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The long running Ralston Type-8 morphed into the 'Tigre' line in 1938, running late, as the promised V8 from Auburn-Cord-Duesenberg Cord line failed with that company, and the inline-8 which had similarly been bought it from A-C-D (used in the Auburn), was also no longer in series production from the engine works.
No matter. There was a modest stockpile of inline-8 engines which was gradually depleted in the manufacture of the Rhino model. Meanwhile 1938 brought with it a V8 engine from Cadillac, fitted to a chassis frame of Ralston's own design. The shorter engine allowed a greater allocation of overall length to the passenger area - though truth be told, more of if went to providing greater luggage capacity, and a more cab-forward look to the cars.
The Tigre MkI, still know as the Type-8 Tigre was replaced after WWII, with a MkII design, losing this Type-8 appellation. The new model appeared at the end of 1953, the car based on the new post WWII Cadillac frame, engine and underbody of the 1948-53 Series 60 (in particular the slightly longer 60 Special). The tooling was transferred to Ralston upon completion of the 1953 model year. By this stage the preceding MkI was now 15 years old, though this included the period through the war years.
The adoption of Cadillac underpinnings provided the Ralston Tigre MkII with the calibre of running gear demanded by the marque's premium position, though with a much reduced outlay, particularly compared to their premium US-based builders such as Packard. Key differentiation with the originating Cadillac was the Ralston themed 'X' radiator grille, unique bumper treatment, and completely reprofiled rear fender tops, truncating in a rocket-pod tail lamp cluster, instead of the Cadillac 'fin'. Not elements sat completely at ease with the carryover Cadillac based structure.
An update to the Tigre MkII in 1956 led to the MkII-B. a few of the elements were cleared up in the styling, plus the addition of a number of 'flourishes' that had emerged during the 1952-55 model years. Chief among these were 'tailfins' no longer the preserve of Cadillac, but sprouting taller and wilder each year on all US domestic brands. Compared to the 1954 model, the MkII-B had slightly taller fins, but they were much more prominent in the styling, as they were accentuated by both chrome trim separating them from the fender bulge, and also incorporating one of the zones for the bi-colour and tri-colour themes.
In 1958 the car was upgraded further with the advent of the MkII-C. This model again received changes to the fender, front and rear. At the front, the fender height was increased, making the car look both more modern, and also tying the top ridge into the unmodified doors and sides. The rear fender was modified to include a tapering fin, which then led to a tail lamp treatment which was to evolve further into a 'rocket pod' on subsequent models. The 'X' theme was continued to include a 'X' rocket, mounted centrally in the trunk lid. This could alternatively be swapped out for a conventionally styled horizontal trim, if the Continental spare wheel option was included (though this had also phased out of popularity over a short time period). The new trunk lid also shared the tapering profile of the fins. Although this look less modern compared to the newly squared up trunk lids from GM and Ford's divisions, it suited the 'classic' lines of the Ralston Tigre model, leading many to state that the MkII-C was perhaps the most conservatively handsome of mid-century Ralston models, particularly on the SWB closed models.
Additional styling changes included a modest reinterpretation of the grille, including the addition of 'Dagmars' at its extremities, and a new front bumper including marker lights.
The 1954 car launched with the same tune 331 CID (5.4 litre) V8, producing 230 bhp (175 kW), for 1956 this was raised to 285 bhp (213 kW) with an increase in capacity to 365 CID (6.0 litres). The 1958 MkII-C retained the 365 CID V8, but power increased to 310 bhp (230 kW).
Shown here is the 1958 MkII-C Hardtop Coupen in two-colour treatment Dark Blue, and White. This is configuration was one of the most popular on the Tigre MkII Platform, and was particularly pretty as the MkII-C.
This Lego miniland scale Ralston Tigre MkII-C Hardtop Coupe (1958) has been created for Flickr LUGNuts' 96th Build Challenge - The 8th Birthday, titled - 'Happy Crazy Eight Birthday, LUGNuts' - where all previous build challenges are available to build to. This model is built to the LUGNuts 63rd build challenge, - "Designing the Ralston Tiger" featuring fictional vehicles styled with an 'X' form in the styling.
The long running Ralston Type-8 morphed into the 'Tigre' line in 1938, running late, as the promised V8 from Auburn-Cord-Duesenberg Cord line failed with that company, and the inline-8 which had similarly been bought it from A-C-D (used in the Auburn), was also no longer in series production from the engine works.
No matter. There was a modest stockpile of inline-8 engines which was gradually depleted in the manufacture of the Rhino model. Meanwhile 1938 brought with it a V8 engine from Cadillac, fitted to a chassis frame of Ralston's own design. The shorter engine allowed a greater allocation of overall length to the passenger area - though truth be told, more of if went to providing greater luggage capacity, and a more cab-forward look to the cars.
The Tigre MkI, still know as the Type-8 Tigre was replaced after WWII, with a MkII design, losing this Type-8 appellation. The new model appeared at the end of 1953, the car based on the new post WWII Cadillac frame, engine and underbody of the 1948-53 Series 60 (in particular the slightly longer 60 Special). The tooling was transferred to Ralston upon completion of the 1953 model year. By this stage the preceding MkI was now 15 years old, though this included the period through the war years.
The adoption of Cadillac underpinnings provided the Ralston Tigre MkII with the calibre of running gear demanded by the marque's premium position, though with a much reduced outlay, particularly compared to their premium US-based builders such as Packard. Key differentiation with the originating Cadillac was the Ralston themed 'X' radiator grille, unique bumper treatment, and completely reprofiled rear fender tops, truncating in a rocket-pod tail lamp cluster, instead of the Cadillac 'fin'. Not elements sat completely at ease with the carryover Cadillac based structure.
An update to the Tigre MkII in 1956 led to the MkII-B. a few of the elements were cleared up in the styling, plus the addition of a number of 'flourishes' that had emerged during the 1952-55 model years. Chief among these were 'tailfins' no longer the preserve of Cadillac, but sprouting taller and wilder each year on all US domestic brands. Compared to the 1954 model, the MkII-B had slightly taller fins, but they were much more prominent in the styling, as they were accentuated by both chrome trim separating them from the fender bulge, and also incorporating one of the zones for the bi-colour and tri-colour themes.
In 1958 the car was upgraded further with the advent of the MkII-C. This model again received changes to the fender, front and rear. At the front, the fender height was increased, making the car look both more modern, and also tying the top ridge into the unmodified doors and sides. The rear fender was modified to include a tapering fin, which then led to a tail lamp treatment which was to evolve further into a 'rocket pod' on subsequent models. The 'X' theme was continued to include a 'X' rocket, mounted centrally in the trunk lid. This could alternatively be swapped out for a conventionally styled horizontal trim, if the Continental spare wheel option was included (though this had also phased out of popularity over a short time period). The new trunk lid also shared the tapering profile of the fins. Although this look less modern compared to the newly squared up trunk lids from GM and Ford's divisions, it suited the 'classic' lines of the Ralston Tigre model, leading many to state that the MkII-C was perhaps the most conservatively handsome of mid-century Ralston models, particularly on the SWB closed models.
Additional styling changes included a modest reinterpretation of the grille, including the addition of 'Dagmars' at its extremities, and a new front bumper including marker lights.
The 1954 car launched with the same tune 331 CID (5.4 litre) V8, producing 230 bhp (175 kW), for 1956 this was raised to 285 bhp (213 kW) with an increase in capacity to 365 CID (6.0 litres). The 1958 MkII-C retained the 365 CID V8, but power increased to 310 bhp (230 kW).
Shown here is the 1958 MkII-C 6-Window Limousine in single-colour midnight black. This was a commonly ordered model using the long wheelbase chassis (along with the 4-window Limousine and Phaetons). The LWB chassis featured the 147 in (3,729 mm) chassis from the 1950-53 Cadillac 75 Series.
This Ralston Tigre MkII-C 6-Window Limousine (1958) has be built on Lego miniland scale for Flickr LUGNuts 95th Build Challenge, - 'Designing the Ralston Legacy' - a challenge to design the fictitious Dragon 'Motorcycle' model for the fictitious Ralston company, though any of the previous Ralston challenge vehicles, the Tiger or the Rhino are also eligible to be submitted. The chief stipulation is that the model must feature a 'X' in the styling.
The long running Ralston Type-8 morphed into the 'Tigre' line in 1938, running late, as the promised V8 from Auburn-Cord-Duesenberg Cord line failed with that company, and the inline-8 which had similarly been bought it from A-C-D (used in the Auburn), was also no longer in series production from the engine works.
No matter. There was a modest stockpile of inline-8 engines which was gradually depleted in the manufacture of the Rhino model. Meanwhile 1938 brought with it a V8 engine from Cadillac, fitted to a chassis frame of Ralston's own design. The shorter engine allowed a greater allocation of overall length to the passenger area - though truth be told, more of if went to providing greater luggage capacity, and a more cab-forward look to the cars.
The Tigre MkI, still know as the Type-8 Tigre was replaced after WWII, with a MkII design, losing this Type-8 appellation. The new model appeared at the end of 1953, the car based on the new post WWII Cadillac frame, engine and underbody of the 1948-53 Series 60 (in particular the slightly longer 60 Special). The tooling was transferred to Ralston upon completion of the 1953 model year. By this stage the preceding MkI was now 15 years old, though this included the period through the war years.
The adoption of Cadillac underpinnings provided the Ralston Tigre MkII with the calibre of running gear demanded by the marque's premium position, though with a much reduced outlay, particularly compared to their premium US-based builders such as Packard. Key differentiation with the originating Cadillac was the Ralston themed 'X' radiator grille, unique bumper treatment, and completely reprofiled rear fender tops, truncating in a rocket-pod tail lamp cluster, instead of the Cadillac 'fin'. Not elements sat completely at ease with the carryover Cadillac based structure.
An update to the Tigre MkII in 1956 led to the MkII-B. a few of the elements were cleared up in the styling, plus the addition of a number of 'flourishes' that had emerged during the 1952-55 model years. Chief among these were 'tailfins' no longer the preserve of Cadillac, but sprouting taller and wilder each year on all US domestic brands. Compared to the 1954 model, the MkII-B had slightly taller fins, but they were much more prominent in the styling, as they were accentuated by both chrome trim separating them from the fender bulge, and also incorporating one of the zones for the bi-colour and tri-colour themes.
In 1958 the car was upgraded further with the advent of the MkII-C. This model again received changes to the fender, front and rear. At the front, the fender height was increased, making the car look both more modern, and also tying the top ridge into the unmodified doors and sides. The rear fender was modified to include a tapering fin, which then led to a tail lamp treatment which was to evolve further into a 'rocket pod' on subsequent models. The 'X' theme was continued to include a 'X' rocket, mounted centrally in the trunk lid. This could alternatively be swapped out for a conventionally styled horizontal trim, if the Continental spare wheel option was included (though this had also phased out of popularity over a short time period). The new trunk lid also shared the tapering profile of the fins. Although this look less modern compared to the newly squared up trunk lids from GM and Ford's divisions, it suited the 'classic' lines of the Ralston Tigre model, leading many to state that the MkII-C was perhaps the most conservatively handsome of mid-century Ralston models, particularly on the SWB closed models.
Additional styling changes included a modest reinterpretation of the grille, including the addition of 'Dagmars' at its extremities, and a new front bumper including marker lights.
The 1954 car launched with the same tune 331 CID (5.4 litre) V8, producing 230 bhp (175 kW), for 1956 this was raised to 285 bhp (213 kW) with an increase in capacity to 365 CID (6.0 litres). The 1958 MkII-C retained the 365 CID V8, but power increased to 310 bhp (230 kW).
Shown here is the 1958 MkII-C SWB Saloon in two-colour treatment gun-metal brown, and midnight black. This is a somewhat rare model, as most four-door cars used the long wheelbase chassis (4-window and 6-window Limousines) - though as mentioned, it is well regarded. The customers of the SWB Saloon tended to drive the cars themselves with their families.
This Ralston Tigre MkII-C SWB Saloon (1958) has be built on Lego miniland scale for Flickr LUGNuts 95th Build Challenge, - 'Designing the Ralston Legacy' - a challenge to design the fictitious Dragon 'Motorcycle' model for the fictitious Ralston company, though any of the previous Ralston challenge vehicles, the Tiger or the Rhino are also eligible to be submitted. The chief stipulation is that the model must feature a 'X' in the styling.
