The Western Outlaws Custom Shop does not focus its attention only on supercars. Sometimes customers want something with more urban chic and practicality.

 

Enter, Mini.

 

The BMW New Mini MkIII was the starting point, and Western Outlaws added from there. More power, more luxury, more wheel, more tire, more chic.

 

The end result is an inner-city ride worthy of the brand.

 

More go is reflected in the red highlights - air in, air out. As is the more slow, with the red insert brake cooling vanes.

 

More bling is reflected in the tan highlights, mixed in with real gold flakes - no imitation gold here!

 

Checkerboard roof. Gold rims. Gold speed stripes and Gold spoiler.

 

An iconic custom makeover.

 

This BMW New Mini MkIII has been created in Lego miniland scale for Flickr LUGNuts' 87th Build Challenge, - 'A Tale of Two Rivals', - a challenge to create automotive models in the livery of two fictional car modifying organisations. The Western Outlaws: Red Black, Tan. Or Eastern rebels: Yellow, Black and Dark Grey.

Unison Pastels

Internationally renowned, soft pastel makers, Unison, have their base in a little known area of Northumberland called Tarset. Put simply, I think they’re the finest pastels in the world.

Unison are tricky to find and shy about signposting their premises, but the determined should head for Bellingham then watch out for a sign to Tarset Tor – it’s a bunkhouse for walkers. From there head for Greenhaugh then use your nose and intuition. Thorneyburn Church – dedicated to St Aiden is your next landmark. The Unison ‘sheds’ huddle next to the churchyard wall. And I do mean, ‘sheds’.

The rewards for artists inside – the sheds – not the graveyard – are immense. It’s like being a kid in a sweetshop. The raw pigments sit modestly in unassuming jars on rickety shelves, their colours glowing like precious silks.

The girls blend them – with faery dust I assume – then spoon dollops out to dry a little before they are hand rolled, then trimmed ready for drying out. The whole process is finished by hand sticking labels onto them.

No romantic names like those Daniel Smith watercolours I love. Here at Unison there is less poetry and more practicality. For instance today (a belated birthday gift) I chose Y1 to Y18, which as you might expect – are 18 types of Yellow, some greens, namely 1 – 24, and one or two from their special collection, which are incredibly intense.

Among this set of images you can see one of the women putting the labels on my selection.

Outside the shed, chickens and ducks scrabble about at your feet, squirrels keep their distance in the trees, and the only sounds are birdsong and breezes. All the building sprout moss and lichen, such is the prolific rainfall out there.

As an artist I love to visit, but there is plenty to amuse photographers too.

 

September 18, 2009 at 3:48 pm by Kelli Goldman in Dance, Events, Sex & Vice

syrens of the south_2037050_1802714_n

 

Syrens of the South

 

From the history of burlesque to “flaunting it because you’ve got it,” and other hands-on workshops, the Syrens of the South continues its ABCs and 123s of Burlesque class series this weekend. Classes are held at Little Tree Studios, 2842 Franklin St., Avondale Estates, and are $20 each, or you can buy a four class pass for $60.

 

Here’s the full schedule:

 

All classes are intended for all genders unless otherwise noted!

 

Sept 20 – Noon-2pm “Beginning Burlesque Movement and History with Katherine Lashe”

She will present information on the history of burlesque, followed by a how to on the basic moves and creative process that goes into making a burlesque persona. Students will hear anecdotes collected by Katherine Lashe from actual Burlesque American Icons such as Tura Santana, Satan’s Angel and more! They’ll also answer the age old questions of names, fringe, and pasties! Students will be encouraged to wear lose fitted clothing and comfortable shoes and be prepared to not only take notes, but also be ready to practice beginning burlesque movements and peels!!! Beginning Burlesque Books will be available for $5.

 

2pm-4pm “Burlesque costuming on a budget with Vagina Jenkins”

Creative Loafing’s 2008 Best Burlesque performer will share her tried and true method of manoeuvring a tight budget with a broad imagination. You will get to bring your creation home with you to begin your process of building your very first burlesque costume! Class requirements: Bra or Panties to decorate, any trims beads or baubles you want to bring, there will be supplies provided for the class.

 

Sept 27 – Noon-2pm “Pastie Making with Talloolah Love”

Talloolah Love teaches the fine art of making your own pasties! She will teach the practicalities of making, wearing and performing with pasties! Many of the materials required will be provided with a $5 materials charge; however you are encouraged to bring needles, thread, and scissors. Each student will be going home with their very own set of pasties the made in class!

 

2-4pm “Hepcat’s Vaudeville: The Nickel Tour” with Hepcat Mike

Take the scenic route through vaudeville as Hepcat Mike (the illegitimate lovechild of Henny Youngman and Phyllis Diller) begins with early 19th century variety shows and continues the tour through polite early vaudeville, down dangerous back alleys of Burlesque, into the cinema which was both classical Vaudeville’s saviour and doom. But fear not, the current neo-burlesque and vaudeville revival proves that everything old is new again. Want more? Hepcat gives the shortcuts to building your vaudeville library, with suggestions on texts for further reading and info on where to find the most jam-packed video archives for this important, ever-growing art form.

The Jaguar D-Type, like its predecessor the C-Type, was a factory-built race car. Although it shared the basic straight-6 XK engine design (initially 3.4 litres and uprated to 3.8 litres in the late fifties) with the C-Type, the majority of the car was radically different. Perhaps its most ground-breaking innovation was the introduction of a monocoque chassis, which not only introduced aircraft-style engineering to competition car design, but also an aeronautical understanding of aerodynamic efficiency. The D-Type was introduced purely for competition, but after Jaguar withdrew from racing, the company offered the remaining, unfinished chassis as the roadgoing Jaguar XKSS, by making changes to the racers: adding an extra seat, another door, a full-width windshield and primitive folding top, as concessions to practicality. However, on the evening of 12 February 1957, a fire broke out at the Browns Lane plant destroying nine of the twenty five cars that had already been completed or in semi-completion. Production is thought to have included 53 customer D-Types, 18 factory team cars, and 16 XKSS versions.

The new chassis followed aircraft engineering practice, being manufactured according to monocoque principles. The central tub, within which the driver sat, was formed from sheets of aluminium alloy. To this was attached an aluminium tubing subframe carrying the bonnet, engine, front suspension, and steering assembly. The rear suspension and final drive were mounted directly onto the monocoque itself. Fuel was carried in deformable bags inside cells within the monocoque; another aircraft innovation.[1]

 

The highly efficient, aerodynamic bodywork was largely the work of Malcolm Sayer, who joined Jaguar following a stint with the Bristol Aeroplane Company during the Second World War. Although he also worked on the C-Type, the limitations of the conventional separate chassis did not allow full expression of his talent. For the D-Type, Sayer insisted on a minimal frontal area. To reduce its height, Haynes and former-Bentley engineer Walter Hassan developed dry sump lubrication for the XK engine. By also canting the engine over by 8° (resulting in the trademark, off-centre bonnet bulge) the reduction in area was achieved. Care was taken to reduce drag caused by the underbody, resulting in an unusually high top speed; for the long Mulsanne Straight at Le Mans, a large vertical stabiliser was mounted behind the driver's head for aerodynamic stability with minimum drag. For the 1955 season, factory cars were fitted with a revised, long-nose version of the bodywork, which increased top speed even further.

 

Mechanically, many features were shared with the outgoing C-Type. The ground-breaking disc brakes were retained, as was the XK engine. Apart from the new lubrication system, as development progressed during the D-Type's competition life the engine was also revised. 1955 saw the introduction of larger valves, and an asymmetrical cylinder head design within which to accommodate them. The Jaguar D-Type was the second racing car to have Dunlop disk brakes. The Citroën DS, introduced a year later, was the first production car with disk brakes in Europe. The Crosley Hotshot was the first American automobile with disk brakes, in 1949.

 

Elements of the body shape and many construction details were used in the iconic Jaguar E-Type.

The D-Type was produced by a team, led by Jaguar's race manager Lofty England, who always had at least one eye on the 24 Hours of Le Mans, the most prestigious endurance race of the time. As soon as it was introduced to the racing world in 1954, the D-Type was making its presence felt. For the 1954 24 Hours of Le Mans the new car was expected to perform well, and perhaps even win. However, the cars were hampered by sand in their fuel. After the fault had been diagnosed and the sand removed, the car driven by Duncan Hamilton and Tony Rolt quickly got back on the pace, finishing less than one lap down on the winning Ferrari.

 

The 1955 car incorporated the new long-nose bodywork, and the engine had been uprated with larger valves. The team again proved strong at Le Mans, and with no sand to worry about they were a good match for the Mercedes-Benz 300 SLR cars who were hotly tipped to win. Sadly the contest was curtailed by one of the worst accidents ever to occur in motorsport: after only three hours of the twenty-four had elapsed, Pierre Levegh's SLR clipped the tail of an Austin-Healey, sending the German machine into the hay-bale barrier. The Mercedes erupted into a flaming ball and sent burning wreckage and debris into the crowd. More than 80 people, including Levegh, were killed, and many more injured. Mercedes withdrew from the race almost immediately, although at the time Juan Manuel Fangio was leading in his SLR, but Jaguar opted to continue. Some blamed Mike Hawthorn for causing the crash as he swerved his D-Type in front of the Healey, setting off the tragic chain of events. Hawthorn and his co-driver Ivor Bueb went on to win the race.

Jaguar D-Type XKD606, winner of the 1957 Le Mans 24 Hours race, in Ecurie Ecosse metallic Flag Blue livery.

 

With Mercedes deciding to withdraw from motorsport at the end of the 1955 season, the field was clear for Jaguar to clean up at the 1956 24 Hours of Le Mans race. However, it proved to be a bad year for the works team; only one of their three cars made it to the finish, and then only in 6th place. Luckily for the D-Type's reputation, the small Edinburgh-based team Ecurie Ecosse were also running a D-Type, driven by Ron Flockhart and Ninian Sanderson, and this car came through to win ahead of works teams from both Aston Martin and Scuderia Ferrari. Away from Le Mans, the Cunningham Team raced several Jaguar D-Types after being offered the automobiles by Jaguar's head, Sir William Lyons, if Briggs Cunningham would stop building his own automobiles. In May 1956, the Cunningham team's entries in the Cumberland circuit in Maryland included three of those D-Type Jaguars – characteristically painted in the pristine white-and-blue Cunningham Team colors – for drivers John Fitch, John Gordon Benett, and Sherwood Johnston.

 

Ironically, after Jaguar had withdrawn from motorsport at the end of the 1956 season, 1957 proved to be the D-Type's most successful year. In the 1957 Le Mans race D-Types took five of the top six placings; Ecurie Ecosse (with considerable support from Jaguar, and a 3.8-litre engine) again took the win, and second place. This was the high-water mark in the car's career however.

 

For 1958, the Le Mans rules were changed, limiting engine size to 3 litres for sports racing cars, thus ending the domination of Jaguar's D-Type with its 3.8-litre XK engine. Jaguar developed a 3-litre version of the XK engine, which powered D-Types in the 1958, 1959 and 1960 Le Mans races. But the 3-litre version of the XK engine was unreliable, and by 1960 was not producing sufficient horsepower to be competitive.

 

1956 Jaguar D-Type Long Nose

Jaguar D-Type Long Nose at Goodwood Festival of Speed 2009

Problems listening to this file? See media help.

 

With ever decreasing factory support and increasingly competitive cars from rival manufacturers, the D-Type's star waned. Although it continued to be one of the cars to beat in club- and national-level races it never again achieved a podium result at Le Mans, and by the early 1960s had disappeared into obsolescence.

 

Wikipedia

At Dale Jr's Whiskey River Western town. (Dirty Mo Acres)

Mooresville, N.C. -- There's a barbershop that advertises haircuts for a quarter, a jail with real locking cells, and a church with a steeple. There's a post office, a bank, and a hotel with bunk beds in the rooms upstairs. There's the Blazin Saddles Tack Shop and the Silverado Saloon, the latter of which features a pool table and genuine bottles of booze behind the long, polished bar.

 

Welcome to Whisky River, a Western town that seems so authentic, you almost expect to see Matt Dillon, Seth Bullock or Josey Wales tromping down the muddy thoroughfare that runs through the middle. On this day, it's playing host to the filming of a shoot-'em-up commercial for this year's Sprint All-Star Race at Charlotte Motor Speedway. But this is no movie set -- this is Dale Earnhardt Jr.'s private fantasyland, a little piece of Dodge City or Deadwood built on his 200 acres of property north of Charlotte.

"Dale Jr.'s a real low-key guy, and likes to have fun with his friends, and this is definitely the place for that," said Paul Menard, one of four active drivers involved in the commercial shoot, and a former teammate of Earnhardt's at Dale Earnhardt Inc. "It's got a little history. It's a cool place."

 

The idea stemmed from practicality. The bar in the basement of Earnhardt's former house near DEI -- the once-famous Club E, which was featured on MTV's Cribs program -- began to be more trouble than it was worth. "I was thinking, man, I want to have something I can have parties at, and not worry that I'm tearing my house apart," Earnhardt said. Online, he found someone who would build 1,000-square-foot tree houses, and toyed with that idea until his sister, Kelley, warned him that he'd probably fall out.

 

Then one day Earnhardt was watching a rerun of 60 Minutes which featured a segment on country-singer Willie Nelson, who had bought property in Texas that contained an Old West movie set. The set had originally been only building fronts, but Nelson finished the structures and made them usable. Earnhardt loved the idea and set about building his own Western village from scratch, hiring out-of-work carpenters to do the construction, and -- befitting a driver with a flair for a nostalgic -- using wood from Kannapolis' old Cannon Mills, which once stood near where the statue of Earnhardt's father is today.

 

"We drew it on a sheet of paper and built it on cinder blocks," Earnhardt said at the NASCAR Hall of Fame in Charlotte, where he took part in the Preview '12 fan event held Saturday. "It got bigger and bigger."

 

For a first-time visitor, the reality is somewhat staggering. There are saddles and wagon wheels and rocking chairs, hitching posts and barrels and upstairs balconies, stagecoaches and lanterns and animal skulls. Climb on up to the second floor of a hotel called the Hilton, where there are three rooms with bunk beds inside. Head on over to the livery, where there are tools for leatherworking and changing horseshoes. Watch out for the jail, where there are two cells that can be padlocked shut, and a gallows outside for more unfortunate criminals. Belly up to the Silverado Saloon, where there's a piano and a full bar and all manner of animal heads, hides and skulls on the walls.

 

For Charlotte Motor Speedway, it was the perfect place to film an All-Star Race commercial featuring Menard, Carl Edwards, Tony Stewart and Mark Martin as double-crossing poker players, who end the ensuing argument with six-shooters drawn. Earnhardt has also used Whisky River for projects filmed by his own production company, Hammerhead, as well as for things like birthday parties and Halloween hayrides for family members and friends. For a driver with a definite appreciation for history who has always liked Clint Eastwood's spaghetti Westerns, it seems a natural extension of himself.

 

"More than anything, I think it helps people see the personality in me," said Earnhardt, who built Whisky River about six years ago. "Because that's important for me, that people know me, get to know me, and understand me. ... That's kind of like looking through someone's record collection. It kind of shows you a little bit about them."

 

As far as the commercial shoot, though, there was one caveat -- as was the case last year, Earnhardt wouldn't appear in it, because he's not yet guaranteed a berth in the All-Star Race. "Not unless I'm locked in," said Earnhardt, who last year gained entry to the event through a fan vote. "It would be a little bit arrogant. Self-assuming is never a good quality."

 

If Whisky River shows Earnhardt's nostalgic side, then other areas of his property show how playful he can be. Scattered throughout the woods of his property are dozens of race cars, sometimes barely visible through the trees, which line a trail system. Earnhardt started with one, the shell of a backup car to a then-Busch Series primary vehicle that he used to lead every lap of a race at Daytona in the early 2000s. "We used it for target practice," he said. Now he has between 40 or 60 cars out there, and he's lobbying his former Nationwide driver, Brad Keselowski, to get him an IndyCar from Roger Penske since that series is moving to a new model for this year.

 

"That would be the coolest thing to sit out there in the woods," he said.

