de Havilland Canada DHC-1 Chipmunk
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Mostar old town, Bosnia and Herzegovina.
Copyright © Piotr Gaborek. All rights reserved!! Please do not use this image on websites, blogs or any other media without my explicit written permission.
The former administration building of the Textile Trade Association (Textilberufsgenossenschaft) at Volkhartstraße 6
"Three-part building with central eight-storey high-rise, concrete skeleton with brick infill, by Robert Pfaud, 1949-1952" de.wikipedia.org/wiki/Liste_der_Baudenkm%c3%a4ler_in_Augs...
Sausalito is a city in Marin County, California, United States, located 1.5 miles southeast of Marin City, 8 miles south-southeast of San Rafael, and about 4 miles north of San Francisco from the Golden Gate Bridge.
Sausalito's population was 7,269 as of the 2020 census. The community is situated near the northern end of the Golden Gate Bridge, and prior to the building of that bridge served as a terminus for rail, car, and ferry traffic.
Sausalito developed rapidly as a shipbuilding center in World War II, with its industrial character giving way in postwar years to a reputation as a wealthy and artistic enclave, a picturesque residential community (incorporating large numbers of houseboats), and a tourist destination. The city is adjacent to, and largely bounded by, the protected spaces of the Golden Gate National Recreation Area as well as the San Francisco Bay.
IN ENGLISH BELOW THE LINE
Tot i la seva accidentada historia, en especial al s. XX, Varsòvia conserva bona part de les seves muralles medievals, molt més que, per exemple Cracovia, que en tenia molt més longitud i quedà intacte durant les guerres. Per descomptat ha estat reconstruida, com la resta de la ciutat, de fet. I aquest és el sector nord, el més ben conservat, i la barbacana domina tota la zona.
es.wikipedia.org/wiki/Barbacana_de_Varsovia
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Despite its turbulent and violent history, especially in the 20th century, Warsaw retains a good part of its medieval walls, much more than, for example, Krakow, which had much longer walls and remained intact during the wars. And this is the northern sector, the best preserved, with the barbican as the most relevant part of it.
Typical postwar architecture you can find in the city of Nijmegen. The city was bombed by mistake by the allies of World War II
Hiroshima, Nagasaki and the unconditional surrender… The Japanese postwar days started in August, 1945. So the summer always reminds us of the war with the continuous chorus of cicadas.
Website: TORU UKAI Photography
1951 Talbot-Lago Saoutchik designed T-26 Coupe'. A very sensuous art deco design to begin the second half of the 20th century. The engine and drive train are the same as the Talbot-Lago that won outright the 1950 Le Mans 24 hour race, so a quick and reliable......and gorgeous ride.
Founded by cabinet maker Jacques Saoutchik (born Iakov Savtchuk in Russian Empire in 1880), Saoutchik was a French coachbuilding company founded in 1906. In the 1930s, the company became well known for their often extravagant automobile designs for high end luxury car manufacturers. After Jacques died in 1955, the company passed into the hands of his son Pierre. With most of the well known French luxury car manufacturers going out of business and independent automotive coachbuilding as an industry in decline, the market for Saoutchik designs evaporated and the company ceased trading in 1955.[1]
The company was known for designing flamboyant and expensive automobile bodies for brands such as Bugatti, Delahaye, Pegaso, Hispano-Suiza Talbot-Lago and others. (WP)
AS ALWAYS....COMMENTS & INVITATIONS with AWARD BANNERS will be respectfully DELETED!
The Spacelander is a marvel of postwar biomorphic design. Its curving lines and amoeba-like voids represent the mutation of the prewar streamlined style into a new expression based on organic, rather than machine-made, forms. Although the prototype—made for a 1946 exhibition of British industrial design—was a critical success, Benjamin Bowden failed in his attempts to have it manufactured. By the time it finally went into production in the United States in 1960, tastes had changed and the price of the bicycle—$89.50—was too high. It is believed that only about five hundred examples were ever sold, making it one of the rarest and most sought-after industrial designs of the mid-twentieth century. When new, this bicycle was bright red; the color has faded over time
"Das Augsburger Finanz- und Hauptzollamt befindet sich am Prinzregentenplatz im Bahnhofsviertel. Nach der Zerstörung des Vorgängerbaus [...] bei den Luftangriffen auf Augsburg im Februar 1944 wurde das Finanz- und Hauptzollamt in den Jahren 1953 und 1954 [...] wieder errichtet. Es ist ein wichtiges Zeugnis der Nachkriegsarchitektur in Augsburg." de.wikipedia.org/wiki/Finanz-_und_Hauptzollamt_(Augsburg)
These buildings of the Augsburg revenue and customs authorities erected in the years 1953-54 are a beautiful example of the city's post-war architecture. The predecessor buildings had been destroyed during the bombing raid of 25/26 February 1944.
