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I may not have a lot of time in the next week or so to comment on your wonderful photos as we are getting ready for our youngest son's wedding to his partner of 13 years next Saturday.
I will thank all those in advance who may stop by and perhaps make a comment or, fave this image as it is most appreciated..
Perhaps the rarest working in 2021 so far was on the morning of 10th February, when very heavy snowfall fell across the region.
As you can imagine, it was slow going on the roads, and arriving back in the bus station, I noticed no bus on stand for the 0900 1 to Alma Park, so quickly volunteered my services in 990 to get passengers out the cold, and heading where they were going.
With the service on diversion, and missing out large parts of the route, keeping to time wasn't an issue at all - even with the state of the roads - and so I found a couple of seconds to grab a quick photo of the exceptionally unusual working on Belton Lane.
Perhaps there are other places that use a heart-shaped light as a signal for stop, but this was my only encounter with same. I don't know what the story behind it is, but thought it was kind of cute.
Perhaps the most iconic image from Pripyat; a massive Ferris Wheel that was to be inaugurated just four days after the Chernobyl disaster. Needless to say that after 26th April, 1986 there was no one to operate the machine and certainly no children to enjoy the ride. In a matter of hours on the 27th of April- Pripyat was evacuated and remains a ghost town to this day.
Perhaps I am the shore,
and you the river that flows on without asking.
I hold nothing, yet in my quiet
every song you’ve ever sung still lingers.
Perhaps I am the blossom
that never wished to be picked only seen,
only passed by softly. I am no destination,
no promise carved in stone,
just the moment
that stays in memory like a hush.
And when the sky turns
to that strange kind of gold
that only visits once a day
I simply breathe,
and let the light stay awhile...
© 2025 Lorrie Agapi – All rights reserved.
**My heart, my words. Please respect them.**
Dear reader,
These words you are reading right now, whether it's a poem, a short story, or a thought is a piece of my soul. I write with passion, each word flowing from my heart, deeply connected to me. My writings are not just words; they are alive, carrying my emotions and essence within them. are not just words they are alive, carrying my emotions and essence within them.
If you plan to take them without my permission, know this: you are also taking a piece of my soul. And with every stolen word, I will always be present within the lines you use.
So be mindful… You never know what lies hidden between the lines, for words hold a power that goes far beyond the visible.💫
Perhaps after a local meeting or public rally?
Good photographic material for historians and militaria collectors.
hello everyone , how you've been?
i've been feeling kinda down lately , dont know why, my humor just changed one day and i've been like this for quite a while .
this quote "seeking a great perhaps" means a lot to me that i'm actually thinking of getting a tattoo of it just like in this picture.
i discovered it on the book "looking for alaska" that i'm about to read since i just got it in the mail today! if you read the book and now what the phrase its about you may now what im going through with my life, i'm seeking a great perhaps.
i'll make a blog post later about this , so you can know what it means to me and explain a little bit more.
ps. im thinking about doing a print giveaway, but i'm not sure. I dont know if people would enter.
Ask me anything or just say whatever is that you want to say :), maybe you want to cheer me up? or share a story maybe. formspring.me/monicacsalomon
EDIT: i wrote the blog post about this, go check it out: Blog: We are growing young .
Perhaps I was overjoyed when vaccination first rolled out back last Dec, and over optimistic by last June thinking the end of pandemic tunnel is not grimmed but bright and full of hope.
Just 2 short months later, it's all over again. Back in the tunnel. :( With this virus, nothing is too sure anymore. Stubborn resistance to vaxxing is in quite a number of places, for different reasons. But one troubles me the most. A number of nurses in some hospitals rather quit than give in to vaccination thru mandate. They demand freedom of choice. They rather walk off the job than to stay and fight the virus along with their colleagues. It's really mind boggling that these medical profession would have such low confidence in medical science which is the field they practicing.
So as long as the whole population not tune along together in this fight, the real end of tunnel is truly not as near as hoped.
Perhaps the most famous of all Spitfires still flying today, MH434 was built in 1943 at Vickers, Castle Bromwich.
