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Another major European introduction for 1982 was the all-new 700 series from Volvo. Designed to replace the 200 series (itself derived from the 100 series of 1966), the 700 was produced alongside for 12 years. The two models are very close in exterior dimension.
The 700 underwent minor exterior changes to become the 900 series in 1991, notably a smoother front end treatment and revised rear treatment on the sedan. The sedan also received an independent rear suspension, with the estate car retaining a live rear axle. The 900 series was futher revised and named the S90/V90 in 1997 in line with Volvo's new naming convention. The model finally went out of production in 1998. The sedan models were subsequently replaced by the front-wheel-drive Volvo S80.
The engine line up included 4-cylinder, 4-cylinder turbocharged (one of the first major turbocharged passenger car ranges) and carryover vee-six cylinder engines shared with PSA and Renault. The 900 series later replaced the V6 with an inline six developed as part of a modular engine design of inline 4, 5 and 6-cylinder engines.
At launch the car was strongly criticised for its overtly rectilinear styling. The car matched the style that was popular in North America at the time, including a near vertical rear window. Unfortunately for Volvo this was the model year introduction of a key competitor, the Audi 100, which was notably aerodynamic in form.
This styling theme does have its advantages, with large windows and good visibility. It also provides ample space as an estate car. The model was popular with middle-class families with children, dogs etc, and are now considered 'Lifestyle' families.
Volvo's success in this market segment was later eroded by SUV and 'crossover' vehicles which emphasised the adventure part of the lifestyle image without being any more practical as a family car. Volvo went on to launch a vehicle in the crossover segment in place of the 900 wagon, the XC90. This model was very well recieved for its family practicality relative to other vehicles in the luxury crossover segment.
This miniland scale model has been created using Lego Digital Designer for Flickr LUGNuts 43rd build challenge - 'Plus or Mius Ten' - celebraing vehilces produced ten years before or after the birth year of the modeller. In this case 1982.
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German postcard by Ross Verlag, no. 3238/2, 1928-1929. Photo: United Artists. Dolores Del Rio in Evangeline (Edwin Carewe, 1929).
Mexican and American actress Dolores del RÃo (1905–1983) was a Hollywood star in the 1920s and 1930s, and one of the most important female actresses of the Golden Age of Mexican cinema in the 1940s and 1950s. Del RÃo was the first major Latin crossover star in Hollywood and was considered one of the most beautiful faces to have emerged in Hollywood cinema. She also appeared in several European films.
Dolores del Rio was born Maria de los Dolores Asunsolo Lopez-Negrete in 1905 in Durango, Mexico. She was the daughter of Jesus Leonardo Asunsolo Jacques, who worked as a bank director, and Antonia Lopez-Negrete. They were members of the high class until the Mexican Revolution, when they lost all their assets. It was around this time that Dolores began dreaming of becoming an actress. On her mother's side, Dolores was a cousin of the Mexican filmmaker Julio Bracho and the Mexican actors Ramón Novarro and Andrea Palma. Besides acting, she also enjoyed dancing, especially ballet. While studying dancing, she would earn money by dancing for the rich families of the Mexican aristocracy. A few years later, Dolores moved to Mexico City, where director Edwin Carewe discovered her. He was so entranced by her that he became her agent, manager, producer and director. In 1925, she made her debut in the film Joanna (Edwin Carewe, 1925), starring Dorothy Mackaill. Because of her exotic looks, she was cast in a vamp role. Unfortunately, her part in the film was only about 5 minutes long, and she was billed as Dorothy Del Rio in the credits. Carewe reassured her that the little that she appeared in the film looked extremely good, and the public became interested in her. Her second film was High Steppers (Edwin Carewe, 1926), starring Mary Astor, with Del RÃo taking the second female credit. He began promoting her as the female Valentino. In the comedy Pals First (1926), Carewe gave Del RÃo her first starring role. The films were not blockbusters but helped to increase del RÃo's popularity. Then, she was named a WAMPAS Baby Star along with Joan Crawford, Mary Astor, Fay Wray and Janet Gaynor, and Del Rio appeared in the hit film What Price Glory? (Raoul Walsh, 1926). In 1927, Dolores was cast in the film The Loves of Carmen. The first version, made 10 years earlier, had starred Theda Bara in the title role, but director Raoul Walsh decided to try it with a leading lady who was actually of Latin descent. Her background in dance certainly added to her convincing portrayal. Another