Dimorphotheca is a genus of plants in the family Asteraceae, native to southern Africa. is one of eight genera of the Calenduleae, with a centre of diversity in Southern Africa. Species are native to Botswana, Eswatini, Lesotho, Namibia, South Africa, and Zimbabwe. Some species can hybridize with Osteospermum, and crosses are sold as cultivated ornamentals. The name "Dimorphotheca" comes from the Greek "Dis" "Morphe" and "Theka", meaning "two shaped receptacle", referring to the dimorphic cypselae, a trait inherent to members of the Calenduleae. Plants of this genus usually have bisexual flowers.
Species
Dimorphotheca acutifolia
Dimorphotheca barberae
Dimorphotheca caulescens
Dimorphotheca chrysanthemifolia
Dimorphotheca cuneata
Dimorphotheca dregei
Dimorphotheca ecklonis
Dimorphotheca fruticosa
Dimorphotheca jucunda
Dimorphotheca montana
Dimorphotheca nudicaulis
Dimorphotheca pluvialis ("ox-eye daisy", "Cape daisy", "rain daisy")
Dimorphotheca polyptera
Dimorphotheca pulvinalis
Dimorphotheca sinuata ("Cape marigold", "African daisy", "star of the veldt")
Dimorphotheca spectabilis
Dimorphotheca tragus
Dimorphotheca turicensis
Dimorphotheca venusta
Dimorphotheca walliana
Dimorphotheca zeyheri
Dimorphotheca ecklonis, also known as Cape marguerite, African daisy, Van Staden's river daisy, Sundays river daisy, white daisy bush, blue-and-white daisy bush, star of the veldt is an ornamental plant that is native to South Africa. It is now regarded as a weed in parts of Australia, particularly Victoria and Western Australia.
Features
It is an evergreen, perennial dwarf shrub with the stature heights of 25 to 50 centimeters. The leaves measure 5 to 10 × 1 to 4 inches and are glandular fluffy, sessile, elliptical, slightly succulent, narrow obovate and entire or serrated. The heads are on 15 to 20 centimeters long stems and have a diameter of 5 to 8 centimeters. The bracts are 13 to 16 millimeters long and glandular. The rays are white above and reddish blue below. The disc is dark blue or purple. The fruit surface is net-wrinkled.
The flowering period is from April to September in the northern hemisphere. The plant is said to contain hydrocyanic acid, making it poisonous to livestock.
Distribution
It is native to the Eastern Cape in Uitenhage and Humansdorp, in South Africa, and is found on wet grass and in river beds at altitudes up to 300 meters.
Cultivation
It is widely used as an ornamental plant in pots, summer borders and balcony boxes. It is cultivated one-year old. There are numerous hybrids and varieties, including upright, up to 1.5 meters high and half-low. This species has been in culture since about 1920. It thrives best in full sun, in poor, sandy soil.
The long running Ralston Type-8 morphed into the 'Tigre' line in 1938, running late, as the promised V8 from Auburn-Cord-Duesenberg Cord line failed with that company, and the inline-8 which had similarly been bought it from A-C-D (used in the Auburn), was also no longer in series production from the engine works.
No matter. There was a modest stockpile of inline-8 engines which was gradually depleted in the manufacture of the Rhino model. Meanwhile 1938 brought with it a V8 engine from Cadillac, fitted to a chassis frame of Ralston's own design. The shorter engine allowed a greater allocation of overall length to the passenger area - though truth be told, more of if went to providing greater luggage capacity, and a more cab-forward look to the cars.
The Tigre MkI, still know as the Type-8 Tigre was replaced after WWII, with a MkII design, losing this Type-8 appellation. The new model appeared at the end of 1953, the car based on the new post WWII Cadillac frame, engine and underbody of the 1948-53 Series 60 (in particular the slightly longer 60 Special). The tooling was transferred to Ralston upon completion of the 1953 model year. By this stage the preceding MkI was now 15 years old, though this included the period through the war years.
The adoption of Cadillac underpinnings provided the Ralston Tigre MkII with the calibre of running gear demanded by the marque's premium position, though with a much reduced outlay, particularly compared to their premium US-based builders such as Packard. Key differentiation with the originating Cadillac was the Ralston themed 'X' radiator grille, unique bumper treatment, and completely reprofiled rear fender tops, truncating in a rocket-pod tail lamp cluster, instead of the Cadillac 'fin'. Not elements sat completely at ease with the carryover Cadillac based structure.
An update to the Tigre MkII in 1956 led to the MkII-B. a few of the elements were cleared up in the styling, plus the addition of a number of 'flourishes' that had emerged during the 1952-55 model years. Chief among these were 'tailfins' no longer the preserve of Cadillac, but sprouting taller and wilder each year on all US domestic brands. Compared to the 1954 model, the MkII-B had slightly taller fins, but they were much more prominent in the styling, as they were accentuated by both chrome trim separating them from the fender bulge, and also incorporating one of the zones for the bi-colour and tri-colour themes.
In 1958 the car was upgraded further with the advent of the MkII-C. This model again received changes to the fender, front and rear. At the front, the fender height was increased, making the car look both more modern, and also tying the top ridge into the unmodified doors and sides. The rear fender was modified to include a tapering fin, which then led to a tail lamp treatment which was to evolve further into a 'rocket pod' on subsequent models. The 'X' theme was continued to include a 'X' rocket, mounted centrally in the trunk lid. This could alternatively be swapped out for a conventionally styled horizontal trim, if the Continental spare wheel option was included (though this had also phased out of popularity over a short time period). The new trunk lid also shared the tapering profile of the fins. Although this look less modern compared to the newly squared up trunk lids from GM and Ford's divisions, it suited the 'classic' lines of the Ralston Tigre model, leading many to state that the MkII-C was perhaps the most conservatively handsome of mid-century Ralston models, particularly on the SWB closed models.
Additional styling changes included a modest reinterpretation of the grille, including the addition of 'Dagmars' at its extremities, and a new front bumper including marker lights.
The 1954 car launched with the same tune 331 CID (5.4 litre) V8, producing 230 bhp (175 kW), for 1956 this was raised to 285 bhp (213 kW) with an increase in capacity to 365 CID (6.0 litres). The 1958 MkII-C retained the 365 CID V8, but power increased to 310 bhp (230 kW).
Shown here is the 1958 MkII-C SWB Saloon in two-colour treatment gun-metal brown, and midnight black. This is a somewhat rare model, as most four-door cars used the long wheelbase chassis (4-window and 6-window Limousines) - though as mentioned, it is well regarded. The customers of the SWB Saloon tended to drive the cars themselves with their families.
This Ralston Tigre MkII-C SWB Saloon (1958) has be built on Lego miniland scale for Flickr LUGNuts 95th Build Challenge, - 'Designing the Ralston Legacy' - a challenge to design the fictitious Dragon 'Motorcycle' model for the fictitious Ralston company, though any of the previous Ralston challenge vehicles, the Tiger or the Rhino are also eligible to be submitted. The chief stipulation is that the model must feature a 'X' in the styling.
The Javan lutung, Trachypithecus auratus also known as the ebony lutung and Javan langur, is an Old World monkey from the Colobinae subfamily. It is most commonly glossy black with a brownish tinge to its legs, sides, and "sideburns". It is found on and endemic to the island of Java, as well as on several of the surrounding Indonesian islands. The Latin word auratus in its scientific name means "golden", and refers to a less common color variant. Note that the common name golden langur is used for a different species.
Like all langurs, this species' tail is noticeably long, measuring up to 98 cm in length while the body is only around 55 cm long. The two subspecies of this lutung are fairly similar in appearance and are geographically separated; males and females are both usually glossy black, although the females pale, yellowish white patch around the pubic area. Juveniles of both subspecies are orange in color. The nominate subspecies Trachypithecus auratus auratus has a rare race that does not lose its juvenile coloration when it matures, instead the coloration darkens slightly, with yellow tinges on its sides, limbs, and around its ears, and a black tinge on its back.
The Javan lutung inhabits the interior and peripheral areas of rainforests.
This primate is diurnal and arboreal. Its diet is primarily herbivorous, eating leaves, fruit, flowers, and flower buds, although it also eats insect larvae. As with other colobines, it has evolved a specialised stomach to digest plant material more efficiently. This species also has enlarged salivary glands to assist it in breaking down food.
Like other langurs, the Javan lutung is a social animal, living in groups of around seven individuals, with one or two adult males in the group. Although they will look after offspring of other mothers as well as their own, adult females are aggressive towards females from other groups. The brighter coloring of juveniles may alert females to their presence and ensures that they will always be noticed and protected. This species has no discernible mating season and females produce one offspring at a time.
(Wikipedia)
- - -
Der Schwarze Haubenlangur (Trachypithecus auratus) ist eine in Indonesien verbreitete Primatenart aus der Gruppe der Schlankaffen.
Schwarze Haubenlanguren sind schlanke Primaten mit einem langen Schwanz. Ihre Kopfrumpflänge beträgt 45 bis 65 Zentimeter, der Schwanz wird bis zu 90 Zentimeter lang. Das Gewicht variiert zwischen 5 und 9 (durchschnittlich 7) Kilogramm. Man unterscheidet zwei farblich unterschiedene Varianten (Farbpolymorphismus): die häufigere hat ein schwarzes Fell mit hellen Haarspitzen an den Gliedmaßen und am Kopf. Die seltenere Farbvariante ist orangebraun gefärbt, wobei die Gliedmaßen und der Bauch gelblich sein können. Die Haut ist bei der dunklen Morphe schwarz und bei der orangefarbenen unpigmentiert oder getupfelt. Das Gesicht ist durch einen Kranz nach vorne gerichteter Haare umrandet.
Der Schwarze Haubenlangur lebt auf der indonesischen Insel Java sowie auf den kleineren Inseln Bali und Lombok. Lebensraum dieser Art sind Wälder.
Diese Primaten sind tagaktive Baumbewohner. Sie sind geschickte Kletterer, die sich vorwiegend vierbeinig durch das Geäst fortbewegen. Sie leben in Gruppen von 6 bis 21 Tieren. Diese Gruppen bestehen aus einem oder zwei Männchen, mehreren Weibchen und dem dazugehörigen Nachwuchs. Die übrigen Männchen leben einzelgängerisch oder in Junggesellengruppen.
(Wikipedia)
Fonte : Wikipedia
The group was founded in 1981 under the name Paradox by drummer Kelly David-Smith and guitarists Pete Mello and Dave Goulder, who were later joined by bassist Jason Newsted. Jason had answered a newspaper ad that Kelly had placed in the local newspaper looking for a bass player. Jason came to Phoenix with his band Gangster from Michigan on their way to California, but Gangster broke up while in Phoenix. Kelly got a call from a couple of his high school friends, Mark Vasquez and Kevin Horton, looking for some people to jam with playing covers of bands such as Iron Maiden, Judas Priest, MSG, and UFO. The band then morphed into "Dredlox" together with the new recruits, Jason was now the main vocalist.
Kelly saw "A.K." (Eric A. Knutson) singing "The Goodbye Girl" at his high school talent show. In 1982 they were in the same summer school class and Kelly asked Knutson if he wanted to audition. They put him on 2-week probation and he later joined the band. Due to the provisional nature of his membership, the band referred to Knutson as "the 2 weeker." Ed Carlson, from another local rival band called Exodus (not to be confused with the California Bay Area thrash metal band of the same name), also joined in 1983 after Kevin's departure from the band. The name of the band changed into The Dogz, but it didn't last long. Eventually the band renamed itself "Flotsam and Jetsam" after writing a song inspired by a chapter of J. R. R. Tolkien's The Two Towers.
The band made its live debuts in local clubs and in California and had the opportunity to play with bands such as Megadeth, Armored Saint, Alcatrazz, Malice, Exciter, Mercyful Fate, Riot, Autograph and Icon. In 1985 Mark Vasquez stepped out and 17-year-old Michael Gilbert joined the band. Flotsam and Jetsam released two demo tapes Iron Tears and Metal Shock in 1985.