 

Where did he get all the old cars? "We just called around to some shops, said, 'Man, if you've got any junk you want to get rid of, we'd love to have it here,' " Earnhardt said. "First it was a collection of four or five cars. We called them yard ornaments. Then we started planting them in the woods. We built a lot of trails, and they're just things to look at and stumble upon as you're cruising around."

 

There are more than just old race cars on Earnhardt's spread, which a sign identifies as Dirty Mo Acres. There are life-sized plastic animals, bear and deer and buffalo. In a pasture behind a white fence, there are real cattle and a pair of real buffalo -- Laverne and Shirley, which were a gift from a buffalo rancher who toured the property as the winner of a contest to benefit Hurricane Katrina victims. Looming over a dirt go-kart track is a real Unocal 76 orange ball from Talladega. Crest a hill, and there's the strange, somewhat jarring sight of a well-dressed man seated on a bench -- it turns out to be a mannequin Forrest Gump, without the box of chocolates but wearing a Dirty Mo Posse hat.

 

Earnhardt, his sister, and his mother, Brenda, all have homes on the property. Earnhardt once fiercely guarded his privacy, concerned about people prying into his personal life. In recent years, though, he's allowed a little more access into his world, as evidenced by the commercial shoots the past two years at Whisky River, and letting a few reporters to poke around his Western town -- which in NASCAR circles has often been a topic of conversation, even if few have actually seen it.

 

"It took a little time to get comfortable with letting people know that I'd built that, and I had that," Earnhardt said. "For a long time, it was something personal to me, and that was nice. But I don't know. After a while, I got less worried about peoples' opinions about it."

 

This weekend, opinions seemed decidedly positive. Even Junior Johnson, the NASCAR Hall of Famer who started his career running moonshine through the woods and hollows of western North Carolina, could appreciate it. "It's a neat deal," said Johnson, who plays a bartender in the commercial. "If you like that kind of stuff, it's fun."

 

One of Earnhardt's representatives sent the driver a photo of Johnson, wearing a green vest and a cowboy hat, behind the bar in the Silverado Saloon. Whisky River and the "Last American Hero" seemed made for one another. "Having that picture of Junior behind the bar," Earnhardt said, "makes it worth putting that thing up."

Unison Pastels

Internationally renowned, soft pastel makers, Unison, have their base in a little known area of Northumberland called Tarset. Put simply, I think they’re the finest pastels in the world.

Unison are tricky to find and shy about signposting their premises, but the determined should head for Bellingham then watch out for a sign to Tarset Tor – it’s a bunkhouse for walkers. From there head for Greenhaugh then use your nose and intuition. Thorneyburn Church – dedicated to St Aiden is your next landmark. The Unison ‘sheds’ huddle next to the churchyard wall. And I do mean, ‘sheds’.

The rewards for artists inside – the sheds – not the graveyard – are immense. It’s like being a kid in a sweetshop. The raw pigments sit modestly in unassuming jars on rickety shelves, their colours glowing like precious silks.

The girls blend them – with faery dust I assume – then spoon dollops out to dry a little before they are hand rolled, then trimmed ready for drying out. The whole process is finished by hand sticking labels onto them.

No romantic names like those Daniel Smith watercolours I love. Here at Unison there is less poetry and more practicality. For instance today (a belated birthday gift) I chose Y1 to Y18, which as you might expect – are 18 types of Yellow, some greens, namely 1 – 24, and one or two from their special collection, which are incredibly intense.

Among this set of images you can see one of the women putting the labels on my selection.

Outside the shed, chickens and ducks scrabble about at your feet, squirrels keep their distance in the trees, and the only sounds are birdsong and breezes. All the building sprout moss and lichen, such is the prolific rainfall out there.

As an artist I love to visit, but there is plenty to amuse photographers too.

 

The News Line: Editorial

Friday, 11 July 2014

 

Massive strike action greeted by Tory coalition threats!

 

AS millions of public sector workers, teachers, firefighters, local government workers and many other sections took strike action yesterday, Prime Minister Cameron pledged to bring in more anti-union laws to make it impossible to have a legal strike action.

 

He said: ‘I think the time has come for setting a threshold. It is time to legislate and it will be in the Conservative manifesto.’

 

Cameron attacked the low turnout thresholds in union strike ballots and challenged the validity of mandates to take industrial action derived from ballots conducted more than a year ago in some cases.

 

Tory MPs said strike action in schools had been supported in a ballot in 2012 by 22% of NUT members, and 33% of NASUWT members and said that it should be illegal that a single strike ballot can make successive rounds of industrial action lawful provided that the same dispute is involved.

 

The Tories are considering two strike threshold options. Under the first, backed by Mayor Johnson and Gove, a strike could only take place if it was supported by a majority of the entire membership, not just those who vote. Under the second, a minimum turnout of 60% would have to take part, regardless of how they voted.

 

Yesterday, education secretary Michael Gove accused the teaching unions of standing up for their pay and pensions but not for education.

 

Gove said: ‘The ballot which legitimates this strike is, I think, something like two years old and the turnout which validates that ballot was small.’

 

Unite however published its opinion poll showing that the public back the right to strike in this dispute by 61% to 31%, support a £1-an-hour increase in council workers’ wages by 48% to 35%, and oppose public-sector real-terms pay cuts lasting to 2018 by 56% to 25%.

 

McCluskey, the Unite general secretary, also attacked the prime minister’s plans to tighten the strike laws. He correctly pointed out: ‘The whiff of hypocrisy coming from Cameron as he harps on about voting thresholds is overwhelming. Not a single member of his cabinet won over 50% of the vote in the 2010 election, with Cameron himself getting just 43% of the potential vote.

 

‘If he practiced what he preached, then no Tory councillors would have been elected in the last 20 years and Londoners would have been spared the circus of Boris Johnson. So we’ll take no lessons from the Bullingdon bully, who gives tax breaks to his City chums yet plots to deprive lowly waged workers of their right to fight poverty pay.’

 

Cameron also attacked Ed Miliband for neither supporting nor condemning the strikes, billed as some of the largest since the general strike of 1926

 

Dave Prentis, the leader of Unison, the largest public-sector union, also also critisised Miliband’s stance, saying: ‘It is time for Labour to make up its mind. Public-service workers are people who should be Labour’s natural supporters and they deserve Labour’s unashamed backing in return.’

 

Unison general secretary Dave Prentis has stressed that members have turned out ‘in force’ for the strike today and that the ‘massive show of solidarity’ from the members and the public alike shows that 1% is just ‘not enough’.

 

Prentis said: ‘It is a disgrace that more than 400,000 local government and school support workers are paid less than the living wage and one million earn less than the Coalition’s low-pay threshold of £21,000.’

 

The unions in local government are seeking a pay rise worth £1 an hour. The unions claim ministers have in effect served notice that pay freezes in the public sector will continue until 2018, by which time the deficit is due to be eradicated.

 

The situation is now crystal clear. The working class has had enough, and will not stand for additional pay cuts and new anti-union laws that will make it impossible to have a legal strike action, and will legalise poverty wages for ever!

 

The Tories however are determined to proceed with their measures. It is a class war to the finish as far as they are concerned. As usual Miliband dodges the issue and shows that Labour will do the same as the Tories once it is in office.

 

There is only one solution to this crisis. The working class must fight to win! The TUC General Council, including McCluskey and Prentis must stop debating the ‘practicalities of calling an indefinite general strike, and must call one at this September’s TUC Congress, or resign and be replaced by leaders who will! An indefinite general strike will bring the Tory government down and bring in a workers government and socialism. There is no other way forward.

 

www.wrp.org.uk/news/9946

When you think of poor cars and the worst era of British Industry, most will cite the Austin Allegro, a car that truly is a staple of its time, and those times were pretty grim to say the least! It has become a symbol of failure, a monument to catastrophic engineering, a beacon of impracticality and a terrible tribute to an age we Brits would sooner forget.

 

Bit is the Austin Allegro really deserving of such maligned opinions? Should we really hate it as much as we do?

 

The story of the Allegro goes back to the previous model of its range, the Austin 1100, a car that had become symbolic of the British family motor industry, with crisp smooth lines, round peeking headlights and a good blend of space and practicality, it sold by the millions and could have almost been described as a family equivalent of the Mini, novelty that you can use everyday. Trouble was that the 1100 was starting to look very much its age in 1971, and thus British Leyland, the new owners of Austin, took it upon themselves to design a new car that would be sheek and European, something that could win both the British and the International markets.

 

For this they enlisted the help of Chief BL Designer Harris Mann, famous for many great BL products such as the Marina, the Ital, the Princess and the Triumph TR7. Today many people blame him for the poor designs that the company spewed out onto the roads of Britain, but I personally feel sorry for him, especially with cars such as the Allegro. His original design for the car was an angular and very streamlined looking piece of kit, a hatchback and with two fins on the rear to compliment the long smooth waistband, making it look almost reminiscent of an Aston Martin DB5 crossed with a 1969 DBS. However, his promising designs were sadly watered down by British Leyland, tinkered, altered, and, quite frankly, ruined his idea to become what it is, with its bathtub curves, long sloping back and piggy headlights. I will say, it's not the ugliest car in the world, far from it, I've seen much worse like the Pontiac Aztek which looks like a cross between a Bug and a mutant Rhino, but when you compare it to Harris Mann's original sketches, then, and only then, do you understand how far down the Allegro design came.

 

But styling wasn't what BL expected to win the market with, but instead with the car's practicality, starting with the new Hydragas suspension to replace the previous Hydrolastic suspension of the 1100. With this suspension, The Allegro intended to lock horns with the likes of the outgoing Citroën DS and its replacement the CX. Hydragas uses displaced spheres of Nitrogen gas to replace the conventional steel springs of a regular suspension design. The means for pressurising the gas in the displacers is done by pre-pressurising a hydraulic fluid, and then connecting the displacer to its neighbour on the other axle. This is unlike the Citroën system, which uses hydraulic fluid continuously pressurised by an engine-driven pump and regulated by a central pressure vessel. However, the attempt at being an outstanding motor ended at Hydragas because there was nothing else particularly endearing about the Allegro. The interior was cheap, nasty and very cramped, especially in the back where you couldn't even fit a bag of shopping let alone your children! Rather than taking the sensible approach of the competition by fitting the car with a hatchback for more boot space, the car was just fitted with a tiny little trunk that you couldn't fit a bag of shopping into either! The engine, the BMC A-Series, was carried over from the 1100, which was a fine little engine, perky and fairly reliable if maintained properly, as well as the heater being carried over from the Morris Marina, but I'm no judge of heaters so I won't say if that was for good or for ill. Most jarring however was when the car was fitted with a square steering wheel! Probably the most memorable part of the Allegro is the fact that it was given a quartic steering wheel, which BL claimed was for ease of access to the front seat and so that the instruments could be seen, which leaves one asking whether you couldn't see them with a round steering wheel! In the end even Harris Mann disowned the car with disappointment, claiming it was nothing like his original idea, which is pretty bad when even the Chief Designer disowns it!

 

Either way, in spite of Mr. Mann's space-age design being watered down to something unrecognisable and with only Hydragas suspension to make it any different from anything else on the market, the Allegro was launched in 1973 with a promotional trip to Marbella in the south of Spain, and early reviews, despite there being a unanimous dislike to the car's shape and styling, were quite warm, many praising the comfort of the Hydragas suspension. However, reviews of the drive quality, such as the car's heavy steering and cheap, plastic interior, were less favourable.

 

Nevertheless, initial sales of the Allegro were promising and it was in 1973 one of the best selling cars of the year, but things truly went for the plunge soon afterwards, and the car never fully recovered. The flaws of the design became prominent, followed by British Leyland's infamous low quality builds. Roofs, panels and boots leaked, rear wheels flew off, and rumour has it that these cars were banned from the Mersey Tunnel in Liverpool because they couldn't be towed after a breakdown without the chassis bending in the middle! Engines failed to start, wiring was abysmal, rear windows popped out, the paint colours were dreary and dismal, the car would rust before you got it home and many commented that the car had a better drag co-efficiency going backwards!

 

The Allegro did come in a selection of variants, including an estate, a sporty coupé known as the Equipe, and a very strange luxury variant known as the Vanden Plas 1500, a peculiar which was fitted with luxury items carried over from the Jaguar XJ range and had a big chrome nose yoked onto the front to try and make it look reminiscent of a Rolls Royce or a Bentley. Only problem is that Rolls Royce's and Bentley's have their front ends designed around the chrome nose, and thus the result was that it looked something like a pig! Also, another thing about Rollers and Bentleys is that they're much, much bigger than a tiny Allegro, which had absolutely no legroom in the back which made the concept entirely pointless! The car was also sold in Italy as the Innocenti Regent, nothing particularly different apart from different badges.

 

In 1975 the Allegro II was launched to try and redress some of the issues with the original car, including a slightly altered front-end and some minor changes internally, but overall it was very much the same. These changes however weren't enough to save the car's dwindling reputation, and even though the BL advertisers continued to lay on the imaginative promotion, the car was still losing heavily to the likes of the Ford Cortina.

 

The final variant, the Allegro III, had the most changes upon its launch in 1979, including a new version of the A-Series engine and quad round headlights to make it look a bit more modern. Apart from that the car was still very much the same as it was in 1973, and it was truly showing its age. British Leyland, recovering from the bankruptcy of 1977, attempted to rationalise the company by pulling out of the sports car range as well as some of their older products. The MG sportsters were killed off in 1980 and their factory closed whilst production of the Allegro and the Mini were slowed down as they prepared to discontinue to both of them in favour of the Austin Metro. The Morris Marina and Princess were replaced by the mostly identical Morris Ital and the Austin Ambassador, and Triumph was now being used to pioneer a tie up with Japan to create good and reliable cars in the form of the Triumph Acclaim.

 

The hammer eventually fell on the Allegro after 9 years of production in 1982 when the Austin Maestro was launched after 5 years of development. In all, 642,000 Allegros left the factory during its lifetime, but today less than 250 are known to exist, with many rusting away or being part exchanged for a plant pot by the time 1990 hit. The reputation of these cars is still very much maligned by both critics and motoring enthusiasts alike, with it topping many people's worst car in history lists, and becoming Britain's worst car of all time followed closely by the Morris Marina. Top Gear were always quick to bash the Allegro, with two of the ambiguous Vaden Plas 1500's meeting their maker, one being smashed with a suspended Morris Marina in a giant game of Bar Skittles, whilst another was driven in reverse off a ramp and smashed into a pile of scrapyard cars.

 

Me personally? I feel that the Allegro was a car with promise and premise, but the abilities of British Leyland fell far short of their ambitions, not helped by their incompetence and desire to commit corporate suicide. If the car had been built as Harris Mann had designed, been given a hatchback, and had been created with the slightest semblance of sense, then it could have truly been a winner. As it is, the car is now a sorry marker in the world of broken dreams, one that we simply choose to forget and never forgive.

Just back from my local cinema.

Went for comfort rather than practicality with a micro mini and stockings and suspenders. On saying that we didn't focus to much on the film, so I suppose my outfit was quite practical in the end.

Pottery is one of Vietnam’s old specialties that is also trending towards modern materials for the convenience and price. Whilst I totally agree with the practicality of it all, these ceramics surely have a place in the modern world too.

  

ISO6400 f5 1/20 78mm LR

Sat on the front doorstep to take this pic. I might actually start sitting here a bit more. Not a bad vibe, when the aspirational hicks in our street aren't giving it all the smiles.

 

The scrap iron people were driving round the bottom of the street, when I took this. For the first time ever, I saw them actually get something from this street. Amazing. Why do they do it to themselves?

 

Last night I posted some stuff on Twitter. Named a few names. They've already characterised me as a trouble-maker. I have to wonder what else. They'll make anything they want of anything they want, including saying something like that. They're the boss and don't question that or their legitimacy to impose that 'fact'.

 

The danger when communicating with some people can be that they have influences which frame how they interact with you. There's a reputation around here about me, based on a load of gossip made official over the years, which means it's almost impossible to have a straight conversation with anyone. Everything's framed on the basis of that reputation and, if you get attitude, for example, you'd better take it, or else sooner or later, you're screwed.

