series 1½", which are externally similar to Series 1 cars. Due to American pressure the new features were open headlights, different switches, and some de-tuning (with a downgrade of twin Zenith-Stromberg carbs from the original triple SU carbs) for US models. Some Series 1½ cars also have twin cooling fans and adjustable seat backs. Series 2 features were gradually introduced into the Series 1, creating the unofficial Series 1½ cars, but always with the Series 1 body style.
Less widely known, there was also right at the end of Series 1 production and prior to the transitional "Series 1½" referred to above, a very small number of Series 1 cars produced with open headlights.[8] These are sometimes referred to as "Series 1¼" cars.[9] Production dates on these machines vary but in right hand drive form production has been verified as late as March 1968.[10] It is thought that the low number of these cars produced relative to the other Series make them amongst the rarest of all production E Types.
An open 3.8 litre car, actually the first such production car to be completed, was tested by the British magazine The Motor in 1961 and had a top speed of 149.1 mph (240.0 km/h) and could accelerate from 0-60 mph (97 km/h) in 7.1 seconds. A fuel consumption of 21.3 miles per imperial gallon (13.3 L/100 km; 17.7 mpg-US) was recorded. The test car cost £2097 including taxes.[11]
Production numbers from Graham[12]:
• 15,490 3.8s
• 17,320 4.2s
• 10,930 2+2s
Production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Series 2 (1969-1971)
Series II
• Production
2-door coupe
2-door convertible
3,018 lb (1,369 kg) (FHC)
2,750 lb (1,247 kg) (OTS)
3,090 lb (1,402 kg) (2+2) [6]
Open headlights without glass covers, a wrap-around rear bumper, re-positioned and larger front indicators and taillights below the bumpers, better cooling aided by an enlarged "mouth" and twin electric fans, and uprated brakes are hallmarks of Series 2 cars. De-tuned in US, but still with triple SUs in the UK, the engine is easily identified visually by the change from smooth polished cam covers to a more industrial 'ribbed' appearance. Late Series 1½ cars also had ribbed cam covers. The interior and dashboard were also redesigned, with rocker switches that met U.S health and safety regulations being substituted for toggle switches. The dashboard switches also lost their symmetrical layout. New seats were fitted, which purists claim lacked the style of the originals but were certainly more comfortable. Air conditioning and power steering were available as factory options.
Production according to Graham[12] is 13,490 of all types.
Series 2 production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Official delivery numbers by market and year are listed in Porter[3] but no summary totals are given.
Series 3 (1971-1975)
Series III
• Production
1971–1975
2-door convertible
105 in (2667 mm) (both)[6]
• Length
184.4 in (4684 mm) (2+2)
184.5 in (4686 mm) (OTS)[6]
• Width
66.0 in (1676 mm) (2+2)
66.1 in (1679 mm) (OTS)[6]
• Height
48.9 in (1242 mm) (2+2)
48.1 in (1222 mm) (OTS)[6]
3,361 lb (1,525 kg) (2+2)
3,380 lb (1,533 kg) (OTS)[6]
• Fuel capacity
82 L (21.7 US gal; 18.0 imp gal)[14]
A new 5.3 L 12-cylinder Jaguar V12 engine was introduced, with uprated brakes and standard power steering. The short wheelbase FHC body style was discontinued and the V12 was available only as a convertible and 2+2 coupé. The convertible used the longer-wheelbase 2+2 floorplan. It is easily identifiable by the large cross-slatted front grille, flared wheel arches and a badge on the rear that proclaims it to be a V12. There were also a very limited number of 4.2 litre six-cylinder Series 3 E-Types built. These were featured in the initial sales literature. It is believed these are the rarest of all E-Types of any remaining.
In 2008 a British classic car enthusiast assembled what is surely the last ever E-Type from parts bought from the end-of-production surplus in 1974.[15]
Graham[12] lists production at 15,290.