Post war, Modernist structure.
A target for graffiti and associated defacement.
LR4255 © Joe O'Malley 2022
IN ENGLISH BELOW THE LINE
Acabant'se la Segona Guerra Mundial, el regim feixista de Franco va temer (i per desgracia no fou així) una invasió aliada. Per això es fortificaren de punta a punta els Pirineus, amb una serie de fortificacions de formigó anomenades, amb "molta" imaginació, Linea P. Localment també s'ha conegut com Linea Gutierrez o Perez, potser com a broma.
Just sota Camprodon n'hi ha un sector força interessant. Hi ha diversos bunquers des del "Coll de Camprodon" seguint la carretera C38 fins al riu Ter en el punt on la plana desapareix del tot. Obviament, tot i "cedir" Camprodon, es un punt estrategic clau, ja que la carretera queda atrapada entre els cingles i el riu.
Aquest és un dels bunquers d'ametralladores que es troba més cap a dins del bosc.
A Martinet de Cerdanya es pot visitar un sector de la linea, el CR 53, al Cabiscol.
ca.wikipedia.org/wiki/L%C3%ADnia_P
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As the III Reich was losing World War II, their friends in the spanish fascist regime of Franco were afraid of an allied invasion (which never came, sadly). So they built a fortified line along the Pyrenees. It was much less impressive than the Maginot or Siegfried lines, but at least the mountains gave it a difficult terrain all arround. It was known as Linea P, "P-Line".
Just below Camprodon there is a quite interesting sector. There are several bunkers from the "Coll de Camprodon" following the C38 road to the river Ter at the point where the plain disappears completely. Obviously, despite "yielding" Camprodon, it is a key strategic point, since the road is trapped between the cliffs and the river.
This is one several bunkers that could be found deeper in the forest, but still controling the road south of Camprodon.
In Martinet de Cerdanya, a sector of the line (the CR-53) is open to the public and restored.
Laundry day on a post war estate.
Note the telltale chimney dating to a time before the clean air act.
LR4246 Joe O'Malley 2022
ENG: The elegantly curved staircase in the Bayer-Haus on Kurfürstendamm impresses with its clean lines and striking design. Built in 1951–52 by Hans Geber and Otto Risse, the building is one of West Berlin’s early postwar structures and is now a designated historic landmark. A fine example of the high-quality architecture of the 1950s.
•
GER: Das elegant geschwungene Treppenhaus im Bayer-Haus am Kurfürstendamm beeindruckt mit seinen klaren Linien und dem markanten Auge. Das 1951/52 von Hans Geber und Otto Risse errichtete Gebäude zählt zu den frühen Nachkriegsbauten West-Berlins und steht heute unter Denkmalschutz. Ein schönes Beispiel für die hochwertige Architektur der 1950er Jahre
Somewhere in a private owned forest in Belgium.
The Ryan (originally North American) Navion is and single-engine, unpressurized, retractable gear, four-seat aircraft originally designed and built by North American Aviation in the 1940s. It was later built by Ryan Aeronautical Company and the Tubular Steel Corporation (TUSCO). The Navion was envisioned as an aircraft that would perfectly match the expected postwar boom in civilian aviation, since it was designed along the general lines of, and by the same company which produced the North American P-51 Mustang.
In 1948, Jaguar launched its first postwar sports car, the XK120. With a sophisticated dual-overhead cam 3.4-liter straight-six engine and curvy, aerodynamic bodywork, the car was a sales hit—and was also discovered to be a significant race car in the hands of privateer drivers. Noting this performance, Jaguar decided to build a variant of the XK designed specifically with an eye toward competition. First referred to internally as the XK120C, the car was ultimately different enough from the XK120 that its name changed to C-Type ('C' standing for Competition).
Jaguar C-Type And XK120 Differences
While the XK120 was a capable car (the '120' designating top speed in miles per hour), the C-Type's aim was light weight and slippery aerodynamics to achieve the highest top speed possible for longer racetracks like Le Mans. Whereas the XK120 was based on a heavy steel chassis derived from the Mark V sedan, and used ash wood framework to hold its aluminum body panels, the C-Type had a new lightweight tube frame chassis, one of the first of its type, and Malcolm Sayer-designed alloy bodywork with a more aero-efficient design. The 3.4-liter twin-cam straight-six engine remained, but was given an improved cylinder head, more aggressive camshaft profiles, a dual-exhaust system and unique pistons to bump output from 160 hp to just over 200 hp. With a significantly lighter curb weight than the XK120 road car, the C-Type was an instant performer.