They created their first video "Hammerhead" from the Metal Shock demo: "We taped it in Jason and Ed's apartment living room. We also made a live video at the infamous Bootlegger in Phoenix", (owned by Gloria Cavalera, currently married to Max Cavalera) These videos and the band's demos made a good impression on record labels. After the band contributed to the Speed Metal Hell II and Metal Massacre VII compilations, they then signed a deal with Metal Blade Records.
1986–1987: Doomsday for the Deceiver
Flotsam and Jetsam recorded their debut album Doomsday for the Deceiver in Los Angeles with producer Brian Slagel and engineer Bill Metoyer. The album was released on the 4th of July in 1986, and was the first in Kerrang!'s history to achieve the 6K rating.
Bassist Jason Newsted, who was also the band's main lyric writer, departed soon after to join Metallica, replacing their bassist Cliff Burton, who died in a bus accident. On Halloween night 1986, Jason played his last gig with Flotsam and Jetsam. The band had asked another local bassist Phil Rind of Sacred Reich to fill in Jason's place for a short time. They then hired Michael Spencer from the Sacramento band Sentinel Beast. Flotsam and Jetsam inked a deal with Metallica's then-label Elektra Records before opening for Megadeth in 1987 on the Peace Sells tour in Europe and America. After touring with Megadeth, the band played selected shows in America with Slayer, Dark Angel, Possessed, Celtic Frost, Sacred Reich and Excel.
1987–1994: No Place for Disgrace, When the Storm Comes Down and Cuatro
Michael Spencer left Flotsam and Jetsam shortly after a U.S. tour in the fall of 1987; his replacement was Troy Gregory. Their second studio album, No Place for Disgrace, was released in May 1988, and includes a cover of Elton John's hit "Saturday Night's Alright for Fighting" for which a music video was shot. The band toured heavily behind No Place for Disgrace throughout 1988 and 1989. They opened for King Diamond in America, and supported Megadeth, Testament and Sanctuary in Europe on the So Far, So Good... So What! tour. The band also played shows with The Crumbsuckers, Fates Warning, Destruction, Death Angel, D.R.I., Acid Reign and Kreator, and landed a billing for festivals, such as Milwaukee Metalfest, and played at Aardschokdag twice (in May 1988 and April 1989).
In 1989, Flotsam and Jetsam were signed to MCA Records and began work on their third album When the Storm Comes Down, released in May 1990. The band expected to gain recognition with this album, but it suffered from a variety of mixed reviews. Flotsam and Jetsam toured for about a year and a half in support of When the Storm Comes Down; they co-headlined a U.S. tour with Prong, and subsequently toured or played selected shows with bands such as Testament, Savatage, Exodus, Vio-Lence, Sacred Reich, Wrathchild America and a then-unknown Pantera.
Shortly after returning home, bassist Troy Gregory departed to join Prong. Holding auditions in Phoenix, the band hired Jason Ward to fill the role.
Released in 1992, Cuatro marked an evolution in style and songwriting. The band released four singles this time, two of which ("Swatting at Flies" and "Wading Through the Darkness") were shot as music videos. "Wading Through the Darkness" received regular rotation on MTV during their tours that year.
1995–1999: Drift and High
Their fifth album Drift was released in April 1995, with three singles released off of the record. Jason dedicated it to his older brother Jeff Ward, former drummer of such bands as NIN, Ministry, Revolting Cocks and Lard, who died in 1993. A long break followed the release of the album.
During Flotsam and Jetsam's tour with Megadeth and KORN, MCA and Flotsam parted ways, and Flotsam returned to their former label "Metal Blade Records".
Shortly after auditioning a new drummer, Nick Menza of Megadeth insisted that the band check out a friend of Nick's named Craig Nielsen. Nick was there for the auditioning, and Craig Nielsen was hired.
On their 1997 album High the song titles were designed with the font types/logos of famous bands like Iron Maiden, Metallica, Kiss, Van Halen, AC/DC, Judas Priest, Misfits, etc. to pay homage to those whom came before and inspired the band while it was coming up the ranks. The music was more experimental than before, and the album also featured the Lard cover song Fork Boy. Music video was released, Monster to follow-up.
Michael Gilbert and Kelly Smith left the band after the release and were replaced by guitarist Mark Simpson and drummer Craig Nielsen. With the new line-up Flotsam and Jetsam toured in Europe together with Anvil and Exciter.
1999–2002: Unnatural Selection and My God
Unnatural Selection was released in 1999 and Mark Simpson took a short break. He joined the band again in 2000 to record a new album, My God released in May 2001. At that time Eric A.K. had founded a country band, the A.K. Corral. He left the band for a short time to take a break from Metal and pursue his side project. (AK) "I had given Metal my life for a solid 15 years, I took some time to explore other musical flavors." Though Flotsam and Jetsam did not disband, there was a long break at that time. They found a new singer, James Rivera, who took over vocal duties live. Later the band felt that no one other than Eric A.K. could be their singer and Rivera left the band soon after.
2002–2006: Live In Phoenix and Dreams of Death
During 2002 and 2003 the band were active only sporadically, but Eric A.K. rejoined for live dates in the Phoenix and Los Angeles areas in 2003. Tory Edwards was a guest for this tour. A live recording of these shows was released in 2004 as a live concert DVD under the title Live in Phoenix. Signed to the Crash Music label in May 2004 and with Eric A.K. joining the band again officially, they hit the road with Overkill and Death Angel for a series of sold out concerts in Japan.
Spring 2005 Flotsam and Jetsam returned to the studio to work on their new album. The lyrics were mostly inspired by Eric's nightmares. This resulted into a concept album entitled Dreams of Death - like track 2 of No Place for Disgrace. The album was released July 2005.
2006–2011: Live In Japan, Once in a Deathtime, The Cold
The live DVD Live in Japan was released in February 2006 and shows their concert in front of hundreds of screaming Japanese fans at the Citta Club in Tokyo 2004.
Doomsday for the Deceiver was re-released in November 2006 by Metal Blade Records to celebrate the album's twentieth anniversary. This set (2 CD and DVD) includes the original recording of Doomsday and a re-mixed and re-mastered(Digitized)version and also the two Flotsam and Jetsam demos. The bonus DVD includes rare live material, an interview filmed at Kelly's High School and a photo slide-show.
In Spring 2008 Metal Mind Productions remastered and re-released the albums When the Storm Comes Down, Cuatro (including 5 bonus tracks), Drift (including 3 bonus tracks) and Dreams of Death. Unfortunately for the fans No Place for Disgrace could not be remastered due to existing legal issues between the band and their former label Elektra Records.
In March 2008 Flotsam and Jetsam toured in Europe and played at the Metalmania Festival in Poland. This show was filmed and released as DVD Once in a Deathtime in July. Midyear 2008 the band were signed to Driven Music Group, founded by former KORN guitarist Brian “Head” Welch.
After a tour in Europe with support act Neurasthenia in April 2010 Flotsam and Jetsam finished their album The Cold. It was released on September 14, 2010. It was the last album with Mark Simpson on guitar. He left the band in friendship and was replaced by returning guitarist Ed Carlson, who had quit the band in March 2010, to be replaced by Michael Gilbert.
2011–2013: Ugly Noise
Mid 2011, Craig Neilson departed the band soon after Mark Simpson's exit. Former Drummer and founder of Flotsam Kelly David Smith was asked to rejoin after a 14 years absence. The band then embarked on their newest release Ugly Noise. Flotsam would take a new turn and release and record Ugly Noise using the direct-to-fan platform, PledgeMusic. Ugly Noise was released through PledgeMusic on 12-21-12. Members on the Pledge site were the first to hear and download the recording before the public. Each Pledge purchased either a download of the new disc or a package of "exclusive items" only available through Pledge. All income from items sold went to fund the entire project.
Shortly after Flotsam inked a distribution deal with longtime friends '"Metal Blade Records" for worldwide distribution.
After tracking on Ugly Noise, Jason Ward was no longer able to commit to touring with the band any further due to his current personal commitments.
In Jan 2013, Flotsam and Jetsam jumped on board the acclaimed 70000 Tons of Metal in support of Ugly Noise. They then followed up on Testaments, Dark Roots of Thrash Tour US Package included Overkill and Australian metalers 4ARM.
During the tour, Edward Carlson started to have extreme physical pain in his lower back and numbness in his right arm. After the tour, an MRI revealed that he had bulging disks in his upper and lower back causing the dysfunction to occur. Flotsam and Jetsam then recruited guitarist Steve Conley of F5 to step in while they finished out their live commitments.
Flotsam and Jetsam also recruited Michael Spencer to rejoin the ranks in place of Jason Ward. Spencer was the first official bassist after Jason Newsted's departure to Metallica in 1986. He toured with Flotsam in 1987 to Europe on Megadeth's "Peace Sells" tour. Spencer also was a major player in the writing of classic acclaimed recording, "No Place for Disgrace" released on Elekra Records in 1988.
2013–2014: No Place For Disgrace 2014
In June 2013, the band headlined at the Warriors of Metal Festival in Columbus Ohio, then returning home, Flotsam hired manager Jeff Keller(JKM). His roster includes the likes of: UDO, Destruction, Lordi, Hirax, Primal Fear, Satan, Suicidal Angels.
In 2006, after the successful remix and master of the debut album “Doomsday for the Deceiver”, there was a lot of fan requests to have “No Place for Disgrace” follow the same process. After spending some time at the 25-year mark, the band decided to go forward with this idea. The band had some issues with the original production and definition of some of the parts played, due to the speed it was recorded at. Having had success with Ugly Noise through the PledgeMusic process, the band would be able to again gain the rights to this classic with a re-recording and some minor changes.
In the middle of 2013, Flotsam and Jetsam embarked in this monumental task of reviving some songs that, for the most part, had not been played in 20 years. All tracks (except drums) were done at the Flotsam studio with Michael Gilbert at the helm. In December, the project was finished and the re-recording of the classic album "No Place For Disgrace", was again released using PledgeMusic to finance the project.
The album, No Place For Disgrace 2014, was set to release on Feb 14th, 2014 worldwide through Metal Blade Records distribution. NPFD 2014 would feature some of Flotsam's friends from the past as guest musicians, Mark Simpson, Chris Poland, Tory Edwards.
Flotsam and Jetsam is currently ramping up for their (29 show) European tour with Sepultura, Legion of the Damned and Mortillery. The tour kicks off on Feb 7th in Bochum, Germany.
2014–present: No Place on Tour and Beyond, Flotsam and Jetsam and next album
Flotsam toured Europe 4 times in 2014 with a total of 40 shows in all.
Returning home from Europe on 8/11 the band planned to start writing for a new release in 2015. Michael Spencer and Steve Conley would be involved this time in the process. Spencer had written some material previously in 1987 that he took with him after his departure. Flotsam used at some of the archive material from Spencer.
In December 2014, drummer and founding member, Kelly Smith decided to leave the band due to unexpected family matters that required him to be home with his family. Handpicked by Smith to replace him on drums, was longtime friend and Shadows Fall drummer, Jason Bittner. In 2015, Bittner was working on the next album.
On July 6, 2017, it was announced that Flotsam and Jetsam were replacing Bittner (who had recently joined Overkill) with Ken Mary (Fifth Angel, Alice Cooper, House of Lords, TKO, Chastain, Impellitteri). They have also begun work on their thirteenth studio album, which is expected to be released in the spring of 2018.
The long running Ralston Type-8 morphed into the 'Tigre' line in 1938, running late, as the promised V8 from Auburn-Cord-Duesenberg Cord line failed with that company, and the inline-8 which had similarly been bought it from A-C-D (used in the Auburn), was also no longer in series production from the engine works.
No matter. There was a modest stockpile of inline-8 engines which was gradually depleted in the manufacture of the Rhino model. Meanwhile 1938 brought with it a V8 engine from Cadillac, fitted to a chassis frame of Ralston's own design. The shorter engine allowed a greater allocation of overall length to the passenger area - though truth be told, more of if went to providing greater luggage capacity, and a more cab-forward look to the cars.
The Tigre MkI, still know as the Type-8 Tigre was replaced after WWII, with a MkII design, losing this Type-8 appellation. The new model appeared at the end of 1953, the car based on the new post WWII Cadillac frame, engine and underbody of the 1948-53 Series 60 (in particular the slightly longer 60 Special). The tooling was transferred to Ralston upon completion of the 1953 model year. By this stage the preceding MkI was now 15 years old, though this included the period through the war years.