Series 3 production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Limited edtions
Two limited production E-Type variants were made as test beds, the Low Drag Coupe and Lightweight E-Type, both of which were raced:
Low Drag Coupé (1962)
Shortly after the introduction of the E-Type, Jaguar management wanted to investigate the possibility of building a car more in the spirit of the D-Type racer from which elements of the E-Type's styling and design were derived. One car was built to test the concept designed as a coupé as its monocoque design could only be made rigid enough for racing by using the "stressed skin" principle. Previous Jaguar racers were built as open-top cars because they were based on ladder frame designs with independent chassis and bodies. Unlike the steel production E-Types the LDC used lightweight aluminium. Sayer retained the original tub with lighter outer panels riveted and glued to it. The front steel sub frame remained intact, the windshield was given a more pronounced slope and the rear hatch welded shut. Rear brake cooling ducts appeared next to the rear windows,and the interior trim was discarded, with only insulation around the transmission tunnel. With the exception of the windscreen, all cockpit glass was plexi. A tuned version of Jaguar's 3.8 litre engine with a wide angle cylinder-head design tested on the D-Type racers was used. Air management became a major problem and, although much sexier looking and certainly faster than a production E-Type, the car was never competitive: the faster it went, the more it wanted to do what its design dictated: take off.
The one and only test bed car was completed in summer of 1962 but was sold a year later to Jaguar racing driver Dick Protheroe who raced it extensively and eventually sold it. Since then it has passed through the hands of several collectors on both sides of the Atlantic and now is believed to reside in the private collection of the current Viscount Cowdray.
Lightweight E-Type (1963-1964)
In some ways, this was an evolution of the Low Drag Coupé. It made extensive use of aluminium alloy in the body panels and other components. However, with at least one exception, it remained an open-top car in the spirit of the D-Type to which this car is a more direct successor than the production E-Type which is more of a GT than a sports car. The cars used a tuned version of the production 3.8 litre Jaguar engine with 300 bhp (224 kW) output rather than the 265 bhp (198 kW) produced by the "ordinary" version. At least one car is known to have been fitted with fuel-injection.
The cars were entered in various races but, unlike the C-Type and D-Type racing cars, they did not win at Le Mans or Sebring.
Motor Sport
Bob Jane won the 1963 Australian GT Championship at the wheel of an E-Type.
The Jaguar E-Type was very successful in SCCA Production sports car racing with Group44 and Bob Tullius taking the B-Production championship with a Series-3 V12 racer in 1975. A few years later, Gran-Turismo Jaguar from Cleveland Ohio campaigned a 4.2 L 6 cylinder FHC racer in SCCA production series and in 1980, won the National Championship in the SCCA C-Production Class defeating a fully funded factory Nissan Z-car team with Paul Newman.
See also
• Jaguar XK150 - predecessor to the E-Type
• Jaguar XJS - successor to the E-Type
• Jaguar XK8 - The E-Type's current and spiritual successor
• Guyson E12 - a rebodied series III built by William Towns
References
• ^ Loughborough graduate and designer of E Type Jaguar honoured
• ^ a b cPorter, Philip (2006). Jaguar E-type, the definitive history. p. 443. ISBN 0-85429-580-1.
• ^ a b"'69 Series 2 Jaguar E Types", Autocar, October 24, 1968
• ^ a b c d eThe Complete Official Jaguar "E". Cambridge: Robert Bentley. 1974. p. 12. ISBN 0-8376-0136-3.
• ^ a b c d e f g"Jaguar E-Type Specifications". www.web-cars.com/e-type/specifications.php. Retrieved 29 August 2009.
• ^ a b"Buying secondhand E-type Jaguar". Autocar 141 (nbr4042): pages 50–52. 6 April 1974.
• ^ See Jaguar Clubs of North America concourse information at: [1] and more specifically the actual Series 1½ concourse guide at [2]
• ^ Ibid.
• ^ Compare right hand drive VIN numbers given in JCNA concours guide referred to above with production dates for right hand drive cars as reflected in the XKEdata database at [3]
• ^"The Jaguar E-type". The Motor. March 22, 1961.