Perhaps not technically in the same league as the Leyland Lowloader in the previous posting, but quite a significant vehicle in its own right as the type is almost extinct.
CIW 708 started out in life as an Hestair Dennis 'Dorchester' Demonstrator A767 HPF. Ths chassis type we to be the Guildford based firm's answer to the Leyland Tiger, but was even more solidly constructed. Power came from a mid mounted Gardner 6HLXCT and generally speaking the chassis were air suspended. Almost all of those built had Voith gearboxs, which may have been their undoing as they were nowhere near as drivable as the 5 speed semi-auto fitted to the majority of Tigers of the era. That said, they were probably better then Tigers fitted with manual boxes! I can't say for sure, but I believe they were slightly dearer than the comparable Leyland.
Bodywork was by Duple in this case who at the time were another Hestair company and to their 'Carribean' design. After its time as a demonstrator was over, it passed to the Warrington Coachlines fleet, a division of the Municipal operator. It's perhaps fitting then that it now resides not too far from that town in neighbouring St. Helens.
Perhaps one of the best way to cool off after being roasted under the scorching sun setting record high of 108F, 42C in Austin...
Lucy is a pit bull, she jumps without hesitation and swims like a champ!
Last light of the scorching sun at Austin Lady Bird Lake
Austin, Texas
Sometimes the only way to high art is through deep pockets.
Perhaps this occurred to Andy Warhol when BMW asked him to paint its M1 Group 4 race car in 1977. Warhol, already a superstar, was constantly fascinated with the melding of the commercial and the artistic. BMW was happily molding America as its largest export market.
In the past 40 years, there have been just 17 BMW Art Cars, on average one every three years. Out of all of its Art Cars, this M1 -- already nearly priceless as an automobile, let alone one breathed upon by the most recognizable name in modern art -- is BMW's most expensive and valuable. Recently, it was shown for just two days at Paris Photo LA at Paramount Studios, the prestigious art festival's first foray outside France.
It was there that we spoke with Thomas Girst, whose official title is "Head of Cultural Engagement" for BMW Group. He earned a PhD in Art History from Hamburg University and studied at NYU, where he focused on the conceptual artist Marcel Duchamp. At BMW, he acts as the curator of its collection of Art Cars. Girst readily admitted that the reason BMW's cultural department exists -- the reason he is able to stay employed -- is purely to further the aims of BMW: "It would be negligent to say that we're doing this for philanthropic or altruistic reasons, it's really about the image, the reputation, the visibility of the brand, as well as, really, being a good corporate citizen.
"Because the way companies are being looked at from the outside now doesn't really have to do with the core business, but what do they give back to society? So, culture is one of these things."
There's an air of validity in such honesty. Girst never was a car guy, but he slowly became one: After watching the engineers and designers in Munich collaborate on BMWs, he came to understand why artists in the early 1900s fell in love with the automobile. A great, tremendous statue, "our sculpture of the 20th century," according to the Futurist Manifesto of 1909, a statement extolling a new artistic philosophy. It was the world's splendor "enriched by a new beauty: the beauty of speed --" one of the first public love letters to the automobile. Certainly the famed BMW designer Chris Bangle thought so, drawing his inspiration from the Manifesto and citing automobiles as "mobile works of art." One can only help but wonder the discussions Bangle and Girst might have had in the BMW staff-room cafeteria.
Warhol also dabbled in automotive experimentation. His fascination with Pop Art and seemingly innocuous objects expressed itself in Campbell's Soup and Elvis Presley, but he also touched upon cars; much like his work Eight Elvises, he created images of Pontiacs, Cadillacs, Buicks. All of these were created in the early 1960s, just when he was starting to lay the groundwork of his legendary Factory. "The reason I'm painting this way," he said in 1963, "is that I want to be a machine, and I feel that whatever I do and do machine-like is what I want to do … everybody should be a machine."
It's ironic that Warhol himself laid paint on the M1, explained Girst, as his Factory was partially about detaching the artist from the work. The traditional artist was dead, he theorized; painting by hand was a relic, and art could be made on an assembly line.