C-Type At Le Mans
The first three cars produced in 1951 were almost immediately sent to the 24 Hours of Le Mans to be tested against the competition. Two of the C-Types failed to finish, but the third car driven by Peter Walker and Peter Whitehead won the endurance race outright, making the C-Type the first British car to win the event in some two decades, setting several speed and distance records in the process. In 1952, C-Type customer car deliveries began, and the twin SU carburetors were upsized slightly, while the car's bodywork and cooling system were also revised. Jaguar's factory motorsports team again ran three cars at the 1952 Le Mans, but all retired with mechanical issues.
In 1953, Jaguar again built three new factory racers with further weight reduction thanks to thinner aluminum bodywork, lending them an unofficial "lightweight" designation. Triple Weber carburetors and higher-lift cams helped bump power to 220 hp, while the rear suspension was slightly revised and Dunlop disc brakes (a rarity in '53) replaced the previous drum units. The factory "lightweight" C-Types finished first, second, and fourth at the 1953 24 Hours of Le Mans. In the end, some 53 C-Types were built before the model was replaced by the even more specialized Jaguar D-Type for the 1954 racing season. Despite the arrival of the D-Type, a C-Type fielded by privateer team Ecurie Francorchamps finished fourth overall in the 1954 24 Hours of Le Mans.
The Jaguar C-Type was really the brand's first all-new postwar race car and as such, it was driven by many of the luminaries of the period including the late Sir Stirling Moss and American Formula 1 champion Phil Hill. Hill said of the C-Type, "I was just in awe of the C-Type when I first stepped into it. When I look back on it now, it makes me smile. The steering was light-almost scary light. It was the first car I ever drove that had a really precise feel about it-it really felt like a racing car." Just three of the special 1953 "lightweight" cars were ever built, though some cars were later modified to lightweight specification.
With just 53 Jaguar C-Types ever having been built between 1951 and 1953, and their competition legacy being what it is, you might guess that you'd have not only a hard time finding a C-Type for sale, but also affording the asking price. You'd be right on both counts. Jaguar C-Types are rare and expensive, most have been raced hard, and some have been involved in significant accidents along the way. The most expensive and desirable C-Types must be the three "lightweight" 1953 factory racers and the 1951 Le Mans winner, while privateer cars with particularly successful or interesting racing histories will also be toward the top of the pecking order.
Motor Trend
A successful, postwar, French multipurpose type. More than 300 were built, and a number remain active today, although this is apparently the first time one has ever displayed at a UK airshow. This was after 8pm in the low evening sun, and it looked absolutely gorgeous.
ENG: The elegantly curved staircase in the Bayer-Haus on Kurfürstendamm impresses with its clean lines and striking design. Built in 1951–52 by Hans Geber and Otto Risse, the building is one of West Berlin’s early postwar structures and is now a designated historic landmark. A fine example of the high-quality architecture of the 1950s.
•
GER: Das elegant geschwungene Treppenhaus im Bayer-Haus am Kurfürstendamm beeindruckt mit seinen klaren Linien und dem markanten Auge. Das 1951/52 von Hans Geber und Otto Risse errichtete Gebäude zählt zu den frühen Nachkriegsbauten West-Berlins und steht heute unter Denkmalschutz. Ein schönes Beispiel für die hochwertige Architektur der 1950er Jahre.
The need to change, to become a human being, to extract myself from the self-inflicted carnage, murder and mind-boggling falsehood that reigned 1933 to 1945. This is certainly one of the permanent themes of my life since I was able to think for myself. And hard work it was, too hard if you ask my children. Too much energy went into this ferocious process of distancing myself from the world of the previous generation and, therefore, leaving limited space only for the needs of the up and coming next generation. You see, when you extract yourself from a nightmare, you do not end up in dreamland. The job of becoming a human being, a "Mensch", is not yet finished, neither there nor here in the UK, the country of my choice. Fuji X-Pro1 plus Samyang telefoto lens at F11.
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The Third Man | Official Trailer
Mein Herr, Ballon? (from The Third Man, 1949)
The Third Man (1949) - ... If one of those dots stopped moving forever
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When writer Holly Martins arrives in Vienna to visit his old friend Harry Lime, Lime is being buried. However, Martins discovers that Lime is alive and well and staged his death so that he could pursue his black market business in stolen penicillin.
In Carol Reed's classic crime film, based on a story by Graham Greene, destroyed Vienna is the true protagonist. Cameraman Robert Krasker expressively filmed the countless ruins, dark alleys and, in the gripping finale, even the city's sewage system. The atmospheric density is complemented by Anton Karas' world-famous zither theme and Orson Welles' brilliant delivery.
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"A Cartful Of Clowns" by artist: Ioan Bolborea (2010).
Background: Postwar modernist Grand Hotel Bucharest.
Design (1967): Dinu Hariton; Gheorghe Nădrag; Ion Moscu; Romeo Belea.
Half a postwar Ford atop the pile, on a cold and windy winter night at Big M Auto Salvage, February 2020. Those big trees were really moving. A couple of minutes of full moon and a little warm white flashlight.