box office hit was Resurrection (Edwin Carewe, 1927). The following year, she had another career boost. United Artists signed Dolores up, and she appeared in the film Ramona (1928) and also recorded the theme song for the movie. The film did have a synchronised score, but it is/was not considered a talkie. The theme song was heard on the radio with enormous strength both in the United States and Europe, and helped to increase the enormous success of the film. Del Rio made an extensive promotional tour in Europe. In March of 1928, the studio asked her over to Mary Pickford's home along with other big names so that they could speak on a radio show and give the audience a taste of what they sounded like. Dolores ended up singing, which was a great treat for everyone. United Artists was getting a little fed up with the partnership between Dolores and Edwin Carewe. They felt that he used her as a stepping stone, and they wanted to be in charge of her career. UA finally convinced Dolores to cut ties with the famed director, which took a great weight off her shoulders. Carewe demanded that she pay him a huge amount of money to compensate for his losses and cast one of Dolores's main rivals, Lupe Velez, in his newest picture.
Dolores Del Rio continued focusing on her career. In 1930, she appeared in the film The Bad One, with Edmund Lowe and Boris Karloff. Another successful film was Bird of Paradise (King Vidor, 1932). She made the transition from 'an exotic star across the border' to one of the great Hollywood princesses. She appeared in Flying Down to Rio (Thornton Freeland, 1933) alongside Fred Astaire and Ginger Rogers in their first pairing. Then she starred in Madame DuBarry (William Dieterle, 1934), but the film had the misfortune of being torn apart by the Hays Office. It was edited so much that it came out almost nothing like the original story. The audience didn't like it, and neither did the people involved in the making of the film. As the 1930s progressed, her box office appeal began to wane. The heads of the studios preferred leading ladies like Joan Crawford and Norma Shearer, not Latina actresses. After making Journey into Fear (Norman Foster, 1942) with Orson Welles as producer, she moved back to Mexico, where the film industry was at that time at its peak. There she received another career boost and made some of her most important films. These films like Flor Silvestre (Emilio "El Indio" Fernández, 1943), MarÃa Candelaria (Emilio Fernández, 1943) with Pedro Armendariz, Las abandonadas (Emilio Fernández, 1944), Bugambilia (Emilio Fernández, 1944), La Otra (Roberto Gavaldón, 1946) and La Malquerida (Emilio Fernández, 1949), are now considered classic masterpieces and they helped boost Mexican cinema worldwide. MarÃa Candelaria (Emilio Fernández, 1943) was the first Mexican film to be screened at the Cannes International Film Festival, where it won the Grand Prix, becoming the first Latin American film to do so. The film was a great success in Europe and allowed Del RÃo to keep her international prestige. In 1934, Del RÃo, along with other Mexican film stars of Hollywood like Ramón Novarro and Lupe Vélez, was accused of promoting Communism in California. This happened after the stars attended a special screening of Sergei Eisenstein's film ¡Que viva México!. Twenty years later, this would have consequences for her career. In 1954, del RÃo was slated to appear in the 20th Century Fox film Broken Lance. The US government denied her permission to work in the United States, accusing her of being sympathetic to international communism. So she stayed in Mexico making films, and with the decline of the Mexican cinema, she opted for work in theatre. In 1960, she returned to Hollywood and played opposite Elvis Presley in Flaming Star (Don Siegel, 1960). Elvis greeted her with flowers and said he knew exactly who she was, and said it was an honour to work with her. Dolores soon began to look at him as a son and was very affectionate with him. She also appeared in Cheyenne Autumn (John Ford, 1964) and in European films like La dama del alba / The Lady of the Dawn (Francisco Rovira Beleta, 1966) and C'era una volta / Cinderella: Italian Style (Francesco Rosi, 1967) with Sophia Loren. Her final film role was as a grandmother opposite Anthony Quinn in The Children of Sanchez (Hal Bartlett, 1978). Dolores del Rio passed away in 1983 from liver disease in Newport Beach, California. Del Rio was married three times. Her first husband was Jaime Martinez del Rio, the son of a wealthy Mexican family. She was only 16 years old when they met and was 18 years younger than him! Her second marriage was to MGM art director and production designer Cedric Gibbons from 1930 until 1940. Their divorce was caused by her affair with Orson Welles. The affair with Welles lasted two years and was very intense. He later called her the great love of his life. Her third and final marriage was to Lewis Riley, an American businessman. They married in 1959 and remained married until she died in 1983.
