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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.
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.
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.
Ordering S.H. Figuarts is generally a major pain in the ass, particular for super hot properties. At least with Figma, there's a dedicated online store and a preorder time. With Figuarts, they're never announced and as such I generally run into them by surprise.
As such, I blinked and I missed EVERY-SINGLE-JAPANESE-SITE with regards to a figure from a little movie you may be familiar with - Captain Marvel. Who knew that a figure that pretty much nobody cared for would be so hard to actually find, and this was before the "controversy".
As I've said before, I liked the overall film. There were some questionable choices, as always, but as the father of two little girls I'm quite approving of the overall tone of the movie. Not because of the whole perceived SJW angle (and I say perceived because quite frankly, the movie would be the same to me regardless of gender), but because it speaks true of one thing - people will always talk shit about anything and everything you do, whether it be constructively or destructively. The point is to make a conscious choice to tell them all to go to hell if you're going to do things anyway. On a more personal note, I'm hoping to never be the Dad in that movie.
This Figuarts release comes with a somewhat sparse smattering of extras. There's the standard unhelmeted figure, two additional set of hands (open palm and spread palm), a Kree helmeted head, and two Photon energy effects for her closed fists.
And yes... again... no stand. Broken record, I know, but maybe if I whine enough one day it'll become a standard feature.
The base body of Carol appears to have the same as that of Infinity War Black Widow. Same articulation points (Black Widow hides her mid torso swivel better than Carol, but at the expense of limiting her ability to bend backwards).
As with Widow, I'm not overly enthusiastic about the hip design and really would have preferred either something like the Dragon Ball figures or the Fighting Body uses for Street Fighter as her ability to do any cool crouching poses is highly restricted.
I have no idea Scarlet Johansson and Brie Larson are the same height, but that's what the Figuarts are suggesting. What I DO know is that based on photos and some measurements, Carol appears to be way too much leg, though I do appreciate the bulkier appearance of the character due to the armoured nature of the battlesuit.
The unhelmeted sculpt of course uses that fancy new photo printing technology that Bandai has been employing as of late. Again, much like Widow, the end result is pretty good especially from a far enough away not to notice the specks from the printing process. Of the two, I feel the Widow face came out cleaner, but Marvel is no slouch. The accuracy of this printing technology is further bolstered by the fact that Bandai actually got the shape of her face right.
This is also an opportune time to point out that the final product face, thankfully, is much, much, much better than that really generic looking prototype picture that is floating around the Internet and even the back of the box. Sculpting of her hair is also pretty impressive, particularly given the small size. The hair, while nice looking, restricts the ability of the unhelmeted sculpt to look up.
Of course, Carol is sporting the facial expression which has made her an international sensation.
The helmeted sculpt is servicable. That's not meant to be taken in a negative way. It clean, well sculpted, and looks good. But, it's also got the same neutral expression as her normal sculpt. It would have been nice to see some emotion in this particular sculpt, especially seeing how she basically truly embraces her power by this point in the movie.
FYI, the head is attached to the neck post, a necessary step given that the head and neck get covered by the helmeted mode. Unfortunately, the peg on the body itself is not quite big enough for a completely firm connection, and as such the head is prone to falling out, with a greater occurrence with the unhelmeted sculpt.
While the figure is a bit sparse in the accessory department, it does make up for it in the paint and detailing areas. Yes, you are getting Tamashi Nations quality paint apps and paint masking, but more specifically it feels to me that this figure has a higher density of paint applications than any of the other female figures at the very least, and overall probably rivaled by characters such as Iron Man which have metal suits.
The body is literally covered all over with metallic paint, whether that be the primary red and blue, or the various gold and silver accents. There are some details sculpted into the suit itself, such as various grooves, buckles, pockets, and of course, actual fabric details, all of which are painted appropriately and cleanly.
I guess this is as good a time as any to point out that the hair is definitely more blonde than in the movie, where the brown comes out more. This colour here is actually more reminiscent of her colouring in the tidbit of Endgame that we see. Maybe this is foreshadowing of an Endgame Captain Marvel Figuarts at some point in time?
Did I mention that the figure really doesn't come with much in the way of accessories? This is an area that, admittedly, that the One:12 version destroys this figure, regardless of how things turn out. I believe that it comes with as much stuff as the Deluxe Hot Toys version does, instead of just the V-Trigger fists of Guile from Street Fighter V.
In conclusion, another solid, albeit somewhat limited, Figuarts entry into the Marvel world. I have to say that Figuarts really has come a far way from their laughable Avengers line, though strangely I don't think Steve Rogers has ever gotten, or will be receiving, the same photo printing tech that the ladies and Paul Rudd will be getting.
I now eagerly await the arrival of my Endgame Figuarts Black Widow.
Lindi Ortega
OCA Spazio Ansaldo (MI)
19 Marzo 2013
© Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
Immagine protetta da copyright © Mairo Cinquetti.
Tutti i diritti sono riservati.
L'immagine non può essere usata in nessun caso senza autorizzazione scritta dell'autore.
Per contatti: mairo.cinquetti@gmail.com
Nashville beckoned, and Lindi Ortega answered the call.
Armed with an inimitable, irresistible singing voice The Independent hails as “a truly magnificent instrument,” and a heart bursting with creative ambition, the Canadian songstress whom American Songwriter calls “the love child of Johnny Cash and Nancy Sinatra” decided to relocate to Music City from her
native Toronto to birth her brand new musical offspring, Cigarettes & Truckstops.
A logical follow-up to her 2011 critically acclaimed alt-country masterpiece Little Red Boots, the 10-song Cigarettes & Truckstops further flaunts Ortega’s distinctive vision; one that embraces the oft-neglected, politically incorrect realism of traditional country and frames it in a charmingly, and sometimes darkly humourous contemporary context.
Bookended by a couple of romantic road ballads in the title track and the reflective “Every Mile Of The Ride,” Cigarettes & Truckstops further evolves the promise foreshadowed by the JUNO-Award nominated-and-Polaris-Music-Prize-long-listed Little Red Boots.
The writing is stellar, her musical discipline undoubtedly galvanized by a fearless 2010-2012 tour schedule that saw Lindi open for a variety of acts, from punk vets Social Distortion; pop icon Burton Cummings; country fave Dierks Bentley; folk outfit Noah & The Whale and Academy Award winner Kevin Costner with attention-grabbing finesse, making serious inroads with North American and European audiences, and prompting Exclaim! to declare Ortega an “electrifying” performer.
Whether it’s the plucky shuffle of the hilarious “The Day You Die;” the angry harrumph of “Don’t Wanna Hear It;” the high lonesome feel of “Heaven Has No Vacancy” or the haunting twang of guilt that is “Murder of Crows,” Ortega continues to deliver a refreshing twist that walks vintage and contemporary lines in imaginative and inventive manners.
But in order to realize this next step of her artistic fruition, the two-time JUNO Award nominee (Canada’s equivalent to the Grammy Awards) had to pull up her Canadian stakes and come to the well.
“I was really inspired by being here in Nashville,” explains Ortega, the daughter of a Northern Irish mother and Mexican father who has been performing since she picked up a guitar at age 16.
“I wanted the authenticity of my influences to shine through on this record. I knew I liked country and I think moving here, I wanted to delve into those influences more genuinely.
“To be able to read a Hank Williams biography and then go to where his house was, or the places that they talk about, and absorb that was invaluable.”
As Ortega is the first to admit, she’s anything but a “straight-up country artist,” so other elements played into the equation.
“I found that I was really inspired by going to New Orleans, after I shot that music video for (Little Red Boots’) “Black Fly” – and the Deep South.
“After Little Red Boots I read the Hank Williams biography and I learned that he was very highly influenced by a man named “Tee-Tot.” (Rufus Payne). Tee-Tot was a blues guy, and I discovered that a lot of early country drew influence from early blues. So I really started getting into listening to blues.”
She recruited a sympathetic visionary to produce the album in fellow Canadian Colin Linden, (O Brother Where Art Thou, Blackie & The Rodeo Kings, Bruce Cockburn, The Band), who also happens to reside in Nashville.
