foreshadowing photos on Flickr

René Bonnet Djet - 1962 by Perico001

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24 Hrs du Mans 1962

n° 46

Team : Automobiles René Bonnet (F)

Result : 17th

142,56 km/h - 3.421,55 km

Engine : Renault L4 996 cc

Bernard Consten (F)

José Rosinski (F)

After Charles Deutsch and René Bonnet went their separate ways, Bonnet's Renault-engined racer foreshadowed the early Matras.

996 cc

4 Cylinder

90 ch

Vmax : 210 km/h

Collection Automobile Club de l'Ouest

Musée Automobile de la Sarthe

Musée des 24 Heures

Le Mans

France

July 2015

Fiat Coupé (Type 175 - 1993 - Bangle) by Peter Blackert

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The Fiat Coupé (type 175, officially titled the Coupé Fiat) was a coupé produced by the Italian manufacturer Fiat between 1993 and 2000. The car was introduced at Brussels Motor Show in 1993.

It is most remembered for its distinctive, angular design, with unique scalloped side panels. The body was designed by Chris Bangle from Centro Stile Fiat, while the interior was designed by Pininfarina. The exterior design would foreshadow much of late 1990s and early 2000s car design, acting as a precedent to both Bangle's somewhat notorious work at BMW, as well as futuristic angular designs by other marques, such as Ford and Renault.

History:

The Fiat Coupe made media headlines in auto magazines during 1992 after several spy shots were taken revealing the car on test. On its launch in 1993, the Coupé was available with a four-cylinder, 2.0 L 16V engine, in both turbo (190 PS) and normally aspirated (139 PS) versions. Both engines were later versions of Fiat's twin-cam design and inherited from the Lancia Delta Integrale, winner of the World Rally Championship a record six times. 1996 brought in a 1.8 L 16V engine (not available in the UK, 131 PS), along with a 2.0-litre 5-cylinder 20V (147 PS), and a 5-cylinder 2.0-litre 20V turbo (220 PS).

Fiat Coupé 20v Turbo Model

The turbocharged 16 and 20 valve versions were equipped with a very efficient Viscodrive limited-slip differential to counter the understeer that plagues most powerful front wheel drive cars. Additionally, the coupe featured independent suspension all round: at the front MacPherson struts and lower wishbones anchored to an auxiliary crossbeam, offset coil springs and anti-roll bar; at the rear, trailing arms mounted on an auxiliary subframe, coil springs and an anti-roll bar.

1998 saw the release of the Limited Edition which featured red Brembo brake calipers at the front and standard red calipers at the back, a body kit, push-button start, six-speed gearbox, strut brace to make the chassis more rigid and Recaro seats with red leather inserts which offered better support than the standard 20VT seats. The LE was produced in Black (flat), Red (flat), Vinci Grey (metallic), Crono Grey (flat) and Steel Grey (metallic). The bodywork of the LE also benefited from titanium coloured insert around the light bezels and the wing mirrors. Each Limited Edition ('LE') Coupé was manufactured with a badge located by the rear-view mirror which contained that car's unique number (it is rumored that Michael Schumacher was the original owner of LE No. 0001, however when the question was raised to him personally he confirmed he had owned one, but a red one, while LE No. 0001 is a Crono Grey one). Originally a spokesman from Fiat stated only approximately 300 Limited Editions would be built. The final amount was much higher, with numbers as high as 1400 touted by some. This angered many of the owners of the original 300 cars and almost certainly impacted residual values. The original number however was quoted by a Fiat UK spokesman, so probably that number only applied to the UK market. The numbered plaque on every Coupe features enough space for 4 numbers.

In 1998 the 2.0-litre 5-cylinder 20V got a Variable Inlet System which brought the power to 154 PS (113 kW). The 2.0-litre 5-cylinder 20V Turbo received a 6-speed gearbox and a large, satin gloss push starter button. In addition, the sills of the Turbo version were colour matched with the body paintwork. Fiat also released the 2.0 L 5 cylinder Turbo 'Plus'. This model came with an option kit that made it virtually identical to the LE, except for minor interior design changes and without the unique identification badge of the LE.

In 2000 Fiat released another special version of the Fiat Coupé. Featuring the 1.8-litre engine, it was only available throughout mainland Europe and marketed as an elegant and affordable edition. Fiat also made changes throughout the rest of the range: new seats, side skirts and wheels for the 2.0-litre 20V model, 'Plus' edition wheels on turbo models and Fiat manufactured seats on the 'Plus' that were virtually identical to the original Plus Recaro seats with the addition of extra airbags. The 2.0-litre 20V Turbo model is capable of accelerating from 0–100 km/h (0 to 62 mph) in 6.5 seconds, with a top speed of 240 km/h (149 mph) or 250 km/h (155 mph) with later 6-speed gearbox. When production finally stopped in September 2000, a total number of 72,762 units had been produced.

[Text from Wikipedia]

en.wikipedia.org/wiki/Fiat_Coup%C3%A9

This miniland-scale Lego FIAT Coupe (Type 175 - 1993 - Bangle) has been created for Flickr LUGNuts' 92nd Build Challenge, - "Stuck in the 90's", - all about vehicles from the decade of the 1990s.

Solo Exhibition | “We Saw the Future” by Zéh Palito

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“We Saw the Future”

“We Saw the Future” is a conceptual series of paintings by, Brazilian artist Danilo Omwisye (Zéh Palito). The series portrays a world wherein man and animal merge as one. Defining Palito’s archetypal foreshadowing’s of this obscure destiny, each painting illuminates a specific step of the journey. Using his signature color palette of bright reds, royal blues, lime greens, and electric yellows within the contrasting organic shapes against geometric, Zéh Palito takes his audience into this self-conceived dimension. He enhances the cardinal concept of nature’s connectivity by splashing evocative imagery about the canvas: grenades ejecting rainbows, hands possessing hearts, elephants and deers exploring uncharted territory. “We Saw the Future” reinvents the inherent evolution, alludes to the riddance of all things bad, and leaps towards the equality of man and his fellow animal. Yet again, Zéh Palito gives his audience reason to take a second look at the world around them. For, it is man who determines what lay ahead. Perhaps the future is not such a mystery after all.

(Paley Martin- Art Nouveau MAG)

*********************************************************************************************************

Thursday, June 6, 2013

7:00pm until 11:30pm

Boddinstrasse 60, Berlin, Germany

www.idrawalot.com

Facebook Event:

www.facebook.com/events/483261171709912/

In part with First Thursday Berlin - Art Walk:

Superman (Columbia, 1948, 1950). Pressbook by Morbius19

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The 15-page pressbook for the second Superman serial, "Atom Man vs. Superman."