 

Whatever you say or do, though, nothing will break down the processes influenced so heavily by a false reputation because of the attitudes and mindset influenced by that reputation. There's no way around that. The danger here is that it can influence what you write and how. You can end up in a mess wondering how what you're communicating could be distorted and exploited and how easily they could pull it all off.

 

I decided to go out of county on Sunday afternoon, writing to the Home Office about some things I've referred to online. I'd tried contacting West Mercia Police to see if there was anything that could be done. One operator with the police from out of town was initially personable, but then he looked at some 'background' and the barriers came up and the attitude was in play. Instant lunacy I can't do anything about because of the long-standing nature of this, along with the typical behaviour of institutions that you'd expect when they've lost the plot. I've seen it all before, many times.

 

The Home Office is probably not the organisation to deal with this. I wonder if there is one. Most organisations would click in to the conventional idea about psychiatrists having 'expert' local knowledge. The rest writes itself. That's why, whatever happens in this area, I essentially have no access to any effective safeguards, because there are none. I was going to mention the Mayor (or his wife) from 2000/1, when I was effectively laughed out by her from a local organisation that could have done something, but I'd better not. My memory of back then, as you'd expect, isn't what it was. I won't mention the Mayor (or his wife) yet, then, anyway. They'd only distort or rubbish that, anyway. I don't think even the Home Office would get their heads around this one. Don't think anyone ever will.

 

A few years ago I contacted a local Community Psychiatric Nurse, Maxine. Her patient, Simon, a long time local criminal (Maxine knows this), went quite craftily crazy yet again. I think he's a psychopath or very close. He may have worked her. I wouldn't be surprised. He's good.

 

I told Maxine a few things back then about how he was manipulating people locally. He's a highly deceptive control freak an emotional wreckage, highly delusional but extremely personable and persuasive. It all goes with his 'job', which took him over, across the years. He was whipping up heightened emotion in people and I was concerned for my safety. People were defriending me on Facebook, for example, and cutting me hostile looks across town. Maxine did nothing.

 

This guy is a lunatic, who wouldn't be in public if services around here were competent in their field on the basis of their own approach. They're not. In the end I had no choice to accept that he was entirely in the right over a dispute where he was entirely in the wrong. He tolde that he'd been going around saving me from threats of violence from his contacts, seemingly without any insight that he was the one whipping people up to share his madness. The guy's highly delusional and deeply terrified about the his true self, so much so that Cilla Black should've been there.

 

The last time I saw Simon was at a local coffee shop, recently. He was a mess, the state he gets into when interference from reality begins to hint at what he really has become down the years. He sat there. He tried to pretend we were all cool. Not my fault, I would've still tried because he'd my pal since our teenage years.

 

He tried to act like a hippy, like we used to in the 80s. It was a tragic and lame betrayal of our youth, quite repulsive and horrific to witness. I saw straight through it because by then I'd regained my fairly good ability to weigh people up, something I should trust and make more use of, but something which there's people in this community will try to defeat. Some people are that crazy here.

 

His hippy act was faltering. He was struggling, as he occasionally does, because of the reality of what he does to and really thinks about people behind his act, when his lumacy's in full swing. He pulls off the act with most, who decently remember him before he reached even these levels, but he sort of worries that I can see through it. Well I would. He's pretty obvious to me and I think he fears that because it makes him scared of who he is, based on his attitudes of disturbing people.

 

It's a toughie to look at a long-standing friend and know what they've become. The eyes are sort of there and the rest of the physical presence, but he's gone and gone almost certainly beyond ever coming back. I knew we didn't have long left.

 

I phoned him that night or a few nights later. I pleaded with him, almost, to get a grip because it was nearly too late, pretty much knowing it already was. I knew how the call would go, too. He's a dangerous guy. He'll try to control the conversation will all manner of methods I can see coming a mile off, to come out with the best deal for him and his distorted reputation, rather than the truth that could've helped him. Well, I suppose it's good for business. Again, as he did years ago, he tried to persuade me that it was all me and that he was absolutely fine and was on top of it. The good times were back for him and I was the mad one. The call ended with disagreement, SMS messages were exchanged and there was the usual vague threat that there would be consequences. I should've have stood my ground years ago. Maxine should've done something.

 

A mutual friend contacted me soon after reading something I posted online, referred to about all this. We met and talked. He told me how, over the years, the evidence had mounted about the lengths this guy would go to protect himself against real and perceived threats. It was pretty disturbing stuff, but it fitted with things I'd experienced and also heard from other people who'd been close to him. Some wouldn't talk much but it was obvious that they know there's something seriously wrong about this guy, now.

 

Our mutual friend was very decent and kind. He said Simon had completely convinced him that I was a highly dangerous individual and had persuaded him that he had no choice but to marginalise me, deleting on Facebook, for example, and completely ignoring me in town. Divide and conquer, with no chance of a resolution because any attempt at effective, realistic communication is cut off, with a reputation, where any interaction is framed by that reputation, to keep it in place. This is a pretty common theme. I told our mutual friend not to worry, I really did understand and that I was proud of the person he'd become. And I am and that's based on reality.

 

I've mentioned events at the local coffee shop in town. The character behind all that, someone with all the hallmarks of a sadistic psychopath, is, I think, worse than Simon. Simon does it all out of fear; Bill does it all out of hatred and a sadistic streak. Again, someone in the community, a local businessman, a very decent man, knows a fair bit about Bill. That's comforting to know.

 

But I've written about much of what's happened in and around the coffee shop elsewhere in these posts. Let's just say the Officers from West Mercia Police who attended the scene didn't have the slightest idea what they were walking into that day last week, and they probably now never will.

 

In my last 'consultation' with a 'Consultant Psychiatrist' at Kidderminster Hospital, I took along an independent mental health advocate, the first time on all the 12 years I'd been in the mental health system, years that should never have happened.

 

Something happened in that consultation which was highly significant. I thought about withholding it from this post, just in case. But over the years, I've learned that it doesn't matter what evidence you have or what you unearth, nothing will ever change. It's all about the reputation and protecting against that being exposed for what it is, come what may. There's a lot of people who've become involved in all this over the years and they're always likely to almost instinctively fall back on that reputation of me to partly to protect that reputation of them.

 

In that 'consultation', Dr Laki, the 'Consultant' at Kidderminster Hospital, did something that most people wouldn't notice and, if so, he'd almost certainly deny. When I was saying what had really happened over the course of the past 12 years and the lead up to it (that I'd originally been detained in a mental health ward in 2000 on the basis of a 4 year vendetta, based on unchallengeable gossip that snowballed, and which had framed the intervening 12 years), he broke in, smiling at me with 'You're very persuasive, Jason.' What he also did was very briefly and quite nervously glance at my advocate, leaving me in no doubt that he wanted that idea to resonate with her. Ironically, Dr Laki's comment was a common persuasive trick, pointing to manipulation and suggesting paranoia.

 

In an exchange of emails with my advocate yesterday, I wrote that she probably didn't spot it or what it meant and was intended to achieve. I was quite nervous saying this even to an independent advocate, because I know how it can sound and I'm fully aware of what saying such a thing can trigger off with institutions. But said she saw it and saw through it. Like I say, though, I can include it here because it doesn't matter. These people have it in them to do pretty much anything they want to do and there'd probably be ways to get around this, as always.

 

My years at the coffee shop were not the first time I'd seen something of a hate campaign develop over a long time. I'd seen it all before, between 1996 and 2000. Occasionally hysterical stuff. As during those 12 years, I mainly tried to just figure it out, because what else are you supposed to do? And a big clue to the mindset, attitudes and beliefs of the people behind it usually reveals itself over time in the feelings and behaviour generated by the reputation. Look closely enough and you can not only figure out how much of it links together, but also the psychology of the key players, along with their core motivating factors. But I had to be very careful because, this time, it was even more toxic than what took place in the area between 1996 and 2000.

 

Here's a recording of a recent Mental Health Act Assessment: soundcloud.com/jaseanton/recording-of-a-mental-health

 

I'd been under quite a lot of pressure since the 20 June meeting. I hadn't pieced many things together at that point. This 'Assessment' was quite intimidating, although I was, perhaps naively, glad to be able to talk directly with these people, but the communication is heavily influenced by the power dynamic, here. There's things you just can't say or challenge these people about. I talk so much in the recording mainly because I knew from long experience that, as soon as the representatives of the local medical community started talking, they'd start positioning me on the basis of ideas framed by a reputation based on gossip that had been made official in 2000 mad had just become embedded since then.

 

To my senses, it's a creepy recording, more so in retrospect, especially in the context of what I now know. The 'medical' people, I think, thought they were doing the right thing on the basis of what they believed - information they never got a grip on from day one - but there's quite a lot of worrying duplicity going on in this recording, that should be evident from what I've written elsewhere.

 

This sort of thing could easily happen again, even of this process of writing this stuff online is partly cathartic (they'll ascribe - spin - whatever motives they like to whatever they like and I bet you they could make it stick and block scrutiny of that by me, but that's a fact of life I got used to a very long time ago). These people will almost certainly seize on or engineer any errors in these writings (and probably try to exploit the disruptive stuff). There doesn't even need to be errors or anything, really: they can put it all down to 'interpretation' or whatever other diversionary measure they'll use even other otherwise effective analytical tools to embed their viewpoint and that's that.

 

It all began in 1996. A mother and son from Stourport with strong links to the local Police and the local medical community misread a situation and went with it, hyped up and excited from day one, an excitement I've seen on a few occasions over the intervening years.

 

Apparently, and it didn't take long to figure this out, my hairstyle - get this - pointed to an idea that I thought I was possessed by a local young woman, diagnosed with schizophrenia. There's something that demolishes that idea, but, come on, what other communal madness have I got to cover here? That's essentially the piece of gossip that kicked off and changed so much from way back in 1996. The same processes established around that, by these people, remain in place - unchallengeable by me or pretty much anyone else independent - keeping things in place, to this day, 16 years later. Their influence of those people's personalities, mindsets and view of the world is still apparent in all this. Nothing I can do about that, now.

 

Things happened after that. I ranted to a mate about what I thought back then. I was sick of seeing the impact many people were having on my social life. I ranted about the girl diagnosed with schizophrenia. I didn't hold back. Apparently their were health consequences - she freaked or something. I don't know for sure - people, including Simon between 96 and 2000, would just make crazy, angry comments whenever I moaned or ranted about it all, once asking me if I wanted to make her jump off a building. Mental stuff. She'd been getting quite intensive treatment from the local hospital. There'd been this Hollywoodization of the whole thing. It was nuts, but there was no way of sorting anything. Effective communication was blocked off on day one because the gossip was so bizarre.

 

Anyway, there you go. That was the big deal gossip doing the rounds, gossip that changed so much. Not that I knew what was going on at the time, but the people from Stourport jumped through hoops to take my photo of my possessed hair. They'd lost it big time. They were incredibly creepy, but incredibly excited, a form of excitement that would be very similar in intensity when it became hysterical in people at times. Supposedly I was possessed, even though I never experienced psychosis until after taking psychiatric medication in 2000/1.

 

Other things happened. Loads. There'll always be something else in this story and that's what I tried to warn the hospital in 2000. Even though we got close to communicating effectively, I had to put up an exhausting attempt to make even basic points clear to these people - they were already too far gone and easily triggered. I didn't stand a chance.

 

Me and my Mom's relationship was characterised and reframed according to, and in the interests of, the key people involved in it all. More simplistic Hollywoodisation. There was very little reality in the interpretation of me and Mom's relationship and almost no depth, partly because that, too, was based on gossip with highly suspect motivations. I knew it was all crap, but when you're falsely medicated and then more vulnerable to being persuaded by it all, your self-concept can change, as can your behaviour, which then, in the circumstances, almost moulds into shape to fit the story, a story that never looks like it's ever going to be dealt with. All this is partly why I explain my Mom's issue with passive-aggressiveness, something that's been in play since I was a kid. I shouldn't have to say that, but it might just help us both. I doubt it, though. That gossip and the reputation it led to are too well-protected now.

 

I could write loads about this, but I won't. This has been good. It's good to talk. It can cathartic. The problem with this approach, as is the problem in the town of Kidderminster, is that it's highly likely that even this will be distorted, in an area often more than willing to go to pretty extreme lengths to protect what it sees as its God given rights in the abuse of information. That keeps the bullshit going and influences the benefits of my cathartic approach, but that's no reason to stop, regardless of the lengths these people have historically gone to to allow it to work. They may just leave me stranded now they know all they've got to do is carry on with their thing and maybe socially housebound Jase might get pissed off in a way they can capitalise on. Wasn't it really ever thus?

 

Well, I'm chilled and happy with what I've written here. It probably won't lead to anything ever, but I'll have to do something, even in the demoralising knowledge that if people in this area could've so easily screwed my time at Birmingham University way back in the 90s, nothing's essentially changed from that day in 96, to suggest they can't do it again, if they want to.

 

In light of that, what's really the point of bothering with the Home Office or any other supposed safeguard? There isn't one really. When I wrote to them on Sunday, I said that I wonder whether I have fewer rights than my Dad had in mainland Europe in the Second World War. Although, unlike my dad's family, mine hasn't been murdered, I still have no family, now. Apart from that, though, I'd go further. I know I've ultimately got fewer rights. That might sound strange, but it's obvious when think about it properly, however the very mention of that idea could be potentially exploited or just ignored. That can be frustrating, but I'm cool with it now. A mental health 'nurse' once said, with little insight and no irony, that I became like an 'anarchist' when I was 'relapsing'. Maybe I can a bit, verbally, but I wouldn't act on it, I hope. I suppose it's the only thing to do when you have got no effective rights. This area and the reputation attributed to me within it are heavy on 'know your place or we''ll put you there.' It's conservative, limiting and, without adequate safeguards, ultimately disabling. The only ultimate right I've really got within that, I think, is the freedom to think. It's a good right, that, but everyone should have more than that.

 

Anyway, practicalities. I can't realistically remain in the house, socially housebound, for the rest of my life. Looking out of the window can be good, but come on! It's looking like I'm going to have to go beyond those Client Hills on the horizon at the edge of the world, one day. But how?

Another major European introduction for 1982 was the all-new 700 series from Volvo. Designed to replace the 200 series (itself derived from the 100 series of 1966), the 700 was produced alongside for 12 years. The two models are very close in exterior dimension.

 

The 700 underwent minor exterior changes to become the 900 series in 1991, notably a smoother front end treatment and revised rear treatment on the sedan. The sedan also received an independent rear suspension, with the estate car retaining a live rear axle. The 900 series was futher revised and named the S90/V90 in 1997 in line with Volvo's new naming convention. The model finally went out of production in 1998. The sedan models were subsequently replaced by the front-wheel-drive Volvo S80.

 

The engine line up included 4-cylinder, 4-cylinder turbocharged (one of the first major turbocharged passenger car ranges) and carryover vee-six cylinder engines shared with PSA and Renault. The 900 series later replaced the V6 with an inline six developed as part of a modular engine design of inline 4, 5 and 6-cylinder engines.

 

At launch the car was strongly criticised for its overtly rectilinear styling. The car matched the style that was popular in North America at the time, including a near vertical rear window. Unfortunately for Volvo this was the model year introduction of a key competitor, the Audi 100, which was notably aerodynamic in form.

 

This styling theme does have its advantages, with large windows and good visibility. It also provides ample space as an estate car. The model was popular with middle-class families with children, dogs etc, and are now considered 'Lifestyle' families.

 

Volvo's success in this market segment was later eroded by SUV and 'crossover' vehicles which emphasised the adventure part of the lifestyle image without being any more practical as a family car. Volvo went on to launch a vehicle in the crossover segment in place of the 900 wagon, the XC90. This model was very well recieved for its family practicality relative to other vehicles in the luxury crossover segment.

 

This miniland scale model has been created using Lego Digital Designer for Flickr LUGNuts 43rd build challenge - 'Plus or Mius Ten' - celebraing vehilces produced ten years before or after the birth year of the modeller. In this case 1982.

www.moncleroutletjacket.com

Moncler Matte Drawstring Collar Down Coat

Fight the freeze in this matte down coat from Moncler. Elastic ties at the neck and a detachable hood lend practicality to a chic, contoured silhouette.

•Mid length, detachable hood with elastic ties at neck

•Side slit pockets, zip closure

•Nylon. Dry clean. Imported.