“When it was time to start working with producers, Colin’s name was thrown in the hat,” recalls Ortega. “I looked him up on YouTube,and the first thing I saw him perform was this crazy awesome Dobro solo.
“I realized that I loved that instrument, and I needed to have it all over my record,” she laughs.
“There was something about the sound of it that resonated so much with me. Colin was very influenced by the blues and had a lot of knowledge about its background and history, and I thought it would be cool to bring that into the record.”
The blues touch is a subtle one, a seasoning of sorts on this album of longing and vulnerability; travel and romance; of anger and passion; of fact and fiction.
A big breakthrough was Ortega’s topical candour.
“I was sort of delving into the darker corners of my mind with some things, which was interesting for me, and not being afraid to put some other things out there,” she reveals. “The song from my first record, “All My Friends,” alludes to certain things in a metaphorical way, where on this album, I’m a little more straight up about it. I’m not trying to hide.
“I guess that I’m just willing to take that risk. I’m just being honest and talking about my experiences, and by doing that, I’m not advocating anything and I’m not telling anybody they need to do anything: I’m just writing about my life and the experiences that I go through.”
But it’s not all autobiographical: “Murder of Crows,’ co-authored by Matt Nolan and one of three co-writes on Cigarettes & Truckstops, is pure Man In Black-inspired fiction.
“I was actually thinking of Johnny Cash’s Murder album when I wrote that,” Ortega chuckles. “I just wanted to delve into fictitious territory, and not write from experience – sort of make up stories.
“In a lot of old Cash songs, there’s a lot that didn’t come from his experience: he made them up. It’s cool to be able to make up crazy stories like that.”
One of the album’s real kickers is the Bruce Wallace co-write “The Day You Die,” a humorous look at love’s clichés, a future classic that begins with the opening stanza,
“You said you’d love me ‘til the cows comes home/Well I’m hoping that they all go blind.”
“That’s why I love writing with Bruce, because we never set out to write,” Ortega admits. “We just get together as friends and pick up guitars and it just happens naturally. He’s a quirky guy, because he totally gets where I’m coming from in that respect.
“We pick up the guitar and make up joke songs. We thought it would be cool if all these cliché things that people say to people, things like ‘Love you ‘til this, love you ‘til that’,” were taken literally, what would they have to do to keep the love going?”
There are more gems on Cigarettes & Truckstops that are ripe for personal discovery, a riveting tour-de-force of an album that will open up more ears and hearts to the scintillating sounds of Lindi Ortega and an appreciation of the unique perspective she brings to her craft.
Two trademarks impel her artistry: sincerity and honesty.
“I’m not going to deny it because I can’t,” Ortega admits. “It just comes out. I owe it to the song and to myself to expel that expression, put it into music and be very honest and forthright about the good, the bad and the ugly of Lindi Ortega.”
Belgian postcard by Edition Atom. A gift by Añelo de la Krotsche.
American actor James Dean (1931-1955) was the quintessential 1950s teenager, brooding and romantic. An air of androgyny is 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 he died in a car crash, the 24-year-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 dramatising 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 shows. 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 throughout three generations, focusing primarily 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 for 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 24 hours. 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, to portray an older version of his character in the film's later scenes, Dean dyed his hair grey 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 Warner Bros. 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 jewellery as love tokens. Angeli's mother disapproved of Dean. After finishing his role in 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, which 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. Dean and William Bast, a screenwriter and theatre student from UCLA, lived together as roommates for several years. Bast later became Dean's first biographer and claimed that 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 died 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 have had a long affair with S&M overtones. We may never know for certain if Dean identified as gay, straight, or bisexual, but, regardless, what he’s come to represent still resonates with many LGBT audiences.
In 1954, James Dean became 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 26-27 March 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 Bros. 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 & quot; 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 travelled 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 concluded that James Dean was travelling 55 to 56 mph when the fateful accident occurred, thereby proving he had not been speeding, as rumour had it. Ed Stephan at IMDb: “At age 24, James Dean was killed almost immediately from the impact of a broken neck. His very brief career, violent death and highly publicised 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.
And, please check out our blog European Film Star Postcards.
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.
One of the short columns I mention in the caption under the previous photo. I fail to reconcile the sophistication of the shaft with the rather crude, archaic manner of the capital... The base obviously belongs with the capital, but the shaft looks like it was designed and fashioned with the concepts and the tools of 100 years later! Maybe the old shaft became worn or somehow fragile, and had to be replaced?
Interspecies communication between humans and bats
The Eye of the Other delves into non-verbal communication between humans and bats, through the study, translation and manipulation of the bat’s echolocation. This multimodal immersive artwork derives from the desire to transcend the limitations of our living experience by exploring the deeper meaning of mutualistic relationships and interspecies communication between humans and animals, juxtaposing the animals’ gaze and the human gaze. It reflects on how digital live/streaming technologies and machine intelligence can be used to alter human senses and enhance new formats of communication and authorship, empathy and co-existence. The artwork lets the human and the non-human, the local and the remote collide and produces new cultural spaces, formed by the meta-domain of a new language. This topological turn foreshadows a possible future in which the clear borders of humans and others are blurred and a multi-species society might be formed. The gaze should not be understood as something one has or applies, but rather as a depiction of the relationship into which one enters.
Credit: vog.photo
Buddisth Pilgrimage Tour Guide Offering - Deur Kothar, Bharhut, Sarnath, Bodh Gaya, Patilputra, Buddisth Stupa, Buddha Stupa, Ashoka Stupa, Buddha Stupa, Deur Kothar, Deor Kothar - Indian Buddhishta Travel Agent Offering - Deor kothar Tour Packages, Deor kothar Tour, Deor kothar Tour Packages, Visit Deor kothar - The Buddhist firmament is abuzz with word of amazing discoveries at the newly excavated site of Deor kothar in Madhya Pradesh, India. Situated on the ancient Dakshinapath (southern trade route), Deorkothar lies between Sarnath and Sanchi, two major Buddhist centers established in the third century BC. It is surprising that Alexander Cunningham, the nineteenth-century doyen of Indian archaeology who did extensive work in the area, missed the site. Excavations at Deorkothar, which seems to predate the late Mauryan-Sunga period (fourth through first centuries B.C.), when most early stupa (temple) complexes were built, promise to throw light on the genesis and spread of Buddhism in Central India, providing missing links in the history of Buddhist art and architecture.
The Deorkothar complex boasts four brick stupas, the most ever found at a site of this period. The varying sizes of bricks used in construction point to an early date. Such motifs as twirling lotus, conical lotus bud, and a simple flower pot on a three-tiered pedestal-the carving of which foreshadows early Buddhist art, can be seen on the railing posts of the largest brick stupa, which rises to a height of nearly 30 feet. The stencil-cut effect of the friezes, along with their simple ornamentation and the paucity of human and animal figures, suggests these are early attempts at stone railing art. It would therefore seem that the stupa at Deorkothar was built before the famous early free-standing stupa at Sanchi.
The site of Deorkothar also comprises monasteries, a water channel system, an ancient pathway, and 30 stone stupas, many of which contained sherds of high quality northern black polished ware, the pottery of everyday use between 700 and 300 B.C. Such sherds are absent from Sanchi, further indicating that Deorkothar predates that site.
Dotting the site of Deorkothar are 63 rock-shelters, many with art dating to the first century B.C., that were likely used by monks for meditation. One painting depicts a stupa and a tree surrounded by a railing. Others show social or hunting scenes; men, women, and animals; weapons; and designs.
Although the pillar bears the trademark Mauryan polish, it is made not of the Chunar sandstone characteristic of Ashokan sculpture, but of local sandstone. Also found at the site were pottery, pieces of stone caskets and bangles with exquisite polish, some copper fragments, a lead strip coiled ear stud, iron nails and clamps, few coins (one punch-marked), pieces of terra-cotta toys, and beads. Worthy of particular mention are several pieces of Mauryan polished chattra (the multi-tiered "umbrella" at the top of a stupa) with evidence of radial ribs. To the west of the main stupa, iron slag, a lump of iron ore, and white nodules of lime indicate the presence of an iron-smelting furnace nearby.