Source: Jessica Keaton (Silence is Platinum), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
compass distinguish South and North;
country name selfish border gives;
close your eye forgive everything;
crossover just without west east.
Crews prepare the eastern wall of the future Broadway-City Hall Station area at Broadway and Alberta, where tunnel boring machine Elsie will break through this spring. It?s a long way down from the street to the bottom: 21 metres to be exact.
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Heads Off To Heck Plasmor P S To Form The 6H86 18.20 Heck Plasmor P S To Peterborough West Yard
Heck Plasmor P S 18.20 . 18.15 5E
Shaftholme Jn 18.33 . 18.28 1/2 4E
Arksey Loop 18.37 . 18.31 1/2 5E
Donc. Marshgate Jn 18.40 . 18.33 1/2 6E
Doncaster 18.40 1/2 . 18.35 5E
Bridge Jn 18.42 1/2 No Report
Doncaster Up Decoy 18.46 To 19.55 No Report
Potteric Carr Jn 19.58 . 19.33 1/4 24E
Black Carr Jn (Doncaster) 20.00 . 19.33 3/4 26E
Loversall Carr Jn 20.01 1/2 . 19.36 1/4 25E
Ranskill Loop 20.10 1/2 . 19.46 24E
Retford Crossover 20.14 . 19.49 1/4 24E
Babworth Loop 20.14 1/2 No Report
Retford 20.15 1/2 . 20.01 14E
Carlton On Trent Loop 20.30 To 20.48 1/2 20.28 1/4 . 20.46 2E
Newark F.C. 20.55 1/2 . 20.53 1/4 2E
Newark North Gate 20.56 1/2 . 20.54 1/4 2E
Claypole Loop 21.04 To 21.10 1/2 21.00 . 21.08 1/4 2E
Barkston South Jn 21.18 1/2 . 21.15 1/2 3E
Nottingham Branch Jn 21.23 . 21.19 1/2 3E
Grantham 21.24 . 21.20 3/4 3E
Highdyke Jn 21.28 1/2 . 21.24 1/4 3E
Stoke Jn 21.30 1/2 . 21.26 1/4 4E
Tallington Jn 21.47 . 21.41 1/4 5E
Helpston Jn 21.52 . 21.44 7E
Werrington Jn 21.55 1/2 . 21.46 1/2 8E
New England Nth Jn 21.57 1/2 . 21.50 3/4 6E
P'boro Eastfield Jn [XPQ] 22.02 To 22.08 No Report
Peterborough West Yard [XWV] 22.11 1/2 . 22.05 6E
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Se você esteve no MotorChase ultimamente, você deve ter visto como o Toyota Etios poderia ser em um mundo perfeito. O carro de entrada da Toyota melhorado foi concebido pelo designer brasileiro Fernando Morita, pai do DoniRosset. E Morita não tem dedicado seus esforços exclusivamente para o Etios...
motorchase.com/pt/2016/08/como-seria-o-nissan-kicks-em-um...
After a 2 hour wait at last a loaded westbound train at the Frost Crossover with BNSF 3925 heading . Getting built up in the area with a new road overbridge but still possible to photograoh from the hillside.
Voigtlander BESSA-L / Voigtlander Color-Skopar 21mm f4 / Kodak 400TX (Caffenol-C-H 21℃ 13min49sec)