•Please refer to our Moncler size chart

 

from the press release:

 

Sonoma Woodcraft is pleased to announce a state-of-the art wall bed that truly fools the casual eye. We’ve taken the uninspired Murphy-style bed and transformed it into a beautiful armoire-like Craftsman cabinet. And not only that, this bed uses a superior, patented lift system that replaces the outdated, complicated spring systems of old. This wallmounted, whisper-quiet gas piston system is the same technology that the best hotels now use.

 

Drawing from Shaker and Mission designs first seen in the early 20 century, the bed shown here is a fine example of the Craftsman style now enjoying renewed popularity in homes across America. That, and its practicality as a space-saving invention make this wall bed wildly popular with our customers... and it is generating remarkable interest with those who are now just learning of the Sonoma Woodcraft wall bed. It’s the perfect solution – much better than an uncomfortable sofa bed– for that spare bedroom or underutilized corner in your home. Great for in a den, TV or sewing room, too.

 

The queen bed shown here in quarter-sawn oak also is available as a twin or double; vertically or horizontally mounted. Chose from a variety of woods and stains: maple, cherry, alder, and other species, by request. An optional touch lighting system is a very nice addition. Companion bookcases, TV/media cabinets, desks, nightstands and more are also possible. Ask for our price and fact sheet for ordering procedure, timing, installation, delivery options and more.

 

Sonoma Woodcraft

Lic. 608040

708 Gravenstein Hwy. N. #72

Sebastopol, CA 95472

Office: 707.824.9866

Mobile: 707.332.9724

sonomawoodcraft@sonic.net

The Dakshinkali Temple is located 22 kilometers from Kathmandu next to the village of Pharping. It's one of the main temples in Nepal. Twice every week thousands of people come here to worship the goddess Kali by sacrificing life animals, particularly cockerels and uncastrated male goats.

 

GODDESS KALI

Kālī (/ˈkɑːli/; Sanskrit: काली & Bengali: কালী; IPA: [kɑːliː]), also known as Kālikā (Sanskrit: कालिका), is the Hindu goddess associated with empowerment, or shakti. She is the fierce aspect of the goddess Durga. The name of Kali means black one and force of time; she is therefore called the Goddess of Time, Change, Power, Creation, Preservation, and Destruction. Her earliest appearance is that of a destroyer principally of evil forces. Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman; and recent devotional movements re-imagine Kāli as a benevolent mother goddess. She is often portrayed standing or dancing on her husband, the god Shiva, who lies calm and prostrate beneath her. Worshipped throughout India but particularly South India, Bengal, and Assam, Kali is both geographically and culturally marginal.

 

ETYMOLOGY

Kālī is the feminine form of kālam ("black, dark coloured"). Kāla primarily means "time", but also means "black"; hence, Kālī means "the black one" or "beyond time". Kāli is strongly associated with Shiva, and Shaivas derive the masculine Kāla (an epithet of Shiva) from her feminine name. A nineteenth-century Sanskrit dictionary, the Shabdakalpadrum, states: कालः शिवः। तस्य पत्नीति - काली। kālaḥ śivaḥ। tasya patnīti kālī - "Shiva is Kāla, thus, his consort is Kāli".

 

Other names include Kālarātri ("black night"), as described above, and Kālikā ("relating to time"), and Kallie ("black alchemist"). Coburn notes that the name Kālī can be used as a proper name, or as a description of color.

 

Kāli's association with darkness stands in contrast to her consort, Shiva, whose body is covered by the white ashes of the cremation ground (Sanskrit: śmaśāna) where he meditates, and with which Kāli is also associated, as śmaśāna-kālī.

 

ORIGINS

Hugh Urban notes that although the word Kālī appears as early as the Atharva Veda, the first use of it as a proper name is in the Kathaka Grhya Sutra (19.7). Kali is the name of one of the seven tongues of Agni, the [Rigvedic] God of Fire, in the Mundaka Upanishad (2:4), but it is unlikely that this refers to the goddess. The first appearance of Kāli in her present form is in the Sauptika Parvan of the Mahabharata (10.8.64). She is called Kālarātri (literally, "black night") and appears to the Pandava soldiers in dreams, until finally she appears amidst the fighting during an attack by Drona's son Ashwatthama. She most famously appears in the sixth century Devi Mahatmyam as one of the shaktis of Mahadevi, and defeats the demon Raktabija ("Bloodseed"). The tenth-century Kalika Purana venerates Kāli as the ultimate reality.

 

According to David Kinsley, Kāli is first mentioned in Hinduism as a distinct goddess around 600 CE, and these texts "usually place her on the periphery of Hindu society or on the battlefield." She is often regarded as the Shakti of Shiva, and is closely associated with him in various Puranas. The Kalika Purana depicts her as the "Adi Shakti" (Fundamental Power) and "Para Prakriti" or beyond nature.

 

WORSHIP AND MANTRA

Kali could be considered a general concept, like Durga, and is mostly worshiped in the Kali Kula sect of worship. The closest way of direct worship is Maha Kali or Bhadra Kali (Bhadra in Sanskrit means 'gentle'). Kali is worshiped as one of the 10 Mahavidya forms of Adi Parashakti (Goddess Durga) or Bhagavathy according to the region. The mantra for worship is

 

Sanskrit: सर्वमङ्गलमाङ्गल्ये शिवे सर्वार्थसाधिके । शरण्ये त्र्यम्बके गौरि नारायणि नमोऽस्तु ते ॥

 

ॐ जयंती मंगल काली भद्रकाली कपालिनी । दुर्गा शिवा क्षमा धात्री स्वाहा स्वधा नमोऽस्तु‍ते ॥

 

(Sarvamaṅgalamāṅgalyē śivē sarvārthasādhikē . śaraṇyē tryambakē gauri nārāyaṇi namō'stu tē.

 

Oṃ jayantī mangala kālī bhadrakālī kapālinī . durgā śivā ksamā dhātrī svāhā svadhā namō'stu‍tē.)

 

YANTRA

Goddesses play an important role in the study and practice of Tantra Yoga, and are affirmed to be as central to discerning the nature of reality as are the male deities. Although Parvati is often said to be the recipient and student of Shiva's wisdom in the form of Tantras, it is Kali who seems to dominate much of the Tantric iconography, texts, and rituals. In many sources Kāli is praised as the highest reality or greatest of all deities. The Nirvana-tantra says the gods Brahma, Vishnu, and Shiva all arise from her like bubbles in the sea, ceaselessly arising and passing away, leaving their original source unchanged. The Niruttara-tantra and the Picchila-tantra declare all of Kāli's mantras to be the greatest and the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra all proclaim Kāli vidyas (manifestations of Mahadevi, or "divinity itself"). They declare her to be an essence of her own form (svarupa) of the Mahadevi.In the Mahanirvana-tantra, Kāli is one of the epithets for the primordial sakti, and in one passage Shiva praises her:At the dissolution of things, it is Kāla [Time]. Who will devour all, and by reason of this He is called Mahākāla [an epithet of Lord Shiva], and since Thou devourest Mahākāla Himself, it is Thou who art the Supreme Primordial Kālika. Because Thou devourest Kāla, Thou art Kāli, the original form of all things, and because Thou art the Origin of and devourest all things Thou art called the Adya [the Primordial One]. Re-assuming after Dissolution Thine own form, dark and formless, Thou alone remainest as One ineffable and inconceivable. Though having a form, yet art Thou formless; though Thyself without beginning, multiform by the power of Maya, Thou art the Beginning of all, Creatrix, Protectress, and Destructress that Thou art. The figure of Kāli conveys death, destruction, and the consuming aspects of reality. As such, she is also a "forbidden thing", or even death itself. In the Pancatattva ritual, the sadhaka boldly seeks to confront Kali, and thereby assimilates and transforms her into a vehicle of salvation. This is clear in the work of the Karpuradi-stotra, a short praise of Kāli describing the Pancatattva ritual unto her, performed on cremation grounds. (Samahana-sadhana)He, O Mahākāli who in the cremation-ground, naked, and with dishevelled hair, intently meditates upon Thee and recites Thy mantra, and with each recitation makes offering to Thee of a thousand Akanda flowers with seed, becomes without any effort a Lord of the earth. Oh Kāli, whoever on Tuesday at midnight, having uttered Thy mantra, makes offering even but once with devotion to Thee of a hair of his Shakti [his energy/female companion] in the cremation-ground, becomes a great poet, a Lord of the earth, and ever goes mounted upon an elephant.The Karpuradi-stotra clearly indicates that Kāli is more than a terrible, vicious, slayer of demons who serves Durga or Shiva. Here, she is identified as the supreme mistress of the universe, associated with the five elements. In union with Lord Shiva, she creates and destroys worlds. Her appearance also takes a different turn, befitting her role as ruler of the world and object of meditation. In contrast to her terrible aspects, she takes on hints of a more benign dimension. She is described as young and beautiful, has a gentle smile, and makes gestures with her two right hands to dispel any fear and offer boons. The more positive features exposed offer the distillation of divine wrath into a goddess of salvation, who rids the sadhaka of fear. Here, Kali appears as a symbol of triumph over death.

 

BENGALI TRADITION

Kali is also a central figure in late medieval Bengali devotional literature, with such devotees as Ramprasad Sen (1718–75). With the exception of being associated with Parvati as Shiva's consort, Kāli is rarely pictured in Hindu legends and iconography as a motherly figure until Bengali devotions beginning in the early eighteenth century. Even in Bengāli tradition her appearance and habits change little, if at all.

 

The Tantric approach to Kāli is to display courage by confronting her on cremation grounds in the dead of night, despite her terrible appearance. In contrast, the Bengali devotee appropriates Kāli's teachings adopting the attitude of a child, coming to love her unreservedly. In both cases, the goal of the devotee is to become reconciled with death and to learn acceptance of the way that things are. These themes are well addressed in Rāmprasād's work. Rāmprasād comments in many of his other songs that Kāli is indifferent to his wellbeing, causes him to suffer, brings his worldly desires to nothing and his worldly goods to ruin. He also states that she does not behave like a mother should and that she ignores his pleas:

 

Can mercy be found in the heart of her who was born of the stone? [a reference to Kali as the daughter of Himalaya]

Were she not merciless, would she kick the breast of her lord?

Men call you merciful, but there is no trace of mercy in you, Mother.

You have cut off the heads of the children of others, and these you wear as a garland around your neck.

It matters not how much I call you "Mother, Mother." You hear me, but you will not listen.

 

To be a child of Kāli, Rāmprasād asserts, is to be denied of earthly delights and pleasures. Kāli is said to refrain from giving that which is expected. To the devotee, it is perhaps her very refusal to do so that enables her devotees to reflect on dimensions of themselves and of reality that go beyond the material world.

 

A significant portion of Bengali devotional music features Kāli as its central theme and is known as Shyama Sangeet ("Music of the Night"). Mostly sung by male vocalists, today even women have taken to this form of music. One of the finest singers of Shyāma Sāngeet is Pannalal Bhattacharya.

 

In Bengal, Kāli is venerated in the festival Kali Puja, the new moon day of Ashwin month which coincides with Diwali festival.

 

In a unique form of Kāli worship, Shantipur worships Kāli in the form of a hand painted image of the deity known as Poteshwari (meaning the deity drawn on a piece of cloth).

 

LEGENDS

SLAYER AND RAKTABIJA

In Kāli's most famous legend, Devi Durga (Adi Parashakti) and her assistants, the Matrikas, wound the demon Raktabija, in various ways and with a variety of weapons in an attempt to destroy him. They soon find that they have worsened the situation for with every drop of blood that is dripped from Raktabija he reproduces a clone of himself. The battlefield becomes increasingly filled with his duplicates. Durga, in need of help, summons Kāli to combat the demons. It is said, in some versions, that Goddess Durga actually assumes the form of Goddess Kāli at this time. The Devi Mahatmyam describes:

 

Out of the surface of her (Durga's) forehead, fierce with frown, issued suddenly Kali of terrible countenance, armed with a sword and noose. Bearing the strange khatvanga (skull-topped staff ), decorated with a garland of skulls, clad in a tiger's skin, very appalling owing to her emaciated flesh, with gaping mouth, fearful with her tongue lolling out, having deep reddish eyes, filling the regions of the sky with her roars, falling upon impetuously and slaughtering the great asuras in that army, she devoured those hordes of the foes of the devas.

 

Kali consumes Raktabija and his duplicates, and dances on the corpses of the slain. In the Devi Mahatmya version of this story, Kali is also described as a Matrika and as a Shakti or power of Devi. She is given the epithet Cāṃuṇḍā (Chamunda), i.e. the slayer of the demons Chanda and Munda. Chamunda is very often identified with Kali and is very much like her in appearance and habit.

  

DAKSHINA KALI

In her most famous pose as Daksinakali, popular legends say that Kali, drunk on the blood of her victims, is about to destroy the whole universe when, urged by all the gods, Shiva lies in her way to stop her, and she steps upon his chest. Recognizing Shiva beneath her feet, she calms herself. Though not included in any of the puranas, popular legends state that Kali was ashamed at the prospect of keeping her husband beneath her feet and thus stuck her tongue out in shame. The Devi-Bhagavata Purana, which goes into great depths about the goddess Kali, reveals the tongue's actual symbolism.

 

The characteristic icons that depict Kali are the following; unbridled matted hair, open blood shot eyes, open mouth and a drooping tongue; in her hands, she holds a Khadga (bent sword or scimitar) and a human head; she has a girdle of human hands across her waist, and Shiva lies beneath her feet. The drooping out-stuck tongue represents her blood-thirst. Lord Shiva beneath her feet represents matter, as Kali energy. The depiction of Kali on Shiva shows that without energy, matter lies "dead". This concept has been simplified to a folk-tale depicting a wife placing her foot

 

on her husband and sticking her tongue out in shame. In tantric contexts, the tongue is seen to denote the element (guna) of rajas (energy and action) controlled by sattva.

 

If Kali steps on Shiva with her right foot and holds the sword in her left hand, she is considered to be Dakshina Kali. The Dakshina Kali Temple has important religious associations with the Jagannath Temple and it is believed that Daksinakali is the guardian of the kitchen of the Lord Jagannath Temple. Puranic tradition says that in Puri, Lord Jagannath is regarded as Daksinakalika. Goddess Dakshinakali plays an important role in the 'Niti' of Saptapuri Amavasya.

 

One South Indian tradition tells of a dance contest between Shiva and Kali. After defeating the two demons Sumbha and Nisumbha, Kali takes up residence in the forest of Thiruvalankadu or Thiruvalangadu. She terrorizes the surrounding area with her fierce, disruptive nature. One of Shiva's devotees becomes distracted while performing austerities, and asks Shiva to rid the forest of the destructive goddess. When Shiva arrives, Kali threatens him, and Shiva challenges Kali to a dance contest, wherein Kali matches Shiva until Shiva takes the "Urdhvatandava" step, vertically raising his right leg. Kali refuses to perform this step, which would not befit her as a woman, and becomes pacified.

 

SMASHAN KALI

If the Kali steps out with the left foot and holds the sword in her right hand, she is the terrible form of Mother, the Smashan Kali of the cremation ground. She is worshiped by tantrics, the followers of Tantra, who believe that one's spiritual discipline practiced in a smashan (cremation ground) brings success quickly. Sarda Devi, the consort of Ramakrishna Paramhansa, worshipped Smashan Kali at Dakshineshwar.

 

MATERNAL KALI

At the time of samundra manthan when amrit came out, along with that came out poison which was going to destroy the world hence on the request of all the gods, Lord Shiva drank it to save the world but as he is beyond death he didn't die but was very much in pain due to the poison effect hence he became a child so that Kali can feed him with her milk which will sooth out the poison effect.

 

MAHAKALI

Mahakali (Sanskrit: Mahākālī, Devanagari: महाकाली), literally translated as Great Kali, is sometimes considered as a greater form of Kali, identified with the Ultimate reality of Brahman. It can also be used as an honorific of the Goddess Kali, signifying her greatness by the prefix "Mahā-". Mahakali, in Sanskrit, is etymologically the feminized variant of Mahakala or Great Time (which is interpreted also as Death), an epithet of the God Shiva in Hinduism. Mahakali is the presiding Goddess of the first episode of the Devi Mahatmya. Here she is depicted as Devi in her universal form as Shakti. Here Devi serves as the agent who allows the cosmic order to be restored.