The theme for “Smile on Saturday” this week is “one point perspective”, so I decided to set up my favourite chess set read to go into battle showing one point perspective using parallel lines that lead us towards the background. The two opposing armies of chess pieces have created the effect of the lines merging closer together towards the background as they lead towards the vanishing point.
These beautifully created chess pieces behind it were all hand carved by my very gifted and clever maternal Grandfather in 1933. My favourite pieces in the set are the wonderfully carved Rooks and Knights. Over the years the wood in the white set has mellowed to a warm honey colour from the many games of chess that he played with the pieces. The black stain used has also withstood the many years of their use. The chessboard the pieces are on was also made by my Grandfather in 1952. Two chess sets, a draughts set and three chess boards made by my Grandfather were bequeathed to me as part of his estate when he died a few years ago.
In 1948, Jaguar launched its first postwar sports car, the XK120. With a sophisticated dual-overhead cam 3.4-liter straight-six engine and curvy, aerodynamic bodywork, the car was a sales hit—and was also discovered to be a significant race car in the hands of privateer drivers. Noting this performance, Jaguar decided to build a variant of the XK designed specifically with an eye toward competition. First referred to internally as the XK120C, the car was ultimately different enough from the XK120 that its name changed to C-Type ('C' standing for Competition).
Jaguar C-Type And XK120 Differences
While the XK120 was a capable car (the '120' designating top speed in miles per hour), the C-Type's aim was light weight and slippery aerodynamics to achieve the highest top speed possible for longer racetracks like Le Mans. Whereas the XK120 was based on a heavy steel chassis derived from the Mark V sedan, and used ash wood framework to hold its aluminum body panels, the C-Type had a new lightweight tube frame chassis, one of the first of its type, and Malcolm Sayer-designed alloy bodywork with a more aero-efficient design. The 3.4-liter twin-cam straight-six engine remained, but was given an improved cylinder head, more aggressive camshaft profiles, a dual-exhaust system and unique pistons to bump output from 160 hp to just over 200 hp. With a significantly lighter curb weight than the XK120 road car, the C-Type was an instant performer.
C-Type At Le Mans
The first three cars produced in 1951 were almost immediately sent to the 24 Hours of Le Mans to be tested against the competition. Two of the C-Types failed to finish, but the third car driven by Peter Walker and Peter Whitehead won the endurance race outright, making the C-Type the first British car to win the event in some two decades, setting several speed and distance records in the process. In 1952, C-Type customer car deliveries began, and the twin SU carburetors were upsized slightly, while the car's bodywork and cooling system were also revised. Jaguar's factory motorsports team again ran three cars at the 1952 Le Mans, but all retired with mechanical issues.
In 1953, Jaguar again built three new factory racers with further weight reduction thanks to thinner aluminum bodywork, lending them an unofficial "lightweight" designation. Triple Weber carburetors and higher-lift cams helped bump power to 220 hp, while the rear suspension was slightly revised and Dunlop disc brakes (a rarity in '53) replaced the previous drum units. The factory "lightweight" C-Types finished first, second, and fourth at the 1953 24 Hours of Le Mans. In the end, some 53 C-Types were built before the model was replaced by the even more specialized Jaguar D-Type for the 1954 racing season. Despite the arrival of the D-Type, a C-Type fielded by privateer team Ecurie Francorchamps finished fourth overall in the 1954 24 Hours of Le Mans.
The Jaguar C-Type was really the brand's first all-new postwar race car and as such, it was driven by many of the luminaries of the period including the late Sir Stirling Moss and American Formula 1 champion Phil Hill. Hill said of the C-Type, "I was just in awe of the C-Type when I first stepped into it. When I look back on it now, it makes me smile. The steering was light-almost scary light. It was the first car I ever drove that had a really precise feel about it-it really felt like a racing car." Just three of the special 1953 "lightweight" cars were ever built, though some cars were later modified to lightweight specification.
With just 53 Jaguar C-Types ever having been built between 1951 and 1953, and their competition legacy being what it is, you might guess that you'd have not only a hard time finding a C-Type for sale, but also affording the asking price. You'd be right on both counts. Jaguar C-Types are rare and expensive, most have been raced hard, and some have been involved in significant accidents along the way. The most expensive and desirable C-Types must be the three "lightweight" 1953 factory racers and the 1951 Le Mans winner, while privateer cars with particularly successful or interesting racing histories will also be toward the top of the pecking order.
Motor Trend
The de Havilland Chipmunk was the first postwar aviation project of de Havilland Canada.
Today, over 500 DHC-1 Chipmunk airframes remain airworthy with more being rebuilt every year.