But then this was a car, a product reproduced perfectly on an actual assembly line. Warhol, painting it by hand and by himself, stood in stark contrast to his work at the Factory. Nick Perry writes in Hyperreality and Global Culture, "confronted with so consummate a work of mechanical reproduction, both Warhol's artistic practice and his verbal response were tantamount to confirming the irrelevance of the traditionally modern conception of the artist … Warhol observed that 'I adore the car, it's much better than a work of art.' "
Prior artists had painted a scale model of the car, then had their artwork laboriously transferred to the full-size model. But Warhol insisted on painting the car himself, dipping his fingers into the paint, daubing it on with a foam brush, smelling its intoxicating fumes, feeling the bodywork with his own hands. His signature is on the car, signed with his finger right by the exhaust.
Warhol needed just 24 minutes to paint the car, in a shop outside of Munich. By the time the television crews had rolled in, he was finished. "Should I paint another car?" he asked, pointing at a brand-new BMW, one that was belonged to the man who owned the paint shop.
"Over my dead body," the owner replied.
"He hates me when I tell that story," said Girst, "because he's still very embarrassed about that -- that he didn't let Andy Warhol paint his car, and turn it into an artwork."
Warhol's paint gleams in the spotlights, its hues contrasting sharply like a cartographer's first draft; streaks of different hues the width of a finger scatter across the solid patches like creased and crumpled paper. "I tried to portray a sense of speed," said Warhol. "When a car is going really fast all the lines and colors become a blur."
Warhol painted some additional body panels in those 24 minutes -- spare bumpers and side moldings, not as souvenirs but for a very specific purpose. Two years later, in 1979, the car entered the 24 Hours of Le Mans with Manfred Winkelhock, Marcel Mignot and Hervé Poulain driving.
We have Hervé Poulain to thank for this intersection of avant-garde -- sometimes as bizarre as encasing the corporate product in a trellis of ice -- and corporate governance. Poulain loved contemporary art as much as he loved racing; he was already a successful art collector an auctioneer. In 1975, he had approached BMW motorsports manager and father of the M1 Jochen Neerpasch with an unusual proposition: What if they raced a BMW that was painted by a great artist? Neerpasch, it turned out, was just as crazy on the idea as Poulain. In 1975, the sculptor Alexander Calder painted the first BMW Art Car -- the 3.0 CSL, known affectionately as the "Batmobile." Calder was already a sculptor, the man who invented the mobile, in fact -- and what was the BMW if not a kinetic sculpture of another kind?
Poulain personally drove Calder's Batmobile in Le Mans that year, along with Jean Guichet and Sam Posey, the latter a legend in himself. The car suffered driveshaft issues and was retired early, and was never raced again. Calder died a year later, in 1976; the BMW was his last work.
Warhol's M1 was more successful. With Poulain, Winkelhock and Mignot behind the wheel, the car successfully completed 288 laps at Sarthe -- coming in 6th overall, and 2nd in its class. During the course of the race it made contact numerous times, which is when Warhol's spare bumpers came in handy. (Primered bodywork on the M1 itself would be as a mole on the Mona Lisa.) Next to Roy Lichenstein's Group 5 320i. It finished first in its class, also driven by Poulain -- this was the most successful Art Car to date.
There was something special about the first four Art Cars: They were based exclusively on race cars raced at the grueling endurance level, and always after they were painted. Priceless works on parade in the quickest way possible, they captured the public's imagination before the public would bicker loudly about what truly constituted art. They fueled a discussion kicked off by Girst's beloved Duchamp.
Poulain continued to be a successful art auctioneer and race-car driver, penning five books on the intersection of the two. Neerpasch went on to manage Sauber-Mercedes during its Le Mans conquests, where he discovered a young, obscure upstart by the name of Michael Schumacher.
That brings us neatly to today. When the Warhol M1 was brought to Hockenheim in 2009 to celebrate Thirty Years of the BMW M1, artist and Art Car alumnus Frank Stella drove the M1 in an homage race. Girst was aghast. "I said, 'look, we shouldn't drive that car because it's worth so much and it's such a great artwork. I'm going to tie myself to the car like how Greenpeace ties itself to trees.' "
But the cars belong on a racetrack, after all, something that Girst eventually acknowledged. Still, what's the value of Warhol's M1? We asked Girst. "Well," he laughed, "we would ask you to estimate that."