 

Kali is depicted in the Mahakali form as having ten heads, ten arms, and ten legs. Each of her ten hands is carrying a various implement which vary in different accounts, but each of these represent the power of one of the Devas or Hindu Gods and are often the identifying weapon or ritual item of a given Deva. The implication is that Mahakali subsumes and is responsible for the powers that these deities possess and this is in line with the interpretation that Mahakali is identical with Brahman. While not displaying ten heads, an "ekamukhi" or one headed image may be displayed with ten arms, signifying the same concept: the powers of the various Gods come only through Her grace.

 

ICONOGRAPHY

Kali is portrayed mostly in two forms: the popular four-armed form and the ten-armed Mahakali form. In both of her forms, she is described as being black in color but is most often depicted as blue in popular Indian art. Her eyes are described as red with intoxication, and in absolute rage, her hair is shown disheveled, small fangs sometimes protrude out of her mouth, and her tongue is lolling. She is often shown naked or just wearing a skirt made of human arms and a garland of human heads. She is also accompanied by serpents and a jackal while standing on a seemingly dead Shiva, usually right foot forward to symbolize the more popular Dakshinamarga or right-handed path, as opposed to the more infamous and transgressive Vamamarga or left-handed path.

 

In the ten-armed form of Mahakali she is depicted as shining like a blue stone. She has ten faces, ten feet, and three eyes for each head. She has ornaments decked on all her limbs. There is no association with Shiva.

 

The Kalika Purana describes Kali as possessing a soothing dark complexion, as perfectly beautiful, riding a lion, four-armed, holding a sword and blue lotuses, her hair unrestrained, body firm and youthful.

 

In spite of her seemingly terrible form, Kali Ma is often considered the kindest and most loving of all the Hindu goddesses, as she is regarded by her devotees as the Mother of the whole Universe. And because of her terrible form, she is also often seen as a great protector. When the Bengali saint Ramakrishna once asked a devotee why one would prefer to worship Mother over him, this devotee rhetorically replied, "Maharaj", when they are in trouble your devotees come running to you. But, where do you run when you are in trouble?"

 

According to Ramakrishna, darkness is the Ultimate Mother, or Kali:

 

My Mother is the principle of consciousness. She is Akhanda Satchidananda;

indivisible Reality, Awareness, and Bliss. The night sky between the stars is perfectly black.

The waters of the ocean depths are the same; The infinite is always mysteriously dark.

This inebriating darkness is my beloved Kali.

—Sri Ramakrishna

This is clear in the works of such contemporary artists as Charles Wish, and Tyeb Mehta, who sometimes take great liberties with the traditional, accepted symbolism, but still demonstrate a true reverence for the Shakta sect.

 

POPULAR FORM

Classic depictions of Kali share several features, as follows:

 

Kali's most common four armed iconographic image shows each hand carrying variously a sword, a trishul (trident), a severed head, and a bowl or skull-cup (kapala) catching the blood of the severed head.

 

Two of these hands (usually the left) are holding a sword and a severed head. The Sword signifies Divine Knowledge and the Human Head signifies human Ego which must be slain by Divine Knowledge in order to attain Moksha. The other two hands (usually the right) are in the abhaya (fearlessness) and varada (blessing) mudras, which means her initiated devotees (or anyone worshipping her with a true heart) will be saved as she will guide them here and in the hereafter.

 

She has a garland consisting of human heads, variously enumerated at 108 (an auspicious number in Hinduism and the number of countable beads on a Japa Mala or rosary for repetition of Mantras) or 51, which represents Varnamala or the Garland of letters of the Sanskrit alphabet, Devanagari. Hindus believe Sanskrit is a language of dynamism, and each of these letters represents a form of energy, or a form of Kali. Therefore, she is generally seen as the mother of language, and all mantras.

 

She is often depicted naked which symbolizes her being beyond the covering of Maya since she is pure (nirguna) being-consciousness-bliss and far above prakriti. She is shown as very dark as she is brahman in its supreme unmanifest state. She has no permanent qualities - she will continue to exist even when the universe ends. It is therefore believed that the concepts of color, light, good, bad do not apply to her - she is the pure, un-manifested energy, the Adi-shakti.

 

Kali as the Symbol of Creation , Freedom , Preservation and Destruction

 

The head that hangs in Kali's hand is a symbol of Ego and the scimitar which she is holding represents power and energy.It is believed that Kali is protecting the human race by that scimitar and also destroying the negativity and ego within human being. The body lying under Kali symbolizes ruination, is actually a form of Shiva. Kali steps her leg on the chest of the body and suppress ruination . Since she is standing on the pure white chest of Lord Shiva who, as pure primal awareness, lays in a passive reclining position, peacefully lies with his eyes half open in a state of bliss. Her hair is long, black and flowing freely depicting Her freedom from convention and the confines of conceptualization. The white teeth which Kali has stands for conscience and her red tongue represents greed. By pressing her white teeth on her tongue Kali refers to control greed.The goddess may appear terrible from outside but every symbol in Kali signifies truth of life. Since the earth was created out of darkness, the dark black color of Kali symbolizes the color from which everything was born. Her right hand side arms she shows the Abhaya mudra(gesture of fearlessness) and Vara mudra (gesture of welcome and charity) respectively . But on the other arm in left side she holds a bloody scimitar and a severed head depicting destruction and end of ego.

Kali as the Symbol of Mother Nature

 

The name Kali means Kala or force of time. When there were neither the creation, nor the sun, the moon, the planets, and the earth, there was only darkness and everything was created from the darkness. The Dark appearance of kali represents the darkness from which everything was born. Her complexion is deep blue, like the sky and ocean water as blue. As she is also the goddess of Preservation Kali is worshiped as mother to preserve the nature.Kali is standing calm on Shiva, her appearance represents the preservation of mother nature. Her free, long and black hair represents nature's freedom from civilization. Under the third eye of kali, the signs of both sun, moon and fire are visible which represent the driving forces of nature.

 

SHIVA IN KALI ICONOGRAPHY

In both these images she is shown standing on the prone, inert or dead body of Shiva. There is a legend for the reason behind her standing on what appears to be Shiva's corpse, which translates as follows:

 

Once Kali had destroyed all the demons in battle, she began a terrific dance out of the sheer joy of victory. All the worlds or lokas began to tremble and sway under the impact of her dance. So, at the request of all the Gods, Shiva himself asked her to desist from this behavior. However, she was too intoxicated to listen. Hence, Shiva lay like a corpse among the slain demons in order to absorb the shock of the dance into himself. When Kali eventually stepped upon Shiva, she realized she was trampling and hurting her husband and bit her tongue in shame.

 

The story described here is a popular folk tale and not described or hinted in any of the puranas. The puranic interpretation is as follows:

 

Once, Parvati asks Shiva to chose the one form among her 10 forms which he likes most. To her surprise, Shiva reveals that he is most comfortable with her Kali form, in which she is bereft of her jewellery, her human-form, her clothes, her emotions and where she is only raw, chaotic energy, where she is as terrible as time itself and even greater than time. As Parvati takes the form of Kali, Shiva lies at her feet and requests her to place her foot on his chest, upon his heart. Once in this form, Shiva requests her to have this place, below her feet in her iconic image which would be worshiped throughout.

 

This idea has been explored in the Devi-Bhagavata Purana [28] and is most popular in the Shyama Sangeet, devotional songs to Kali from the 12th to 15th centuries.

 

The Tantric interpretation of Kali standing on top of her husband is as follows:

 

The Shiv tattava (Divine Consciousness as Shiva) is inactive, while the Shakti tattava (Divine Energy as Kali) is active. Shiva and Kali represent Brahman, the Absolute pure consciousness which is beyond all names, forms and activities. Kali, on the other hand, represents the potential (and manifested) energy responsible for all names, forms and activities. She is his Shakti, or creative power, and is seen as the substance behind the entire content of all consciousness. She can never exist apart from Shiva or act independently of him, just as Shiva remains a mere corpse without Kali i.e., Shakti, all the matter/energy of the universe, is not distinct from Shiva, or Brahman, but is rather the dynamic power of Brahman. Hence, Kali is Para Brahman in the feminine and dynamic aspect while Shiva is the male aspect and static. She stands as the absolute basis for all life, energy and beneath her feet lies, Shiva, a metaphor for mass, which cannot retain its form without energy.

 

While this is an advanced concept in monistic Shaktism, it also agrees with the Nondual Trika philosophy of Kashmir, popularly known as Kashmir Shaivism and associated most famously with Abhinavagupta. There is a colloquial saying that "Shiva without Shakti is Shava" which means that without the power of action (Shakti) that is Mahakali (represented as the short "i" in Devanagari) Shiva (or consciousness itself) is inactive; Shava means corpse in Sanskrit and the play on words is that all Sanskrit consonants are assumed to be followed by a short letter "a" unless otherwise noted. The short letter "i" represents the female power or Shakti that activates Creation. This is often the explanation for why She is standing on Shiva, who is either Her husband and complement in Shaktism or the Supreme Godhead in Shaivism.

 

To properly understand this complex Tantric symbolism it is important to remember that the meaning behind Shiva and Kali does not stray from the non-dualistic parlance of Shankara or the Upanisads. According to both the Mahanirvana and Kularnava Tantras, there are two distinct ways of perceiving the same absolute reality. The first is a transcendental plane which is often described as static, yet infinite. It is here that there is no matter, there is no universe and only consciousness exists. This form of reality is known as Shiva, the absolute Sat-Chit-Ananda - existence, knowledge and bliss. The second is an active plane, an immanent plane, the plane of matter, of Maya, i.e., where the illusion of space-time and the appearance of an actual universe does exist. This form of reality is known as Kali or Shakti, and (in its entirety) is still specified as the same Absolute Sat-Chit-Ananda. It is here in this second plane that the universe (as we commonly know it) is experienced and is described by the Tantric seer as the play of Shakti, or God as Mother Kali.

 

From a Tantric perspective, when one meditates on reality at rest, as absolute pure consciousness (without the activities of creation, preservation or dissolution) one refers to this as Shiva or Brahman. When one meditates on reality as dynamic and creative, as the Absolute content of pure consciousness (with all the activities of creation, preservation or dissolution) one refers to it as Kali or Shakti. However, in either case the yogini or yogi is interested in one and the same reality - the only difference being in name and fluctuating aspects of appearance. It is this which is generally accepted as the meaning of Kali standing on the chest of Shiva.

 

Although there is often controversy surrounding the images of divine copulation, the general consensus is benign and free from any carnal impurities in its substance. In Tantra the human body is a symbol for the microcosm of the universe; therefore sexual process is responsible for the creation of the world. Although theoretically Shiva and Kali (or Shakti) are inseparable, like fire and its power to burn, in the case of creation they are often seen as having separate roles. With Shiva as male and Kali as female it is only by their union that creation may transpire. This reminds us of the prakrti and purusa doctrine of Samkhya wherein prakāśa- vimarśa has no practical value, just as without prakrti, purusa is quite inactive. This (once again) stresses the interdependencies of Shiva and Shakti and the vitality of their union.

 

Gopi Krishna proposed that Kali standing on the dead Shiva or Shava (Sanskrit for dead body) symbolised the helplessness of a person undergoing the changing process (psychologically and physiologically) in the body conducted by the Kundalini Shakti.

 

DEVELOPMENT

In the later traditions, Kali has become inextricably linked with Shiva. The unleashed form of Kali often becomes wild and uncontrollable, and only Shiva is able to tame her just as only Kali can tame Shiva. This is both because she is often a transformed version of one of his consorts and because he is able to match her wildness.

 

The ancient text of Kali Kautuvam describes her competition with Shiva in dance, from which the sacred 108 Karanas appeared. Shiva won the competition by acting the urdva tandava, one of the Karanas, by raising his feet to his head. Other texts describe Shiva appearing as a crying infant and appealing to her maternal instincts. While Shiva is said to be able to tame her, the iconography often presents her dancing on his fallen body, and there are accounts of the two of them dancing together, and driving each other to such wildness that the world comes close to unravelling.

 

Shiva's involvement with Tantra and Kali's dark nature have led to her becoming an important Tantric figure. To the Tantric worshippers, it was essential to face her Curse, the terror of death, as willingly as they accepted Blessings from her beautiful, nurturing, maternal aspect. For them, wisdom meant learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. Kali's role sometimes grew beyond that of a chaos - which could be confronted - to that of one who could bring wisdom, and she is given great metaphysical significance by some Tantric texts. The Nirvāna-tantra clearly presents her uncontrolled nature as the Ultimate Reality, claiming that the trimurti of Brahma, Vishnu and Rudra arise and disappear from her like bubbles from the sea. Although this is an extreme case, the Yogini-tantra, Kamakhya-tantra and the Niruttara-tantra declare her the svarupa (own-being) of the Mahadevi (the great Goddess, who is in this case seen as the combination of all devis).The final stage of development is the worshipping of Kali as the Great Mother, devoid of her usual violence. This practice is a break from the more traditional depictions. The pioneers of this tradition are the 18th century Shakta poets such as Ramprasad Sen, who show an awareness of Kali's ambivalent nature. Ramakrishna, the 19th century Bengali saint, was also a great devotee of Kali; the western popularity of whom may have contributed to the more modern, equivocal interpretations of this Goddess. Rachel McDermott's work, however, suggests that for the common, modern worshipper, Kali is not seen as fearful, and only those educated in old traditions see her as having a wrathful component. Some credit to the development of Devi must also be given to Samkhya. Commonly referred to as the Devi of delusion, Mahamaya or Durga, acting in the confines of (but not being bound by) the nature of the three gunas, takes three forms: Maha-Kali, Maha-Lakshmi and Maha-Saraswati, being her tamas-ika, rajas-ika and sattva-ika forms. In this sense, Kali is simply part of a larger whole.

 

Like Sir John Woodroffe and Georg Feuerstein, many Tantric scholars (as well as sincere practitioners) agree that, no matter how propitious or appalling you describe them, Shiva and Devi are simply recognizable symbols for everyday, abstract (yet tangible) concepts such as perception, knowledge, space-time, causation and the process of liberating oneself from the confines of such things. Shiva, symbolizing pure, absolute consciousness, and Devi, symbolizing the entire content of that consciousness, are ultimately one and the same - totality incarnate, a micro-macro-cosmic amalgamation of all subjects, all objects and all phenomenal relations between the "two." Like man and woman who both share many common, human traits yet at the same time they are still different and, therefore, may also be seen as complementary.

 

Worshippers prescribe various benign and horrific qualities to Devi simply out of practicality. They do this so they may have a variety of symbols to choose from, symbols which they can identify and relate with from the perspective of their own, ever-changing time, place and personal level of unfolding. Just like modern chemists or physicists use a variety of molecular and atomic models to describe what is unperceivable through rudimentary, sensory input, the scientists of ontology and epistemology must do the same. One of the underlying distinctions of Tantra, in comparison to other religions, is that it allows the devotee the liberty to choose from a vast array of complementary symbols and rhetoric which suit one's evolving needs and tastes. From an aesthetic standpoint, nothing is interdict and nothing is orthodox. In this sense, the projection of some of Devi's more gentle qualities onto Kali is not sacrilege and the development of Kali really lies in the practitioner, not the murthi.

 

A TIME magazine article of October 27, 1947, used Kali as a symbol and metaphor for the human suffering in British India during its partition that year. In 1971, Ms. Magazine used an image of Kali, her multiple arms juggling modern tasks, as a symbol of modern womanhood on its inaugural issue.

 

Swami Vivekananda wrote his favorite poem Kali the Mother in 1898.