From 1950, this sequel to Columbia's 1948 SUPERMAN is actually a lot of fun and has more spectacular challenges for our Man of Steel than most serial heroes had to deal with -- earthquakes, floods, runaway atomic missiles, collapsing bridges, death rays, as well as the usual assortment of gunmen and cliff plunging cars. Superman actually gets quite a workout here, catching a mortar shell and hurling it back, casually yanking the engine block out of a car, stopping a train head-on (although the blunt way he does it would have caused a derailment and likely killed most of the people on board), crashing through mountain walls. In a foreshadowing of the comics' Phantom Zone, he is trapped in the 'empty doom', where he's an invisible wraith helpless to return by himself. The Man of Steel has to do some creative thinking to get out of that one.

What most fans remember unhappily about this serial are the dismal flying scenes. Instead of a life sized dummy on wires or even some Peter Pan type wire work with a live stuntman, this clffhanger sadly has Superman replaced by an animated cartoon whenever he takes off. It's not even a particularly convincing cartoon, with little shading or attempt to make it look three dimensional. *sigh* Well, you just have to overlook this, and if you do, the rest of the serial is very entertaining. (Watching this, though, I had the thought that this would have been the perfect way to shoot a Human Torch cliffhanger.)

Kirk Alyn as our hero gives an energetic, enthusiastic performance. He plays Clark Kent differently enough from Superman that it's almost convincing the secret identity could fool people. As Superman, Alyn is agile and brisk (the actor's dancing background shows here). Although he can be grim and intense, most of the time, Alyn's Superman is confident and cocky, grinning as bullets bounce off his chest. (In my favorite moment, he casually deflects a bullet with his palm, so that it ricochets to knock a chandelier down on a gunman.)

Lyle Talbot as Luthor is a perfect, solid villain with real conviction. (Gene Hackman would have benefitted from a screening of this serial before appearing in the 1978 movie.) Luthor sometimes wears a clunky, glittering helmet as 'Atom Man' in a half-hearted effort to hide his identity. And it's a bit odd but also pleasant to see a very young Noel Neill as Lois Lane. Unforunately, she's more helpless than usual and Tommy Bond as a singularly thuglike Jimmy Olsen is not much help.

If you've been discouraged from renting or buying this serial because of what you've heard of the cartoon flying sequences, I would recommend giving it a try anyway. Like the cheesy gorilla suits and rear screen projection of stock footage, these are part of the era that require you just have to crank your suspension of disbelief up a notch and enjoy the ride.

Dir: Spencer G. Bennett and Derwin Abrahams - 15 Chapters

Art Deco facade of Pinnaroo Institute in the Murray Mallee South Australia. by denisbin

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Art Deco Pinnaroo Institute building.

The township of Pinnaroo is just a few kms outside of Goyder’s line for agriculture rather than pastoralism. Its reasonable rainfall, suitable soils and gently undulating terrain gave great promise for farming. The local pastoralist William Hensley had failed in his attempts to make a profit from sheep here. The railway act of 1903 meant Pinnaroo would have cheap, reliable transport for the farmers to obtain superphosphate and send their wheat or hay (and Mallee roots) back to Adelaide. It was also the first railway line constructed in the Murray Mallee. No wonder the local historical society named their history of Pinnaroo “Miracle of the Mallee” in 1983 and the town had a hotel named “The Land of Promise.” Even the name Pinnaroo in an Aboriginal language means “big man” and perhaps foreshadowed a lustrous future. Although almost on the SA-Vic border Pinnaroo had a good agricultural hinterland and it drew economic benefit from across the border, especially with a rail line to Ouyen and on to Melbourne. The early good harvests were like those of the Lameroo district. Eudunda Farmers opened a depot and later a store in the town by 1909. An Agricultural Society was formed in 1910 at the Land of Promise Hotel. Annual Shows were held and special trains ran from Ouyen in Victoria to bring people to the highly successful Pinnaroo Show. The Pinnaroo Local Council was formed in 1908 (remember the train reached Pinnaroo in 1906.) Pinnaroo sprang up almost overnight but it was a town of substance with heavy stone buildings, erected at great cost as the stone had to be railed from Adelaide or elsewhere. The first farmer was William Harvey who leased the old Pinnaroo homestead and cleared land for a farm a few years before the railway came to the town. The railway might have been the lifeblood of the district but it was the blood sweat and tears of the farmers clearing the land that made it productive. Consequently the township of Pinnaroo thrived and soon had almost 1,200 residents by 1920. Growth slowed down during the Depression of 1929 and never recovered until after World War Two.

The more recent resurgence, or at least holding situation, has developed since the declaration of a water irrigation zone around Pinnaroo in the early 1980s. SA is now the largest producer of potatoes in Australia with about 35% of the total Australian output. The Pinnaroo potato region includes Parilla and Peebinga. In the immediate area around Pinnaroo the potato producers include Golden Sunrise Potatoes, the Frank Mitilo Group and Potato Masters. In recognition of the importance of potato growing Pinnaroo still has its annual Show in September but also a Spudfest in February. Although the town is not now growing, as a tourist we can now see some of the fine buildings constructed during the boom periods. Alas some buildings, such as the former Anglican Church are now deteriorating. The town museum beside the former railway station in the rail yards also has an excellent section called the Letterpress Printing Museum. It is partly located in Pinnaroo because since 1911 Pinnaroo has had a local newspaper, the Pinnaroo Border Times which is still published weekly on Wednesdays.

Some of the structures or places of note in Pinnaroo, primarily in Railway Tce South- the Main Street:

•Pinnaroo is a rare town as it actually has a street called Lovers Lane- on the eastern outskirts of the town!

•the Golden Grain Hotel built in 1906 when it was called the Land of Promise Hotel. It has wonderful curved stone gables, arched doorways, louvre vents in the gable ends complete with decorative shades, etc. The original structure was a small single story hotel. This current structure was built in 1914 when the named was changed to the Commercial Hotel. In the 1930s it became the Golden Grain Hotel.

•the sandstone Post Office, 5304, with a hipped gable roof line, brick quoins and a pleasing appearance. It opened in 1912 with a triangular stone pediment above a front veranda which has now been replaced by the half hipped gable roof.

•The Pinnaroo Police station, built to look like a double fronted stone villa residence with fine brick quoins. It opened in 1909 but was demolished to make way for a new station in 1974.