• ^ a b cRobson, Graham (2006). A–Z British Cars 1945–1980. Devon, UK: Herridge & Sons. ISBN 0-9541063-9-3.
• ^ a b chttp://www.xkedata.com/stats/. www.xkedata.com/stats/. Retrieved 29 August 2009.
• ^Daily Express Motor Show Review 1975 Cars: Page 24 (Jaguar E V12). October 1974.
• ^ jalopnik.com/5101872/british-man-cobbles-together-last-ja...
This hotel was built in the 1920's and must have been a beauty in those days. Located in one of the most beautiful places around and it still has it's grace. It was very popular back in the days and a lot of wealthy and royal visiters booked a night in here.
Unfortunately it had to close in the 1960's and nobody knows what to do with this beautiful but detriorated building. Well, almost nobody except us...
Please visit www.preciousdecay.com for more pictures and follow me on Facebook on www.facebook.com/Preciousdecay
If you are interested in some of my work then please contact me by personal message. I can offer you various a-class materials for competitive prices and worldwide shipping.
This English beauty was seen at the Heartland All British Car and Cycle Show held in Merriam Kansas.
History of MGA 1600
The MGA began production in 1955. The styling and mechanics were different from previous MG models. The public had been given hints of its new design during the 1951 Le-Mans 24 Hour endurance race. The car was driven by George Phillips and was actually a TD Midget with body modifications.
The XPAG engine that had power many previous MG's was replaced by a new power plant. This 1489 cc four-cylinder, B-series engine provided between 68 and 72 horsepower. The BMC B-series unit had made its debut in the MG Magnette saloon and proved to be a reliable and powerful engine.
To create enthusiasm for the cars prior to release, three aluminum-bodied prototypes were created and dubbed EX182. They were entered into the Le Man's race where they finished fifth and sixth in their class. This epic achievement gave the MGA racing credibility and mechanical reliability.
The styling of the car was undeniably elegant. Its aerodynamic design and two-seat open-body were stylish and sporty. The vehicle sat very low to the ground providing an excellent center of gravity. This improved handling and cornering ability. The chassis was a modified TD Midget unit with widely spaced side rails allowing for a low-seating position.
In the rear of the vehicle was a spare wheel mounted on the upper portion of the outside of the vehicle. Underneath was adequate trunk space for luggage. At the front of the vehicle sat the engine.
Steel disc wheels were standard equipment but center-locking wire wheels could be substituted at an additional fee. Since the car had an open-top, it was subjected to the elements. A hard-top could be purchased making the vehicle more versatile.
A coupe version quickly followed and offered features such as wind-up windows, soft-top versions, and other amenities that helped appeal to a wider customer base. To stay competitive on the race track, the MGA twin-cam version was introduced in 1958. This high-performance version could be driven to the race track, race, and then be driven home. The engine had been modified with aluminum components, twin overhead camshafts, and dual SU carburetors. These enhancements increased the horsepower rating to 110 and the overall top speed to 115 miles per hour. Disc brakes replaced the drums which not only made the car more competitive, it made it safer. Unfortunately, the vehicle suffered from reliability issues and did not hold up well to the strain of racing. So in 1960, MG discontinued its production.
In 1959, MG introduced the MGA 1600's and offered them in a coupe and open form. These were the standard MGA cars but with 1588 cc B-series pushrod engines. Drum brakes were used in the rear of the vehicle, but disc brakes were placed in the front.
In 1961, the MGA 1600 MKII was introduced. It featured a 1622 cc. B-series engine that was capable of producing 93 horsepower. 100 miles per hour was easily achieved by the MKII. Minor aesthetic changes were made to the front and rear of the vehicle.
In 1962, MG ceased the production of the MGA. Nearly 100,000 examples had been produced during its life span making it the longest-running and best-selling MG. The success of the vehicle was in part to its styling, racing history, performance, and competitive pricing. Many of the MGA's produced were exported to the United States. In the end and after so many years, the MGA was having trouble staying competitive with models offered by other manufacturers.