 

KALI IN NEOPAGAN AND NEW AGE PRACTICE

An academic study of Western Kali enthusiasts noted that, "as shown in the histories of all cross-cultural religious transplants, Kali devotionalism in the West must take on its own indigenous forms if it is to adapt to its new environment."[60] The adoption of Kali by the West has raised accusations of cultural appropriation:

 

A variety of writers and thinkers have found Kali an exciting figure for reflection and exploration, notably feminists and participants in New Age spirituality who are attracted to goddess worship. [For them], Kali is a symbol of wholeness and healing, associated especially with repressed female power and sexuality. [However, such interpretations often exhibit] confusion and misrepresentation, stemming from a lack of knowledge of Hindu history among these authors, [who only rarely] draw upon materials written by scholars of the Hindu religious tradition. The majority instead rely chiefly on other popular feminist sources, almost none of which base their interpretations on a close reading of Kali's Indian background. The most important issue arising from this discussion - even more important than the question of 'correct' interpretation - concerns the adoption of other people's religious symbols. It is hard to import the worship of a goddess from another culture: religious associations and connotations have to be learned, imagined or intuited when the deep symbolic meanings embedded in the native culture are not available.

 

INCARNATIONS OF KALI

Draupadi, Wife of Pandavas, was an avatar of Kali, who born to assist Lord Krishna to destroy arrogant kings of India. There is a temple dedicated to this incarnation at Banni Mata Temple at Himachal Pradesh. The vedic deity Nirriti or the Puranic deity Alakshmi is often considered as incarnations of Kali.

 

WIKIPEDIA

The Aurora bedroom is a collection of inspirational pieces that have a pure design pedigree and combine strong aesthetics with essential practicality. Its smooth modern lines serve urban spaces well but also match larger rooms with the addition of complementary elements such as the shell rotative shelving. It's white finish reflects the light creating a bright bedroom whenever the sun shines through the window.

 

TemaHome Blog

Don’t say “Baby”

Don’t say Baby is an interesting icebreaking game which is started just as the guest enters the door. Each guest entering the session is awarded with a diaper pin to wear on their dress. As the game starts, all are informed that they are not to use the word ‘baby’ during the shower. If someone notices the other using the forbidden word, he could snatch away his diaper pin. At the end of the game, the one with most pins wins.

 

Dirty diapers

A dirty diaper is usually the most hated amongst all the shower games. And what if you have to lick a dirty diaper? This is the game. Melted chocolate candies of different flavours are placed in baby napkins and the gamers are to lick the thing and find out the chocolate flavour.

 

Birthing babies

This is an anxious ice melter game. Before the day of shower, tiny plastic babies are frozen along with ice cubes. When the guests arrive, these cubes are given to them in a cup of water. As the times passes, the ice melts and the one who gets the baby out first, wins the game.

 

Guess the Baby game

Blushing cheeks and beautiful memories flourish as we play this game. The setting up is started at the time of invitation sending itself. All the guests are asked to bring pictures of their childhood when coming for the shower. Each picture is assigned a number and is pinned onto the walls. The game is to recognise who the baby is and the person who recognises the most number of babies is the winner.

Tinkle in the pot

The pregnant ladies usually run to the bathroom most frequently. This game is to express this funk in a funny way. Some jars are placed in one side of the room. The guests line up on the other end with a filled balloon on the stomach and a penny by the knees. The players ought to place the penny tightly between their knees and run as fast as they could to the end point where they are to ‘pee’ the coin onto the jar carefully. The fastest one wins the game.

 

Mommy and Daddy’s secrets

Ask the mom and dad for answers to some questions in a significant order and make sure that the significant other is not in site. After noting all the answers, the game starts by placing the mom and dad in the hot point and asking the stated questions. Ask each question answered by the partner and the poll it to the audience to see who thinks the right answer. Everyone is a winner in this game.

 

Bobbing for nipples

This may be the favourite game among the males at the baby shower. A row of large buckets is dropped with some baby milk bottle nipples. Each guest is to kneel down with hands tied at the back and bob for the nipples in the bucket. The person with most number of nipples at the end of two minutes wins the game.

 

Place the baby on the Mommy

This is similar to the ‘Pin the tail on the Donkey’, a classic party game. Make a poster sized picture of the mom standing with her pregnant belly in the picture. Each player is blindfolded and after a couple of spins, they are given a baby shaped pin and asked to pin it onto the mother. The closest to the belly pinning is the winner.

 

Baby items in the bag

This game keeps the guests in a practical guessing mode. At least ten common, useful baby stuffs are placed in a bag. Fairly inexpensive stuffs are preferred considering the practicality of the play. The guests are to feel the goodies without seeing what’s in the bag. They are allotted a 2 minute time and are supposed to write down what they expect them to be into a piece of paper. The winner is the one who guessed most number of articles correctly and the bag with the baby essential goodies goes to the parents-to-be.

 

Baby Dec-a-Cake

Before the shower party, a batch of cupcakes are baked and a small plastic baby is dropped randomly on one of the cups. Without disclosing the secret pregnant cupcake, the guests are given candies and decorations. After all have decorated their cupcakes, the mom-to-be selects her favourite and she is the winner. It is then published that the one with the hidden baby cupcake is the next in line to be the mom.

 

confusedparent.in/10-best-interesting-baby-shower-games/

Here we have it, one of the most iconic little cars in the whole of history. A machine that revolutionised the concept of the city car, and what has now become a pure symbol of Englishness!

 

This little machine is simply known as the Mini! :D

 

Construction of the Mini first began in 1959, with the car designed by the British Motor Corporation's (BMC) chief designer Sir Alec Issigonis, who envisaged a car that had as much space as was humanly possible devoted to the passenger so as to combine the practicality of a big car with the nippy nature of a Dune Buggy. The result was that 80% of the car's platform was available for use by both passengers and luggage. The car was also designed to be fuel efficient, built in response to the 1956 Suez Crisis which resulted in rising fuel prices and petrol rationing. During this period it became apparent that German 'Bubble Car' equivalents such as the Heinkel Kabine and various Messerschmitt designs were starting to corner the market, and thus the Mini project was launched under project name ADO15 (Amalgamated Drawing Office project number 15). Great care was taken to make sure that as much space was saved for the passenger, including the instalment of compact rubber springs instead of conventional metal and the small but powerful BMC A-Series four-cylinder engine tucked away at the front.

 

In April 1959 the car was launched to the press under the designation of both the Austin Seven and the Morris Mini-Minor (due to the amalgamation of the Austin and Morris brands under BMC). By the time the car was let loose thousands had already been sent abroad in an audacious promotional campaign. Things however started slow for the Mini, but this rising star soon became an icon during the 1960's, selling 1,190,000 by 1967.

 

But, behind all the shining sales figures, there were some major problems for BMC and their wonderchild. Baffled by the car, Ford bought one for the base price of £497 and took it apart, desperate to know how their rivals were doing it for the money. As it turns out they weren't, and were able to determine that BMC was losing at least £30 on every single car they sold. Novelty was the only way to get the car properly moving in this competitive new world, and the Mini was all about that. By 1970 the car had appeared in a variety of movies and TV shows, the most famous of which was their charge to glory in the 1969 film 'The Italian Job', where a trio of Minis were used to plunder gold from under the noses of the Mafia and the Italian Authorities. A Leyland Mini holds a place in the heart of British TV under the ownership of Mr. Bean and his various clumsy antics, usually involving an unfortunate Reliant Regal. At the same time it was a car of choice for TV and Music Stars who wanted to show off their quirks!

 

From then on the car continued to keep up its notorious status as a British symbol of motoring, with a huge variety of cars being made including a spacious van, a country camper, a pickup truck and the Moke dune buggy! There were also two almost identical saloon versions of the car known as the Wolseley Hornet and the Riley Elf that were built between 1961 and 1969 as more luxurious alternatives to the original.

 

In 1969 the first major facelift came in the form of the Clubman, designed under British Leyland to give the car a new lease of life, but ended up being something of a mongrel. Although functionally the same, the boys at British Leyland couldn't help but get things off to a bad start by relocating construction from the Cowley Plant to the Longbridge Plant, which meant that all kits and tools had to be moved too and thus initial sales were very slow. British Leyland's reliability reputation was soon to follow, with the unfortunate Mini becoming a victim of the shoddy workmanship that had mired so many of its other products.

 

Eventually the Clubman was killed off in 1980, although the original Mini design had been built alongside and was still selling strong. British Leyland however had plans to kill off the Mini in 1980 by introducing its new small economy car, the Austin Metro. Built very much to the same principals of the Mini, the Metro was a much more angular design but still a capable little family hatchback. But the angular lines and big bulky body did nothing for the Metro, and the car failed to sell in the numbers domestically than those of the Mini internationally!

 

Towards the end of the 1980's and 1990's, the car came in a variety of different 'Special Editions' as the car became less of a mass-market machine and more a fashion item. The iconic nature of the car had sealed its fate with new owners of the Rover Group, BMW, who intended to keep the car going for as long as possible. At the same time the car was a major seller in Japan, which gave a boost of sales in the early 1990's with 40,000 new cars being exported there.

 

Eventually however, the design was starting to look very tired and with Rover Group making heavy losses, the Mini and its spiritual cousin the Metro were killed off in 2000 and 1999, respectively. Rover was granted the ability to run-out the model to the very end before Rover itself was sold off in 2000. During the breakup, BMW designed a new version of the Mini which was launched in 2000 and is still being built today as quite a sleek and popular machine, a little bit more bulky than the original but certainly keeping the novelty and charm. The originals however ended on the 4th October 2000, with a red Mini Cooper S bringing an end to 5,387,862 cars.

 

However, although the original Mini is now very much dead, the novelty that surrounds these tiny little cars is enough to keep thousands and thousands of these machines preserved or in continual everyday usage. Older Mini-Minors are a bit hard to come by and the Clubmans rusted away before you could get them home from the showroom, but the later Mini's sold in the 1980's and 1990's are still alive and kicking on the roads of Britain, and can still draw the attention of passers by even 56 years after the first ones left the production line!

When you think of poor cars and the worst era of British Industry, most will cite the Austin Allegro, a car that truly is a staple of its time, and those times were pretty grim to say the least! It has become a symbol of failure, a monument to catastrophic engineering, a beacon of impracticality and a terrible tribute to an age we Brits would sooner forget.

 

Bit is the Austin Allegro really deserving of such maligned opinions? Should we really hate it as much as we do?

 

The story of the Allegro goes back to the previous model of its range, the Austin 1100, a car that had become symbolic of the British family motor industry, with crisp smooth lines, round peeking headlights and a good blend of space and practicality, it sold by the millions and could have almost been described as a family equivalent of the Mini, novelty that you can use everyday. Trouble was that the 1100 was starting to look very much its age in 1971, and thus British Leyland, the new owners of Austin, took it upon themselves to design a new car that would be sheek and European, something that could win both the British and the International markets.

 

For this they enlisted the help of Chief BL Designer Harris Mann, famous for many great BL products such as the Marina, the Ital, the Princess and the Triumph TR7. Today many people blame him for the poor designs that the company spewed out onto the roads of Britain, but I personally feel sorry for him, especially with cars such as the Allegro. His original design for the car was an angular and very streamlined looking piece of kit, a hatchback and with two fins on the rear to compliment the long smooth waistband, making it look almost reminiscent of an Aston Martin DB5 crossed with a 1969 DBS. However, his promising designs were sadly watered down by British Leyland, tinkered, altered, and, quite frankly, ruined his idea to become what it is, with its bathtub curves, long sloping back and piggy headlights. I will say, it's not the ugliest car in the world, far from it, I've seen much worse like the Pontiac Aztek which looks like a cross between a Bug and a mutant Rhino, but when you compare it to Harris Mann's original sketches, then, and only then, do you understand how far down the Allegro design came.

 

But styling wasn't what BL expected to win the market with, but instead with the car's practicality, starting with the new Hydragas suspension to replace the previous Hydrolastic suspension of the 1100. With this suspension, The Allegro intended to lock horns with the likes of the outgoing Citroën DS and its replacement the CX. Hydragas uses displaced spheres of Nitrogen gas to replace the conventional steel springs of a regular suspension design. The means for pressurising the gas in the displacers is done by pre-pressurising a hydraulic fluid, and then connecting the displacer to its neighbour on the other axle. This is unlike the Citroën system, which uses hydraulic fluid continuously pressurised by an engine-driven pump and regulated by a central pressure vessel. However, the attempt at being an outstanding motor ended at Hydragas because there was nothing else particularly endearing about the Allegro. The interior was cheap, nasty and very cramped, especially in the back where you couldn't even fit a bag of shopping let alone your children! Rather than taking the sensible approach of the competition by fitting the car with a hatchback for more boot space, the car was just fitted with a tiny little trunk that you couldn't fit a bag of shopping into either! The engine, the BMC A-Series, was carried over from the 1100, which was a fine little engine, perky and fairly reliable if maintained properly, as well as the heater being carried over from the Morris Marina, but I'm no judge of heaters so I won't say if that was for good or for ill. Most jarring however was when the car was fitted with a square steering wheel! Probably the most memorable part of the Allegro is the fact that it was given a quartic steering wheel, which BL claimed was for ease of access to the front seat and so that the instruments could be seen, which leaves one asking whether you couldn't see them with a round steering wheel! In the end even Harris Mann disowned the car with disappointment, claiming it was nothing like his original idea, which is pretty bad when even the Chief Designer disowns it!

 

Either way, in spite of Mr. Mann's space-age design being watered down to something unrecognisable and with only Hydragas suspension to make it any different from anything else on the market, the Allegro was launched in 1973 with a promotional trip to Marbella in the south of Spain, and early reviews, despite there being a unanimous dislike to the car's shape and styling, were quite warm, many praising the comfort of the Hydragas suspension. However, reviews of the drive quality, such as the car's heavy steering and cheap, plastic interior, were less favourable.

 

Nevertheless, initial sales of the Allegro were promising and it was in 1973 one of the best selling cars of the year, but things truly went for the plunge soon afterwards, and the car never fully recovered. The flaws of the design became prominent, followed by British Leyland's infamous low quality builds. Roofs, panels and boots leaked, rear wheels flew off, and rumour has it that these cars were banned from the Mersey Tunnel in Liverpool because they couldn't be towed after a breakdown without the chassis bending in the middle! Engines failed to start, wiring was abysmal, rear windows popped out, the paint colours were dreary and dismal, the car would rust before you got it home and many commented that the car had a better drag co-efficiency going backwards!

 

The Allegro did come in a selection of variants, including an estate, a sporty coupé known as the Equipe, and a very strange luxury variant known as the Vanden Plas 1500, a peculiar which was fitted with luxury items carried over from the Jaguar XJ range and had a big chrome nose yoked onto the front to try and make it look reminiscent of a Rolls Royce or a Bentley. Only problem is that Rolls Royce's and Bentley's have their front ends designed around the chrome nose, and thus the result was that it looked something like a pig! Also, another thing about Rollers and Bentleys is that they're much, much bigger than a tiny Allegro, which had absolutely no legroom in the back which made the concept entirely pointless! The car was also sold in Italy as the Innocenti Regent, nothing particularly different apart from different badges.

 

In 1975 the Allegro II was launched to try and redress some of the issues with the original car, including a slightly altered front-end and some minor changes internally, but overall it was very much the same. These changes however weren't enough to save the car's dwindling reputation, and even though the BL advertisers continued to lay on the imaginative promotion, the car was still losing heavily to the likes of the Ford Cortina.

 

The final variant, the Allegro III, had the most changes upon its launch in 1979, including a new version of the A-Series engine and quad round headlights to make it look a bit more modern. Apart from that the car was still very much the same as it was in 1973, and it was truly showing its age. British Leyland, recovering from the bankruptcy of 1977, attempted to rationalise the company by pulling out of the sports car range as well as some of their older products. The MG sportsters were killed off in 1980 and their factory closed whilst production of the Allegro and the Mini were slowed down as they prepared to discontinue to both of them in favour of the Austin Metro. The Morris Marina and Princess were replaced by the mostly identical Morris Ital and the Austin Ambassador, and Triumph was now being used to pioneer a tie up with Japan to create good and reliable cars in the form of the Triumph Acclaim.

 

The hammer eventually fell on the Allegro after 9 years of production in 1982 when the Austin Maestro was launched after 5 years of development. In all, 642,000 Allegros left the factory during its lifetime, but today less than 250 are known to exist, with many rusting away or being part exchanged for a plant pot by the time 1990 hit. The reputation of these cars is still very much maligned by both critics and motoring enthusiasts alike, with it topping many people's worst car in history lists, and becoming Britain's worst car of all time followed closely by the Morris Marina. Top Gear were always quick to bash the Allegro, with two of the ambiguous Vaden Plas 1500's meeting their maker, one being smashed with a suspended Morris Marina in a giant game of Bar Skittles, whilst another was driven in reverse off a ramp and smashed into a pile of scrapyard cars.