The adoption of Cadillac underpinnings provided the Ralston Tigre MkII with the calibre of running gear demanded by the marque's premium position, though with a much reduced outlay, particularly compared to their premium US-based builders such as Packard. Key differentiation with the originating Cadillac was the Ralston themed 'X' radiator grille, unique bumper treatment, and completely reprofiled rear fender tops, truncating in a rocket-pod tail lamp cluster, instead of the Cadillac 'fin'. Not elements sat completely at ease with the carryover Cadillac based structure.
An update to the Tigre MkII in 1956 led to the MkII-B. a few of the elements were cleared up in the styling, plus the addition of a number of 'flourishes' that had emerged during the 1952-55 model years. Chief among these were 'tailfins' no longer the preserve of Cadillac, but sprouting taller and wilder each year on all US domestic brands. Compared to the 1954 model, the MkII-B had slightly taller fins, but they were much more prominent in the styling, as they were accentuated by both chrome trim separating them from the fender bulge, and also incorporating one of the zones for the bi-colour and tri-colour themes.
In 1958 the car was upgraded further with the advent of the MkII-C. This model again received changes to the fender, front and rear. At the front, the fender height was increased, making the car look both more modern, and also tying the top ridge into the unmodified doors and sides. The rear fender was modified to include a tapering fin, which then led to a tail lamp treatment which was to evolve further into a 'rocket pod' on subsequent models. The 'X' theme was continued to include a 'X' rocket, mounted centrally in the trunk lid. This could alternatively be swapped out for a conventionally styled horizontal trim, if the Continental spare wheel option was included (though this had also phased out of popularity over a short time period). The new trunk lid also shared the tapering profile of the fins. Although this look less modern compared to the newly squared up trunk lids from GM and Ford's divisions, it suited the 'classic' lines of the Ralston Tigre model, leading many to state that the MkII-C was perhaps the most conservatively handsome of mid-century Ralston models, particularly on the SWB closed models.
Additional styling changes included a modest reinterpretation of the grille, including the addition of 'Dagmars' at its extremities, and a new front bumper including marker lights.
The 1954 car launched with the same tune 331 CID (5.4 litre) V8, producing 230 bhp (175 kW), for 1956 this was raised to 285 bhp (213 kW) with an increase in capacity to 365 CID (6.0 litres). The 1958 MkII-C retained the 365 CID V8, but power increased to 310 bhp (230 kW).
Shown here is the 1958 MkII-C Hardtop Coupen in two-colour treatment Dark Blue, and White. This is configuration was one of the most popular on the Tigre MkII Platform, and was particularly pretty as the MkII-C.
This Lego miniland scale Ralston Tigre MkII-C Hardtop Coupe (1958) has been created for Flickr LUGNuts' 96th Build Challenge - The 8th Birthday, titled - 'Happy Crazy Eight Birthday, LUGNuts' - where all previous build challenges are available to build to. This model is built to the LUGNuts 63rd build challenge, - "Designing the Ralston Tiger" featuring fictional vehicles styled with an 'X' form in the styling.
Over the last 50 years, The Doctor has morphed from a crotchety old man to every woman's fantasy of the ideal man, even with a bow tie. Not sure that the first three Doctors would approve, as their portrayals were more fatherly. But since The Doctor's TV ratings HAVE improved, I guess they made the right decision, although the more Patrick Troughton episodes I watch, the more he's becoming my favorite Doctor.
And River Song...well, she's smart, independent, feisty, and can handle a blaster. She's like Princess Leia without the dad issues.
Hopefully, with the latest computer advances, we'll have an 11 Doctors reunion without having substitutes for William Hartnell, Patrick Troughton, and Jon Pertwee. I'm thinking a River Song spinoff series, with each episode featuring a different Doctor. Unfortunately, her David Tennant would be the only one they could show, because...
SPOILERS!
James T. Kirk and Jean-Luc Picard Morphed <----- click to see morphing video!!
Check out more celebrity morphing videos at celebritymorphing.wordpress.com.
Photos taken on April 8, 2009 in El Monte California, at Peck and the 10 Freeway. Photo of new build Staples Office Supply Store.
This shopping complex has morphed throughout the years. Originally it was a giant Sears Department Store, known as Sears El Monte. I remember it as a kid, as it used to have a great toy department in the basement with fantastic model train displays during Christmas time. But all things must change. This store was originally connected to a shopping center. I don't remember going into any other area but the Sears. In the late 1970s, Sears closed down this store.
The outcome of the rest of the stores are unknown, but they are gone.
Home Club Hardware Stores took over the Sears building. Home Club changed its name to Home Base. They competed directly with Home Depot. For years they operated, until one day, they decided to close down the chain. They did attempt to start another chain, with some of the stores, Home 2 Life??, however this store was not part of them, nor did the Home 2 Life Chain last a long time.
Anyway. On the parameter of the parking lot, the built a car dealership: Longo Toyota and their upper scale line: Longo Lexus. The dealership was to the right of Home Base. To the left was several new stores built on the parking lot. The stores included Tianguis Supermarket, Thrifty Drug Store and several smaller shops. Over the years, stores have come and gone.
After Home Base closed, Longo Lexus took over the building to use for their auto dealership. Remnants of the former Sears Building still can be seen in the photos.
Tianguis Supermarket, which was owned by VONS, closed down after several years after it was discovered by VONS that they could not compete with other speciality chains. The building sat vacant for many years, until KMART took over the site. They turned the interior into a typical KMART.
Now the Ironic twist of fate. A few years ago, KMART Corp. took over SEARS Holdings, and became SEARS Holdings. This former KMART converted into SEARS Essentials Department Store. SEARS has come full circle in this shopping center.
The Sanderson Pitch: www.myspace.com/thesandersonpitch
'And I'm not gonna dance for them today...'
Singer-songwriter Eddy Cantor wasn't always the man behind that tune that sees the bloke off Nathan Barley bouncing
around in front of some wallpaper on 'Man Stroke Woman' on BBC2/BBC3. No, he was once a TV chef, and before that, a university lecturer, pharmaceutical window-dresser, teletext updater, undercover documentary cameraman, 'greek fisherman' in a Boots advert, and before that - one of those guys who tries to sell you a mortgage over the phone.
An extreme case of ADHD had left Eddy floating through disparate careers, blissfully unaware that his true love, writing songs, could provide an anchor capable of holding his attention still. So naturally, he enrolled in music college in Manchester...
...as a harmonica player.
Meanwhile, at the same college, guitar virtuoso Neil Cooper was on the rise. Neil doesn't do 'me me me' solos, just stunning melodies, and has more than a touch of the 'Johnny Marr's' about him. He was however, going through songwriters quicker than strings, and his effortlessly beautiful music in danger, he felt, of being draped in polyester.
When Ying decided he needed a harmonica player, he called Yang, and the rest... was history.
Neil's sweet harmonies and delicate touch may not be characteristically Wythenshawe, but they wrap around Eddy's mellow vocal like a silk scarf round a puppy's neck. And so, whilst working together in and around Manchester's music scene, playing their own unique brand of John Martyn-inspired, Isley Brothers-flavoured, earthy acoustic soul, the first seeds of The Sanderson Pitch were sown.
After decamping to London and hooking up with keyboard wizard Kwame Yeboah (Stevie Wonder, Ms Dynamite, Craig David), and one of West London's young urban legends - producer Si Katz (Jamiroquai, Gorillaz, Ms Dynamite), The Sanderson Pitch has gradually morphed into a sound to be reckoned with and is now starting to bear the fruit...
Described as a 'hip new band' by the Daily Mirror when a host of celebrities were spotted at a gig at West London's Cobden Club in April 2005, and picked up for a radio session by Andrea Oliver for her Sony Award winning show The Selector, The Sanderson Pitch reputation has snowballed, and even earned them spots at London's Troubadour, Metro, and the prestigious Pizza Express Jazz Club in May 2005 - which they promptly sold out.
While 'Dive' has been getting caned on the TV and radio, it's also available for free download on their website. Their incredible and now infamous acoustic blues version of Survivor's 'Eye Of The Tiger' is to feature on the BBC3 documentary 'Lord Of The Dance Machine', airing soon. Their long-awaited debut album 'Faint Sounds' will also feature gems such as 'Walk Through Love' on which Eddy shares vocal duties with Zero 7 vocalist Sophie Barker.
Nº 54c.
Ford Capri Mk I (1969-1974).
Metallic Purple color, Cream Interior, Clear Windows, Unpainted Metal Base and Opening hood with visible silver engine.
Escala 1/59 .
Matchbox Superfast.
Lesney Products.
Made in England.
© 1970.
This variation was produced from 1972 to 1975.
Ford Capri [ Matchbox ]
Debut Series
Matchbox 1-75
Produced
1971-1976
Number
MB54
Scale
1:59
More info:
matchbox.wikia.com/wiki/Ford_Capri
------------------------------------------------------
Ford Capri - 54c
"The standard version of the Ford Capri eventually morphed into the Maxi Taxi (a US issue) and the Hot Rocker - both of which were the same hot rod version of this casting painted in different colours.
This street version has the look of a souped up hot rod though with its black bonnet and massively oversized wheels. It is a fair representation of the original Mk1 Capri but those wheels do knock the realism pretty hard.
The Ford Capri (54c) was released in 1971 and for the first year was either pink or orange with a matt black bonnet.
In 1972 the colour was changed to metallic purple (sometimes referred to as crimson) and lost the matt black bonnet. This colour was in production up to the model dropping from the 1-75 range in 1975.
In 1976 an all-over orange version was released in a twin pack.
The values on most versions are pretty decent with no ultra low or high prices. The all over orange from the twin pack seems to be the hardest to find and have the best value, but they are all pretty even."
Source: www.chezbois.com/non_corgi/matchbox/Model_3948.htm
More info:
www.bamca.org/cgi-bin/single.cgi?id=SF54b
www.bamca.org/cgi-bin/vars.cgi?mod=SF54b
www.bamca.org/cgi-bin/vars.cgi?mod=SF54b&var=04a
-----------------------------------------------------------------------------------------------
Ford Capri
From Wikipedia, the free encyclopedia
"The Ford Capri is a fastback coupé built by Ford Motor Company between 1968 and 1986, designed by American Philip T. Clark, who was also involved in the design of the Ford Mustang.
It used the mechanical components from the Mk2 Ford Cortina and was intended as the European equivalent of the Ford Mustang.
The Capri went on to be a highly successful car for Ford, selling nearly 1.9 million units in its lifetime.
A wide variety of engines was used in the Capri throughout its production lifespan, which included the Essex and Cologne V6 at the top of the range, whilst the Kent straight-four and Taunus V4 engines were used in lower specification models. Although the Capri was not officially replaced, the second-generation Probe was effectively its replacement after the later car's introduction to the European market in 1992.
While Ford marketed the car as "Ford Capri – The Car You Always Promised Yourself", the English magazine "Car" described the Capri as a "Cortina in drag".
[...]
- Ford Capri Mk I (1969–1974)
"Production of the Capri began on 14 December 1968, at Ford's Halewood plant in the UK and on 16 December 1968 at the Cologne plant in West Germany, it was unveiled in January 1969 at the Brussels Motor Show, with sales starting the following month.
The intention was to reproduce in Europe the success Ford had had with the North American Ford Mustang; to produce a European pony car.
It was mechanically based on the Cortina and built in Europe at the Halewood plant in the United Kingdom, the Genk plant in Belgium, and the Saarlouis and Cologne plants in Germany. The car was named Colt during its development stage, but Ford was unable to use the name, as it was trademarked by Mitsubishi."
(...)
"Ford began selling the Capri in the Australian market in May 1969[8] and in April 1970 it was released in the North American and South African markets."
(...)
"The Capri was sold in Japan with both the 1.6 L and 2.0 L engines in GT trim, and sales were helped by the fact that this generation was compliant with Japanese government dimension regulations. Sales were handled in Japan by Kintetsu Motors, then an exclusive importer of Ford products to Japan. "
(...)
Mk I facelift
"The Capri proved highly successful, with 400,000 cars sold in its first two years.
Ford revised it in 1972.
It received new and more comfortable suspension, enlarged tail-lights (replacing the one sourced from the Escort Mk1) and new seats. Larger headlamps with separate indicators were also fitted, with quad headlamps now featured on the 3000GXL model. The Kent engines were replaced by the Ford Pinto engine and the previously UK-only 3000 GT joined the German line-up. In the UK the 2.0 L V4 remained in use.