Source: Coceptcarz
Quoting from Wikipedia: Jaguar E-Type:
• • • • •
The Jaguar E-Type (UK) or XK-E (US) is a British automobile manufactured by Jaguar between 1961 and 1974. Its combination of good looks, high performance, and competitive pricing established the marque as an icon of 1960s motoring. A great success for Jaguar, over seventy thousand E-Types were sold during its lifespan.
In March 2008, the Jaguar E-Type ranked first in Daily Telegraph list of the "100 most beautiful cars" of all time.[2] In 2004, Sports Car International magazine placed the E-Type at number one on their list of Top Sports Cars of the 1960s.
Contents
•• 4.2 Lightweight E-Type (1963-1964)
Overview
The E-Type was initially designed and shown to the public as a grand tourer in two-seater coupé form (FHC or Fixed Head Coupé) and as convertible (OTS or Open Two Seater). The 2+2 version with a lengthened wheelbase was released several years later.
On its release Enzo Ferrari called it "The most beautiful car ever made".
The model was made in three distinct versions which are now generally referred to as "Series 1", "Series 2" and "Series 3". A transitional series between Series 1 and Series 2 is known unofficially as "Series 1½".
In addition, several limited-edition variants were produced:
• The "'Lightweight' E-Type" which was apparently intended as a sort of follow-up to the D-Type. Jaguar planned to produce 18 units but ultimately only a dozen were reportedly built. Of those, one is known to have been destroyed and two others have been converted to coupé form. These are exceedingly rare and sought after by collectors.
• The "Low Drag Coupé" was a one-off technical exercise which was ultimately sold to a Jaguar racing driver. It is presently believed to be part of the private collection of the current Viscount Cowdray.
Concept versions
E1A (1957)
After their success at LeMans 24 hr through the 1950s Jaguars defunct racing department were given the brief to use D-Type style construction to build a road going sports car, replacing the XK150.
It is suspected that the first prototype (E1A) was given the code based on: (E): The proposed production name E-Type (1): First Prototype (A): Aluminium construction (Production models used steel bodies)
The car featured a monocoque design, Jaguar's fully independent rear suspension and the well proved "XK" engine.
The car was used solely for factory testings and was never formally released to the public. The car was eventually scrapped by the factory
E2A (1960)
Jaguar's second E-Type concept was E2A which unlike E1A was constructed from a steel chassis and used a aluminium body. This car was completed as a race car as it was thought by Jaguar at the time it would provide a better testing ground.
E2A used a 3 litre version of the XK engine with a Lucas fuel injection system.
After retiring from the LeMans 24 hr the car was shipped to America to be used for racing by Jaguar privateer Briggs Cunningham.
In 1961 the car returned to Jaguar in England to be used as a testing mule.
Ownership of E2A passed to Roger Woodley (Jaguars customer competition car manager) who took possession on the basis the car not be used for racing. E2A had been scheduled to be scrapped.
Roger's wife Penny Griffiths owned E2A until 2008 when it was offered for sale at Bonham's Quail Auction. Sale price was US$4.5 million
Production versions
Series 1 (1961-1968)
Series I
• Production
2-door coupe
2-door convertible
96.0 in (2438 mm) (FHC / OTS)
105.0 in (2667 mm) (2+2) [5]
• Length
175.3125 in (4453 mm) (FHC / OTS)
184.4375 in (4685 mm) (2+2) [5]
• Width
65.25 in (1657 mm) (all) [5]
• Height
48.125 in (1222 mm) (FHC)
50.125 in (1273 mm) (2+2)
46.5 in (1181 mm) (OTS)[5]
2,900 lb (1,315 kg) (FHC)
2,770 lb (1,256 kg) (OTS)
3,090 lb (1,402 kg) (2+2) [6]
• Fuel capacity
63.64 L (16.8 US gal; 14.0 imp gal)[5]
The Series 1 was introduced, initially for export only, in March 1961. The domestic market launch came four months later in July 1961.[7] The cars at this time used the triple SU carburetted 3.8 litre 6-cylinder Jaguar XK6 engine from the XK150S. The first 500 cars built had flat floors and external hood (bonnet) latches. These cars are rare and more valuable. After that, the floors were dished to provide more leg room and the twin hood latches moved to inside the car. The 3.8 litre engine was increased to 4.2 litres in October 1964.[7]
All E-Types featured independent coil spring rear suspension with torsion bar front ends, and four wheel disc brakes, in-board at the rear, all were power-assisted. Jaguar was one of the first auto manufacturers to equip cars with disc brakes as standard from the XK150 in 1958. The Series 1 can be recognised by glass covered headlights (up to 1967), small "mouth" opening at the front, signal lights and tail-lights above bumpers and exhaust tips under the licence plate in the rear.