If you wish to visit this place please contact me, I will arrange a tour package suitable for you and your group -
R.K. Agrawal
Tour Operator
M.I.G. 26, J.P.N. Nagar, Behind P. K. School, Near Sirmour Chowk,
REWA (M.P.), India, Pin Code - 486 001
Mobile No. - +91 9424722414
Fax No. - 91 7662 251251,
E mail - info@gtvresort.com
Web Site - www.gtvresort.com
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.
Lindi Ortega
OCA Spazio Ansaldo (MI)
19 Marzo 2013
© Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
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Tutti i diritti sono riservati.
L'immagine non può essere usata in nessun caso senza autorizzazione scritta dell'autore.
Per contatti: mairo.cinquetti@gmail.com
Nashville beckoned, and Lindi Ortega answered the call.
Armed with an inimitable, irresistible singing voice The Independent hails as “a truly magnificent instrument,” and a heart bursting with creative ambition, the Canadian songstress whom American Songwriter calls “the love child of Johnny Cash and Nancy Sinatra” decided to relocate to Music City from her
native Toronto to birth her brand new musical offspring, Cigarettes & Truckstops.
A logical follow-up to her 2011 critically acclaimed alt-country masterpiece Little Red Boots, the 10-song Cigarettes & Truckstops further flaunts Ortega’s distinctive vision; one that embraces the oft-neglected, politically incorrect realism of traditional country and frames it in a charmingly, and sometimes darkly humourous contemporary context.
Bookended by a couple of romantic road ballads in the title track and the reflective “Every Mile Of The Ride,” Cigarettes & Truckstops further evolves the promise foreshadowed by the JUNO-Award nominated-and-Polaris-Music-Prize-long-listed Little Red Boots.
The writing is stellar, her musical discipline undoubtedly galvanized by a fearless 2010-2012 tour schedule that saw Lindi open for a variety of acts, from punk vets Social Distortion; pop icon Burton Cummings; country fave Dierks Bentley; folk outfit Noah & The Whale and Academy Award winner Kevin Costner with attention-grabbing finesse, making serious inroads with North American and European audiences, and prompting Exclaim! to declare Ortega an “electrifying” performer.
Whether it’s the plucky shuffle of the hilarious “The Day You Die;” the angry harrumph of “Don’t Wanna Hear It;” the high lonesome feel of “Heaven Has No Vacancy” or the haunting twang of guilt that is “Murder of Crows,” Ortega continues to deliver a refreshing twist that walks vintage and contemporary lines in imaginative and inventive manners.
But in order to realize this next step of her artistic fruition, the two-time JUNO Award nominee (Canada’s equivalent to the Grammy Awards) had to pull up her Canadian stakes and come to the well.
“I was really inspired by being here in Nashville,” explains Ortega, the daughter of a Northern Irish mother and Mexican father who has been performing since she picked up a guitar at age 16.
“I wanted the authenticity of my influences to shine through on this record. I knew I liked country and I think moving here, I wanted to delve into those influences more genuinely.
“To be able to read a Hank Williams biography and then go to where his house was, or the places that they talk about, and absorb that was invaluable.”
As Ortega is the first to admit, she’s anything but a “straight-up country artist,” so other elements played into the equation.
“I found that I was really inspired by going to New Orleans, after I shot that music video for (Little Red Boots’) “Black Fly” – and the Deep South.
“After Little Red Boots I read the Hank Williams biography and I learned that he was very highly influenced by a man named “Tee-Tot.” (Rufus Payne). Tee-Tot was a blues guy, and I discovered that a lot of early country drew influence from early blues. So I really started getting into listening to blues.”
She recruited a sympathetic visionary to produce the album in fellow Canadian Colin Linden, (O Brother Where Art Thou, Blackie & The Rodeo Kings, Bruce Cockburn, The Band), who also happens to reside in Nashville.
“When it was time to start working with producers, Colin’s name was thrown in the hat,” recalls Ortega. “I looked him up on YouTube,and the first thing I saw him perform was this crazy awesome Dobro solo.
“I realized that I loved that instrument, and I needed to have it all over my record,” she laughs.
“There was something about the sound of it that resonated so much with me. Colin was very influenced by the blues and had a lot of knowledge about its background and history, and I thought it would be cool to bring that into the record.”
The blues touch is a subtle one, a seasoning of sorts on this album of longing and vulnerability; travel and romance; of anger and passion; of fact and fiction.
A big breakthrough was Ortega’s topical candour.
“I was sort of delving into the darker corners of my mind with some things, which was interesting for me, and not being afraid to put some other things out there,” she reveals. “The song from my first record, “All My Friends,” alludes to certain things in a metaphorical way, where on this album, I’m a little more straight up about it. I’m not trying to hide.
“I guess that I’m just willing to take that risk. I’m just being honest and talking about my experiences, and by doing that, I’m not advocating anything and I’m not telling anybody they need to do anything: I’m just writing about my life and the experiences that I go through.”
But it’s not all autobiographical: “Murder of Crows,’ co-authored by Matt Nolan and one of three co-writes on Cigarettes & Truckstops, is pure Man In Black-inspired fiction.
“I was actually thinking of Johnny Cash’s Murder album when I wrote that,” Ortega chuckles. “I just wanted to delve into fictitious territory, and not write from experience – sort of make up stories.
“In a lot of old Cash songs, there’s a lot that didn’t come from his experience: he made them up. It’s cool to be able to make up crazy stories like that.”
One of the album’s real kickers is the Bruce Wallace co-write “The Day You Die,” a humorous look at love’s clichés, a future classic that begins with the opening stanza,
“You said you’d love me ‘til the cows comes home/Well I’m hoping that they all go blind.”
“That’s why I love writing with Bruce, because we never set out to write,” Ortega admits. “We just get together as friends and pick up guitars and it just happens naturally. He’s a quirky guy, because he totally gets where I’m coming from in that respect.
“We pick up the guitar and make up joke songs. We thought it would be cool if all these cliché things that people say to people, things like ‘Love you ‘til this, love you ‘til that’,” were taken literally, what would they have to do to keep the love going?”
There are more gems on Cigarettes & Truckstops that are ripe for personal discovery, a riveting tour-de-force of an album that will open up more ears and hearts to the scintillating sounds of Lindi Ortega and an appreciation of the unique perspective she brings to her craft.
Two trademarks impel her artistry: sincerity and honesty.
“I’m not going to deny it because I can’t,” Ortega admits. “It just comes out. I owe it to the song and to myself to expel that expression, put it into music and be very honest and forthright about the good, the bad and the ugly of Lindi Ortega.”
Pointless video update! Clio hasn't been doing her speech therapy homework, so she's shaming herself. (This was foreshadowing for months of her not doing her homework.) Clio's also been sick, so she went to the doctor.
This video being posted 8.5mos after it was taken, it is remarkable how different Clio's voice is.
Transition Progress at this point: On hormones since 8/1 (7 months); injections since 12/22 (2 months) [14 so far]. Full-time female since 9/15 (5.5 months). Publicly out as trans since 10/11 (4.5 months). Legally female since 12/21 (2.5 months). 3 group speech therapy classes taken at GW Speech Clinic (since 2/22). Plastic surgery consults continuing. Have seen endo/primary therapist 5X, and secondary therapists 9X. Weight down to 141lbs (56 down from 197). Hair removal includes 33 electrolysis treatments totaling 25 hours; 30 laser hair removal sessions (51 area treatments: 16 mouth, 15/13/12/8 goatee/face/neck/armpits, 7 legs/chest, 6 ears/Brazilian); and bi-weekly at-home IPL on arms since 6/17 (8.5 months). Latisse for eyelash lengthening since 4/17 (10.5 months). 2 dental implants + Zoom Whitening. Pierced ears. Dyed/layered hair (no haircuts for 3yrs--since 1/2015). Twice daily hydroquinone treatment on leg hyperpigmentation since 2/14 (3 weeks), and it's peeling red now (looks awful). Female wardrobe replacement up to more than 656 items. Total transition expenditures now over $17,400 at this point.