In addition, North American versions received larger rubber-covered bumpers (to comply with US DOT regulations) for 1973.
In 1973, the Capri saw the highest sales total it would ever attain, at 233,000 vehicles: the 1,000,000th Capri, an RS 2600, was completed on 29 August.
On 25 September 1973, Ford gave the green light to the long-awaited RHD RS Capri, replacing the Cologne V6 based RS 2600 with the Essex V6 based RS 3100, with the usual 3.0 L Essex V6's displacement increased to 3,098 cc (3.1 L; 189.1 cu in) by boring the cylinders from the 93.6 mm (3.69 in) of the 3.0 L to 95.25 mm (3.75 in)."
(...)
- Ford Capri Mk II – 'Capri II' (1974–1978)
- Ford Capri Mk III (1978–1986)
Source: en.wikipedia.org/wiki/Ford_Capri
More info;
es.wikipedia.org/wiki/Ford_Capri
---------------------------------------------------------------------------------------------------
Ford Capri Mk I
Manufacturer
Ford of Europe
Also called
Mercury Capri
Production
December 1968 – December 1973
Assembly
Halewood, United Kingdom
Cologne, Saarlouis, Germany
Homebush, Australia
Port Elizabeth, South Africa
Class
Mid-size sports car
Body style
Fastback coupé
Layout
FR layout
Related
Ford Cortina Mk II
Engine
1.3 L Kent I4
1.3 L Taunus V4
1.5 L Taunus V4
1.6 L Kent I4
1.7 L Taunus V4
2.0 L Cologne V6
2.0 L Essex V4
2.0 L Pinto I4
2.3 L Cologne V6
2.6 L Cologne V6
3.0 L Essex V6
3.1 L Essex V6 ( RS3100 )
5.0 L Windsor V8 ( Perana )
Transmission
4-speed manual all-synchromesh
Dimensions
Wheelbase100.8 in (2,560 mm)
Length168.5 in (4,280 mm)
Width64.8 in (1,646 mm)
Height50.7 in (1,288 mm)
Curb weight
2,053 lb (931 kg)
2,522 lb (1,144 kg) 3000GXL
Chronology
Successor
Ford Capri Mk II
Source: en.wikipedia.org/wiki/Ford_Capri
The long running Ralston Type-8 morphed into the 'Tigre' line in 1938, running late, as the promised V8 from Auburn-Cord-Duesenberg Cord line failed with that company, and the inline-8 which had similarly been bought it from A-C-D (used in the Auburn), was also no longer in series production from the engine works.
No matter. There was a modest stockpile of inline-8 engines which was gradually depleted in the manufacture of the Rhino model. Meanwhile 1938 brought with it a V8 engine from Cadillac, fitted to a chassis frame of Ralston's own design. The shorter engine allowed a greater allocation of overall length to the passenger area - though truth be told, more of if went to providing greater luggage capacity, and a more cab-forward look to the cars.
The Tigre MkI, still know as the Type-8 Tigre was replaced after WWII, with a MkII design, losing this Type-8 appellation. The new model appeared at the end of 1953, the car based on the new post WWII Cadillac frame, engine and underbody of the 1948-53 Series 60 (in particular the slightly longer 60 Special). The tooling was transferred to Ralston upon completion of the 1953 model year. By this stage the preceding MkI was now 15 years old, though this included the period through the war years.
The adoption of Cadillac underpinnings provided the Ralston Tigre MkII with the calibre of running gear demanded by the marque's premium position, though with a much reduced outlay, particularly compared to their premium US-based builders such as Packard. Key differentiation with the originating Cadillac was the Ralston themed 'X' radiator grille, unique bumper treatment, and completely reprofiled rear fender tops, truncating in a rocket-pod tail lamp cluster, instead of the Cadillac 'fin'. Not elements sat completely at ease with the carryover Cadillac based structure.
An update to the Tigre MkII in 1956 led to the MkII-B. a few of the elements were cleared up in the styling, plus the addition of a number of 'flourishes' that had emerged during the 1952-55 model years. Chief among these were 'tailfins' no longer the preserve of Cadillac, but sprouting taller and wilder each year on all US domestic brands. Compared to the 1954 model, the MkII-B had slightly taller fins, but they were much more prominent in the styling, as they were accentuated by both chrome trim separating them from the fender bulge, and also incorporating one of the zones for the bi-colour and tri-colour themes.
In 1958 the car was upgraded further with the advent of the MkII-C. This model again received changes to the fender, front and rear. At the front, the fender height was increased, making the car look both more modern, and also tying the top ridge into the unmodified doors and sides. The rear fender was modified to include a tapering fin, which then led to a tail lamp treatment which was to evolve further into a 'rocket pod' on subsequent models. The 'X' theme was continued to include a 'X' rocket, mounted centrally in the trunk lid. This could alternatively be swapped out for a conventionally styled horizontal trim, if the Continental spare wheel option was included (though this had also phased out of popularity over a short time period). The new trunk lid also shared the tapering profile of the fins. Although this look less modern compared to the newly squared up trunk lids from GM and Ford's divisions, it suited the 'classic' lines of the Ralston Tigre model, leading many to state that the MkII-C was perhaps the most conservatively handsome of mid-century Ralston models, particularly on the SWB closed models.
Additional styling changes included a modest reinterpretation of the grille, including the addition of 'Dagmars' at its extremities, and a new front bumper including marker lights.
The 1954 car launched with the same tune 331 CID (5.4 litre) V8, producing 230 bhp (175 kW), for 1956 this was raised to 285 bhp (213 kW) with an increase in capacity to 365 CID (6.0 litres). The 1958 MkII-C retained the 365 CID V8, but power increased to 310 bhp (230 kW).
Shown here is the 1958 MkII-C Hardtop Coupen in two-colour treatment Dark Blue, and White. This is configuration was one of the most popular on the Tigre MkII Platform, and was particularly pretty as the MkII-C.
This Lego miniland scale Ralston Tigre MkII-C Hardtop Coupe (1958) has been created for Flickr LUGNuts' 96th Build Challenge - The 8th Birthday, titled - 'Happy Crazy Eight Birthday, LUGNuts' - where all previous build challenges are available to build to. This model is built to the LUGNuts 63rd build challenge, - "Designing the Ralston Tiger" featuring fictional vehicles styled with an 'X' form in the styling.
The Gallahads-Lonely Guy
www.youtube.com/watch?v=JO3Mpyf7w8Y
Biography :
The Gallahads -- led by Jimmy Pipkin -- are best remembered for "Lonely Guy," an
enormous smash hit in 1960. Jimmy Pipkin, Bobby Dixon, "Tiny" Tony Smith and bass man
Ernie Rouse formed this vocal group in Seattle, WA, in 1952, while they were still in
junior high. At first they called themselves the Echoes, but by the time they
traveled to L.A. to record for Del-Fi Records and the Donna subsidiary, they were
calling themselves the Gallahads.Their first single, "Lonely Guy," was released on
both the Del-Fi and Donna labels, almost simultaneously. It proved to become an
enormous smash, charting between June and September of 1960 and peaking at number
nine in the Top Ten. In Los Angeles, it spent ten weeks at number one on the KFWB
Fabulous Forty, the number one station in town. It also charted at number 111 on the
national pop charts.Pipkin's final Gallahads single failed to earn them airplay as
well and the original group soon split up. Meanwhile, the Gallahads name resurfaced
again in 1964 with "My Offering," this time with Billy Burns on lead vocal and a
white teen band called the Counts backing them up. The Seattle-based Pipkin continued
to perform with an oldies version of the Gallahads.
The Gallahads
The Gallahads were an American doo-wop band formed in Seattle, Washington, in 1952.
The band released three singles during its existence and were popular particularly in
Los Angeles, California for their song, "(I'm Just A) Lonely Guy".
The group formed as the vocal ensemble, the Echoes, in 1952, when the band members
were enrolled in Edmond Meany Junior High School, and performed in a local teen club
called the Strokers, among other venues. Initially, the band went through several
personnel changes, but the solidified line-up included Jimmy Pipkin (lead vocals,
piano), Bobby Dixon (first tenor), "Tiny" Tony Smith (second tenor), and Ernie Rouse
(baritone).[1] In 1957, the group, now going by the moniker, the Gallahads, performed
their original tune, "Gone", over the telephone to DJ Steve Wray. Impressed, Wray
became the band's first manager, buying them matching white outfits, and arranging
performances at the Catholic Youth Organization --which were, at the time, some of
the only teen dances allowed in Seattle. In one of their gigs, record producers Larry
Nelson and Chuck Markulis, owners of Nite Records, saw the Gallahads and immediately
signed the band, after recently issuing the label's debut record, "Love You So", by
Ron Holden and the Thunderbirds.[2]
A recording of "Gone" and another original song, "So Lonely", were complete in
Northwest Recorders, in the summer of 1959. However, local radio stations would not
play the tracks.[1] Nonetheless, the band demoed another composition, "(I'm Just A)
Lonely Guy", and passed the recording over to Bob Keane of Del-Fi/Donna Records. In
September 1959, the Gallahads relocated to Los Angeles, signed to a five-year
contract with the record label, and re-recorded the song, along with "Jo Jo the Big
Wheel". In February 1960, the two songs were issued as a single on the Donna label,
and in August 1960 it was also released on the Del-Fi label. On August 15, 1960,
"Lonely Guy" bubbled under the Hot 100 at number 111, reached number four on Cashbox,
and spent ten weeks at number one on Los Angeles's KFWB Fabulous Forty.[3]
By the time of the Gallahads' next release, Smith and Dixon had departed, and were
replaced by Leo Robinson, Ray Robinson, and Charles Wright, who would later go on to
lead the Watts 103rd Street Rhythm Band. The new line-up was featured weekly on the
Wink Martindale Show for a few months, and appeared on American Bandstand. In 1961,
the group's second single "Without A Girlfriend" was released and received extensive
airplay in Los Angeles. However, after a performance managed by DJ Alan Freed, the
band was not compensated and filed a complaint against Freed. With Freed's
connections in the music industry, he had the single pulled from any further
promotion. In addition, the B-side "Be Fair" was met with resistance by radio
stations for its lyrics pertaining to a blind man. After returning to Seattle, the
band, under the billing Jimmy Pipkin and the Gallahads, released a third and final
single, "This Letter To You" in 1962, but it was largely ignored. The band performed
at the Seattle World's Fair, but disbanded by the end of the year.[2]
Pipkins continued to perform with a variation of line-ups under the Gallahads' name,
and occasionally, the first time of which was 1974, the original members reunited.
Smoth formed a R&B group called the Statics, which morphed into the psychedelic rock
band, International Brick. The band released the single "Flower Children" in 1968.[2]
1.^ Jump up to: a b Thomas, Bryan. "The Gallahads - Biography". allmusic.com.
Retrieved July 1, 2015.
2.^ Jump up to: a b c "Gallahads, The: Seattle's 1950s Doo-Wop Kings".
historylink.org. Retrieved July 1, 2015.
3.^ Blancha, Peter (2009). "Sonic Boom: The History of Northwest Rock, from "Louie
Louie" to "Smells Like Teen Spirit"". Backbeat Publishing.
(Best Viewed Globally)
HAIKU FOR ATLAS
I held up the sky
'Til Men forgot my burden
So I let it Fall
After the Fall, when the Last Man had passed, uncounted statues fashioned in the likeness of humanity were reflections without admirers.
----------------------------------------------------
This is one of the gaudy Greco-Roman fantasy details decorating The Forum Theatre, Austrian born American architect "Papa" John Eberson's playfully embellished Moorish Revival picture palace that has whimsically graced the corner of Flinders and Russell Street in Melbourne (Victoria, Australia) since 1929. The Forum started out as a cinema and has morphed into a live entertainment venue and a revivalist centre in its time.
Eberson designed over 100 picture palaces the world over, a great many of which no longer exist or have been stripped of their interior decoration so the Forum is a priceless heritage piece.
I took two pictures of this alcove, one without flash and this one with. The dark one looks equally interesting, but I like this one because it brings out the chipped plaster and faded Bordello paint job.