•The Pinnaroo Institute. The first institute was completed in 1908. The current wonderful Art Deco Institute replaced the first one in 1925. This is one of the finest examples of Art Deco in SA.

•The Pinnaroo Hotel with its wonderful iron lace work around the upper veranda; its cut off corner façade, and its interesting roof line. The original stone appearing cement bricks have all been painted yellow. This two story structure opened in 1911 replacing the former simple Pinnaroo hotel which opened in 1910.

•Victoria Buildings, in 1927 after the original shops burnt down. Art deco in style, simple but indicative of wealth in the district at the time of construction. Pretty plaster rosettes across the roof pediment. Unsympathetic modern veranda.

•Next to Victoria buildings is the IGA Supermarket, still owned by Eudunda Farmers. This was the site of their original store in 1909 which has been rebuilt and modernised.

•The first National Bank in Pinnaroo opened here in 1910. This structure was built during World War Two.

•Parr’s Buildings 1927. Another great example of a grand Art Deco shop complex with a stucco façade now in need of restoration.

•the fine War Memorial , Memorial Gates and Clock Tower. The obelisk War Memorial was opened in 1951, the bandstand opened in 1922. The Memorial Gates with a clock were erected in 1934.

Significant buildings elsewhere in Pinnaroo:

•the former All Saints Anglican Church, now privately owned is in Bundey Tce. Like the Methodists the Anglicans erected a tin shed for a church early in 1908. The foundation stone of the former stone church was laid in 1923 and the church about a year later. It was erected with the help of the Bishop’s home Mission Society. The church closed in the mid 1980s. It is pictured to the left in its ruinous state.

•the Catholic Church which still operates is in Devon Tce. Our Lady of Good Counsel Church opened in 1913. It has mini towers on each corner of the façade and five narrow gothic windows above the entrance porch. An adjacent Josephite convent and Catholic School opened in 1924.The school is now closed. The town cemetery is just along Devon Tce west of the Catholic Church.

•the former Methodist Church, now the Uniting Church, is in Railway Tce North. It was the first church and public building in Pinnaroo being erected in 1906. It was a simple tin shed, nothing more than that. It served as the first school room. In 1912 the fine stone Gothic style Methodist Church opened in Pinnaroo. It had buttresses on the corners, double arched windows on the façade and a steep roof. It had brick quoins. Adjacent is the modern style Sunday School Hall built in 1961 which also looks like a church!

•the UELCA Lutheran Church is in Hensley Street. A simple tin but Gothic style shed opened as the Lutheran Church in 1909. Many of the original settlers of Pinnaroo were of German descent. A fine stone church opened in 1910. It was superseded with a new stone Lutheran church in 1957 after the amalgamation of the two Lutheran congregations in Pinnaroo.

•Pinnaroo raised money and then received some government assistance to open a hospital at Pinnaroo; opened in 1922- the Pinnaroo Soldiers Memorial Hospital. New wings were built in 1974. It is located at the corner of Bundey and Gordon Terraces in the parklands reserve. The hospital mainly has aged care beds.

•The Pinnaroo state school opened with a fine stone building ready for the start of the school year in February 1911. Adjacent was a headmaster’s residence. The school had 108 pupils by February 1912. From 1923 it was a Higher Primary School with some secondary classes. In 1948 it became an Area School. In 1990 it reverted to being a primary school. The current enrolment is about 60 pupils. The school is in Bundey

Tce opposite the former Anglican Church.

Eastern Parkway by Emilio Guerra

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Prospect Heights, Brooklyn, New York City, New York, United States

Eastern Parkway, one of Brooklyn's finest assets, established a new concept in urban thoroughfare. Begun in 1870 and completed in 1874, it was the first of Frederick Law Olmsted's parkways to see completion. As early as 1866 Olmsted had conceived of a new kind of roadway incorporating central malls with trees, pleasure drives, walkways, and service roads in order to draw the character of Prospect Park with its attendant benefits through Brooklyn. Ocean Parkway was planned to extend from the southern entrance of the park to the sea.

Eastern Parkway was to lead from a northern entrance "through the rich country lying back of Brooklyn, until it can be turned, without striking through any densely occupied ground, so as to approach the East River..." 2 where, it was hoped, it would cross a bridge to be linked with Central Park and eventually the Hudson's scenic Palisades. By this route from the ocean to the Palisades, Olmsted envisioned a half-day's carriage ride offering a refreshing passage through the hearts of the burgeoning cities of Brooklyn and New York. Nothing as grand as this scheme had ever before been attempted and indeed, the entire project was never carried out, but the parkway concept and its encouragement to suburban development within the bounds of the city became a recurring theme in Olmsted's attempts to fulfill the open-space needs of many American cities.

From his established vantage point as one of the country's most prominent social critics and landscape architects, Frederick Law Olmsted (1822-1903) was especially sensitive to the needs of the fast-growing cities. His travels through the South during the 1850? made clear to him the cultural and social shortcomings of a purely rural existence, and yet the relentless commercially-oriented grid of the Northern city plan proved to be incompatible with residential needs. Picturesquely planned and systematically placed parks were proposed by Olmsted as the cure for both the individual and cumulative health problems of city residents. Parks as a solution to help eliminate the overcrowding in the 19th-century city were not a new idea. In 1848 A.J. Downing, America's most popular architectural writer, publicized the extraordinary public parks of France and Germany where "all classes assemble under the shade of the same trees...".

In the 1850s Napoleon III with the assistance of his great minister Baron Haussmann sought to improve the failing physical and moral health of the citizens of Paris by opening up broad avenues and laying out romantically-inspired public parks. Frederick Law Olmsted followed this line of thinking and throughout his career as landscape architect he planned open space in various physical forms to meet the individual requirements of each locality.

Although Olmsted and his partner, Calvert Vaux, intended that their first open space, Central Park, should be a self-contained rural haven set apart from the surrounding architecture, they did, however, address themselves to the problem of joining the park with the surrounding streets.

Rather than ignoring the street, they proposed a mall of trees to be planted between the adjacent sidewalk and roadway. This natural border served the dual purpose of blocking off the city scape from the park views and serving as "a handsome effect" leading to the Fifth and Eighth Avenue entrances. This initial effort foreshadowed the direction which their later work was to take.

The approaches which were planned for Brooklyn's Prospect Park reflect European park and roadway developments which Olmsted had observed during his journey abroad in 1859. Boulevards designed exclusively for pedestrians date back to the 17th century in France. However, it was not until the 19th century that it became popular to join these recreational roadways to public parks. Olmsted spent two weeks in Paris and made eight trips to the newly developed Bois de Boulogne. In 1853 Napoleon III and his minister Haussmaim began the transformation of this state forest into a romantically conceived public park along the lines of London's Hyde Park. Access to the park from the city was provided by a great boulevard of unprecedented width which was planned as an extension of the park and featured a central pleasure drive flanked by picturesquely landscaped lawns bordered by residential streets.