Clio.
talking.
car.
driveway, Clio and Carolyn's house, Alexandria, Virginia.
March 14, 2018.
... Read my blog at clintjcl at wordpress dot com
... Read Carolyn's blog at CarolynCASL at wordpress dot com
Palais Jacques Coeur 24/06/2014 19h22
One of the attractions we haven't visited in Bourges is this palace. Palais Jacques Coeur, located in the center of Bourges, is a masterpiece of late Gothic architecture. This building comes from the will of the wealthy merchant Jacques Coeur to build a "great" house "in his hometown. Built in the fifteenth century mansions foreshadows that blossomed during the Renaissance. However, the treasurer of Charles VII lived there forever.
This is for the elegance of its architecture, the richness and variety of its decoration, this palace is considered one of the finest and most sumptuous civil buildings of the Gothic period.
Begun in 1443, this beautiful house was almost completed in less than ten years, at a cost of ECU 100 000 gold. Jacques Heart disgraced in 1451, not much advantage, since he was imprisoned for three years before escaping and taking refuge in the Greek Islands where he died in 1456. Restored to his heirs in the year following his death, the palace enjoyed mixed fortunes.
Bourges
Bourges is a city in central France on the Yèvre river. It is the capital of the department of Cher and also was the capital of the former province of Berry.
The name of the city derives either from the Bituriges, the name of the original inhabitants, or from the Germanic Burg, for "hill/village". The Celts called it Avaricon; Latin-speakers: Avaricum.
The Gothic Cathedral of Saint Etienne, begun at the end of the twelfth century, ranks as a World Heritage Site. It is considered the earliest example of the High Gothic style of the thirteenth century.
The city has a long tradition of art and history. Apart from the cathedral, other sites of importance include the 15th-century Palace of Jacques Cœur and a sixty-five-hectare district of half-timbered houses and fine town-houses.
The railway station Gare de Bourges offers direct connections to Paris (2 hours), Orléans, Tours, Lyon and several regional destinations. The A71 motorway connects Bourges with Orléans and Clermont-Ferrand. Bourges Airport is a small regional airport.
FACTS & FIGURES:
Bourges, région Centre, département Cher (18).
Population : around 66,000
Elevation : 120 – 169 meters
Coördinates : 47°05′04″N 2°23′47″E
[ Source & more info: Wikipedia – Bourges (English) ]
Ordering S.H. Figuarts is generally a major pain in the ass, particular for super hot properties. At least with Figma, there's a dedicated online store and a preorder time. With Figuarts, they're never announced and as such I generally run into them by surprise.
As such, I blinked and I missed EVERY-SINGLE-JAPANESE-SITE with regards to a figure from a little movie you may be familiar with - Captain Marvel. Who knew that a figure that pretty much nobody cared for would be so hard to actually find, and this was before the "controversy".
As I've said before, I liked the overall film. There were some questionable choices, as always, but as the father of two little girls I'm quite approving of the overall tone of the movie. Not because of the whole perceived SJW angle (and I say perceived because quite frankly, the movie would be the same to me regardless of gender), but because it speaks true of one thing - people will always talk shit about anything and everything you do, whether it be constructively or destructively. The point is to make a conscious choice to tell them all to go to hell if you're going to do things anyway. On a more personal note, I'm hoping to never be the Dad in that movie.
This Figuarts release comes with a somewhat sparse smattering of extras. There's the standard unhelmeted figure, two additional set of hands (open palm and spread palm), a Kree helmeted head, and two Photon energy effects for her closed fists.
And yes... again... no stand. Broken record, I know, but maybe if I whine enough one day it'll become a standard feature.
The base body of Carol appears to have the same as that of Infinity War Black Widow. Same articulation points (Black Widow hides her mid torso swivel better than Carol, but at the expense of limiting her ability to bend backwards).
As with Widow, I'm not overly enthusiastic about the hip design and really would have preferred either something like the Dragon Ball figures or the Fighting Body uses for Street Fighter as her ability to do any cool crouching poses is highly restricted.
I have no idea Scarlet Johansson and Brie Larson are the same height, but that's what the Figuarts are suggesting. What I DO know is that based on photos and some measurements, Carol appears to be way too much leg, though I do appreciate the bulkier appearance of the character due to the armoured nature of the battlesuit.
The unhelmeted sculpt of course uses that fancy new photo printing technology that Bandai has been employing as of late. Again, much like Widow, the end result is pretty good especially from a far enough away not to notice the specks from the printing process. Of the two, I feel the Widow face came out cleaner, but Marvel is no slouch. The accuracy of this printing technology is further bolstered by the fact that Bandai actually got the shape of her face right.
This is also an opportune time to point out that the final product face, thankfully, is much, much, much better than that really generic looking prototype picture that is floating around the Internet and even the back of the box. Sculpting of her hair is also pretty impressive, particularly given the small size. The hair, while nice looking, restricts the ability of the unhelmeted sculpt to look up.
Of course, Carol is sporting the facial expression which has made her an international sensation.
The helmeted sculpt is servicable. That's not meant to be taken in a negative way. It clean, well sculpted, and looks good. But, it's also got the same neutral expression as her normal sculpt. It would have been nice to see some emotion in this particular sculpt, especially seeing how she basically truly embraces her power by this point in the movie.
FYI, the head is attached to the neck post, a necessary step given that the head and neck get covered by the helmeted mode. Unfortunately, the peg on the body itself is not quite big enough for a completely firm connection, and as such the head is prone to falling out, with a greater occurrence with the unhelmeted sculpt.
While the figure is a bit sparse in the accessory department, it does make up for it in the paint and detailing areas. Yes, you are getting Tamashi Nations quality paint apps and paint masking, but more specifically it feels to me that this figure has a higher density of paint applications than any of the other female figures at the very least, and overall probably rivaled by characters such as Iron Man which have metal suits.
The body is literally covered all over with metallic paint, whether that be the primary red and blue, or the various gold and silver accents. There are some details sculpted into the suit itself, such as various grooves, buckles, pockets, and of course, actual fabric details, all of which are painted appropriately and cleanly.
I guess this is as good a time as any to point out that the hair is definitely more blonde than in the movie, where the brown comes out more. This colour here is actually more reminiscent of her colouring in the tidbit of Endgame that we see. Maybe this is foreshadowing of an Endgame Captain Marvel Figuarts at some point in time?
Did I mention that the figure really doesn't come with much in the way of accessories? This is an area that, admittedly, that the One:12 version destroys this figure, regardless of how things turn out. I believe that it comes with as much stuff as the Deluxe Hot Toys version does, instead of just the V-Trigger fists of Guile from Street Fighter V.
In conclusion, another solid, albeit somewhat limited, Figuarts entry into the Marvel world. I have to say that Figuarts really has come a far way from their laughable Avengers line, though strangely I don't think Steve Rogers has ever gotten, or will be receiving, the same photo printing tech that the ladies and Paul Rudd will be getting.
I now eagerly await the arrival of my Endgame Figuarts Black Widow.
The farewell to the combustion engine is foreshadowed in large parts of road traffic: Major states and regions have set themselves the goal of no longer permitting new combustion engines after a certain year, usually between 2025 and 2040, or even of equipping their vehicle fleets completely with alternative drive systems.
In my mind I conjure up images from post holocaust documentary films of the death camps taken by the allied forces. Bodies piled up one on top of the other, as the bulldozers would shovel them into the massive graves. Trees symbolize life. Cut down gives me an ominous feeling that foreshadows an end of humanity.
These photographs were taken in Canada where the lumber industry is well regulated to maintain the forests. As the grown trees are cut down there are young ones planted to keep replenishing the tree population. Nevertheless the feeling of sadness and doom is ever present.
Lindi Ortega
OCA Spazio Ansaldo (MI)
19 Marzo 2013
© Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
Immagine protetta da copyright © Mairo Cinquetti.