3.8 litre cars have leather-upholstered bucket seats, an aluminium-trimmed centre instrument panel and console (changed to vinyl and leather in 1963), and a Moss 4-speed gearbox that lacks synchromesh for 1st gear ("Moss box"). 4.2 litre cars have more comfortable seats, improved brakes and electrical systems, and an all-synchromesh 4-speed gearbox. 4.2 litre cars also have a badge on the boot proclaiming "Jaguar 4.2 Litre E-Type" (3.8 cars have a simple "Jaguar" badge). Optional extras included chrome spoked wheels and a detachable hard top for the OTS.
An original E-Type hard top is very rare, and finding one intact with all the chrome, not to mention original paint in decent condition, is rather difficult. For those who want a hardtop and aren't fussy over whether or not it is an original from Jaguar, several third parties have recreated the hardtop to almost exact specifications. The cost ranges anywhere from double to triple the cost of a canvas/vinyl soft top.
A 2+2 version of the coupé was added in 1966. The 2+2 offered the option of an automatic transmission. The body is 9 in (229 mm) longer and the roof angles are different with a more vertical windscreen. The roadster remained a strict two-seater.
There was a transitional series of cars built in 1967-68, unofficially called "Series 1½", which are externally similar to Series 1 cars. Due to American pressure the new features were open headlights, different switches, and some de-tuning (with a downgrade of twin Zenith-Stromberg carbs from the original triple SU carbs) for US models. Some Series 1½ cars also have twin cooling fans and adjustable seat backs. Series 2 features were gradually introduced into the Series 1, creating the unofficial Series 1½ cars, but always with the Series 1 body style.
Less widely known, there was also right at the end of Series 1 production and prior to the transitional "Series 1½" referred to above, a very small number of Series 1 cars produced with open headlights.[8] These are sometimes referred to as "Series 1¼" cars.[9] Production dates on these machines vary but in right hand drive form production has been verified as late as March 1968.[10] It is thought that the low number of these cars produced relative to the other Series make them amongst the rarest of all production E Types.
An open 3.8 litre car, actually the first such production car to be completed, was tested by the British magazine The Motor in 1961 and had a top speed of 149.1 mph (240.0 km/h) and could accelerate from 0-60 mph (97 km/h) in 7.1 seconds. A fuel consumption of 21.3 miles per imperial gallon (13.3 L/100 km; 17.7 mpg-US) was recorded. The test car cost £2097 including taxes.[11]
Production numbers from Graham[12]:
• 15,490 3.8s
• 17,320 4.2s
• 10,930 2+2s
Production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Series 2 (1969-1971)
Series II
• Production
2-door coupe
2-door convertible
3,018 lb (1,369 kg) (FHC)
2,750 lb (1,247 kg) (OTS)
3,090 lb (1,402 kg) (2+2) [6]
Open headlights without glass covers, a wrap-around rear bumper, re-positioned and larger front indicators and taillights below the bumpers, better cooling aided by an enlarged "mouth" and twin electric fans, and uprated brakes are hallmarks of Series 2 cars. De-tuned in US, but still with triple SUs in the UK, the engine is easily identified visually by the change from smooth polished cam covers to a more industrial 'ribbed' appearance. Late Series 1½ cars also had ribbed cam covers. The interior and dashboard were also redesigned, with rocker switches that met U.S health and safety regulations being substituted for toggle switches. The dashboard switches also lost their symmetrical layout. New seats were fitted, which purists claim lacked the style of the originals but were certainly more comfortable. Air conditioning and power steering were available as factory options.