In order to insure the maximum width of park along the Avenue de l'Imperatrice, as the boulevard was named, an imperial decree forbade the construction of residences within 33 feet of the bordering roadways. Olmsted stated that he was also influenced by the layout of Berlin's famed Unter der Linden where a system of separate roadways through a broad tree-lined mall accommodated both commercial and pleasure traffic. 6 Olmsted's advance upon the French and German prototypes was also intended as an extension of the park itself and to convey this primary role, he termed it "parkway."

There can be little doubt that Olmsted invented the term "parkway." The designer's painstaking history of street types which appears in the 1868 Annual Report of the Commissioners of Prospect Park shews that he had thought through the subject most thoroughly and had done so to add a new category. Olmsted's very wording suggests the act of invention: "The 'Parkway' plan which we now propose advances still another step,..." ? This step featured tree-lined malls with a central carriage drive and flanking walks set apart from residential service roads and sidewalks. Six rows of trees on grassy strips divided the routes and created an endless allee of refreshment. Perhaps influenced by the French example, Olmsted reserved a 30-foot area from the sidewalk to each building front where only porches, fences, fountains and statuary could intrude on the lawn. 8

On May 6, 1868, the New York State Legislature passed an act to widen Sackett Street from Washington Avenue to the city line (now Ralph Avenue), thus initiating the development of the Eastern Parkway. Construction on the parkway began in August of 1870 when grading contracts were awarded to seven contractors. The task of grading the parkway proved laborious as the roadbed runs roughly along a high ridge, known as the terminal moraine, left by the Ice Age. James S.T. Stranahan, President of the Park Commissioners, hinted at the difficulty of the job in 1871, describing Sackett Street as "that nigged and most forbidding of all our streets." 9 Grading operations created a wealth of top soil which was utilized in the landscaping of the boulevards, which were planned to run parallel to the parkway. Stone from the excavation was piled up systematically along the new route, and gangs of workmen were put to work breaking up stone for gravel, paving stone, and Belgian block.

By August 10, 1871, the grading along the two-and-one-half-mile stretch of parkway from Washington Avenue to the city line was completed and paving begun.

In his discussion of pavements for Central Park, Olmsted spoke of a road of "binding gravel" which if laid on a firm, well-drained foundation, was preferable for pleasure-driving. 10 The import of the Brooklyn Park Commissioners for the Years 1874-1879 published a description of "Parkways, Avenues, Streets and Roads, graded, paved and otherwise improved by the Brooklyn Park Commissioners" from 1866 to 1879. Ocean Parkway was classified specifically as a "gravel roadway," while Eastern Parkway was composed of "Macadam stone, Belgian block and cobble." ^ Macadam pavement was invented in England by John Loudon McAdam and consisted of a surface of snail stones supported by a convex well-drained earth roadbed and rolled to a hard smooth finish. There can be little doubt that the central carriage way on the Eastern Parkway exhibited a macadam surface.

In 1869 a steam road-roller had been imported from England by the Prospect Park management, and it would seem likely that it was also employed to compact the surface of the Eastern Parkway carriage drive. Belgian block fashioned from the excavated stone was used to pave the parkway's side streets and the two new boulevards. Service lanes were cobbled and the sidewalks curbed and flagged. Most of the credit for the paving of the parkway goes to Brooklyn contractor Thomas McCann who, in addition to carrying out the job, was also forced to take on the financial burden while the city debated how it would finance the project.

In his attempts to define the many forms which a park might take, Olmsted described a parkway as "a shaded green ribbon" which might "be absolutely formal or strikingly picturesque, according to circumstances." Parkways "will generally be formal when they occupy confined urban spaces bounded by dominating buildings." Conforming to the established linear route of Sackett Street, Eastern Parkway was most easily handled in a formal manner. Olmsted selected elm trees to provide a picturesque canopy above the carriage road, while a variety of trees, predominantly maples, were planted along the bordering service streets. The Brooklyn nursery of John Condor was contracted to plant the elms and maples along the parkway in 1873. It is also highly likely that plant materials were supplied by the well-stocked nursery in Prospect Park.

Olmsted had envisioned the park and parkway as encouragements to prestigious residential building within the bounds of the city. As further insurance towards this trend, Olmsted also planned an extended neighborhood encompassing broad tree-lined boulevards (Douglas Street and President Street) on either side of the Eastern Parkway. Here as on the parkway itself development would be restricted to only "first class" residences, and again the buildings were required to be set back, in this case 20 feet, from the sidewalks. Traffic on these streets as on the parkway would be reduced by transforming the 70-foot city street which ran between the two rows of house lots—one facing the parkway, the other the boulevard—into a 35-foot service road where construction would be limited to stables, carriage houses and greenhouses.

By relegating service traffic to these lanes, Olmsted reasoned he could safely reduce the paved street area on the boulevards from 70 feet to 40 feet and transform the additional ground into broad 50-foot tree-lined malls. The 1868 act creating Eastern Parkway authorized the creation of the two flanking boulevards by calling for the enlargement of Douglas (now St. John's) and President Streets and the reduction of Degraw (now Lincoln) and Union Streets for service roads from New York Avenue to the city line. Official topographical maps of the city streets reveal that President and Douglas Streets were, indeed, widened from New York Avenue to the 1868 city line, now Ralph Avenue. Hie front yard restriction did go into effect along the parkway and boulevards in 1868, but was repealed along most routes in 1903. In addition, the maps reveal that the service streets were created under the act but were widened in many places in 1907.

By proposing such an organized plan of development, the cost of which was eventually shared by the landowners and the city, the Brooklyn Park Commissioners had hoped to elevate the value of the land and to initiate "first class" residential construction in the neighborhood of the parkway. Stranahan noted that other efforts to control the quality of development had been attempted at the Pierrepont Estate in Brooklyn Heights and at the original location of Columbia College. The development along the parkway, however,came very slowly. This delay was, no doubt, prompted by the ambiguity of title on the park's "East Side Lands" which were located at the head of the parkway. After a lengthy legal struggle, it was decided that the land which had been acquired originally for park purposes could not be sold for profit by the park ocramission.

For forty years a pall hung over the proposed improvement of these properties until in 1910 a New York guarantee company agreed to vouch for the titles.