I was at the Forum to see a performance of Charles Ross's exhuberant One Man Star Wars gig for the 2007 Melbourne International Comedy Festival. A hilarious piece, by the way, and I was pleased to interview him the week before for my show, Zero-G: Science Fiction, Fantasy * Historical Radio.
Popular belief has it that Atlas was supporting the Earth on his shoulders, but the older legends has it that he is carrying a celestial globe, that is to say, the sky. I like that in the Aussiemandias Post-Holocaust context.
Ayn Rand provided the picture title, of course.
Bagan; (formerly Pagan) is an ancient city located in the Mandalay Region of Burma (Myanmar). From the 9th to 13th centuries, the city was the capital of the Kingdom of Pagan, the first kingdom to unify the regions that would later constitute modern Myanmar. During the kingdom's height between the 11th and 13th centuries, over 10.000 Buddhist temples, pagodas and monasteries were constructed in the Bagan plains alone, of which the remains of over 2200 temples and pagodas still survive to the present day.
The Bagan Archaeological Zone is a main draw for the country's nascent tourism industry. It is seen by many as equal in attraction to Angkor Wat in Cambodia.
ETYMOLOGY
Bagan is the present-day standard Burmese pronunciation of the Burmese word Pugan, derived from Old Burmese Pyugam (meaning 'Pyu Village'). Its classical Pali name is Arimaddana-pura, lit. "the City that Tramples on Enemies". Its other names in Pali are in reference to its extreme dry zone climate: Tattadesa, "parched land", and Tampadipa, "bronzed country". The Burmese chronicles also report other classical names of Thiri Pyissaya and Tampawaddy.
HISTORY
7th to 13th CENTURIES
According to the Burmese chronicles, Bagan was founded in the second century CE, and fortified in 849 CE by King Pyinbya, 34th successor of the founder of early Bagan. Mainstream scholarship however holds that Bagan was founded in the mid-to-late 9th century by the Mranma (Burmans), who had recently entered the Irrawaddy valley from the Nanzhao Kingdom. It was among several competing Pyu city-states until the late 10th century when the Burman settlement grew in authority and grandeur.From 1044 to 1287, Bagan was the capital as well as the political, economic and cultural nerve center of the Pagan Empire. Over the course of 250 years, Bagan's rulers and their wealthy subjects constructed over 10000 religious monuments (approximately 1000 stupas, 10000 small temples and 3000 monasteries) in an area of 104 square kilometres in the Bagan plains. The prosperous city grew in size and grandeur, and became a cosmopolitan center for religious and secular studies, specializing in Pali scholarship in grammar and philosophical-psychological (abhidhamma) studies as well as works in a variety of languages on prosody, phonology, grammar, astrology, alchemy, medicine, and legal studies. The city attracted monks and students from as far as India, Ceylon as well as the Khmer Empire. The culture of Bagan was dominated by religion. The religion of Bagan was fluid, syncretic and by later standards, unorthodox. It was largely a continuation of religious trends in the Pyu era where Theravada Buddhism co-existed with Mahayana Buddhism, Tantric Buddhism, various Hindu (Saivite, and Vaishana) schools as well as native animist (nat) traditions. While the royal patronage of Theravada Buddhism since the mid-11th century had enabled the Buddhist school to gradually gain primacy, other traditions continued to thrive throughout the Pagan period to degrees later unseen.
The Pagan Empire collapsed in 1287 due to repeated Mongol invasions (1277–1301). Recent research shows that Mongol armies may not have reached Bagan itself, and that even if they did, the damage they inflicted was probably minimal. However, the damage had already been done. The city, once home to some 50.000 to 200.000 people, had been reduced to a small town, never to regain its preeminence. The city formally ceased to be the capital of Burma in December 1297 when the Myinsaing Kingdom became the new power in Upper Burma.
14th to 19th CENTURIES
Bagan survived into the 15th century as a human settlement, and as a pilgrimage destination throughout the imperial period. A smaller number of "new and impressive" religious monuments still went up to the mid-15th century but afterward, new temple constructions slowed to a trickle with fewer than 200 temples built between the 15th and 20th centuries. The old capital remained a pilgrimage destination but pilgrimage was focused only on "a score or so" most prominent temples out of the thousands such as the Ananda, the Shwezigon, the Sulamani, the Htilominlo, the Dhammayazika, and a few other temples along an ancient road. The rest - thousands of less famous, out-of-the-way temples - fell into disrepair, and most did not survive the test of time.
For the few dozen temples that were regularly patronized, the continued patronage meant regular upkeep as well as architectural additions donated by the devotees. Many temples were repainted with new frescoes on top of their original Pagan era ones, or fitted with new Buddha statutes. Then came a series of state-sponsored "systematic" renovations in the Konbaung period (1752–1885), which by and large were not true to the original designs - some finished with "a rude plastered surface, scratched without taste, art or result". The interiors of some temples were also whitewashed, such as the Thatbyinnyu and the Ananda. Many painted inscriptions and even murals were added in this period.
20th CENTURY TO PRESENT
Bagan, located in an active earthquake zone, had suffered from many earthquakes over the ages, with over 400 recorded earthquakes between 1904 and 1975. The last major earthquake came on 8 July 1975, reaching 8 MM in Bagan and Myinkaba, and 7 MM in Nyaung-U. The quake damaged many temples, in many cases, such as the Bupaya, severely and irreparably. Today, 2229 temples and pagodas remain.
Many of these damaged pagodas underwent restorations in the 1990s by the military government, which sought to make Bagan an international tourist destination. However, the restoration efforts instead drew widespread condemnation from art historians and preservationists worldwide. Critics are aghast that the restorations paid little attention to original architectural styles, and used modern materials, and that the government has also established a golf course, a paved highway, and built a 61-meter watchtower. Although the government believed that the ancient capital's hundreds of (unrestored) temples and large corpus of stone inscriptions were more than sufficient to win the designation of UNESCO World Heritage Site, the city has not been so designated, allegedly mainly on account of the restorations.
Bagan today is a main tourist destination in the country's nascent tourism industry, which has long been the target of various boycott campaigns. The majority of over 300.000 international tourists to the country in 2011 are believed to have also visited Bagan. Several Burmese publications note that the city's small tourism infrastructure will have to expand rapidly even to meet a modest pickup in tourism in the following years.
There is a well-known saying of Myanmar people : "If you are a real Myanmar, you must have been to Bagan." Bagan is spirit of history of Myanmar.
GEOGRAPHY
The Bagan Archaeological Zone, defined as the 13 x 8 km area centered around Old Bagan, consisting of Nyaung U in the north and New Bagan in the south, lies in the vast expanse of plains in Upper Burma on the bend of the Irrawaddy river. It is located 290 kilometres southwest of Mandalay and 700 kilometres north of Yangon. Its coordinates are 21°10' North and 94°52' East.
ARCHITECTURE
Bagan stands out for not only the sheer number of religious edifices of Myanmar but also the magnificent architecture of the buildings, and their contribution to Burmese temple design. The artistry of the architecture of pagodas in Bagan prove the achievement of Myanmar craftsmen in handicrafts. The Bagan temple falls into one of two broad categories: the stupa-style solid temple and the gu-style hollow temple.
STUPAS
A stupa, also called a pagoda, is a massive structure, typically with a relic chamber inside. The Bagan stupas or pagodas evolved from earlier Pyu designs, which in turn were based on the stupa designs of the Andhra region, particularly Amaravati and Nagarjunakonda in present-day southeastern India, and to a smaller extent to Ceylon. The Bagan-era stupas in turn were the prototypes for later Burmese stupas in terms of symbolism, form and design, building techniques and even materials.
Originally, an Indian/Ceylonese stupa had a hemispheric body (Pali: anda, "the egg") on which a rectangular box surrounded by a stone balustrade (harmika) was set. Extending up from the top of the stupa was a shaft supporting several ceremonial umbrellas. The stupa is a representation of the Buddhist cosmos: its shape symbolizes Mount Meru while the umbrella mounted on the brickwork represents the world's axis. The brickwork pediment was often covered in stucco and decorated in relief. Pairs or series of ogres as guardian figures ('bilu') were a favourite theme in the Bagan period.
The original Indic design was gradually modified first by the Pyu, and then by Burmans at Bagan where the stupa gradually developed a longer, cylindrical form. The earliest Bagan stupas such as the Bupaya (c. 9th century) were the direct descendants of the Pyu style at Sri Ksetra. By the 11th century, the stupa had developed into a more bell-shaped form in which the parasols morphed into a series of increasingly smaller rings placed on one top of the other, rising to a point. On top the rings, the new design replaced the harmika with a lotus bud. The lotus bud design then evolved into the "banana bud", which forms the extended apex of most Burmese pagodas. Three or four rectangular terraces served as the base for a pagoda, often with a gallery of terra-cotta tiles depicting Buddhist jataka stories. The Shwezigon Pagoda and the Shwesandaw Pagoda are the earliest examples of this type. Examples of the trend toward a more bell-shaped design gradually gained primacy as seen in the Dhammayazika Pagoda (late 12th century) and the Mingalazedi Pagoda (late 13th century).
HOLLOW TEMPLES
In contrast to the stupas, the hollow gu-style temple is a structure used for meditation, devotional worship of the Buddha and other Buddhist rituals. The gu temples come in two basic styles: "one-face" design and "four-face" design - essentially one main entrance and four main entrances. Other styles such as five-face and hybrids also exist. The one-face style grew out of 2nd century Beikthano, and the four-face out of 7th century Sri Ksetra. The temples, whose main features were the pointed arches and the vaulted chamber, became larger and grander in the Bagan period.
INNOVATIONS
Although the Burmese temple designs evolved from Indic, Pyu (and possibly Mon) styles, the techniques of vaulting seem to have developed in Bagan itself. The earliest vaulted temples in Bagan date to the 11th century, while the vaulting did not become widespread in India until the late 12th century. The masonry of the buildings shows "an astonishing degree of perfection", where many of the immense structures survived the 1975 earthquake more or less intact. (Unfortunately, the vaulting techniques of the Bagan era were lost in the later periods. Only much smaller gu style temples were built after Bagan. In the 18th century, for example, King Bodawpaya attempted to build the Mingun Pagoda, in the form of spacious vaulted chambered temple but failed as craftsmen and masons of the later era had lost the knowledge of vaulting and keystone arching to reproduce the spacious interior space of the Bagan hollow temples.)
Another architectural innovation originated in Bagan is the Buddhist temple with a pentagonal floor plan. This design grew out of hybrid (between one-face and four-face designs) designs. The idea was to include the veneration of the Maitreya Buddha, the future and fifth Buddha of this era, in addition to the four who had already appeared. The Dhammayazika and the Ngamyethna Pagoda are examples of the pentagonal design.
ECONOMY
Bagan's economy is based mainly on tourism. Because of boycotts against the previous military government, the Bagan region's tourism infrastructure is still quite modest by international standards. The city has a few international standard hotels and many family-run guesthouses. Bagan is also the center of Burmese lacquerware industry, which to a large degree depends on tourist demand. Much of the lacquerware is destined for souvenir shops in Yangon, and to the world markets. Moreover, the lacquerware-making process itself has become a tourist draw.
WIKIPEDIA
Bagan; (formerly Pagan) is an ancient city located in the Mandalay Region of Burma (Myanmar). From the 9th to 13th centuries, the city was the capital of the Kingdom of Pagan, the first kingdom to unify the regions that would later constitute modern Myanmar. During the kingdom's height between the 11th and 13th centuries, over 10.000 Buddhist temples, pagodas and monasteries were constructed in the Bagan plains alone, of which the remains of over 2200 temples and pagodas still survive to the present day.
The Bagan Archaeological Zone is a main draw for the country's nascent tourism industry. It is seen by many as equal in attraction to Angkor Wat in Cambodia.
ETYMOLOGY
Bagan is the present-day standard Burmese pronunciation of the Burmese word Pugan, derived from Old Burmese Pyugam (meaning 'Pyu Village'). Its classical Pali name is Arimaddana-pura, lit. "the City that Tramples on Enemies". Its other names in Pali are in reference to its extreme dry zone climate: Tattadesa, "parched land", and Tampadipa, "bronzed country". The Burmese chronicles also report other classical names of Thiri Pyissaya and Tampawaddy.