The car still runs, its mighty 470-hp M88 inline-six intact, but there are ignition problems and the car hasn't been fired up since that 2009 outing. Not to say that it's not busy: Inquiries for Art Cars come worldwide. It is shipped from museum to museum depending on which curator organizes an artist's retrospective -- no dealership displays here, Girst stressed.
Maybe that ignition remains broken for a reason. "Can you imagine someone driving off with it?" Girst smiled. "It would be the greatest art heist of the century."
[Text from Autoweek]
autoweek.com/article/car-life/close-andy-warhols-bmw-m1-a...
This Lego miniland-scale BMW M1 Procar Racer - Art Car #4 (1979 - And Warhol), has been created for Flickr LUGNuts' 90th Build Challenge, - "Fools Rush In!", -
to the subtheme - "Art Car 2015!". The 90th build challenge presenting 13 different subthemes to choose to build to.
Afternoon sunlight was bathing this suburban pomegranate as we passed on our walk. Unusual to see them in suburban Brisbane.
Speculation or research indicates that the forbidden fruit in the Garden of Eden was definitely not the apple as so often stated. There is a range of other fruit as well as other concepts of what was meant by the words in the book of Genesis in the Bible. Of the possible fruits, pomegranate is one...just not the apple! Ok!
Mooching about Wansford is British Rail Class 50, 50008 'Thunderer'.
Perhaps one of the most legendary diesels to hit the UK rails, the Class 50's became a staple of the British Rail diesel fleet, and became the mainstay of many important routes well into the 1990's.
The origins of the Class 50 lie in an invitation from the British Transport Commission (BTC) to manufacturers to produce a design for a Diesel locomotive with a gross power output of at least 2500hp. In order to produce a prototype quickly, English Electric based their design on that for their Deltic locomotives which were then in production. Other parts related to another current design, the Class 37s were also used. The result was DP2, a 2700hp Diesel-electric locomotive weighing 107 tons and with a top speed of 100mph. The prototype was delivered to British Rail in May 1962
The prototype was deemed successful and negotiations took place with English Electric for a production batch of 50 locomotives for use on the Eastern Region. English Electric intended to build the new batch as similar to DP2 as possible but the British Railways Board (successor to the BTC) had produced a standard locomotive cab with a flat front and headcode box and also had specific requirements relating to the engine room and other equipment. English Electric produced several alternative front-end designs including one with a wrap-around windscreen but the standard front-end design was eventually adopted for the class.
The complete production run of 50 locomotives was built in just over a year and numbered from D400 to D449. D400 entered service in October 1967 and deliveries were completed with D449 in November 1968. Unusually, the ownership of the locomotives remained with the manufacturer and they were operated by British Rail on a 10-year lease which included certain stipulations relating to availability.
The class was built for working passenger services on the West Coast Main Line (WCML) north of Crewe, to Preston, Lancaster, Carlisle and Glasgow Central. Services south of Crewe would generally be worked by an electric locomotive, with the Class 50s taking over for the journeys that continued north. Initially trains were hauled by a single locomotive, but from May 1970 they were paired on most Anglo-Scottish services north of Crewe, allowing greatly accelerated timings to be applied (including a six-hour schedule for the "Royal Scot" London Euston-Glasgow Central and v.v. service). Once the electric service was introduced as far as Preston, this double-heading by Cl.50s transferred there, although poor availability often resulted in single-heading with consequent delays. The ability to operate using multiple working had been part of the locomotive's initial design brief, but only two of the class had the facility from new, but with the introduction of the regular double headed duties, this facility was fitted to the whole class.