When building finally took place, the restrictions which had been imposed in 1868 were only loosely applied. The rapid growth of the city and the frustration of the lengthy stalemate had created a desperate desire to see the area quickly developed.

Although "first class" single-family homes were built in a few areas, most notably along President Street, and although the regulations regarding front yards and street widths were to some extent followed, a rigid control of the area's construction had proved to be impossible.

Today Eastern Parkway is divided into three roadways by two broad, tree-lined malls which offer their services to pedestrians. In this manner, the busy central thoroughfare is handsomely and efficiently separated from the slower-paced local streets. Concrete and wooden-slat park benches have been placed along the wall walkways, now shaded by a variety of trees and paved with octagonal asphalt tiles.

Of the one thousand trees along the route fran the Grand Army Plaza to Ralph Avenue, roughly one half are elms. Approximately twenty-five elms from the original planting can be identified by their substantial girth. The retaining trees are composed of numbers of Norway maples, silver maples, red oaks and pin oaks.

Although the parkway's most prominent contemporary role is that of a major artery within the city's transportation system, the character of the original road has been maintained by the generous path it cuts through the early 20th-century neighborhoods it helped to stimulate.

An assortment of architectural forms including one-and-two-family rowhouses, semi-detached residences, and freestanding mansions remain as reflections of the needs of the middle and upper-middle class professionals who first populated this area.

The formal elegance of the parkway attracted such prestigious cultural institutions as the Brooklyn Museum, the Brooklyn Botanical Garden and the Brooklyn Public Library. These establishments continue to support the area.

Numerous religious institutions also chose building sites along the parkway.

Among the noteworthy houses of worship stands the world center of the Lubavitcher Hasidim, an orthodox sect of Juidaism with roots in the village of Lubavitch, Russia. In 1909 Henry Hudson's and Robert Fulton's memorable discoveries of the Hudson River and steamboat, respectively, were marked by grand parades and celebrations which were held in Manhattan and later re-staged along Eastern Parkway.

The 300th anniversary of the founding of long island produced another procession on the parkway in 1936. More recently, the tradition has been carried on by the annual West Indian-American Day Carnival Parade which culminates several days of unprecedented festivity and which boasts one of the largest audiences of any parade in the country.

- From the 1978 NYCLPC Landmark Designation Report

Foreshadowing spring by Kathy

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I just love the flower market in the grocery store!

Made into Explore 1-24-10, #498. Back again 6-20-'11 #432.

Day 1 (February 3rd, My Birthday!) by Sarah C

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Alright so im trying it again. This day last year I tried the 365 photo challenge and i failed miserably. This is my attempt number two!

Nothing fancy for the first day. Im not feeling creative or motivated. Just thought I would show me as i am today with the gifts i received from the people I love.

Zero editing. not even a crop or a levels change. Im not feeling inspired enough to do it. I hope this isn't foreshadowing!

Bourgogne romane: l’église Notre-Dame de l’Assomption de Gourdon by Arsène Lupin (Dominique)

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Joyeux Noël à toutes et à tous ! — A very Merry Christmas to all !

This series will be the last of my uploads for the trip I took to southern Burgundy in September 2023.

Listed as a Historic landmark in 1900, the Romanesque church in the out-of-the-way village of Gourdon is one of the secret wonders of Burgundy. Not particularly outstanding from the outside, its large silhouette nevertheless foreshadows an impressive interior, and indeed it is, with its combination of a whooping three-level, Cluny-inspired elevation, its three naves and its generalized system of groin vaulting. Its collection of sculpted capitals is also famous, as are the alfresco paintings that were discovered in the 1940s as the plastering that was applied to hide them in the 19th century began to peel away. More such discoveries were made in the 1970s and restoration lasted until the early 1990s.

Located on a hilltop in the département of Saône-et-Loire, Gourdon has been inhabited since time immemorial. Valuable traces of Roman presence were found in 1845 and promptly shipped to a museum in Paris (the Cabinet des Médailles) where the are still being exhibited to this day. A monastery was founded here very early on, as there is a written trace of a dependency of the Le Puy cathedral chapter in 534, but claims that it was “a Benedictine priory” seem to me a bit overambitious, in spite of my sympathies for that order: let’s not forget that Saint Benedict died only in 547 in Monte Cassino, and I doubt that his Rule was so well-known in Gaul in his own lifetime that it could have been adopted by a small religious establishment in Burgundy... The monastery did certainly exist, though, as Saint Gregory of Tours visited it in 570 and there met with Didier (or Desideratus). About this last figure, History hesitates between the quality of abbot (that would indeed rather be prior if Gourdon were a priory back then) and that of hermit. In any case, by 1104, when the completed parish church is mentioned (there remains no trace of the in-between period), there is no further mention of that monastery, which must have disappeared in the meantime; it was probably little more than a hermitage, as by Year 1000 the rule had been largely propagated by Saint Benedict of Aniane († 821) and Benedictine houses were flourishing all over the Western world. An already existing priory would most likely never have been so abandoned and shut down. No physical traces of that establishment were ever found by archæologists.

Since around 1100, the church has been left almost intact, except for the bell tower which collapsed in 1881 and was rebuilt in 1889, exactly as it was before.

The light and shadow in which the stones softly sing their centuries-old song...

Gog (United Artists, 1954). Uncut Pressbook (11" X 17"). by Morbius19

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youtu.be/rSSgM94sSxQ

Starring Richard Egan, Constance Dowling, Herbert Marshall, John Wengraf, Philip Van Zandt, and William Schallert. Directed by Herbert L. Strock.

When two scientists at a top-secret government installation devoted to space research are killed -- in their own test chamber, seemingly by an experiment gone awry -- Dr. David Sheppard (Richard Egan) is sent out from Washington to investigate. Sheppard mixes easily enough with the somewhat eccentric team of scientists, though he always seems in danger of being distracted by the presence of Joanne Merritt (Constance Dowling), who serves as the aide to the project director Dr. Van Ness (Herbert Marshall) but is, in reality, another security agent. Sheppard is as puzzled as anyone else by the seemingly inexplicable series of events overtaking the installation -- properly operating equipment suddenly undergoing lethal malfunctions, and the radar tracking aircraft that aren't there -- until he puts it together with the operations of NOVAC (Nuclear Operated Variable Automatic Computer), the central brain of the complex. But the mystery deepens when he discovers that NOVAC was shut down during one of the "accidents" -- and even the computer's operators can't account fully for the whereabouts of GOG and MAGOG, the two robots under the computer's control.