In many respects similar to the pre-war Moth Minor in configuration, the Chipmunk used metal (mainly stress-skinned) airframe construction, allowing thinner wings and better performance, as well as giving greater durability. The Chipmunk was usable for aerobatic and instrument flying as well as basic training. Some 214 Chipmunks were built in Canada, a further 1,014 in Britain, and 60 in Portugal.
In 1948, Jaguar launched its first postwar sports car, the XK120. With a sophisticated dual-overhead cam 3.4-liter straight-six engine and curvy, aerodynamic bodywork, the car was a sales hit—and was also discovered to be a significant race car in the hands of privateer drivers. Noting this performance, Jaguar decided to build a variant of the XK designed specifically with an eye toward competition. First referred to internally as the XK120C, the car was ultimately different enough from the XK120 that its name changed to C-Type ('C' standing for Competition).
Jaguar C-Type And XK120 Differences
While the XK120 was a capable car (the '120' designating top speed in miles per hour), the C-Type's aim was light weight and slippery aerodynamics to achieve the highest top speed possible for longer racetracks like Le Mans. Whereas the XK120 was based on a heavy steel chassis derived from the Mark V sedan, and used ash wood framework to hold its aluminum body panels, the C-Type had a new lightweight tube frame chassis, one of the first of its type, and Malcolm Sayer-designed alloy bodywork with a more aero-efficient design. The 3.4-liter twin-cam straight-six engine remained, but was given an improved cylinder head, more aggressive camshaft profiles, a dual-exhaust system and unique pistons to bump output from 160 hp to just over 200 hp. With a significantly lighter curb weight than the XK120 road car, the C-Type was an instant performer.
C-Type At Le Mans
The first three cars produced in 1951 were almost immediately sent to the 24 Hours of Le Mans to be tested against the competition. Two of the C-Types failed to finish, but the third car driven by Peter Walker and Peter Whitehead won the endurance race outright, making the C-Type the first British car to win the event in some two decades, setting several speed and distance records in the process. In 1952, C-Type customer car deliveries began, and the twin SU carburetors were upsized slightly, while the car's bodywork and cooling system were also revised. Jaguar's factory motorsports team again ran three cars at the 1952 Le Mans, but all retired with mechanical issues.
In 1953, Jaguar again built three new factory racers with further weight reduction thanks to thinner aluminum bodywork, lending them an unofficial "lightweight" designation. Triple Weber carburetors and higher-lift cams helped bump power to 220 hp, while the rear suspension was slightly revised and Dunlop disc brakes (a rarity in '53) replaced the previous drum units. The factory "lightweight" C-Types finished first, second, and fourth at the 1953 24 Hours of Le Mans. In the end, some 53 C-Types were built before the model was replaced by the even more specialized Jaguar D-Type for the 1954 racing season. Despite the arrival of the D-Type, a C-Type fielded by privateer team Ecurie Francorchamps finished fourth overall in the 1954 24 Hours of Le Mans.
The Jaguar C-Type was really the brand's first all-new postwar race car and as such, it was driven by many of the luminaries of the period including the late Sir Stirling Moss and American Formula 1 champion Phil Hill. Hill said of the C-Type, "I was just in awe of the C-Type when I first stepped into it. When I look back on it now, it makes me smile. The steering was light-almost scary light. It was the first car I ever drove that had a really precise feel about it-it really felt like a racing car." Just three of the special 1953 "lightweight" cars were ever built, though some cars were later modified to lightweight specification.
With just 53 Jaguar C-Types ever having been built between 1951 and 1953, and their competition legacy being what it is, you might guess that you'd have not only a hard time finding a C-Type for sale, but also affording the asking price. You'd be right on both counts. Jaguar C-Types are rare and expensive, most have been raced hard, and some have been involved in significant accidents along the way. The most expensive and desirable C-Types must be the three "lightweight" 1953 factory racers and the 1951 Le Mans winner, while privateer cars with particularly successful or interesting racing histories will also be toward the top of the pecking order.
Motor Trend
Douglas DC-4-1009 (msn 42905/D4 23) Built postwar and flew with SAS as SE-BBA. Purchased by Avianca in 1953. Taken 4/73
Somewhere between postwar optimism and Cold War paranoia, Detroit built rocket ships for the highway and painted them candy colors.
Postwar Chevrolet pickup, late'40's to early '50's. Age and the weather have given this old beauty real character.
Postwar International truck cab, down some long dirt road in Nevada, overlooking a normally dry lakebed, flooded this cold and wet November. Red, white and yellow flashlight, with full moon, for 81-seconds.
The Grumman F8F Bearcat was the fastest piston-engine fighter used by the U.S. Navy during World War II, entering service just as the war was ending. Designed for rapid climb and short takeoff performance from aircraft carriers, it was a potent interceptor despite its late arrival. The Bearcat earned a reputation for agility and power, making it popular in postwar air races where it often set speed records. Its compact design and strong armament highlighted Grumman’s engineering prowess, bridging the era between propeller-driven fighters and the emerging jet age.