By 1974 the northern WCML was electrified, and the Class 50 fleet was displaced by new Class 87 electrics. The fleet was transferred to the Western Region, working mainline passenger services from London Paddington along the Great Western Main Line to destinations such as Oxford, Bristol Temple Meads, Plymouth and Penzance. It was not unusual for locomotives to work services on other routes, such as the Birmingham New Street to Bristol Temple Meads corridor. The introduction of the Class 50s on these routes enabled the last remaining, non-standard, diesel hydraulic "Westerns" to be withdrawn.
In the late-1970s, following a period where the policy of locomotive naming had been abandoned, BR were persuaded to name the class 50s after Royal Navy Vessels with notable records in the First and Second World Wars. As a result, the first locomotive naming occurred in January 1978, when 50035 was named Ark Royal by the captain and crew of then current aircraft carrier HMS Ark Royal. The rest of the fleet was named during the course of the next few years.
From 1977, British Rail introduced the Class 253 High Speed Trains onto the Great Western Main Line which began the displacement of the Class 50 fleet onto other routes, such as services to Birmingham New Street from London Paddington and Bristol Temple Meads. The class also found work on the West of England Main Line from London Waterloo to Salisbury, Exeter and Plymouth. However, due in part to the over-complexity of the design, the class was plagued with reliability problems. As a result, the decision was taken in the late 1970s to refurbish the entire fleet.
To deal with increasing reliability problems, the Class 50 fleet was refurbished at Doncaster Works between 1979 and 1984. Doncaster had taken responsibility for the fleet after BR completed the purchase of the locomotives from English Electric. The work involved simplifying the complex electronics and removing redundant features such as slow speed control and rheostatic braking. In addition, the air intake fan arrangement was modified, because the original setup often prevented fresh air from entering the engine room and stale, oil mist-filled air from escaping, leading to many main generator failures. This was in part due to the moisture in the air in the UK: dust and other particles would lodge in the filter system and become 'gummed up' with moisture, preventing circulation which in turn also hampered the intended engine compartment pressure levels which then meant 'filtered' air could not be evacuated by the intended means. The filtration system was fundamentally sound and widely used in other countries; the problems arose because relative humidity had not been taken into account at the design stage. This modification eliminated the characteristic "sucking" noise which had earned the "Hoover" nickname.
Externally, the locomotives all received high-intensity headlights, which changed the appearance of the front end. Starting with 50006, the first six locomotives were outshopped in the standard BR Blue livery. However, in 1980, 50023 Howe became the first to be outshopped in a revised livery with wrap around yellow cabs, large bodyside numerals and BR logo, in a livery that became known as BR Blue Large Logo. The final loco to be refurbished was 50014 which was released to traffic in the latter half of 1983.
Following refurbishment, the fleet was concentrated at two depots; Laira in Plymouth, and Old Oak Common in west London. The class were again used for Western Region services on the GWML out of Paddington, and on the West of England Main Line from Waterloo to Salisbury and Exeter.
In 1984, 50007 Hercules was repainted into lined Brunswick green livery and renamed Sir Edward Elgar, to commemorate the 150th anniversary of the Great Western Railway (GWR). Four Class 47 locomotives were similarly treated, and a Class 117 diesel multiple unit (DMU) was repainted in chocolate and cream livery. As a result, 50007 quickly became a favourite with rail enthusiasts. Another locomotive repainted in a special livery was 50019 Ramillies, which was repainted in a variation of BR Blue by staff at Plymouth Laira depot.
In 1986 the West of England Main Line came under the control of the Network SouthEast (NSE) sector, which saw the introduction of their bright blue, red and white livery. The first locomotive in this livery was again 50023 Howe. The NSE livery had two versions; the original had upswept red and white stripes and the ends, with a white cab surround; the revised livery introduced in 1988 had the red and white stripes continue to the body ends, with a blue cab surround. In the revised livery the blue became a darker shade.
Towards the end of the 1980s, the fleet could be found mostly on the West of England route, as well as fast services from Paddington to Oxford. Some locomotives were also transferred to the civil engineers department to work maintenance and engineering trains. Around this time, the first locomotives were withdrawn, starting with 50011 Centurion in early 1987. This locomotive's nameplates were later transferred to 50040, which was previously named Leviathan. A further two locomotives, 50006 Neptune and 50014 Warspite were withdrawn in 1987, followed by a further five locomotives in 1988 (50010/13/22/38/47).