"...and then without warning, the machine became a frankenstein of steel," says the sensationalist poster text. This is the third story in Ivan Tors' OSI trilogy. His first "Office of Scientific Investigation" story was Magnetic Monster in early 1953. The second was Riders to the Stars in early '54. With Gog the loose trilogy is complete. Unlike the Star Wars trilogy in which the stories build upon each other, each of the three OSI stories are separate tales which have nothing to do with each other. The common thread is the idea of there being a sort of Science FBI agency whose job it is, is to check out the scientifically strange. In that regard, Tors' OSI is a bit like a foreshadowing of the X-Files TV series, but without any of the New Age paranormal focus.

In keeping with the previous two stories, Gog is more of a detective murder mystery movie. Tors was a huge fan of "hard" science, not fanciful fiction fluff, so Gog, like the other two movies, is chock full of reveling in sciencey stuff in an almost geeky way. This reverence for real science keeps things from getting out on shaky limb, as many sci-fi films to. The events are much more plausible, less fantastic.

Synopsis

At a secret underground research facility, far out in the desert, scientists working on preparations for a manned space mission, are getting murdered mysteriously. Two agents from the OSI are dispatched to solve the mystery and keep the super secret space station program on track. The scientists are killed in various ways, mostly through equipment malfunctions. The facility director and the agents suspect sabotage. Small transmitter/receiver boxes are found within equipment in different parts of the facility. They suggest that someone on the outside is transmitting in the "malfunctions" in order to kill off the program's scientists. Occasional alarms indicate some flying high intruder, but nothing is clearly found. One of the base's two robots, named Gog, kills another technician while it's mate, Magog, tries to set up an overload within the base's atomic pile. The OSI agents stop Magog with a flame thrower. Meanwhile, interceptor jets scramble and find the highflying spy jet and destroy it with missiles. Once the trouble is past, the Director announces that they will be launching their prototype space station the next day, despite the sabotage attempts to stop it. The End.

The time spent reveling in techno-geekery has a certain Popular Science charm to it. There's an evident gee-whiz air about space and defense sciences which is fun to see. People were fascinated with things rockety and atomic. For various fun bits, see the Notes section.

Gog oozes Cold War from every frame. First is the base's underground location to make them safe from A-bombs. Next is the mysterious killer trying to stop the space station program. The high-flying mystery plane is "not one of ours." (that leaves: Them, and we all knew who they were.) The space station is to be powered by a solar mirror. Even that benign mirror has sinister possibilities. While demonstrating the mirror, the scientists use it to burn a model of a city. "This could happen...if we're not the first to reach space," says the Director. Space is the next "high ground" to be contested. At the end of the movie, when discussing the launch (despite the sabotage attempt) of the prototype space station, the Director says, "Through it's eye, we'll be able to see everything that goes on upon this tired old earth." The Defense Secretary says, "Nothing will take us by surprise again." An obvious reference to Pearl Harbor.

B-films often re-used props and sets from prior films in order to save on their budgets. Gog, even though shot in Eastman Color, was no exception. Two old prop friends show up in Gog. One is our venerable old friend, the space suits from Destination Moon ('50). Look for the centrifuge scene. The research assistants are dressed in them, and as an added bonus, they wear the all-acrylic fish bowl helmets used in Abbot and Costello Go to Mars ('53). Our second old friend is scene in the radar / security room, (the one with the annoying tuning fork device). Check out the monitor wall. It's been gussied up a bit, but it is the spaceship control panel wall from Catwomen of the Moon and Project Moon Base -- complete with the empty 16mm film reels on the right side. It's fun to see old friends.

B-films often include stock footage of military units, tanks, jets, battleships, etc. to fill things out. Gog is no different, and even commits the common continuity error of showing one type of plane taking off, but a different kind in the air.

What amounts to a small treat amid the usual stock footage of jets, some shots of a rather obscure bit of USAF hardware -- the F-94C Starfire with its straight wings and huge wing tanks. In 1954, the Starfire was one of America's coolest combat jets, yet we hear little about it. The swept-wing F-86 Sabers (which we see taxiing and taking off) were the agile fighter which gained fame over Korea. They're common stock footage stars. The F-94, with its onboard radar (in the nose cone) was deemed too advanced to risk falling into enemy hands. So, it didn't see much action , and therefore little fame. The heavier, yet powerful F-94C (one of the first US jets to have an afterburner) was 1954 America's hottest Interceptor -- designed to stop high flying Soviet bombers. It's blatant cameo appearance in Gog, intercepting the high-flying mystery plane, was a fun little bit of patriotic showing off.

The very name of the movie, Gog, is charged with meaning to American audiences of the mid 50s, though virtually lost on viewers of the 21st century. The names of the two robots, Gog and Magog, come from the Bible. More specifically, from the prophecies of Ezekiel (Chapter 38) and the Book of Revelation (chapter 20). While just who they are (nations? kings?) has been debated for centuries, their role as tools of Satan in the battle of Armageddon is clear. Mainstream American patriotic Christendom had settled on the idea that the Soviet Union was the prophesied "nations from the north" who would join Satan to oppose God. This gives the title of the movie a special Cold War significance. It also puts an interesting spin on the Dr. Zeitman character for having named the two robots in the first place. Since they were tools of the mega-computer NOVAC, what was he saying about NOVAC?

It is interesting that the base's radar could not detect the mystery plane (which was beaming in the 'kill' instructions to NOVAC) because it was made of "fiberglass" which rendered it invisible to radar. Now, fiberglass itself isn't sturdy enough for high-speed jets, and it would take until the 1990s before composite materials advanced to make the dream of a stealth aircraft a reality. Nonetheless, the dream (or nightmare) of stealth aircraft was on-screen in 1954 in Gog.

The super computer, NOVAC, controlled everything on the base. Even though the machines were not really killing scientists on their own, but following human orders from the mystery plane, there was the on-screen depiction of machines having a murderous mind of their own. (all pre-Steven King) In the techno starry-eyed 50s, it was fairly uncommon for the technology itself to be turning on its masters. This idea would gain traction later in the 50s, and especially in the 60s, but in '54, it was unusual.

A cautionary subtext to Gog is the danger of trusting in a supercomputer to manage defenses and a whole base. NOVAC doesn't go bad on its own, as the computer will in The Invisible Boy, Hal in 2001 or Colossus in The Forbin Project. In this movie, it was the nefarious "others" who hacked into NOVAC to make it do the killing, but this just demonstrates the danger. People were getting a little nervous about letting machines take over too much responsibility. We were starting to distrust our creations.

Until Gog, robots were fairly humanoid.