 

Me personally? I feel that the Allegro was a car with promise and premise, but the abilities of British Leyland fell far short of their ambitions, not helped by their incompetence and desire to commit corporate suicide. If the car had been built as Harris Mann had designed, been given a hatchback, and had been created with the slightest semblance of sense, then it could have truly been a winner. As it is, the car is now a sorry marker in the world of broken dreams, one that we simply choose to forget and never forgive.

 

Image Available for purchase from www.ballaratheritage.com.au

 

Statement of Significance

 

What is significant?

 

The Cussen Memorial is a mausoleum located within the Roman Catholic section of the Boroondara General Cemetery, Kew (VHR0049). The sandstone memorial is built in the Gothic Revival style in the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge capping embellishing the exterior. The memorial occupies a landmark position within the Cemetery. The Cussen Memorial was constructed in 1912-13 by Leo Cussen in memory of his son Hubert. Leo Cussen (later Sir Leo) was appointed to the bench of the Supreme Court of Victoria in 1906, where he displayed the qualities which were to mark him, in the words of Sir Owen Dixon, as the 'greatest of all judges', combining legal expertise with great humanity and practicality. Sir Leo was considered by Sir Robert Menzies as 'one of the great judges of the English speaking world'. In addition to his duties as a judge, Leo Cussen accepted responsibility for the consolidations of the Victorian Acts of Parliament, which took place in 1915, and again in 1929. In 1922, after four years of labour over centuries of English legislation, he presented to the Victorian Parliament the Bill for the Imperial Acts Application Act, which was passed without amendment.

 

The architect for the Memorial was WP Conolly of the firm Kempson and Conolly. Conolly was one of the most prominent architects designing Catholic churches in Melbourne in the late nineteenth and early twentieth centuries. Cussen's choice of architect for the memorial reflects his Catholic connections in Melbourne. In 1930, Conolly was asked by Lady Cussen to make alterations to the Cussen Memorial to allow for additional tombs. In spite of being built initially for Hubert Cussen, the Memorial has been strongly associated with Sir Leo Cussen since his burial there in 1933 and is often referred to as the Leo Cussen Memorial.

 

How is it significant?

 

The Cussen Memorial is of architectural and historical significance to the State of Victoria

 

Why is it significant?

 

The Cussen Memorial is of architectural significance as a fine example of an early twentieth century mausoleum in the Gothic style, designed by WP Conolly, one of the most prominent architects designing Catholic churches in Melbourne in the late nineteenth and early twentieth centuries.

 

The Cussen Memorial is of historical significance for its association with Sir Leo Cussen, justice of the Supreme Court of Victoria from 1906 to 1933, a highly popular and respected judge, legal educator and scholar, who was responsible for the consolidation of Victoria's statutes in 1915 and 1929 and the consolidation of over 7000 English Acts applicable in Victoria in the Imperial Acts Application Act of 1922.

 

VHR Statement of Significance

 

What is significant?

 

Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery

 

Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society.

 

Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Strett was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum.

 

The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known.

 

The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end.

 

The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior.

 

By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia.

 

The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect.

 

The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum.

 

Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii')

 

Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria.

 

The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery.

 

How is it significant?

 

Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria.

 

Why is it significant?

 

The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery.

 

The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment.

 

The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907.

 

The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement.

 

The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (chamaecyparis funebris 'aurea') is the only known example in Victoria.

 

The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.

On the Island as a member of the GSC Events Fleet to check the practicalities of using articulated buses for events such as the Festival and Bestival.

 

The News Line: Editorial

Friday, 11 July 2014

 

Massive strike action greeted by Tory coalition threats!

 

AS millions of public sector workers, teachers, firefighters, local government workers and many other sections took strike action yesterday, Prime Minister Cameron pledged to bring in more anti-union laws to make it impossible to have a legal strike action.

 

He said: ‘I think the time has come for setting a threshold. It is time to legislate and it will be in the Conservative manifesto.’

 

Cameron attacked the low turnout thresholds in union strike ballots and challenged the validity of mandates to take industrial action derived from ballots conducted more than a year ago in some cases.

 

Tory MPs said strike action in schools had been supported in a ballot in 2012 by 22% of NUT members, and 33% of NASUWT members and said that it should be illegal that a single strike ballot can make successive rounds of industrial action lawful provided that the same dispute is involved.

 

The Tories are considering two strike threshold options. Under the first, backed by Mayor Johnson and Gove, a strike could only take place if it was supported by a majority of the entire membership, not just those who vote. Under the second, a minimum turnout of 60% would have to take part, regardless of how they voted.

 

Yesterday, education secretary Michael Gove accused the teaching unions of standing up for their pay and pensions but not for education.

 

Gove said: ‘The ballot which legitimates this strike is, I think, something like two years old and the turnout which validates that ballot was small.’

 

Unite however published its opinion poll showing that the public back the right to strike in this dispute by 61% to 31%, support a £1-an-hour increase in council workers’ wages by 48% to 35%, and oppose public-sector real-terms pay cuts lasting to 2018 by 56% to 25%.

 

McCluskey, the Unite general secretary, also attacked the prime minister’s plans to tighten the strike laws. He correctly pointed out: ‘The whiff of hypocrisy coming from Cameron as he harps on about voting thresholds is overwhelming. Not a single member of his cabinet won over 50% of the vote in the 2010 election, with Cameron himself getting just 43% of the potential vote.

 

‘If he practiced what he preached, then no Tory councillors would have been elected in the last 20 years and Londoners would have been spared the circus of Boris Johnson. So we’ll take no lessons from the Bullingdon bully, who gives tax breaks to his City chums yet plots to deprive lowly waged workers of their right to fight poverty pay.’

 

Cameron also attacked Ed Miliband for neither supporting nor condemning the strikes, billed as some of the largest since the general strike of 1926

 

Dave Prentis, the leader of Unison, the largest public-sector union, also also critisised Miliband’s stance, saying: ‘It is time for Labour to make up its mind. Public-service workers are people who should be Labour’s natural supporters and they deserve Labour’s unashamed backing in return.’

 

Unison general secretary Dave Prentis has stressed that members have turned out ‘in force’ for the strike today and that the ‘massive show of solidarity’ from the members and the public alike shows that 1% is just ‘not enough’.

 

Prentis said: ‘It is a disgrace that more than 400,000 local government and school support workers are paid less than the living wage and one million earn less than the Coalition’s low-pay threshold of £21,000.’

 

The unions in local government are seeking a pay rise worth £1 an hour. The unions claim ministers have in effect served notice that pay freezes in the public sector will continue until 2018, by which time the deficit is due to be eradicated.

 

The situation is now crystal clear. The working class has had enough, and will not stand for additional pay cuts and new anti-union laws that will make it impossible to have a legal strike action, and will legalise poverty wages for ever!

 

The Tories however are determined to proceed with their measures. It is a class war to the finish as far as they are concerned. As usual Miliband dodges the issue and shows that Labour will do the same as the Tories once it is in office.

 

There is only one solution to this crisis. The working class must fight to win! The TUC General Council, including McCluskey and Prentis must stop debating the ‘practicalities of calling an indefinite general strike, and must call one at this September’s TUC Congress, or resign and be replaced by leaders who will! An indefinite general strike will bring the Tory government down and bring in a workers government and socialism. There is no other way forward.

 

www.wrp.org.uk/news/9946

First visit of 2019 for me to this stunning castle today Thursday 28th March 2019.

 

Dunnottar Castle.

 

The rock the Castle sits upon was forced to the surface 440 million years ago during the Silurian period. A red rock conglomerate with boulders up to 1m across known as Pudding Stone is incredibly durable.

 

The ancient Highland rock pebbles and cementing matter is so tough that faults or cracks pass through the pebbles themselves.

 

I first visited Dunnottar Castle summer 2017, this magnificent castle sits high on a hill, last time I visited I captured my shots from the cliffs overlooking the site, though today I made the journey up the hill and entered the castle walls , wow what a magnificent experience, just perfect with loads of great photo opportunities to capture real Scottish history,after two hours wandering around and capturing as many shots that caught my eye , I made my way home, a magnificent experience indeed.

 

Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.

 

The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.

 

The castle was restored in the 20th century and is now open to the public.

 

The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.

 

The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.

 

History

Early Middle Ages

A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.

 

The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.

 

The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.

 

Later Middle Ages

During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.

 

In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.

 

In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.

 

Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.

 

In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.

 

William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.

 

16th century rebuilding

Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".

 

Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.

 

James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.

 

During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.

 

In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.

 

A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.

 

An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.

 

Civil wars

Further information: Scotland in the Wars of the Three Kingdoms

In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.

 

Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.

 

Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.

 

The Honours of Scotland

Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.

 

They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.

 

In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.

 

Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.

 

Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.

 

Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.

 

At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.

  

Whigs and Jacobites

Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.

 

The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.

 

The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.

 

The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".

 

Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.

 

Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.

 

In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.

 

Later history

The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.

 

In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.

 

Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.

 

It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.

 

Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.

 

Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.

 

Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.

 

The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.

 

Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.

  

Description

Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.

 

The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).

 

The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".

 

Defences

The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.

 

The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.

 

Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.

 

Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.

 

The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.

 

A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.

 

Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.

 

Tower house and surrounding buildings

The tower house of Dunnottar, viewed from the west

The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.

 

Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.

 

Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.

 

This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.

 

The palace

The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.

 

It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.

 

Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.

 

At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.

 

The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.

 

The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.

 

Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.

 

At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.

It's got a trunk for practicality. Keep all your things in there. Do it, you won't.

....and volunteer Roy.

 

A triple-expansion marine engine from the steam tug ‘Chipchase’

The tug was built in 1953 by Clelands (Successors) Ltd, Wallsend-on-Tyne, with engines by Plenty of Newbury. She was built for the Blyth Harbour Commissioners, and later passed to the Seaham Harbour Dock Co, County Durham. The vessel was acquired in 1984 for a project to establish a maritime museum at Maryport, West Cumberland, and taken over by the Town Council in 1986. The vessel was scrapped, but the engines were salvaged, and one set was purchased by the SMM for display in Clydebuilt at Braehead

Though of English make, this object is representative of the triple-expansion type of marine engine, developed to practicality on the Clyde in the 1870s and 80s.

This is important to the collection of marine engines in the SMM as an example of one of the most important types of engine. It also forms a group with part of the boiler front, a boiler feed pump, and a generating set, all from the same vessel, and all at kept together.

Formerly part of the exhibition at Braehead, now moved to Irvine..

Photography by Alan Kempster for SMM

 

When you think of poor cars and the worst era of British Industry, most will cite the Austin Allegro, a car that truly is a staple of its time, and those times were pretty grim to say the least! It has become a symbol of failure, a monument to catastrophic engineering, a beacon of impracticality and a terrible tribute to an age we Brits would sooner forget.

 

Bit is the Austin Allegro really deserving of such maligned opinions? Should we really hate it as much as we do?

 

The story of the Allegro goes back to the previous model of its range, the Austin 1100, a car that had become symbolic of the British family motor industry, with crisp smooth lines, round peeking headlights and a good blend of space and practicality, it sold by the millions and could have almost been described as a family equivalent of the Mini, novelty that you can use everyday. Trouble was that the 1100 was starting to look very much its age in 1971, and thus British Leyland, the new owners of Austin, took it upon themselves to design a new car that would be sheek and European, something that could win both the British and the International markets.

 

For this they enlisted the help of Chief BL Designer Harris Mann, famous for many great BL products such as the Marina, the Ital, the Princess and the Triumph TR7. Today many people blame him for the poor designs that the company spewed out onto the roads of Britain, but I personally feel sorry for him, especially with cars such as the Allegro. His original design for the car was an angular and very streamlined looking piece of kit, a hatchback and with two fins on the rear to compliment the long smooth waistband, making it look almost reminiscent of an Aston Martin DB5 crossed with a 1969 DBS. However, his promising designs were sadly watered down by British Leyland, tinkered, altered, and, quite frankly, ruined his idea to become what it is, with its bathtub curves, long sloping back and piggy headlights. I will say, it's not the ugliest car in the world, far from it, I've seen much worse like the Pontiac Aztek which looks like a cross between a Bug and a mutant Rhino, but when you compare it to Harris Mann's original sketches, then, and only then, do you understand how far down the Allegro design came.

 

But styling wasn't what BL expected to win the market with, but instead with the car's practicality, starting with the new Hydragas suspension to replace the previous Hydrolastic suspension of the 1100. With this suspension, The Allegro intended to lock horns with the likes of the outgoing Citroën DS and its replacement the CX. Hydragas uses displaced spheres of Nitrogen gas to replace the conventional steel springs of a regular suspension design. The means for pressurising the gas in the displacers is done by pre-pressurising a hydraulic fluid, and then connecting the displacer to its neighbour on the other axle. This is unlike the Citroën system, which uses hydraulic fluid continuously pressurised by an engine-driven pump and regulated by a central pressure vessel. However, the attempt at being an outstanding motor ended at Hydragas because there was nothing else particularly endearing about the Allegro. The interior was cheap, nasty and very cramped, especially in the back where you couldn't even fit a bag of shopping let alone your children! Rather than taking the sensible approach of the competition by fitting the car with a hatchback for more boot space, the car was just fitted with a tiny little trunk that you couldn't fit a bag of shopping into either! The engine, the BMC A-Series, was carried over from the 1100, which was a fine little engine, perky and fairly reliable if maintained properly, as well as the heater being carried over from the Morris Marina, but I'm no judge of heaters so I won't say if that was for good or for ill. Most jarring however was when the car was fitted with a square steering wheel! Probably the most memorable part of the Allegro is the fact that it was given a quartic steering wheel, which BL claimed was for ease of access to the front seat and so that the instruments could be seen, which leaves one asking whether you couldn't see them with a round steering wheel! In the end even Harris Mann disowned the car with disappointment, claiming it was nothing like his original idea, which is pretty bad when even the Chief Designer disowns it!

 

Either way, in spite of Mr. Mann's space-age design being watered down to something unrecognisable and with only Hydragas suspension to make it any different from anything else on the market, the Allegro was launched in 1973 with a promotional trip to Marbella in the south of Spain, and early reviews, despite there being a unanimous dislike to the car's shape and styling, were quite warm, many praising the comfort of the Hydragas suspension. However, reviews of the drive quality, such as the car's heavy steering and cheap, plastic interior, were less favourable.

 

Nevertheless, initial sales of the Allegro were promising and it was in 1973 one of the best selling cars of the year, but things truly went for the plunge soon afterwards, and the car never fully recovered. The flaws of the design became prominent, followed by British Leyland's infamous low quality builds. Roofs, panels and boots leaked, rear wheels flew off, and rumour has it that these cars were banned from the Mersey Tunnel in Liverpool because they couldn't be towed after a breakdown without the chassis bending in the middle! Engines failed to start, wiring was abysmal, rear windows popped out, the paint colours were dreary and dismal, the car would rust before you got it home and many commented that the car had a better drag co-efficiency going backwards!

 

The Allegro did come in a selection of variants, including an estate, a sporty coupé known as the Equipe, and a very strange luxury variant known as the Vanden Plas 1500, a peculiar which was fitted with luxury items carried over from the Jaguar XJ range and had a big chrome nose yoked onto the front to try and make it look reminiscent of a Rolls Royce or a Bentley. Only problem is that Rolls Royce's and Bentley's have their front ends designed around the chrome nose, and thus the result was that it looked something like a pig! Also, another thing about Rollers and Bentleys is that they're much, much bigger than a tiny Allegro, which had absolutely no legroom in the back which made the concept entirely pointless! The car was also sold in Italy as the Innocenti Regent, nothing particularly different apart from different badges.

 

In 1975 the Allegro II was launched to try and redress some of the issues with the original car, including a slightly altered front-end and some minor changes internally, but overall it was very much the same. These changes however weren't enough to save the car's dwindling reputation, and even though the BL advertisers continued to lay on the imaginative promotion, the car was still losing heavily to the likes of the Ford Cortina.