Tutti i diritti sono riservati.
L'immagine non può essere usata in nessun caso senza autorizzazione scritta dell'autore.
Per contatti: mairo.cinquetti@gmail.com
Nashville beckoned, and Lindi Ortega answered the call.
Armed with an inimitable, irresistible singing voice The Independent hails as “a truly magnificent instrument,” and a heart bursting with creative ambition, the Canadian songstress whom American Songwriter calls “the love child of Johnny Cash and Nancy Sinatra” decided to relocate to Music City from her
native Toronto to birth her brand new musical offspring, Cigarettes & Truckstops.
A logical follow-up to her 2011 critically acclaimed alt-country masterpiece Little Red Boots, the 10-song Cigarettes & Truckstops further flaunts Ortega’s distinctive vision; one that embraces the oft-neglected, politically incorrect realism of traditional country and frames it in a charmingly, and sometimes darkly humourous contemporary context.
Bookended by a couple of romantic road ballads in the title track and the reflective “Every Mile Of The Ride,” Cigarettes & Truckstops further evolves the promise foreshadowed by the JUNO-Award nominated-and-Polaris-Music-Prize-long-listed Little Red Boots.
The writing is stellar, her musical discipline undoubtedly galvanized by a fearless 2010-2012 tour schedule that saw Lindi open for a variety of acts, from punk vets Social Distortion; pop icon Burton Cummings; country fave Dierks Bentley; folk outfit Noah & The Whale and Academy Award winner Kevin Costner with attention-grabbing finesse, making serious inroads with North American and European audiences, and prompting Exclaim! to declare Ortega an “electrifying” performer.
Whether it’s the plucky shuffle of the hilarious “The Day You Die;” the angry harrumph of “Don’t Wanna Hear It;” the high lonesome feel of “Heaven Has No Vacancy” or the haunting twang of guilt that is “Murder of Crows,” Ortega continues to deliver a refreshing twist that walks vintage and contemporary lines in imaginative and inventive manners.
But in order to realize this next step of her artistic fruition, the two-time JUNO Award nominee (Canada’s equivalent to the Grammy Awards) had to pull up her Canadian stakes and come to the well.
“I was really inspired by being here in Nashville,” explains Ortega, the daughter of a Northern Irish mother and Mexican father who has been performing since she picked up a guitar at age 16.
“I wanted the authenticity of my influences to shine through on this record. I knew I liked country and I think moving here, I wanted to delve into those influences more genuinely.
“To be able to read a Hank Williams biography and then go to where his house was, or the places that they talk about, and absorb that was invaluable.”
As Ortega is the first to admit, she’s anything but a “straight-up country artist,” so other elements played into the equation.
“I found that I was really inspired by going to New Orleans, after I shot that music video for (Little Red Boots’) “Black Fly” – and the Deep South.
“After Little Red Boots I read the Hank Williams biography and I learned that he was very highly influenced by a man named “Tee-Tot.” (Rufus Payne). Tee-Tot was a blues guy, and I discovered that a lot of early country drew influence from early blues. So I really started getting into listening to blues.”
She recruited a sympathetic visionary to produce the album in fellow Canadian Colin Linden, (O Brother Where Art Thou, Blackie & The Rodeo Kings, Bruce Cockburn, The Band), who also happens to reside in Nashville.
“When it was time to start working with producers, Colin’s name was thrown in the hat,” recalls Ortega. “I looked him up on YouTube,and the first thing I saw him perform was this crazy awesome Dobro solo.
“I realized that I loved that instrument, and I needed to have it all over my record,” she laughs.
“There was something about the sound of it that resonated so much with me. Colin was very influenced by the blues and had a lot of knowledge about its background and history, and I thought it would be cool to bring that into the record.”
The blues touch is a subtle one, a seasoning of sorts on this album of longing and vulnerability; travel and romance; of anger and passion; of fact and fiction.
A big breakthrough was Ortega’s topical candour.
“I was sort of delving into the darker corners of my mind with some things, which was interesting for me, and not being afraid to put some other things out there,” she reveals. “The song from my first record, “All My Friends,” alludes to certain things in a metaphorical way, where on this album, I’m a little more straight up about it. I’m not trying to hide.
“I guess that I’m just willing to take that risk. I’m just being honest and talking about my experiences, and by doing that, I’m not advocating anything and I’m not telling anybody they need to do anything: I’m just writing about my life and the experiences that I go through.”
But it’s not all autobiographical: “Murder of Crows,’ co-authored by Matt Nolan and one of three co-writes on Cigarettes & Truckstops, is pure Man In Black-inspired fiction.
“I was actually thinking of Johnny Cash’s Murder album when I wrote that,” Ortega chuckles. “I just wanted to delve into fictitious territory, and not write from experience – sort of make up stories.
“In a lot of old Cash songs, there’s a lot that didn’t come from his experience: he made them up. It’s cool to be able to make up crazy stories like that.”
One of the album’s real kickers is the Bruce Wallace co-write “The Day You Die,” a humorous look at love’s clichés, a future classic that begins with the opening stanza,
“You said you’d love me ‘til the cows comes home/Well I’m hoping that they all go blind.”
“That’s why I love writing with Bruce, because we never set out to write,” Ortega admits. “We just get together as friends and pick up guitars and it just happens naturally. He’s a quirky guy, because he totally gets where I’m coming from in that respect.
“We pick up the guitar and make up joke songs. We thought it would be cool if all these cliché things that people say to people, things like ‘Love you ‘til this, love you ‘til that’,” were taken literally, what would they have to do to keep the love going?”
There are more gems on Cigarettes & Truckstops that are ripe for personal discovery, a riveting tour-de-force of an album that will open up more ears and hearts to the scintillating sounds of Lindi Ortega and an appreciation of the unique perspective she brings to her craft.
Two trademarks impel her artistry: sincerity and honesty.
“I’m not going to deny it because I can’t,” Ortega admits. “It just comes out. I owe it to the song and to myself to expel that expression, put it into music and be very honest and forthright about the good, the bad and the ugly of Lindi Ortega.”
people used to always tell me that I had sad eyes or sleepy eyes...but that used to not matter to me because I was such a happy person...I was
the future has a funny way of foreshadowing itself.. it's just one of those strange things. One of those things that just happens. An unstoppable force like the winds and the tides. Like that one snowflake landing on your tongue, or that one car that hit your dog and drove away. That one stray bullet to hit an innocent bystander, or that one person who survived cancer. The future is just one of those things. Those things that you cant stop, you can control, but that you can only let do. There are always signs to which way the future may sway...but sadly only our hindsight is 20/20.
Lindi Ortega
OCA Spazio Ansaldo (MI)
19 Marzo 2013
© Mairo Cinquetti
© All rights reserved. Do not use my photos without my written permission. If you would like to buy or use this photo PLEASE message me or email me at mairo.cinquetti@gmail.com
Immagine protetta da copyright © Mairo Cinquetti.
Tutti i diritti sono riservati.
L'immagine non può essere usata in nessun caso senza autorizzazione scritta dell'autore.
Per contatti: mairo.cinquetti@gmail.com
Nashville beckoned, and Lindi Ortega answered the call.
Armed with an inimitable, irresistible singing voice The Independent hails as “a truly magnificent instrument,” and a heart bursting with creative ambition, the Canadian songstress whom American Songwriter calls “the love child of Johnny Cash and Nancy Sinatra” decided to relocate to Music City from her
native Toronto to birth her brand new musical offspring, Cigarettes & Truckstops.
A logical follow-up to her 2011 critically acclaimed alt-country masterpiece Little Red Boots, the 10-song Cigarettes & Truckstops further flaunts Ortega’s distinctive vision; one that embraces the oft-neglected, politically incorrect realism of traditional country and frames it in a charmingly, and sometimes darkly humourous contemporary context.
Bookended by a couple of romantic road ballads in the title track and the reflective “Every Mile Of The Ride,” Cigarettes & Truckstops further evolves the promise foreshadowed by the JUNO-Award nominated-and-Polaris-Music-Prize-long-listed Little Red Boots.