They had two legs, two arms, a torso and a head. Audiences had seen the mechanical Maria in Metropolis ('27), the fedora-wearing metal men in Gene Autrey's Phantom Empire serial ('35). The water-heater-like Republic robot appeared in several rocketman serials. There was the gleaming giant Gort in The Day the Earth Stood Still ('51) and the cute left over fedora-dudes in Captain Video ('51). The metal giant in Devil Girl from Mars ('54) was also humaniod, in a chunky way. Gog and Magog were a departure from the stereotype. They were noticeably in-human, which was part of the mood.

Bottom line? Gog seems a bit bland, as far as sci-fi tends to go, but it has a lot in it for fans of 50s sci-fi.

James Dean in East of Eden (1955) by Truus, Bob & Jan too!

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German postcard by Kunst und Bild, Berlin, no. V 370. Photo: Warner Bros. Publicity still for East of Eden (Elia Kazan, 1955).

American actor James Dean (1931-1955) was the quintessential 1950s teenager, brooding and romantic. An air of androgyny attributed to his iconic appeal to both men and women. The three roles that defined his stardom are as troubled teenager Jim Stark in Rebel Without a Cause (1955), loner Cal Trask in East of Eden (1955) and surly ranch hand Jett Rink in Giant (1956). After his death in a car crash, the only 24-yers-old Dean became the first actor to receive a posthumous Academy Award nomination for Best Actor.

James Byron Dean was born in 1931, in Marion, Indiana, the only child of Winton Dean and Mildred Marie Wilson. Six years after his father had left farming to become a dental technician, Dean and his family moved to Santa Monica, California. In 1938, his mother was suddenly struck with acute stomach pain and quickly began to lose weight. She died of uterine cancer when Dean was nine years old. Unable to care for his son, Dean's father sent him to live with his aunt and uncle, Ortense and Marcus Winslow, on their farm in Fairmount, Indiana, where he was raised in their Quaker household. Dean's overall performance in school was exceptional and he was a popular student. He played on the baseball and varsity basketball teams, studied drama, and competed in public speaking through the Indiana High School Forensic Association. After graduating from Fairmount High School in May 1949, he moved back to California with his dog, Max, to live with his father and stepmother. He enrolled in Santa Monica College (SMC) and majored in pre-law. He transferred to UCLA for one semester and changed his major to drama, which resulted in estrangement from his father. While at UCLA, Dean was picked from a group of 350 actors to portray Malcolm in Macbeth. At that time, he also began acting in James Whitmore's workshop. In January 1951, he dropped out of UCLA to pursue a full-time career as an actor. Dean's first television appearance was in a Pepsi Cola commercial His first speaking part was as John the Beloved Disciple, in Hill Number One (1951), an Easter television special dramatizing the Resurrection of Jesus. Dean subsequently obtained three walk-on roles in films: as a soldier in Samuel Fuller’s moody study of a platoon in the Korean War, Fixed Bayonets! (Samuel Fuller, 1951), a boxing cornerman in the Dean Martin and Jerry Lewis comedy Sailor Beware (Hal Walker, 1952), and a youth in the comedy Has Anybody Seen My Gal? (Douglas Sirk, 1952) with Rock Hudson. While struggling to get jobs in Hollywood, Dean also worked as a parking lot attendant at CBS Studios, during which time he met Rogers Brackett, a radio director for an advertising agency, who offered him professional help and guidance in his chosen career, as well as a place to stay. In July 1951, Dean appeared on Alias Jane Doe, which was produced by Brackett. In October 1951, Dean moved to New York City. There, he worked as a stunt tester for the game show Beat the Clock, but was subsequently fired for allegedly performing the tasks too quickly. He also appeared in episodes of several CBS television series The Web, Studio One, and Lux Video Theatre, before gaining admission to the Actors Studio to study method acting under Lee Strasberg. There, he was classmates and close friends with Carroll Baker, alongside whom he would eventually star in Giant (George Stevens, 1956). Dean's career picked up and he performed in further episodes of several early 1950s television. One early role, for the CBS series Omnibus in the episode Glory in the Flower (1953), saw Dean portraying the type of disaffected youth he would later portray in Rebel Without a Cause. Positive reviews for Dean's 1954 theatrical role as Bachir, the blackmailing Arab house boy, in an adaptation of André Gide's book The Immoralist, led to calls from Hollywood.

In 1954, James Dean was cast in the emotionally complex role of 'Cal Trask' in East of Eden (Elia Kazan, 1955), an adaptation of John Steinbeck's 1952 novel East of Eden. The lengthy novel deals with the story of the Trask and Hamilton families over the course of three generations, focusing especially on the lives of the latter two generations in Salinas Valley, California, from the mid-19th century through the 1910s. In contrast to the book, the film script focused on the last portion of the story, predominantly with the character of Cal. Though he initially seems more aloof and emotionally troubled than his twin brother Aron (Richard Davalos), Cal is soon seen to be more worldly, business savvy, and even sagacious than their pious and constantly disapproving father (Raymond Massey) who seeks to invent a vegetable refrigeration process. Cal is bothered by the mystery of their supposedly dead mother, and discovers she is still alive and a brothel-keeping 'madam'; the part was played by actress Jo Van Fleet. Much of Dean's performance in the film was unscripted, including his dance in the bean field and his fetal-like posturing while riding on top of a train boxcar (after searching out his mother in nearby Monterey). The most famous improvisation of the film occurs when Cal's father rejects his gift of $5,000, money Cal earned by speculating in beans before the US became involved in World War I. Instead of running away from his father as the script called for, Dean instinctively turned to Massey and in a gesture of extreme emotion, lunged forward and grabbed him in a full embrace, crying. Kazan kept this and Massey's shocked reaction in the film. Wikipedia: “Dean's performance in the film foreshadowed his role as Jim Stark in Rebel Without A Cause. Both characters are angst-ridden protagonists and misunderstood outcasts, desperately craving approval from their fathers.” In recognition of his performance in East of Eden, Dean was nominated posthumously for the 1956 Academy Awards as Best Actor in a Leading Role of 1955, the first official posthumous acting nomination in Academy Awards history. East of Eden was the only film starring Dean that he would see released in his lifetime.