The 1961 Chrysler 300G was the final year for fins on the 300, marking the end of Virgil Exner's FlightSweep designs, but they did go out in a grand way!
Chrysler's first-generation Letter Cars hammered the competition during the 1955-'56 NASCAR seasons. The full-size fliers then went on to set speed records at Daytona in '57, prior to both the AMA ban on motorsports and NASCAR's embargo on elaborate fuel delivery systems. In spite of those two apparent setbacks, Chrysler continued to improve its top-of-the- line V-8 engine as well as the now-legendary luxury performance machine that engine came wrapped in. So, the mighty Letter Cars thundered on, in production form, at the command of well-heeled owners seeking grown-up thrills. By 1961, Chrysler had moved up the alphabet to the letter "G."
The post-'57 Letter Cars were no longer eligible for circle track racing, but the 300G was still a force to be reckoned with in street trim, thanks to performance equipment that not only sounded good—413 cubic inches, Cross-Ram, dual four-barrels—but backed it up with 375 or an optional 400 horsepower, delivering a 0-60-mph time of 8.2 seconds (Motor Life, April 1961). Though not the fastest time turned by contemporary road test periodicals, it occurred during a period when most full-size cars could barely achieve 60 mph in less than 10 or 11 seconds while simultaneously maintaining an air of luxury.
Today, the 1961 300G is among the legion of groundbreaking Mopar performance cars, respected for its stunning combination of power and styling. Its value is bolstered by low production numbers— just 1,280 hardtops and 337 convertibles were built. These cars remain in the upper stratosphere of postwar American collector cars, but prices in recent years have held steady. Is this your time to grab one of the few remaining pieces of Letter Car history? Here's what you should keep in mind when you begin to shop.
The Cross-Ram Induction system's 30-inch "Long Rams" hide the big 413 V-8 from view.
Engines
Chrysler engineers specified a 413-cu.in. wedge to go under the hood of every 300G. Introduced into the RB-Series of V-8s in 1959, the 413 had a 4.18-inch bore and a 3.75-inch stroke with a forged-steel crankshaft. Compression was advertised as 10.1:1 and the cylinder heads breathed through 2.08/1.60-inch intake/exhaust valves, while a .430-inch lift, 268-degree camshaft dictated valve action. Also included was a pair of Carter AFB four-barrel carburetors. There were, however, two versions of the 413 installed, which were differentiated by the intake manifolds.
Referred to as Ram Induction and initially appearing in 1960, the elongated aluminum intakes were designed based on much older principles involving resonance and its effect on a compression wave of, in this case, the fuel/air mixture. Though we won't go into greater depth regarding the physics here, intake tube length had a direct effect on the timing of the fuel delivery, or ramming, into each cylinder bore, maximizing engine output at certain rpm ranges.
A pair of Carter AFB four-barrel carburetors provide the fuel/air mix.
With these basics in mind, expansion of midrange output was the main target of the base 300G 413 and the engineers thus calculated 30-inch runners would be ideal. Referred to as the Long Ram intakes, they were designed to fit neatly under the hood and crisscross (hence the Cross Ram moniker) over the top of the engine, each fitted with a single four-barrel carburetor at the outboard location. In this configuration, the engine hit 375 hp at 5,000 rpm and 495 lb-ft of torque at 2,800 rpm, effectively providing passing power on demand without sacrificing full-throttle acceleration.
Optional was the high-performance Short Ram version. Though this intake system looked identical to the Long Ram at first blush, the separate internal runners measured only 15 inches in length, raising the engine's power band and enabling it to make peak horsepower at 5,200 rpm, with peak torque at 3,600 rpm. This meant that Chrysler's advertised Short Ram ratings were 400 hp and 465 lb-ft of torque.
Visually, a keen eye can spot the difference between the Long and Short Ram intakes. The Long Rams feature a visible valley between each pair of runners for the entire length; they also have a seven-digit casting number that begins with "19." Short Rams sport only a partial valley between runners; their seven-digit casting number begins with "21." Finally, Short Ram 413 engines were designed for those more interested in straight-line contests and are therefore the rarer of the two.
Transmissions
Backing either engine was the already-durable 727 TorqueFlite automatic, which was issued as standard equipment. Like other Chryslers of the day, the three-speed unit was shifted via pushbutton on the dash; it contained first and second gear ratios of 2.45:1 and 1.45:1, respectively. Replacing the French-made four-speed on the option chart was a floor-shifted three-speed manual, which is a relative rarity today. First and second gear ratios were 2.55:1 and 1.49:1; the two gears were not synchronized, making for some uncomfortable downshifts for the uninitiated. Furthermore, contemporary road tests complained of a long second-to-third gate while hinting that the better performer in transferring torque to the differential was the TorqueFlite.