The writing is stellar, her musical discipline undoubtedly galvanized by a fearless 2010-2012 tour schedule that saw Lindi open for a variety of acts, from punk vets Social Distortion; pop icon Burton Cummings; country fave Dierks Bentley; folk outfit Noah & The Whale and Academy Award winner Kevin Costner with attention-grabbing finesse, making serious inroads with North American and European audiences, and prompting Exclaim! to declare Ortega an “electrifying” performer.
Whether it’s the plucky shuffle of the hilarious “The Day You Die;” the angry harrumph of “Don’t Wanna Hear It;” the high lonesome feel of “Heaven Has No Vacancy” or the haunting twang of guilt that is “Murder of Crows,” Ortega continues to deliver a refreshing twist that walks vintage and contemporary lines in imaginative and inventive manners.
But in order to realize this next step of her artistic fruition, the two-time JUNO Award nominee (Canada’s equivalent to the Grammy Awards) had to pull up her Canadian stakes and come to the well.
“I was really inspired by being here in Nashville,” explains Ortega, the daughter of a Northern Irish mother and Mexican father who has been performing since she picked up a guitar at age 16.
“I wanted the authenticity of my influences to shine through on this record. I knew I liked country and I think moving here, I wanted to delve into those influences more genuinely.
“To be able to read a Hank Williams biography and then go to where his house was, or the places that they talk about, and absorb that was invaluable.”
As Ortega is the first to admit, she’s anything but a “straight-up country artist,” so other elements played into the equation.
“I found that I was really inspired by going to New Orleans, after I shot that music video for (Little Red Boots’) “Black Fly” – and the Deep South.
“After Little Red Boots I read the Hank Williams biography and I learned that he was very highly influenced by a man named “Tee-Tot.” (Rufus Payne). Tee-Tot was a blues guy, and I discovered that a lot of early country drew influence from early blues. So I really started getting into listening to blues.”
She recruited a sympathetic visionary to produce the album in fellow Canadian Colin Linden, (O Brother Where Art Thou, Blackie & The Rodeo Kings, Bruce Cockburn, The Band), who also happens to reside in Nashville.
“When it was time to start working with producers, Colin’s name was thrown in the hat,” recalls Ortega. “I looked him up on YouTube,and the first thing I saw him perform was this crazy awesome Dobro solo.
“I realized that I loved that instrument, and I needed to have it all over my record,” she laughs.
“There was something about the sound of it that resonated so much with me. Colin was very influenced by the blues and had a lot of knowledge about its background and history, and I thought it would be cool to bring that into the record.”
The blues touch is a subtle one, a seasoning of sorts on this album of longing and vulnerability; travel and romance; of anger and passion; of fact and fiction.
A big breakthrough was Ortega’s topical candour.
“I was sort of delving into the darker corners of my mind with some things, which was interesting for me, and not being afraid to put some other things out there,” she reveals. “The song from my first record, “All My Friends,” alludes to certain things in a metaphorical way, where on this album, I’m a little more straight up about it. I’m not trying to hide.
“I guess that I’m just willing to take that risk. I’m just being honest and talking about my experiences, and by doing that, I’m not advocating anything and I’m not telling anybody they need to do anything: I’m just writing about my life and the experiences that I go through.”
But it’s not all autobiographical: “Murder of Crows,’ co-authored by Matt Nolan and one of three co-writes on Cigarettes & Truckstops, is pure Man In Black-inspired fiction.
“I was actually thinking of Johnny Cash’s Murder album when I wrote that,” Ortega chuckles. “I just wanted to delve into fictitious territory, and not write from experience – sort of make up stories.
“In a lot of old Cash songs, there’s a lot that didn’t come from his experience: he made them up. It’s cool to be able to make up crazy stories like that.”
One of the album’s real kickers is the Bruce Wallace co-write “The Day You Die,” a humorous look at love’s clichés, a future classic that begins with the opening stanza,
“You said you’d love me ‘til the cows comes home/Well I’m hoping that they all go blind.”
“That’s why I love writing with Bruce, because we never set out to write,” Ortega admits. “We just get together as friends and pick up guitars and it just happens naturally. He’s a quirky guy, because he totally gets where I’m coming from in that respect.
“We pick up the guitar and make up joke songs. We thought it would be cool if all these cliché things that people say to people, things like ‘Love you ‘til this, love you ‘til that’,” were taken literally, what would they have to do to keep the love going?”
There are more gems on Cigarettes & Truckstops that are ripe for personal discovery, a riveting tour-de-force of an album that will open up more ears and hearts to the scintillating sounds of Lindi Ortega and an appreciation of the unique perspective she brings to her craft.
Two trademarks impel her artistry: sincerity and honesty.
“I’m not going to deny it because I can’t,” Ortega admits. “It just comes out. I owe it to the song and to myself to expel that expression, put it into music and be very honest and forthright about the good, the bad and the ugly of Lindi Ortega.”
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.
The Allard Motor Company was an English car manufacturer founded in 1936 by Sydney Allard. The company, based in Putney, London until 1945 and then in Clapham, London, produced approximately 1900 cars until its closure in 1966.
Allards generally featured a large American V8 engine in a small, light British sports car body, giving a high power-to-weight ratio and foreshadowing the more famous AC Cobra - in fact, Carroll Shelby drove an Allard in the 1950s.
The first Allard cars were built specifically to compete in Trials events - timed events somewhat like rallies but through much worse terrain, almost impassable by a wheeled vehicle. The first Allard mounted a Ford flathead V8 in a body mostly sourced from a Bugatti racing car, and used the American engine's high torque to great effect in this slow-speed competition.
Further Allards were soon built, all specially ordered, and fitted with a variety of large, Ford-sourced engines, including Lincoln-Zephyr V12 powerplants. By 1939 and the outbreak of war, twelve Allard Specials had been built, and Sydney Allard planned volume production, but the war forced a delay to those plans. Allard's company worked instead on Ford-based trucks during the war years, and when hostilities ceased, Allard had built up quite an inventory of Ford parts.
Using these and bodywork of Allard's own design, three postwar models were introduced: the J, a competition sports car; the K, a slightly larger car intended for road use, and the L, with four seats. All used primarily Ford mechanicals, making them easy to maintain anywhere. Sales were fairly brisk for a low-volume car, and demand was high for cars in general; Allard introduced several larger models, the M and N.
Sydney Allard soon saw the potential of the US market, in much better shape financially and rather lacking in quality sports cars. A special model intended for the American market was soon produced, the J2, fitted with a new independent rear suspension. They were available with a huge choice of different American engines, including a new Cadillac V8, much more powerful than the Ford units used before. Importing American engines just to ship them back across the Atlantic proved troublesome, so soon US-bound Allards were shipped engineless and fitted out in the States.
They proved phenomenally successful, and the American mechanicals meant that unlike more exotic British sportscars, they were familiar beasts for mechanics to work on. They were used to great effect in competition on both sides of the Atlantic, including a third place at Le Mans in 1950 and first place in the Monte Carlo Rally in 1952 (driven by Sydney Allard himself).
A rather bizarre model was the 1953 Allard Clipper that was hoped would cash in on the microcar market. This tiny car with glass fibre body was powered by a rear mounted 346 cc Villiers twin cylinder motorcycle engine and claimed to seat three people abreast with room for two children in an optional dickey seat. About 20 were made.The Allard Clipper was designed by David Gottlieb and had an "indestructible" plastic body that was made by Hordern-Richmond Ltd. This made it the first car to have a plastic body.
Allard's R&D department, unfortunately, did not keep up its former pace, and soon other manufacturers were producing cheaper and more technically advanced cars. Allard scrambled to try and keep up, but its new Palm Beach smaller car was a year later than its competitors. Allard's new K-3 also did not live up to expectations, though it was a beautiful car, and their Safari Estate, a large Woodie station wagon with eight seats, a huge V8 engine and beautiful bodywork, didn't seem to find a market.