In 1987, consideration was given to using the class on freight trains. To this end, 50049 "Defiance" was renumbered to 50149, equipped with modified Class 37, lower-geared bogies and outshopped in the new trainload grey livery with Railfreight General decals. It was based at Plymouth Laira depot, and tested on local china clay trains in Cornwall as well as heavy stone trains to London from Devon quarries. The project was, however, not an outstanding success, and by 1989, the locomotive had returned to its original identity. Ironically, the electronic anti-wheelslip equipment (with which, the entire class had originally been built) which would have been key to the success of this experiment had been removed during the refurbishment process.
At the start of the 1990s, the reliability of the fleet became a problem again. By this time, the class was solely used on the West of England route, having been replaced on the Oxford route by Class 47/7 locomotives. Arguably, the Class 50s were not suitable for the stop-start service pattern of Waterloo-Exeter services, nor to the extended single-line sections of this route, where a single locomotive failure could cause chaos. Therefore, the decision was taken to retire the fleet, temporarily replacing them with Class 47 locomotives, which were in turn replaced by new Diesel Multiple Units. From 1992, the Oxford route was worked by Class 165 and Class 166 units, whilst Class 159 units were introduced onto the West of England route in 1993.
By 1992, just eight locomotives remained in service, these being 50007/008/015/029/030/033/046/050. Several of these locomotives were specially repainted to commemorate the run-down of the fleet. The first-built locomotive, 50050 Fearless was renumbered D400 and painted in its original BR Blue livery. Two other locomotives, 50008 Thunderer and 50015 Valiant were also repainted, the former in a variation of BR Blue (the same as 50019 had previously carried), and the latter in "Dutch" civil-engineers grey/yellow livery. Of the final eight locomotives, three were retained until 1994 for use on special railtours, these being 50007 Sir Edward Elgar, 50033 Glorious and 50050 Fearless. 50007 was returned to working order using parts from 50046, which surrendered its recently overhauled power unit and bogies. By this time, 50050 had been repainted into Large Logo livery and 50007 also received a repaint into GWR green as the 1985 paint was wearing very thin. The final railtours operated in March 1994, during one of which 50033 was delivered for preservation at the National Railway Museum. The final railtour operated with 50007 and 50050 from London Waterloo to Penzance and returning to London Paddington. Both locomotives were later preserved.
Class 50 locomotives proved popular with rail enthusiasts, with eighteen locomotives saved for preservation and several subsequently registered for use on the mainline.
Just another neighborhood shot. Columbus Ave, South End, Boston.
p.s. Fiddlehead Brewing Company makes some exceptional and very hoppy regular and imperial IPAs.
Without the torch you lift in your hand
that others may not see as golden,
that perhaps no one believed blossomed
the glowing origin of the rose,
without, in the end, your being, your coming
suddenly, inspiringly, to know my life,
blaze of the rose-tree, wheat of the breeze:
and it follows that I am, because you are:
it follows from ‘you are’, that I am, and we:
and, because of love, you will, I will,
We will, come to be.
-Pablo Neruda ( Nobel Laureat Chilean Poet (1904-1973)
Our Daily Challenge - "Grow":
Either that, or they knew they were sending these babies to Texas where everything is BIG. Easily the biggest apple I have ever seen...and my fave...a honeycrisp! I'm salivating, just looking at it.
Nikon D5000, 50mm
Perhaps returning to Ireland, a passenger is waved off as the driver of 40026 gets his mighty machine underway from Chester, heading the 11:05 Manchester Victoria to Holyhead, and closely observed by another intending passenger for another service, on 28th June 1980. With just weeks to go before its withdrawal during August of that year, she was cut up at Swindon in June 1983. The planned name for this locomotive was 'Media' but this was never carried, and 40026 was the only Class 40 to not carry a name out of the batch 40010-40035, intriguing many railfans of the day with the resultant gap of names in the Ian Allan ABC!
© Gordon Edgar - All rights reserved. Please do not use my images without my explicit permission