Production according to Graham[12] is 13,490 of all types.
Series 2 production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Official delivery numbers by market and year are listed in Porter[3] but no summary totals are given.
Series 3 (1971-1975)
Series III
• Production
1971–1975
2-door convertible
105 in (2667 mm) (both)[6]
• Length
184.4 in (4684 mm) (2+2)
184.5 in (4686 mm) (OTS)[6]
• Width
66.0 in (1676 mm) (2+2)
66.1 in (1679 mm) (OTS)[6]
• Height
48.9 in (1242 mm) (2+2)
48.1 in (1222 mm) (OTS)[6]
3,361 lb (1,525 kg) (2+2)
3,380 lb (1,533 kg) (OTS)[6]
• Fuel capacity
82 L (21.7 US gal; 18.0 imp gal)[14]
A new 5.3 L 12-cylinder Jaguar V12 engine was introduced, with uprated brakes and standard power steering. The short wheelbase FHC body style was discontinued and the V12 was available only as a convertible and 2+2 coupé. The convertible used the longer-wheelbase 2+2 floorplan. It is easily identifiable by the large cross-slatted front grille, flared wheel arches and a badge on the rear that proclaims it to be a V12. There were also a very limited number of 4.2 litre six-cylinder Series 3 E-Types built. These were featured in the initial sales literature. It is believed these are the rarest of all E-Types of any remaining.
In 2008 a British classic car enthusiast assembled what is surely the last ever E-Type from parts bought from the end-of-production surplus in 1974.[15]
Graham[12] lists production at 15,290.
Series 3 production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Limited edtions
Two limited production E-Type variants were made as test beds, the Low Drag Coupe and Lightweight E-Type, both of which were raced:
Low Drag Coupé (1962)
Shortly after the introduction of the E-Type, Jaguar management wanted to investigate the possibility of building a car more in the spirit of the D-Type racer from which elements of the E-Type's styling and design were derived. One car was built to test the concept designed as a coupé as its monocoque design could only be made rigid enough for racing by using the "stressed skin" principle. Previous Jaguar racers were built as open-top cars because they were based on ladder frame designs with independent chassis and bodies. Unlike the steel production E-Types the LDC used lightweight aluminium. Sayer retained the original tub with lighter outer panels riveted and glued to it. The front steel sub frame remained intact, the windshield was given a more pronounced slope and the rear hatch welded shut. Rear brake cooling ducts appeared next to the rear windows,and the interior trim was discarded, with only insulation around the transmission tunnel. With the exception of the windscreen, all cockpit glass was plexi. A tuned version of Jaguar's 3.8 litre engine with a wide angle cylinder-head design tested on the D-Type racers was used. Air management became a major problem and, although much sexier looking and certainly faster than a production E-Type, the car was never competitive: the faster it went, the more it wanted to do what its design dictated: take off.
The one and only test bed car was completed in summer of 1962 but was sold a year later to Jaguar racing driver Dick Protheroe who raced it extensively and eventually sold it. Since then it has passed through the hands of several collectors on both sides of the Atlantic and now is believed to reside in the private collection of the current Viscount Cowdray.
Lightweight E-Type (1963-1964)
In some ways, this was an evolution of the Low Drag Coupé. It made extensive use of aluminium alloy in the body panels and other components. However, with at least one exception, it remained an open-top car in the spirit of the D-Type to which this car is a more direct successor than the production E-Type which is more of a GT than a sports car. The cars used a tuned version of the production 3.8 litre Jaguar engine with 300 bhp (224 kW) output rather than the 265 bhp (198 kW) produced by the "ordinary" version. At least one car is known to have been fitted with fuel-injection.
The cars were entered in various races but, unlike the C-Type and D-Type racing cars, they did not win at Le Mans or Sebring.