By the mid fifties Allard was struggling as a manufacturer. Its attempt to give Dodge dealers a Corvette competitor using a rebodied Palm Beach with a Dodge Hemi engine were hit by the recession in the US economy in the late Fifties, and Allard produced few cars after 1959, and those only to special order.
Sixties Allards were simply performance modified British Ford Anglias marketed as the Allardette 105, 109, and 116. Everything ended in 1966 when Sydney Allard died; on the same night, a fire destroyed the factory and most Allard company records.
The Allard name was bought by a new company in 1991 but production never started. In 1994 a new version of the J2 were made by Allard Replicas of Harpenden, Hertfordshire in either kit or assembled versions with full agreement with the trademark holders. Production ceased in 1997.
A new version of the J2X, named the J2X MkII, is currently being produced in Montreal, Canada, and upper New York state, USA. It was displayed at the LA 2009 Auto Show.[1]
The site where the Allard cars were produced is now a housing co op and was named after the car. Allard Gardens is now a development of 26 luxury units. In the late nineties some of the Allard cars returned to the site for a re union.
Wikipedia
“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)
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Boddinstrasse 60, Berlin, Germany
How precious the gift of the cross, how splendid to contemplate! In the cross there is no mingling of good and evil, as in the tree of paradise: it is wholly beautiful to behold and good to taste. The fruit of this tree is not death but life, not darkness but light. This tree does not cast us out of paradise, but opens the way for our return.
This was the tree on which Christ, like a king on a chariot, destroyed the devil, the lord of death, and freed the human race from his tyranny. This was the tree upon which the Lord like a brave warrior wounded in hands, feet and side, healed the wounds of sin that the evil serpent had inflicted on our nature. A tree once caused our death, but now a tree brings life. Once deceived by a tree, we have now repelled the cunning serpent by a tree. What an astonishing transformation! That death should become life, that decay should become immortality, that shame should become glory! Well might the holy Apostle exclaim: Far be it from me to glory except in the cross of our Lord Jesus Christ, by which the world has been crucified to me, and I to the world! The supreme wisdom that flowered on the cross has shown the folly of worldly wisdom's pride. The knowledge of all good, which is the fruit of the cross, has cut away the shoots of wickedness.
The wonders accomplished through this tree were foreshadowed clearly even by the mere types and figures that existed in the past. Meditate on these, if you are eager to learn. Was it not the wood of a tree that enabled Noah, at God's command, to escape the destruction of the flood together with his sons, his wife, his sons' wives and every kind of animal? And surely the rod of Moses prefigured the cross when it changed water into blood, swallowed up the false serpents of Pharaoh's magicians, divided the sea at one stroke and then restored the waters to their normal course, drowning the enemy and saving God's own people? Aaron's rod, which blossomed in one day in proof of his true priesthood, was another figure of the cross, and did not Abraham foreshadow the cross when he bound his son Isaac and placed him on the pile of wood?
By the cross death was slain and Adam was restored to life. The cross is the glory of all the apostles, the crown of the martyrs, the sanctification of the saints. By the cross we put on Christ and cast aside our former self. By the cross we, the sheep of Christ, have been gathered into one flock, destined for the sheepfold of heaven. From a sermon by Theodore the Studite, 9th century
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A Little Closer to the Edge
Young enough to believe nothing
will change them, they step, hand in hand,
into the bomb crater. The night full
of black teeth. His faux Rolex, weeks
from shattering against her cheek, now dims
like a miniature moon behind her hair.
In this version, the snake is headless—stilled
like a cord unraveled from the lovers’ ankles.
He lifts her white cotton skirt, revealing
another hour. His hand. His hands. The syllables
inside them. O father, O foreshadow, press
into her—as the field shreds itself
with cricket cries. Show me how ruin makes a home
out of hip bones. O mother,
O minute hand, teach me
how to hold a man the way thirst
holds water. Let every river envy
our mouths. Let every kiss hit the body
like a season. Where apples thunder
the earth with red hooves. & I am your son.
Ocean Vuong
In my mind I conjure up images from post holocaust documentary films of the death camps taken by the allied forces. Bodies piled up one on top of the other, as the bulldozers would shovel them into the massive graves. Trees symbolize life. Cut down gives me an ominous feeling that foreshadows an end of humanity.
These photographs were taken in Canada where the lumber industry is well regulated to maintain the forests. As the grown trees are cut down there are young ones planted to keep replenishing the tree population. Nevertheless the feeling of sadness and doom is ever present.
Photo taken at my Uncle Charlie and Aunt Jean's house in Cherry Hill, NJ.
Back row, L-R: My Aunt Jean Reinert, her father Mr. McMaster, Granfather Charles Reinert, Grandmother Hilma Reinert, mother Joan Reinert Lippincott, my aunt's mother Mrs. McMaster.
Front row, Richard J. Lippincott Jr. (with Jeroboam the Basset hound), my Uncle Charles Reinert, and me (flashing the peace sign and holding a paper airplane known as the "Barnaby"). See also next photo.
The shutter and flash were not quite in perfect synch, so there's a shadow on the left side of the photo. If it were any further to the right, it would have at least partially obscured my father.
In literature, this would be known as "foreshadowing."
The next photo explains why.
The display reads:
Piero di Cosimo
Italian, Florentine, c. 1462 - 1521
Madonna and Child with St. John the Baptist and
Margaret with Angels, c. 1515 - 1520
Oil and tempera on panel
Gift of the Samuel H. Kress Foundation
1963.17
Piero di Cosimo was born to a goldsmith named Lorenzo, who immediately noticed his son's artistic talents. Sent to study in 1480 with Cosimo Rosselli, Piero eventually adopted the name of Cosimo over Lorenzo. He assisted his teacher with the frescoes in the Sistine Chapel in Rome. Piero's reported eccentricities may be reflected to a degree in his highly personal compositions.
While this tondo's ascription to Piero had been doubted in the past, this impressive painting is certainly a late work of his datable from 1515 to 1520. Although, unfortunately, the Virgin's face has been severely abraded, the delicately painted passages such as the rustic landscape with Saint Martin and the beggar in the right background or the faces and costumes of the angels prove the greater part of the picture to be in good condition. The interesting and complex treatment of subject matter in this private devotional work is at the same time intimate and poignant. John the Baptist hands the sacrificial lamd to the baby Christ, and there is a blasted tree around which one can still see wrapped the crown of thorns, placed next to the Baptist's cross shaped staff. The artist's combination of childlike playfulness in combination with the foreshadowing of Christ's Passion is extremely effective.
Taken November 26th, 2011.
Sunflower Fields Dix Park Raleigh, NC
Under a tormented sky that foreshadows an impending tempest. This lone sunflower beams it’s bright radiant yellow back in the absence of the suns rays as if it’s an understudy for the cosmos.
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*Kazan, foreshadowed the modernization of his country and prophesied a politics a politics of isolation
A yawning police officer stands guard outside a burned out furniture store August 1, 1967 after an overnight disturbance involving arson, broken windows, rocks, bottles, billy clubs and arrests.
A crowd of several hundred predominantly black young people broke storefront widows and set fires in the Shaw area following a confrontation with police.
The disturbances occurred eight months before those that saw blocks of the city burn in the wake of Dr. Martin Luther King’s assassination.
The standoff with police began when lines of officers began moving a crowd back from a burning Salas furniture store at 1307 7th Street NW. Dozens threw rocks and bottles at police who responded in turn with billy clubs.
The outbreak occurred at about 12:30 am and lasted until about 3:00 a.m. resulting in 11 fires, 50 store windows broken and 34 arrests.
The disturbance area was confined to 7th Street between K and P NW and on 13th & 14th Streets NW near U Street.
Washington D.C. officials sought to downplay the disturbance.
“Milton C. Reed, in charge of the police during the disturbance said he, “wouldn’t call this a riot by any means.”
Rep John Kyl (R-Iowa) said “there was vandalism but a riot it was not.”
A year later officials would change their tune as pent up anger over poverty, unemployment, poor housing, health and other social ills boiled over into widespread riots following the assassination of Dr. Martin Luther King, Jr.