Swivel front seats, upholstered in ventilated leather, were standard on the 300G.
Differential
The final transfer point for the torque from either engine was a standard 8.-inch open differential with semi-floating axles and a 3.23:1 final drive ratio, although some printed material suggests that a 3.15:1 ratio was employed when the three-speed manual was installed. While this unit was known for its durability, dealers were also able to provide a number of more highway-friendly or performance-oriented grear ratios, even if the optional Sure-Grip (positive traction) unit was installed on the assembly line.
Contemporary magazines reported an average mpg rating of 9 to 13 with a three-speed/3.23 arrangement, yet in terms of power off the line, both Motor Trend (8.3-second 0-60 mph) and Motor Life (8.2 seconds) stated that the 300G had more acceleration potential waiting to be unleashed if geared accordingly.
The center console provided some storage and housed a tachometer.
Chassis
Each 300G hardtop and convertible was derived from the New Yorker, which meant they shared the same basic unit-body/subframe platform and 126-inch wheelbase; however, the similarities were limited beyond that. For instance, though an independent front torsion bar suspension system was used, the 44 x 1.08-inch torsion bars were thicker and 40 percent stiffer than those on other Chryslers, rated for 175 lb-in. The same can be said of the rear semi-elliptic leaf-sprung suspension, rated for 135 lb-in (or 50 percent stiffer) than those on the New Yorker. For reference, the rear springs were comprised of seven leaves, measuring 60 x 2.50 inches. Power steering, with its 15.7:1 gear ratio, was also standard equipment, as were heavy-duty shocks.
In short, the chassis was engineered and better suited for high-speed highway travel and maneuverability rather than a short drive across the city. It could also handle short, quarter-mile blasts if, as discussed, geared accordingly.
Brakes
Although equipment upgrades were made in other areas, the hydraulic drum-brake system was the same as found in the New Yorker series. Drum brakes, measuring 12 x 2.50-inches, were utilized at each corner. Power assist was standard, so stopping the roughly 4,200-pound performer was easier; however, as with other drumbrake systems, each corner needed to be adjusted equally to prevent directional pull during sudden stops. Additionally, Chrysler employed two wheel cylinders per front assembly—a fact to keep in mind when seeking replacement parts.
Wheels and Tires
Unlike the previous 300F, the new 300G was bestowed with larger 15 x 6-inch pressed-steel wheels, which were then shod with 8.00-15 Goodyear Blue Streak "racing-type" tires that featured white sidewalls. According to one report, the width of the whitewall itself ranged from 3- to 3 3/16-inches. Vented "300" wheel covers completed the ensemble, and no options were available.
Body and Interior
Styling updates made to the '61 Chryslers, including the 300G, probably did more to generate higher sales than printed virtues touting the fleet's combination of power and comfort, marking the end of Virgil Exner's FlightSweep designs. The changes began with a complete revamp of the front end, where the grille was simply inverted. The top-to-bottom inward canted grille sides were harmoniously complemented by equally canted quad headlamps, running lamps, and bumper ends, while also matching the angle of the rear fins— which were also slightly redesigned. At the opposite end, the faux spare tire decklid inlay was scrapped, providing a cleaner expanse of sleek sheetmetal. Other than appropriate badging denoting the letter "G," little else appeared to change on the 219.8-inch-long body; the greenhouse and rear fenders were carry-over items, with the exception of the leading edge of the fins found on each door.
Interiors remained exquisitely plush. A full-length, front-to-rear tunneled center console divided the interior in two, creating four truly individual buckets seats wrapped in ventilated leather. Those front seats retained the swivel feature, making for easy ingress/egress, while the console was trimmed with ample amounts of chrome and padded armrests that flipped open to expose additional storage areas. The console also housed optional power window controls, ashtrays, and a tachometer.
Primary instruments resided in a dome-like, easy-to-read bubble; potential glare concerns were eliminated by means of a matching padded dash arch. The transmission's pushbutton controls resided to the left of the instrument cluster, balanced by radio, heat, and air controls to the right. Comfort and convenience options included power seats, power antenna, rear window defroster, and air conditioning.
Source: Hemmings
Facade of The Broad (rhymes with Road) museum of postwar and contemporary art on Grand Ave, Los Angeles. [2 of 12]
Coming home from a car show I spotted this 1955 Oldsmobile Super 88 Holiday Sedan in a parking lot in Gardner Kansas. In excellent condition inside and out. The two tone red and white fit this model like a glove.