James Dean quickly followed up his role in Eden with a starring role as the brooding red-jacketed teenager Jim Stark in Rebel Without a Cause (Nicholas Ray, 1955) with Sal Mineo and Natalie Wood. The film depicts the dilemma of a typical teenager of the time, who feels that no one, not even his peers, can understand him. The film scrupulously follows the classic theatrical disciplines, telling all within a 24-hour period. Jim Stark was Dean’s true starring role, and Rebel Without a Cause proved to be hugely popular among teenagers. The landmark juvenile-delinquent drama fixed James Dean’s image forever in American culture. In his next film, Giant (George Stevens, 1956), Dean played a supporting role to Elizabeth Taylor and Rock Hudson. This was due to his desire to avoid being typecast as a rebellious teenager like Cal Trask or Jim Stark. In the film, he plays Jett Rink, a Texan ranch hand who strikes oil and becomes wealthy. His role was notable in that, in order to portray an older version of his character in the film's later scenes, Dean dyed his hair gray and shaved some of it off to give himself a receding hairline. Giant would prove to be Dean's last film. At the end of the film, Dean was supposed to make a drunken speech at a banquet; this is nicknamed the 'Last Supper' because it was the last scene before his sudden death. Due to his desire to make the scene more realistic by actually being inebriated for the take, Dean mumbled so much that director George Stevens decided the scene had to be overdubbed by Nick Adams, who had a small role in the film, because Dean had died before the film was edited. Dean received his second posthumous Best Actor Academy Award nomination for his role in Giant at the 29th Academy Awards in 1957 for films released in 1956.

Today, James Dean is often considered an icon because of his perceived experimental take on life, which included his ambivalent sexuality. Most of his so-called affairs with various starlets were made up by the Warner Brothers public relations. Dean's best-remembered relationship was with young Italian actress Pier Angeli, whom he met while Angeli was shooting The Silver Chalice (1955) on an adjoining Warner lot, and with whom he exchanged items of jewelry as love tokens. Angeli's mother disapproved of Dean. After finishing his role for East of Eden, he took a brief trip to New York in October 1954. While he was away, Angeli unexpectedly announced her engagement to Italian-American singer Vic Damone. The press was shocked and Dean expressed his irritation. Angeli married Damone the following month. Dean also dated Swiss actress Ursula Andress. She was seen with Dean in his sports cars, and was with him on the day he bought the car that he died in. The Gay Times Readers' Awards cited him as the greatest male gay icon of all time. Dean’s ambiguous relationship with Sal Mineo in the angst-ridden Rebel Without A Cause has led many to speculate and view this golden age film as years ahead of its time. When questioned about his sexual orientation, Dean is reported to have said, "No, I am not a homosexual. But I'm also not going to go through life with one hand tied behind my back." Dean, with time on his side during down times of filming, often frequented gay bars in mornings, afternoons and evenings in both Hollywood, Studio City and North Hollywood. He and screenwriter and theatre student from UCLA, William Bast lived together as roommates for a number of years. Bast later became Dean's first biographer and told he and Dean ‘experimented’ sexually. Journalist Joe Hyams suggests that any gay activity Dean might have been involved in appears to have been strictly "for trade", as a means of advancing his career. However, the ‘trade only’ notion is contradicted by Bast and other Dean biographers. Biographer Val Holley: “There's been quite an evolution in the thinking since Dean's death in 1955, moving from ‘James Dean was straight’ to ‘Dean had sex with men but only to advance his career’ to ‘Dean had sex with women but only to advance his career.’ In 2016, a new gossipy biography was published, James Dean: Tomorrow Never Comes, by Darwin Porter and Danforth Prince. The authors claim Dean was in love with Marlon Brando and the two would had a long affair with S&M overtones. We may never know for certain if Dean identified as gay, straight, bisexual, but, regardless, what he’s come to represent still resonates with many LGBT audiences.

In 1954, James Dean had become interested in developing an auto racing career. He purchased various vehicles after filming for East of Eden had concluded, including a Triumph Tiger T110 and a Porsche 356. Just before filming began on Rebel Without a Cause, he competed in his first professional event at the Palm Springs Road Races, which was held in Palm Springs, California on March 26–27, 1955. Dean achieved first place in the novice class, and second place at the main event. His racing continued in Bakersfield a month later, where he finished first in his class and third overall. Dean hoped to compete in the Indianapolis 500, but his busy schedule made it impossible. Dean's final race occurred in Santa Barbara on Memorial Day, 30 May 1955. He was unable to finish the competition due to a blown piston. His brief career was put on hold when Warner Brothers barred him from all racing during the production of Giant. Dean had finished shooting his scenes and the movie was in post-production when he decided to race again. Dean was scheduled to compete at a racing event in Salinas, California on 30 September 1955. Accompanying the actor to the occasion was stunt coordinator Bill Hickman, Collier's photographer Sanford Roth, and Rolf Wütherich, the German mechanic from the Porsche factory who maintained Dean's Porsche 550 Spyder "Little Bastard" car. Wütherich, who had encouraged Dean to drive the car from Los Angeles to Salinas to break it in, accompanied Dean in the Porsche. At 3:30 p.m. Dean was ticketed for speeding, as was Hickman who was following behind in another car. As the group traveled to the event via U.S. Route 466, (currently SR 46) at approximately 5:15 p.m. a 1950 Ford Tudor was passing through an intersection while turning, ahead of the Porsche. Dean, unable to stop in time, slammed into the driver's side of the Ford resulting in Dean's car bouncing across the pavement onto the side of the highway. Dean's passenger, Wütherich, was thrown from the Porsche, while Dean was trapped in the car and sustained numerous fatal injuries, including a broken neck. The driver of the Ford, Donald Turnupseed, exited his damaged vehicle with minor injuries. Dean was pronounced dead on arrival shortly after he arrived by ambulance at the Paso Robles War Memorial Hospital at 6:20 p.m. The Failure Analysis Associates later reconstructed and recreated all details of the accident and have concluded that James Dean was travelling 55 to 56 mph when the fateful accident occurred, thereby proving he had not been speeding, as rumor had it. Ed Stephan at IMDb: “At age 24, James Dean was killed almost immediately from the impact from a broken neck. His very brief career, violent death and highly publicized funeral transformed him into a cult object of apparently timeless fascination.”

Sources: Hal Erickson (AllMovie), Ed Stephan (IMDb), Daniel Bates (Daily Mail), Towleroad, Wikipedia, and IMDb.

Metroline Travel - Route 266 | LK13 BGU, TEH1452 | Alexander Dennis E40H Enviro400H @Willesden Junction by DaniThePancake

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Bit shady here - foreshadowing over the coming events, as I came to discover that the 224 and other routes had transferred to RATP group.

It's a nice position though - I'd recommend it. This is just before you turn left into the station area.

Gog (United Artists, 1954). Lobby Card (11" X 14"). by Morbius19

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