For more information and related images, see flic.kr/s/aHsk4zGPDw
The photographer is unknown. The image is an auction find.
Please also see BP Oil “Spill”: Animal Rescue, Disaster Relief, Action Alerts & Vegan Views for more on the man-made disaster in the Gulf Coast.
---------- Forwarded message ----------
From: Cathy Liss, President - eAlert [at] awionline.org
Date: Tue, Jun 22, 2010 at 12:26 PM
Subject: URGENT AWI eALERT: Worst environmental catastrophe in US history could foreshadow more to come - Please ask President Obama to permanently ban all new offshore drilling
To view this eAlert online, please visit www.awionline.org/ht/display/ContentDetails/i/21971/pid/1...
June 22, 2010
Worst environmental catastrophe in US history could foreshadow more to come - Please ask President Obama to permanently ban all new offshore drilling
Dear Humanitarian:
The massive and continuing torrent of oil from the April 20th explosion on and subsequent sinking of BPs Deepwater Horizon ultra-deepwater drilling rig is the worst environmental disaster in US history. The unfolding devastation will forever alter the entire ecosystem of the Gulf of Mexico and beyond. Over 100 million gallons of oil are estimated to have been released into the Gulf already, nine times more oil than was released by the catastrophic wreck of the Exxon Valdez. Recent estimates indicate that, two months after the initial explosion, 2.5 million gallons continue to spew into the fragile and once ecologically rich Gulf ecosystem every day! In other words, BP is releasing the equivalent of a new Exxon Valdez every four and a half days.
Oiled and dead birds, sea turtles, dolphins and fish are showing up in increasing quantities, and many more dead animals are likely to be lost at sea never to be accounted for. Oil is approaching sensitive breeding areas for birds on marshes and beaches, and scientists are predicting a near total breeding failure for those birds this year.
More sea turtles, fish and marine mammals are likely to suffer as the toxic plume, currently measuring 20 miles long and five miles wide, disperses through the water column. The already tenuous future of threatened and endangered sperm whales, manatees, sea turtles, and brown pelicans is particularly worrisome. At least twenty national wildlife refuges and forty endangered species will be impacted as oil moves through the powerful waters of the Gulf Stream. We will not truly understand the full effects of this unprecedented and still escalating disaster for many years to come.
The effects on wildlife of the experimental dispersants used by BP to break up the oil are largely unknown and may, in fact, do more harm than good, by spreading chemicals throughout the food chain, as well as spreading the oil further. BP has applied over a million gallons of the toxic chemical to break down the oil and disperse it at sea, protecting shorelines while sacrificing countless animals in the water column and those on the sea floor.
The damage predictions are devastating, and efforts thus far to stop the flow of oil, largely unsuccessful. Crews have been using a variety of methods to keep oil from reaching beaches, wetlands and estuaries, but cleanup efforts have been erratic and insufficient, resulting from BPs gross lack of emergency preparedness and intentional trivialization of the risks. There have even been reports of BP workers blocking efforts to rescue endangered sea turtles and burning the animals alive[1] [2]. The lack of government oversight and the failure to follow even loose regulatory measures are painfully apparent.
The industry-friendly Minerals Management Service has allowed, essentially, oil companies to self-regulate for years, encouraging dangerous drilling operations to move forward without environmental safeguards.
On May 27, President Obama announced a 6-month moratorium on new offshore drilling permits. However, most of the existing 3,500 drilling rigs and platforms in U.S. coastal waters (79 of them deepwater wells), including some particularly dangerous projects, are allowed to continue, like ticking time bombs. The BP Atlantis, for example, one of the largest oil platforms in the world and also in the Gulf, is documented to have serious safety problems, yet remains in operation [3] [4]. Were something to go awry on the Atlantis, the Deepwater Horizon disaster would pale in comparison.
Although the scale of the disaster is overwhelming and the situation seems hopeless, there is something vitally important you can do:
Write to the President
This catastrophe illustrates the need for drilling operations to be strongly regulated and vigorously enforced. Please write a letter to President Obama and request that his Administration:
* immediately and permanently ban all future offshore drilling projects;
* immediately shut down BP Atlantis and other such unsafe drilling projects until proven safe;
* conduct a review (including their impacts to wildlife) of all deepwater platforms currently under construction and in operation and set a rigorous timeframe for resolving issues;
* halt the use of chemical dispersants until their impacts on the environment are fully understood and determined not to pose a significant threat;
* require all oil drilling to comply with environmental laws;
* ensure that wildlife rescue efforts proceed uninterrupted and investigate claims that BP is blocking rescue efforts; and
* develop strong recovery actions for threatened and endangered species.
If you prefer, you can email President Obama through AWI's Compassion Index by clicking here.
Volunteer
To report an oiled shoreline or request volunteer information, please call the Deepwater Horizon Response Volunteer Request Line at 1-866-448-5816. To report wildlife in distress, call the Wildlife Distress Hotline at 866-557-1401.
For state specific volunteer opportunities, visit:
Louisiana: www.volunteerlouisiana.gov/
Mississippi: www.volunteermississippi.org/1800Vol/OpenIndexAction.doc
Florida: www.volunteerfloridadisaster.org/
Alabama: www.servealabama.gov/2010/default.aspx
For more information and for other volunteer opportunities, especially for those individuals with wildlife recovery and spill response experience, visit www.deepwaterhorizonresponse.com.
Please share our Dear Humanitarian eAlert with family, friends and co-workers. As always, we are grateful for your help.
Sincerely,
Cathy Liss
President
[1] Los Angeles Times, "Death by fire in the gulf", articles.latimes.com/2010/jun/17/nation/la-na-oil-spill-b... (June 17, 2010)
[2] Sea Turtle Restoration Project, BP Blocks Attempt to Save Endangered Sea Turtles from Oil Spill, seaturtles.org/article.php?id=1660 (June 16, 2010)
[3] Food and Water Watch, Spill the Truth, www.spillthetruth.org/ (June 21, 2010)
[4] Washington Post, BP Atlantis rig plans never received proper approvals, former contractor says www.washingtonpost.com/wp-dyn/content/article/2010/06/17/... (June 17, 2010)
Wanda's Adventure Begins.
Pursuing a golden statuette believed to belong to a lost civilization, Wanda ventures deep into a tropical rainforest in search of an abandoned temple spoken of only in legends. After days of a grueling journey, battling thick mud, raging floodwaters, and dangerous predators, she reaches regions completely cut off from civilization. As she pushes deeper through the ancient ruins, she begins to uncover evidence that the temple truly exists. But the secrets hidden within the heart of the jungle foreshadow a danger far greater than a simple treasure hunt.
Kyle Sullivan, BLM. January 1, 2022.
This rainbow captured on the way to Hyatt Lake is foreshadowing an oncoming snowstorm.
Look familiar? I hope so - at least vaguely! Especially if you read 21 Artists To Watch in 2011 at Skinnyartist.com (totally obvious foreshadowing alert...) If you haven't, well shame on you! Just kidding...kind of. Catch up here: skinnyartist.com/21-artists-to-watch-in-2011/
Islamic Ornamentation always dazzles me with its completely unabashed profusion of intricate repeated details. I couldn't stop thinking about this image above once I saw it in my book, Splendors of Islam. Dominique Clevenot and Gerard Degeorge used this close-up pic of the Shish Mahal in Pakistan as the frontispiece in Splendors of Islam. (Side note - I had to Google what a "frontispiece" even was. Big Book Learnin' Answer: A frontispiece is an illustration that faces or immediately precedes the title page of a book, book section, or magazine. Hoping to use that in Jeopardy: Book Nerd Week to score tons of $$$.)
So...since I kept thinking about how amazing this image was, it seemed like a good idea to use it as the first step in making my latest commission painting, Diaphanous Daffodil (here's the Diaphanous Daffodil pic: #Draw365.22, www.flickr.com/photos/juliaforsythart/5413041805/in/photo...)
There you go. Art has to start somewhere, and this was my first step of inspiration in making Diaphanous Daffodil. Tune in tomorrow to see the next step in its evolution!