1951–1956 Oldsmobile Super 88 Holiday Coupe: Rocket Power in the Early Hardtop Era
The Oldsmobile Super 88 Holiday Coupe sits at a particularly rich intersection of postwar American car history: the arrival of the high-compression overhead-valve V8, the rise of the pillarless hardtop, and General Motors’ confident use of styling as a hierarchy of status. It was not the cheapest Oldsmobile, nor the most formal. It was the car for a buyer who wanted the performance reputation of the Rocket 88, a richer interior and trim package, and the visual glamour of a coupe without a fixed B-pillar.
Within the broader Oldsmobile Holiday and Holiday Coupe family, the 1951–1956 Super 88 Holiday Coupe is the enthusiast’s sweet spot. It has the same essential mechanical personality that made the early Rocket 88 formidable in stock-car racing and on American highways, but with the dress, sound insulation, and showroom presence expected of a senior mid-market GM product. In the idiom of the period, it was fast, modern, and socially mobile without being ostentatious in the manner of a Cadillac.
The Super 88 line appeared as a more richly trimmed and better equipped companion to the standard 88.
The Holiday Coupe body style added the crucial fashion element: a hardtop roofline with no central pillar, intended to give closed-car practicality with the open, airy look of a convertible. This was not a small styling flourish.
In the early 1950s, the hardtop became a status object in its own right, and General Motors used it brilliantly across Oldsmobile, Buick, Cadillac, Chevrolet, and Pontiac.
Design and Body Engineering
The Holiday Coupe’s appeal was visual before it was mechanical. With the side glass lowered, the car presented an uninterrupted sweep from windshield to rear quarter, a look that Detroit marketing departments associated with glamour, leisure, and modernity. The Super 88 trim package brought more ornamentation than the base 88, typically including upgraded interior materials, distinctive badging, and more ambitious side brightwork as the decade progressed.
The 1951–1953 cars retain the heavier, upright dignity of early postwar GM design, while the 1954 redesign moved Oldsmobile into a lower, wider, more panoramic idiom.
The 1954 body introduced a more modern windshield treatment and a stronger visual relationship between the beltline, roof, and rear quarters. By 1955 and 1956, Oldsmobile styling had become more assertive, with broader chrome, more pronounced two-tone opportunities, and a harder-edged sense of mid-decade optimism.
Motorsport and the Rocket Reputation
The Super 88 Holiday Coupe was not a homologation special, but it benefited directly from the Rocket 88’s competition aura. Oldsmobile’s early Rocket-powered 88s were highly successful in American stock-car racing before Hudson’s step-down Hornet became the dominant force. Bill Rexford won the 1950 NASCAR Grand National championship in an Oldsmobile, and Rocket 88s also built a reputation in events such as the Carrera Panamericana, where early Oldsmobile V8 power proved well suited to sustained high-speed running.
That reputation mattered in showrooms. A buyer standing beside a Super 88 Holiday Coupe was not simply buying a pillarless hardtop. He was buying into one of the first great postwar American performance identities: the Rocket.
Cultural Relevance and Collector Desirability
The Super 88 Holiday Coupe belongs to the same cultural wave that made the Rocket 88 one of the most famous American cars of the early 1950s. Jackie Brenston and Ike Turner’s 1951 recording “Rocket 88” helped cement the Oldsmobile name in popular culture, even if the song refers to the broader Rocket 88 phenomenon rather than the Super 88 Holiday Coupe specifically. The point remains: Oldsmobile had achieved something rare, a middle-market car with a performance name that crossed into music, racing, and youth culture.
Collector desirability is strongest for complete, correctly trimmed Holiday Coupes with sound bodies, authentic Rocket V8 power, good chrome, and attractive period colors. The 1956 cars attract attention for their 240-hp specification, while 1951–1953 cars appeal to buyers who prefer the earlier postwar shape and the first-generation Rocket character. Restored examples usually trade above comparable sedans because the pillarless hardtop body style is inherently more desirable, but values remain highly sensitive to restoration quality and correctness.
Public auction results for 1950s Oldsmobile hardtops have historically shown a broad spread: driver-quality cars occupy the more accessible end of the collector market, while exceptional restored or highly original Holiday Coupes with desirable colors, correct trim, and strong documentation can command substantially higher five-figure prices. The market punishes missing trim and structural rust because both are expensive to correct.
From: motogallery.com
Once the single most popular postwar comic genre, romance comics began losing their audience to Marvel and DC superheroes in the 1960s. The writers began to switch the focus of their stories from stupid and very conservative, marriage-obsessed couples falling in love to stupid, beautiful, hip, and angst-driven sex-obsessed swingers agonizing over everything you can possibly imagine: race, politics, drugs, money, and loneliness.
Naturally the "hippie" in this story is an artist the girlfriend's parents despise for being poor. The girl's forced to choose between this poor--but talented--artist and her parents. True love wins, as usual; and as it turns out, the guy's not only successful as an artist, but filthy rich all along. Just like in real life.
This cover's begging to be photoshopped.