Motor Sport
Bob Jane won the 1963 Australian GT Championship at the wheel of an E-Type.
The Jaguar E-Type was very successful in SCCA Production sports car racing with Group44 and Bob Tullius taking the B-Production championship with a Series-3 V12 racer in 1975. A few years later, Gran-Turismo Jaguar from Cleveland Ohio campaigned a 4.2 L 6 cylinder FHC racer in SCCA production series and in 1980, won the National Championship in the SCCA C-Production Class defeating a fully funded factory Nissan Z-car team with Paul Newman.
See also
• Jaguar XK150 - predecessor to the E-Type
• Jaguar XJS - successor to the E-Type
• Jaguar XK8 - The E-Type's current and spiritual successor
• Guyson E12 - a rebodied series III built by William Towns
References
• ^ Loughborough graduate and designer of E Type Jaguar honoured
• ^ a b cPorter, Philip (2006). Jaguar E-type, the definitive history. p. 443. ISBN 0-85429-580-1.
• ^ a b"'69 Series 2 Jaguar E Types", Autocar, October 24, 1968
• ^ a b c d eThe Complete Official Jaguar "E". Cambridge: Robert Bentley. 1974. p. 12. ISBN 0-8376-0136-3.
• ^ a b c d e f g"Jaguar E-Type Specifications". http://www.web-cars.com/e-type/specifications.php. Retrieved 29 August 2009.
• ^ a b"Buying secondhand E-type Jaguar". Autocar 141 (nbr4042): pages 50–52. 6 April 1974.
• ^ See Jaguar Clubs of North America concourse information at: [1] and more specifically the actual Series 1½ concourse guide at [2]
• ^ Ibid.
• ^ Compare right hand drive VIN numbers given in JCNA concours guide referred to above with production dates for right hand drive cars as reflected in the XKEdata database at [3]
• ^"The Jaguar E-type". The Motor. March 22, 1961.
• ^ a b cRobson, Graham (2006). A–Z British Cars 1945–1980. Devon, UK: Herridge & Sons. ISBN 0-9541063-9-3.
• ^ a b chttp://www.xkedata.com/stats/. http://www.xkedata.com/stats/. Retrieved 29 August 2009.
• ^Daily Express Motor Show Review 1975 Cars: Page 24 (Jaguar E V12). October 1974.
• ^ jalopnik.com/5101872/british-man-cobbles-together-last-ja...
Jaguar Mk.IX (1959-61) Engine 3781cc S6 DOC Production 10.009
Registration Number WOW 659 (Southampton)
JAGUAR SET
www.flickr.com/photos/45676495@N05/sets/72157623671588245...
Powered by the 220bhp version of the 3.8ltr. engine, the Mk.IX was the last of the big separate chassis saloons, plus all disc brakes and power assisted steering. Choice of manual or automatic transmissions, but more automatics..
In the luxury car market, the Jaguar Mk IX was very competitively priced, selling for ₤1995 with manual gearbox, ₤2063 with overdrive, and ₤2163 with automatic transmission, which was less than half the price of similar competitors.
Many thanks for a fantabulous
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Shot at the NEC Classic Car Show 13:11:2015 Ref. 112-284
I spent some time in Cyprus last November. Cyprus is an island in the Mediterranian Sea. It has a long and dramatic history and is, after a war in the 1970:ies, divided in a northern and a southern part. It was not a civil war, no that war was about bigger neighbours trying to strengthen their position and power. And can you imagine: the CIA was involved here too!
My visit this time was to the northern part, where I hadn't been before. It was late and dark when my plane landed so I couldn't see much of the landscape from the bus to my hotel. The photo here is what I saw from the hotel balcony in the first morning light on the next day. It confirmed what travel guides say. Northern Cyprus is not focused on tourism to the same extent as the southern part but for a traveler like me, this can be an advantage. I like the genuinity and relaxed feel of northern Cyprus. There is a lot here to experience at very competitive prices and if you are interested in Medievel and later history, here is all you need for many weeks and months!