HISTORY
7th to 13th CENTURIES
According to the Burmese chronicles, Bagan was founded in the second century CE, and fortified in 849 CE by King Pyinbya, 34th successor of the founder of early Bagan. Mainstream scholarship however holds that Bagan was founded in the mid-to-late 9th century by the Mranma (Burmans), who had recently entered the Irrawaddy valley from the Nanzhao Kingdom. It was among several competing Pyu city-states until the late 10th century when the Burman settlement grew in authority and grandeur.From 1044 to 1287, Bagan was the capital as well as the political, economic and cultural nerve center of the Pagan Empire. Over the course of 250 years, Bagan's rulers and their wealthy subjects constructed over 10000 religious monuments (approximately 1000 stupas, 10000 small temples and 3000 monasteries) in an area of 104 square kilometres in the Bagan plains. The prosperous city grew in size and grandeur, and became a cosmopolitan center for religious and secular studies, specializing in Pali scholarship in grammar and philosophical-psychological (abhidhamma) studies as well as works in a variety of languages on prosody, phonology, grammar, astrology, alchemy, medicine, and legal studies. The city attracted monks and students from as far as India, Ceylon as well as the Khmer Empire. The culture of Bagan was dominated by religion. The religion of Bagan was fluid, syncretic and by later standards, unorthodox. It was largely a continuation of religious trends in the Pyu era where Theravada Buddhism co-existed with Mahayana Buddhism, Tantric Buddhism, various Hindu (Saivite, and Vaishana) schools as well as native animist (nat) traditions. While the royal patronage of Theravada Buddhism since the mid-11th century had enabled the Buddhist school to gradually gain primacy, other traditions continued to thrive throughout the Pagan period to degrees later unseen.
The Pagan Empire collapsed in 1287 due to repeated Mongol invasions (1277–1301). Recent research shows that Mongol armies may not have reached Bagan itself, and that even if they did, the damage they inflicted was probably minimal. However, the damage had already been done. The city, once home to some 50.000 to 200.000 people, had been reduced to a small town, never to regain its preeminence. The city formally ceased to be the capital of Burma in December 1297 when the Myinsaing Kingdom became the new power in Upper Burma.
14th to 19th CENTURIES
Bagan survived into the 15th century as a human settlement, and as a pilgrimage destination throughout the imperial period. A smaller number of "new and impressive" religious monuments still went up to the mid-15th century but afterward, new temple constructions slowed to a trickle with fewer than 200 temples built between the 15th and 20th centuries. The old capital remained a pilgrimage destination but pilgrimage was focused only on "a score or so" most prominent temples out of the thousands such as the Ananda, the Shwezigon, the Sulamani, the Htilominlo, the Dhammayazika, and a few other temples along an ancient road. The rest - thousands of less famous, out-of-the-way temples - fell into disrepair, and most did not survive the test of time.
For the few dozen temples that were regularly patronized, the continued patronage meant regular upkeep as well as architectural additions donated by the devotees. Many temples were repainted with new frescoes on top of their original Pagan era ones, or fitted with new Buddha statutes. Then came a series of state-sponsored "systematic" renovations in the Konbaung period (1752–1885), which by and large were not true to the original designs - some finished with "a rude plastered surface, scratched without taste, art or result". The interiors of some temples were also whitewashed, such as the Thatbyinnyu and the Ananda. Many painted inscriptions and even murals were added in this period.
20th CENTURY TO PRESENT
Bagan, located in an active earthquake zone, had suffered from many earthquakes over the ages, with over 400 recorded earthquakes between 1904 and 1975. The last major earthquake came on 8 July 1975, reaching 8 MM in Bagan and Myinkaba, and 7 MM in Nyaung-U. The quake damaged many temples, in many cases, such as the Bupaya, severely and irreparably. Today, 2229 temples and pagodas remain.
Many of these damaged pagodas underwent restorations in the 1990s by the military government, which sought to make Bagan an international tourist destination. However, the restoration efforts instead drew widespread condemnation from art historians and preservationists worldwide. Critics are aghast that the restorations paid little attention to original architectural styles, and used modern materials, and that the government has also established a golf course, a paved highway, and built a 61-meter watchtower. Although the government believed that the ancient capital's hundreds of (unrestored) temples and large corpus of stone inscriptions were more than sufficient to win the designation of UNESCO World Heritage Site, the city has not been so designated, allegedly mainly on account of the restorations.
Bagan today is a main tourist destination in the country's nascent tourism industry, which has long been the target of various boycott campaigns. The majority of over 300.000 international tourists to the country in 2011 are believed to have also visited Bagan. Several Burmese publications note that the city's small tourism infrastructure will have to expand rapidly even to meet a modest pickup in tourism in the following years.
There is a well-known saying of Myanmar people : "If you are a real Myanmar, you must have been to Bagan." Bagan is spirit of history of Myanmar.
GEOGRAPHY
The Bagan Archaeological Zone, defined as the 13 x 8 km area centered around Old Bagan, consisting of Nyaung U in the north and New Bagan in the south, lies in the vast expanse of plains in Upper Burma on the bend of the Irrawaddy river. It is located 290 kilometres southwest of Mandalay and 700 kilometres north of Yangon. Its coordinates are 21°10' North and 94°52' East.
ARCHITECTURE
Bagan stands out for not only the sheer number of religious edifices of Myanmar but also the magnificent architecture of the buildings, and their contribution to Burmese temple design. The artistry of the architecture of pagodas in Bagan prove the achievement of Myanmar craftsmen in handicrafts. The Bagan temple falls into one of two broad categories: the stupa-style solid temple and the gu-style hollow temple.
STUPAS
A stupa, also called a pagoda, is a massive structure, typically with a relic chamber inside. The Bagan stupas or pagodas evolved from earlier Pyu designs, which in turn were based on the stupa designs of the Andhra region, particularly Amaravati and Nagarjunakonda in present-day southeastern India, and to a smaller extent to Ceylon. The Bagan-era stupas in turn were the prototypes for later Burmese stupas in terms of symbolism, form and design, building techniques and even materials.
Originally, an Indian/Ceylonese stupa had a hemispheric body (Pali: anda, "the egg") on which a rectangular box surrounded by a stone balustrade (harmika) was set. Extending up from the top of the stupa was a shaft supporting several ceremonial umbrellas. The stupa is a representation of the Buddhist cosmos: its shape symbolizes Mount Meru while the umbrella mounted on the brickwork represents the world's axis. The brickwork pediment was often covered in stucco and decorated in relief. Pairs or series of ogres as guardian figures ('bilu') were a favourite theme in the Bagan period.
The original Indic design was gradually modified first by the Pyu, and then by Burmans at Bagan where the stupa gradually developed a longer, cylindrical form. The earliest Bagan stupas such as the Bupaya (c. 9th century) were the direct descendants of the Pyu style at Sri Ksetra. By the 11th century, the stupa had developed into a more bell-shaped form in which the parasols morphed into a series of increasingly smaller rings placed on one top of the other, rising to a point. On top the rings, the new design replaced the harmika with a lotus bud. The lotus bud design then evolved into the "banana bud", which forms the extended apex of most Burmese pagodas. Three or four rectangular terraces served as the base for a pagoda, often with a gallery of terra-cotta tiles depicting Buddhist jataka stories. The Shwezigon Pagoda and the Shwesandaw Pagoda are the earliest examples of this type. Examples of the trend toward a more bell-shaped design gradually gained primacy as seen in the Dhammayazika Pagoda (late 12th century) and the Mingalazedi Pagoda (late 13th century).
HOLLOW TEMPLES
In contrast to the stupas, the hollow gu-style temple is a structure used for meditation, devotional worship of the Buddha and other Buddhist rituals. The gu temples come in two basic styles: "one-face" design and "four-face" design - essentially one main entrance and four main entrances. Other styles such as five-face and hybrids also exist. The one-face style grew out of 2nd century Beikthano, and the four-face out of 7th century Sri Ksetra. The temples, whose main features were the pointed arches and the vaulted chamber, became larger and grander in the Bagan period.
INNOVATIONS
Although the Burmese temple designs evolved from Indic, Pyu (and possibly Mon) styles, the techniques of vaulting seem to have developed in Bagan itself. The earliest vaulted temples in Bagan date to the 11th century, while the vaulting did not become widespread in India until the late 12th century. The masonry of the buildings shows "an astonishing degree of perfection", where many of the immense structures survived the 1975 earthquake more or less intact. (Unfortunately, the vaulting techniques of the Bagan era were lost in the later periods. Only much smaller gu style temples were built after Bagan. In the 18th century, for example, King Bodawpaya attempted to build the Mingun Pagoda, in the form of spacious vaulted chambered temple but failed as craftsmen and masons of the later era had lost the knowledge of vaulting and keystone arching to reproduce the spacious interior space of the Bagan hollow temples.)
Another architectural innovation originated in Bagan is the Buddhist temple with a pentagonal floor plan. This design grew out of hybrid (between one-face and four-face designs) designs. The idea was to include the veneration of the Maitreya Buddha, the future and fifth Buddha of this era, in addition to the four who had already appeared. The Dhammayazika and the Ngamyethna Pagoda are examples of the pentagonal design.
ECONOMY
Bagan's economy is based mainly on tourism. Because of boycotts against the previous military government, the Bagan region's tourism infrastructure is still quite modest by international standards. The city has a few international standard hotels and many family-run guesthouses. Bagan is also the center of Burmese lacquerware industry, which to a large degree depends on tourist demand. Much of the lacquerware is destined for souvenir shops in Yangon, and to the world markets. Moreover, the lacquerware-making process itself has become a tourist draw.
WIKIPEDIA
The long running Ralston Type-8 morphed into the 'Tigre' line in 1938, running late, as the promised V8 from Auburn-Cord-Duesenberg Cord line failed with that company, and the inline-8 which had similarly been bought it from A-C-D (used in the Auburn), was also no longer in series production from the engine works.
No matter. There was a modest stockpile of inline-8 engines which was gradually depleted in the manufacture of the Rhino model. Meanwhile 1938 brought with it a V8 engine from Cadillac, fitted to a chassis frame of Ralston's own design. The shorter engine allowed a greater allocation of overall length to the passenger area - though truth be told, more of if went to providing greater luggage capacity, and a more cab-forward look to the cars.
The Tigre MkI, still know as the Type-8 Tigre was replaced after WWII, with a MkII design, losing this Type-8 appellation. The new model appeared at the end of 1953, the car based on the new post WWII Cadillac frame, engine and underbody of the 1948-53 Series 60 (in particular the slightly longer 60 Special). The tooling was transferred to Ralston upon completion of the 1953 model year. By this stage the preceding MkI was now 15 years old, though this included the period through the war years.
The adoption of Cadillac underpinnings provided the Ralston Tigre MkII with the calibre of running gear demanded by the marque's premium position, though with a much reduced outlay, particularly compared to their premium US-based builders such as Packard. Key differentiation with the originating Cadillac was the Ralston themed 'X' radiator grille, unique bumper treatment, and completely reprofiled rear fender tops, truncating in a rocket-pod tail lamp cluster, instead of the Cadillac 'fin'. Not elements sat completely at ease with the carryover Cadillac based structure.
An update to the Tigre MkII in 1956 led to the MkII-B. a few of the elements were cleared up in the styling, plus the addition of a number of 'flourishes' that had emerged during the 1952-55 model years. Chief among these were 'tailfins' no longer the preserve of Cadillac, but sprouting taller and wilder each year on all US domestic brands. Compared to the 1954 model, the MkII-B had slightly taller fins, but they were much more prominent in the styling, as they were accentuated by both chrome trim separating them from the fender bulge, and also incorporating one of the zones for the bi-colour and tri-colour themes.
In 1958 the car was upgraded further with the advent of the MkII-C. This model again received changes to the fender, front and rear. At the front, the fender height was increased, making the car look both more modern, and also tying the top ridge into the unmodified doors and sides. The rear fender was modified to include a tapering fin, which then led to a tail lamp treatment which was to evolve further into a 'rocket pod' on subsequent models. The 'X' theme was continued to include a 'X' rocket, mounted centrally in the trunk lid. This could alternatively be swapped out for a conventionally styled horizontal trim, if the Continental spare wheel option was included (though this had also phased out of popularity over a short time period). The new trunk lid also shared the tapering profile of the fins. Although this look less modern compared to the newly squared up trunk lids from GM and Ford's divisions, it suited the 'classic' lines of the Ralston Tigre model, leading many to state that the MkII-C was perhaps the most conservatively handsome of mid-century Ralston models, particularly on the SWB closed models.
Additional styling changes included a modest reinterpretation of the grille, including the addition of 'Dagmars' at its extremities, and a new front bumper including marker lights.
The 1954 car launched with the same tune 331 CID (5.4 litre) V8, producing 230 bhp (175 kW), for 1956 this was raised to 285 bhp (213 kW) with an increase in capacity to 365 CID (6.0 litres). The 1958 MkII-C retained the 365 CID V8, but power increased to 310 bhp (230 kW).
Shown here is the 1958 MkII-C Hardtop Coupen in two-colour treatment Dark Blue, and White. This is configuration was one of the most popular on the Tigre MkII Platform, and was particularly pretty as the MkII-C.
This Lego miniland scale Ralston Tigre MkII-C Hardtop Coupe (1958) has been created for Flickr LUGNuts' 96th Build Challenge - The 8th Birthday, titled - 'Happy Crazy Eight Birthday, LUGNuts' - where all previous build challenges are available to build to. This model is built to the LUGNuts 63rd build challenge, - "Designing the Ralston Tiger" featuring fictional vehicles styled with an 'X' form in the styling.
Kat Alderson of Clutter and Vix Thibedeau of Seraphim are pleased to present the second annual Witch Hunt!
The Witch Hunt is a 10L per item event with a harvest/Halloween theme and works a little differently than most hunts.
First, all stores have been screened for quality, value, and intellectual property rights compliance. It's important to the coordinators that hunters rest assured knowing their time and money is well spent, and that the designers are not only talented but ethical.
Second, hunters won't have to follow an ordered list. They'll have access to every participant's landmark and SLURL, and will even get a sneak peek of all the wonderful wares the hunt has to offer.
Third, bloggers can IM Kat Alderson on Plurk or in-world for blogger-specific notices regarding the hunt (a specific subscriber group only for bloggers, to be deleted promptly after the hunt), and can indicate whether or not they are willing to receive review copies of the items.
The current store list is subject to change, but the following designers have committed to providing a hunt item!
Morphe Inc. - Abel Dreamscape
Home of Morphe Inc - Abel Dreamscape
Zoe's Garden - Adele Rhiadra
aDORKable Poses - Adorkable Peapod
ADD Andel - Andel Rhiadra
Ayla's - Ayla Verity
Dreamscapes Art Gallery - Carlotta Ceawlin
Kukuvaua - Caroline Tairov
Entropy - Chaotic Monday
Awesome Blossom - Clementine Ishtari
Cracked Mirror - Cracked Mirror
Prickle - Darkley Aeon
Park Place Home - DeAnn Dufaux
Dragon Magick Wares - Dragonia Decuir
elymode - Elysium Eilde
Status - Gidge Uriza, Elusyve Jewell
HomeKraft - GM Nikolaidis
L'aize Dayz - Heavenly Villa
Cheeky Pea - Isla Gealach
Crackberry - Jemima Clowes
MOOD - Jori Watler
Clutter - Kat Alderson
Glitterati - Katey Coppola
Petticoat Lane - Katey Coppola
Mystic Canvass - Lara Darkbyrd
LeBloom - Lawra Fredrickson
Stellar - Lexi Morgan
doremi, love hani & lilu - Lilu Cheng, Hani Cheng
Virtual Insanity - Loviathar Hellman
Embody Shapes and Poses - Lucie Bluebird
Tranquility Way Station Designs - Lyta McKeenan
DarkMouse - Mouse Mimistrobell
Ivalde - Neferia Abel
L'Abel - Neferia Abel
Sweet Antidote - Noena Merlin
Nyte'N'Day - Nyte Caligari
Fuzzy Bee - Quinby Hancroft
Tree and Ocean SL - Quinlan Quimby
Stakey - Raymond Ohmai
Hatpins - Reghan Straaf
Galland Homes - Robert Galland
Khargo - Selkie Flatley
Adam n Eve - Sachi Vixen
Wretched Dollies - Star Fairymeadow
SySy's - SySy Chapman
!bang - Trieste Minuet
Fucifino - TrinityBelle Meriman
Hunters, are you ready? Search for the group: The Witch Hunters 2011 in-world or IM Kat Alderson or Vix Thibedeau for a group invite!
4/6/20 10:26 PM
I was making my run to pick up my wife at the Hospital. The whole town is dead worse than any snow day we have ever seen. Hardly anybody was in sight but for a transfer trailer wreck near I-40. I pull into the Hospital loop and thought I saw Whoopie, a local resident that pushes her bike over a 30 mile stretch of town. Whoopie has a hunched back but walks hundreds of miles a week all over our town. However, it was a guy in a wheel chair humped over and apparently not moving. No one is in sight and we are both on the edge of a Hospital sidewalk going downhill. This guy with one leg is doubled over in his chair and not moving or showing any signs of breathing. If his chair would have been angled just a bit more to the right, he would have crashed his chair into the road or the bushes at the hospital. I did a U turn and pulled up to him and yelled out the window loudly and no motion. I couldn’t see him breathing. So, I called 911 first. 911 put me to medical. I get medical. Seemed like five minutes as I got out and walked toward the guy expecting him to jump up and shoot me. Before I got to him his upper body went straight back and he snapped out of it. He scared the shit out me! I said man I thought you were dead. He goes on, no “I am OK”. “I Need a cigarette”! They’ve told me three times I had to leave the hospital. Two ambulances show up and told me the guy was a regular problem.
I’ve seen some interesting drunks in my life. One of them was a paraplegic. He got that way because he crashed his car drunk. I had given him a set of bicycle lights for his wheel chair because he would get drunk and ride his chair down a main street in Westport, Washington. I watched him wipe out an entire bar with his chair one night because he got pissed off at something. He was working his wheelchair’s joy stick with his mouth and clearing out all the people and all the tables and chairs with HIS motorized battering ram of a wheel chair! I’m not judging these guys for being drunk or morphed out because it could easily be me in those situations.
R&L was founded here in 1938 as a blue-collar eatery catering to local meat packers. In the 1980s, it morphed into Florent - a "24-hour haunt of late nighters, club kids, sex workers, and New Yorkers who enjoyed eating brunch in a place that often felt like a party." More here.
The long running Ralston Type-8 morphed into the 'Tigre' line in 1938, running late, as the promised V8 from Auburn-Cord-Duesenberg Cord line failed with that company, and the inline-8 which had similarly been bought it from A-C-D (used in the Auburn), was also no longer in series production from the engine works.
No matter. There was a modest stockpile of inline-8 engines which was gradually depleted in the manufacture of the Rhino model. Meanwhile 1938 brought with it a V8 engine from Cadillac, fitted to a chassis frame of Ralston's own design. The shorter engine allowed a greater allocation of overall length to the passenger area - though truth be told, more of if went to providing greater luggage capacity, and a more cab-forward look to the cars.
The Tigre MkI, still know as the Type-8 Tigre was replaced after WWII, with a MkII design, losing this Type-8 appellation. The new model appeared at the end of 1953, the car based on the new post WWII Cadillac frame, engine and underbody of the 1948-53 Series 60 (in particular the slightly longer 60 Special). The tooling was transferred to Ralston upon completion of the 1953 model year. By this stage the preceding MkI was now 15 years old, though this included the period through the war years.
The adoption of Cadillac underpinnings provided the Ralston Tigre MkII with the calibre of running gear demanded by the marque's premium position, though with a much reduced outlay, particularly compared to their premium US-based builders such as Packard. Key differentiation with the originating Cadillac was the Ralston themed 'X' radiator grille, unique bumper treatment, and completely reprofiled rear fender tops, truncating in a rocket-pod tail lamp cluster, instead of the Cadillac 'fin'. Not elements sat completely at ease with the carryover Cadillac based structure.
An update to the Tigre MkII in 1956 led to the MkII-B. a few of the elements were cleared up in the styling, plus the addition of a number of 'flourishes' that had emerged during the 1952-55 model years. Chief among these were 'tailfins' no longer the preserve of Cadillac, but sprouting taller and wilder each year on all US domestic brands. Compared to the 1954 model, the MkII-B had slightly taller fins, but they were much more prominent in the styling, as they were accentuated by both chrome trim separating them from the fender bulge, and also incorporating one of the zones for the bi-colour and tri-colour themes.
In 1958 the car was upgraded further with the advent of the MkII-C. This model again received changes to the fender, front and rear. At the front, the fender height was increased, making the car look both more modern, and also tying the top ridge into the unmodified doors and sides. The rear fender was modified to include a tapering fin, which then led to a tail lamp treatment which was to evolve further into a 'rocket pod' on subsequent models. The 'X' theme was continued to include a 'X' rocket, mounted centrally in the trunk lid. This could alternatively be swapped out for a conventionally styled horizontal trim, if the Continental spare wheel option was included (though this had also phased out of popularity over a short time period). The new trunk lid also shared the tapering profile of the fins. Although this look less modern compared to the newly squared up trunk lids from GM and Ford's divisions, it suited the 'classic' lines of the Ralston Tigre model, leading many to state that the MkII-C was perhaps the most conservatively handsome of mid-century Ralston models, particularly on the SWB closed models.
Additional styling changes included a modest reinterpretation of the grille, including the addition of 'Dagmars' at its extremities, and a new front bumper including marker lights.
The 1954 car launched with the same tune 331 CID (5.4 litre) V8, producing 230 bhp (175 kW), for 1956 this was raised to 285 bhp (213 kW) with an increase in capacity to 365 CID (6.0 litres). The 1958 MkII-C retained the 365 CID V8, but power increased to 310 bhp (230 kW).
Shown here is the 1958 MkII-C SWB Saloon in two-colour treatment gun-metal brown, and midnight black. This is a somewhat rare model, as most four-door cars used the long wheelbase chassis (4-window and 6-window Limousines) - though as mentioned, it is well regarded. The customers of the SWB Saloon tended to drive the cars themselves with their families.
This Ralston Tigre MkII-C SWB Saloon (1958) has be built on Lego miniland scale for Flickr LUGNuts 95th Build Challenge, - 'Designing the Ralston Legacy' - a challenge to design the fictitious Dragon 'Motorcycle' model for the fictitious Ralston company, though any of the previous Ralston challenge vehicles, the Tiger or the Rhino are also eligible to be submitted. The chief stipulation is that the model must feature a 'X' in the styling.
Marked on the 1870 OS map as Edmondsham Lodge, by the late 1800s it had morphed into Torbay Lodge, a boarding house. It then became the Torbay Hotel for many years but in latter years it has been a series of nightclubs, including K Bar, 2020 and Be Bar. At the moment it is being converted into flats with commercial units at street level, as seen above.
Judging by various photos of the building it looks likely that the original Edmondsham Lodge was retained within the fabric of the enlarged structure.
The building on the left is the Edmondsham House flats on the corner of Orchard Street, which is Bournemouth's only 'street'. The Orchard Street area was the town's first working class district where those involved in constructing the buildings in the 1840s and 50s lived to save them having to travel from further afield each day. As the town expanded in the 1860s and 70s further working class, or artisan areas, developed in Springbourne and Winton.
Edmondsham House above, is built on the site of the much earlier Edmondsham Cottage.
I think i'm right in saying that in the 1880s a villa called Edmondsham House was built on the opposite side of Terrace Rd which later became the Bristol Hotel. It stood behind Terrace Cottage / Merville Hotel, on what is now the junction of Terrace Rd and Upper Terrace Rd. It has since been demolished.
After the performance
From left
Dancers Mikko Lampinen, Henrikki Heikkilä, Pekka Louhio, David Scarantino, Saku Koistinen, Jussi Nousiainen and Heikki Vienol
Photo credit: Carita Weissenfelt
Brecht Bug Rogers in a rocket ship in space with Wilmer Godfry at the helm - A Brechtbug newspaper cartoon in color without the paper - insect comic strip comics bug bugs Gadfly and Brechtbug Buck Rogerz space travel moon planet crater craters pen ink science fiction space ship rocket ship galaxy sci-fi 2012 windshield of a Marx wind up tin toy rocket ship vintage antique. Newspaper Science Fiction Sci-Fi comic strip hero action figure spaceman Buddy brother screen grab photoshopped space ship Morphed Buck