 

The final variant, the Allegro III, had the most changes upon its launch in 1979, including a new version of the A-Series engine and quad round headlights to make it look a bit more modern. Apart from that the car was still very much the same as it was in 1973, and it was truly showing its age. British Leyland, recovering from the bankruptcy of 1977, attempted to rationalise the company by pulling out of the sports car range as well as some of their older products. The MG sportsters were killed off in 1980 and their factory closed whilst production of the Allegro and the Mini were slowed down as they prepared to discontinue to both of them in favour of the Austin Metro. The Morris Marina and Princess were replaced by the mostly identical Morris Ital and the Austin Ambassador, and Triumph was now being used to pioneer a tie up with Japan to create good and reliable cars in the form of the Triumph Acclaim.

 

The hammer eventually fell on the Allegro after 9 years of production in 1982 when the Austin Maestro was launched after 5 years of development. In all, 642,000 Allegros left the factory during its lifetime, but today less than 250 are known to exist, with many rusting away or being part exchanged for a plant pot by the time 1990 hit. The reputation of these cars is still very much maligned by both critics and motoring enthusiasts alike, with it topping many people's worst car in history lists, and becoming Britain's worst car of all time followed closely by the Morris Marina. Top Gear were always quick to bash the Allegro, with two of the ambiguous Vaden Plas 1500's meeting their maker, one being smashed with a suspended Morris Marina in a giant game of Bar Skittles, whilst another was driven in reverse off a ramp and smashed into a pile of scrapyard cars.

 

Me personally? I feel that the Allegro was a car with promise and premise, but the abilities of British Leyland fell far short of their ambitions, not helped by their incompetence and desire to commit corporate suicide. If the car had been built as Harris Mann had designed, been given a hatchback, and had been created with the slightest semblance of sense, then it could have truly been a winner. As it is, the car is now a sorry marker in the world of broken dreams, one that we simply choose to forget and never forgive.

First visit of 2019 for me to this stunning castle today Thursday 28th March 2019.

 

Dunnottar Castle.

 

The rock the Castle sits upon was forced to the surface 440 million years ago during the Silurian period. A red rock conglomerate with boulders up to 1m across known as Pudding Stone is incredibly durable.

 

The ancient Highland rock pebbles and cementing matter is so tough that faults or cracks pass through the pebbles themselves.

 

I first visited Dunnottar Castle summer 2017, this magnificent castle sits high on a hill, last time I visited I captured my shots from the cliffs overlooking the site, though today I made the journey up the hill and entered the castle walls , wow what a magnificent experience, just perfect with loads of great photo opportunities to capture real Scottish history,after two hours wandering around and capturing as many shots that caught my eye , I made my way home, a magnificent experience indeed.

 

Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.

 

The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.

 

The castle was restored in the 20th century and is now open to the public.

 

The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.

 

The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.

 

History

Early Middle Ages

A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.

 

The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.

 

The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.

 

Later Middle Ages

During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.

 

In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.

 

In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.

 

Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.

 

In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.

 

William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.

 

16th century rebuilding

Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".

 

Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.

 

James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.

 

During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.

 

In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.

 

A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.

 

An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.

 

Civil wars

Further information: Scotland in the Wars of the Three Kingdoms

In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.

 

Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.

 

Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.

 

The Honours of Scotland

Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.

 

They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.

 

In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.

 

Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.

 

Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.

 

Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.

 

At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.

  

Whigs and Jacobites

Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.

 

The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.

 

The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.

 

The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".

 

Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.

 

Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.

 

In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.

 

Later history

The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.

 

In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.

 

Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.

 

It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.

 

Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.

 

Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.

 

Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.

 

The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.

 

Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.

  

Description

Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.

 

The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).

 

The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".

 

Defences

The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.

 

The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.

 

Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.

 

Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.

 

The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.

 

A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.

 

Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.

 

Tower house and surrounding buildings

The tower house of Dunnottar, viewed from the west

The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.

 

Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.

 

Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.

 

This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.

 

The palace

The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.

 

It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.

 

Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.

 

At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.

 

The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.

 

The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.

 

Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.

 

At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.

The E30 is sold, it lives in Rhode Island now...we're a 100% Mercedes Benz family for the first time. My wife has the sleek & sexy 1991 560SEC. It's the sportiest of all the W126 coupe [hardtop] 2 doors that ever existed from the factory. Not only is it a hardtop but it's powered by a 5.6 liter SOHC V8. The 17" Voxx rims complete the sporty, 2+2 package. As of last night the car has 304,800 + miles on the odometer.

 

To the left of my wife's 560SEC is my new (used) daily driver. This W126 is a 300SDL with fresh paint but in need of some TLC. It's going to need a lot of odds and ends, rubber hoses and mounts which are dry-rotted due to age & neglect as well as some cleaning of the fuel system & also some suspension work. The car has 215K miles on the clock and is certainly a worth while investment since I essentially paid about double the scrap value foe the car. It has a salvage title because of some side swipe damage, most of which was repaired quite well, although there's plenty of cosmetic flaws. The 300SDL is a model I've been searching for since about 2009, and quite actively since the spring of 2011. It's the perfect combination of practicality, luxury, space, cargo capacity & fuel economy, That big turbo-diesel I6 coupled with the long wheelbase sedan body is the perfect stable mate to our W126 gran touring coupe.

  

celebrations with the Dutch Solar Team Eindhoven as they are awarded first prize with world's first family solar car Stella for best of the Cruiser Class in the 2013 Bridgestone World Solar Challenge. Apart from time, in Cruiser Class also practicality and total driver-kliometers are counted (Stella usually carried 2 to 4 people). /

bevrijdende vreugde bij de studenten van Solar Team Eindhoven wanneer ze de eerste prijs winnen met 's werelds eerste familie-zonne-auto voor beste deelnemer in de Cruiser klasse tijdens de 2013 Bridgestone World Solar Challenge. Behalve tijd wordt in de Cruiser Class ook de praktische ervaring van het rijden van de auto, en het aantal berijders-kilometers geteld (Stella had gewoonlijk twee tot vier berijders aan boord)

Just a girl & her matcha

 

••••••••••••••••••••••••••••••••••••••••••••••••••••

 

The Look:

 

Style References

 

Description Section:

 

This stunning beige maxi dress by Brior, features a mesh net pattern that adds texture and sophistication. This dress is made to hug the body in all the right places, with a daring keyhole neckline and long sleeves that balance sensuality with class. Paired with this is a chic quilted handbag, which perfectly compliments the soft tones of the dress while adding a touch of practicality. I decided to elevate this outfit with statement gold earrings by Black Lotus, bold in size and design, making them the perfect accessory to complete the look. On my feet, Im rocking pearl-embellished heels that combine luxury and modernity, with the pearls adding a touch of timeless elegance to the nude base. Holding a refreshing matcha drink from Chic-Chica, Im giving an effortlessly cool vibe to the otherwise high-fashion ensemble, while my soft nude pink nails with gold metallic tips by Black Lotus tie everything together, echoing the gold accents in the earrings and bag.

Benjamin Stein, Die Leinwand (The Canvas)

An Event of the DAAD

Reading

Wed, 29.12.2010, 19:00

Goethe-Institut Jerusalem

in German

  

Based on the scandal of Benjamin Wilkomirski's falsified Holocaust memoir, this novel deals with the unreliability of memory and the struggle for identity. Two stories are told from both ends of the book. In one of the stories Amnon Zichroni, an Orthodox Jew who grew up in Israel and becomes a psychoanalyst in Zürich, encourages Minsky, a supposed Holocaust survivor, to write down his memories. The other story is about East German journalist Jan Wechsler who tries to expose Minsky's memoirs as false. In the centre of the book a confrontation takes place when the two narrators, Amnon Zichroni and Jan Wechsler, meet one another.

 

Shortly about me:

 

It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.

 

In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.

 

The exhibition “Beautiful Faces of Balata” currently on show at the Church of the Ascension at the “Kaiserin Auguste Victoria Foundation” on the Mount of Olive's can be visited on a virtual tour on my website. Virtual tour of the Exhibition »

 

The exhibition is a project of Public Culture - Palpics, under the auspices of the Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH and the Yafa Cultural Center (YCC) .

 

If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.

  

IDN1 1988, IDN2 1989 by Malga Kubiak Archives The Ego Trip 1988, 1989

attention! the ego trip collection is not for minors!

NOTHING FOR MINORS!

music Zbigniew Karkowski

vocals & texts Malga Kubiak

recorded at Chalmers

cast Malga Kubiak

camera Malga Kubiak, Tjell Zachrison

editing Malga Kubiak

cast Malga Kubiak, Peo Soderberg, Tjell Zachrison, Lola Muller, CM von Hausswolff & many others

shark photos Laurie Dammert

shot GBG, NYC, GBG

a

complete review 1995

MISS MESS COMES TO TOWN

Material on Independent Film. Part I / By Mats Olsson

 

MISS TROUBLE HAS moved to Stockholm. Or perhaps she hasn't. When it

comes to Miss Mess, Maggachacka, Mango Chutney, Marga, or, as sheprefers to be called, Malga Kubiak, its difficult to know what she means by home.

A fabulously romantic woman who doesn't know if she's still a girl, and if she has the right to be. Of all people I've met, no one has attempted to act the part of the total Artist quite like her. Despite the fact that she is a quite nice person, very few have succeeded to such an extent in being provocative. This is not due to more profound strategies. Provocation seems to be innate to her, and its purpose is by no means exclusively to epater les bourgeois. In practice, though, this is what happens. Her victims are not just the pilots of leather

armchair etiquette, or the suburban couch potatoes, but also colleagues, gallerists, journalists, officials, chauvinists, feminists, old friends, premeditating men and prejudiced women; all of them encounter her very

apparition as an offense to the inner calm they've spent a lifetime attaining.

The irony here is striking. The spirit of the times is divided between a longing for the good old days of public projects and an extremely individualistic artistic ethic. In the case of Malga, her means of

expression are pathetic beyond recognition. The simple fact that the word pathetic is generally thought of as negative turns our resistance to her work an auto-ethic anesthesia. By all means - she's not alone in

being a misunderstood artist. Since the ban on absinthe in Paris, very few taken social obstinacy in art to its extremes. Her artistic expression is identical with her own life. She works exclusively with

herself. If other people take part , thye are only background for the superegotism of Miss Mess. This should however be seen as a generous act, as it comes across in her books, films and objects. Problems arise

since we still expect a ritualized interaction in so-called reality. Malga is not the queen of real power. In fact , she's unexpectedly lousy at practical stuff, such as money, layout and aesthetic control. Her art /life/ is maximally charged with sex, drugs, violence, travels, experiences, emotions, and quests. Due to her unfettered techniques of presentation, she retains true pathos. Her passionate abandon creates a secret. What she wants to say is easy to repress, despite the fact that it's much clearer than, for instance, this text.

During the last years, her travels through existence have taken place in the company of a young man, Harry Hoppe, probably the best Swedish poet today. It's hard to tell how you know something like that. I've

never read any of his work. But charismatically speaking this couple seems impeccable.

I'd like to recommend you all to read her latest book Baby Trouble which makes for difficult reading, and is only available on request from the artist. An easier way of becoming acquainted with her work is to see

her latest film , Babe Trouble-Hole, which according to the artist is more of comedy than her earlier films.

It opens at the Zita Theater in Stockholm. What you'll get is a not

entirely non-pornographic reflection on two people loving each other, and some slices of real life as well. If you should happen to bump into them in a bar, I strongly suggest that you buy them drinks. I also

recommend them for the government funding, preferably public art on Riddarholmen. I would like to advice against any kind of violence or trouble-making . And stay aloof from all business involving rock bands, or any other practicalities, if Chaggamacka is in the vicinity.

REVIEW

The Ego Trip Collection

I The Ego Trip Collection ingar b la "Ego", "Super Ego", "IDN1", 2 och 3. orsaken till att jag väljer att ta upp dem tillsammans är att de stilmässigt och innehallsmässigt ligger nära varandra.

Hur ska man beskriva dessa filmer? Trots att jag har sett de här filmerna ett antal ganger är mitt intryck detsamma: ett rasande kaos. Eller som Malga själv kanske skulle uttrycka det: "films about love/ sex/ death/ hate/ life" osv. Det kan lata osammanhängande och diffust, men faktum är att det finns en mycket stark "drive" i dessa videos. detta beror till stor del pa den hetsiga klippningen och den pumpande elektroakustiska musiken av exempelvis Karkowski, kombinerat med Malgas jagade, skrikande diktuppläsning. Mörbultningseffekten är stark, särskilt om man ser filmerna i en mörklagd biograf med maximal volym. I mitt tycke fungerar The Ego Trip mer pa ett direkt fysiskt plan än pa ett intellektuellt. Det är inte lätt att vara distanserad inför denna totalanstormning. Trots den ringa mediala uppmärksamheten har det alltid uppstatt debatt kring Malga Kubiaks filmer varhelst de visats. I stort sett har invändningarna följt samma mönster: "jag har inget emot sex/ jag är inte pryd/ men detta är onödigt/ känns förnedrande. Att det är en kvinna som star bakom filmerna anses intressant nog vara extra graverande. "Hur kan hon ställa upp pa porrindustrins värderingar?".Alla som har läst den här recensionen förstar antagligen, dels pa grund av titlarna, dels pa grund av innehallsbeskrivningen, att det här rör sig om videos som ligger miltals fran det som produceras av porrbranschen, om ni inte har en bild av porrfilm som innefattar assosiativ klippning, skrikande poeter, intervjuer med Nick Cave och extremt brutal musik. Da fragar sig kanske läsaren av denna text om jag kan garantera att ingen blir kat av dessa filmer. Nej, jag kan givetvis inte utfärda nagra sadana garantier. Här förekommer manga bilder av nakenhet, onani och knullande.Men det som skiljer sig absolut mest mellan Malgas videos och vanliga porrfilmer är följande (nu ska jag försöka bli sa pedagogisk som möjligt sa att alla ska första och jag tror att de flesta som läser detta har sett atminstone brottsstycken ur vanliga porrfilmer, det underlättar om ni vill följa med i resonemanget): en porrfilm försöker göra tittaren sa kat som möjligt för att han (jag förutsätter helt dogmatiskt att alla porrkonsumenter är män) ska komma i hag sin kathet och hyra fler p-rullar. Detta gör porrfilmen genom att visa sa mycket sex som möjligt under filmens längd. Det klipps visserligen ocksa i en porrfilm, men da fran en sexbild till en annan sexbild, inte fran en sexbild till en poesiuppläsning, till en tandlös knarkare, till en sexbild, till en polisbil, till Nick Cave. Det är möjligt att en och annan porrkonsument skulle kunna luras till att köpa Malgas videos. Han kommer att bli besviken.

Jag hoppas att jag varit extremt övertydlig i detta resonemang.

Fredrik Gustavsson

 

Her work is egocentric, exhibitionistic, pretentious, vulgar, obscene, obstinate, banal, painful, pathetic, messy, disturbing and provoking everyone

Mats Olsson, DS Art News, October 1990

 

Mats Olsson earlier review on malga kubiak film

only fragments are saved

 

malga kubiak

effektsokeri; stravan efter verkan. hon tycks vara befriad fran dent understrom av elitism som annars ar vanlig hos utovare och konsumenter av extrem och socialt verksamhet. hennes forbluffande odmjukhet raddar henne ocksa fran att fastna i det trask av sekterism som desarmerar uttrycken hos mangen ambitios bildstormare.ett fortjust fnitter fran em hycklande medborgare som fantiserar om spanande uttflykter i mot borgarnas koncentrations-lager-variant av Disney-land gor ingen mensch glad.

 

tankte nar de anordnade gladiatorspel, vill forsoka forklara behovet av videovald i var tid.

 

stilloshet; sjalvstandighet stilistiskt ar hennes videor i langa stycken traditionellt avantgardistiska. klicheer som normalt sett ar utfyllnad far for en gangs skull en chans att visa sin potential. en delikat mojlighet ar att hon i framtiden mer kommer att utnyttja de mojligheter till sublim kontrast och sense of wonder som hennes patetik idag antyder. men det ar farligt att forsoka reducera och koncentrera enligt nagons lag mot overdrifter. verk raseras av underbelastning pa ett plagsammare satt an av overbelastning. det ovanstaende galler ocksa det kongeniala ljudarbete som pa mycket hog volym bildar en, paradoxalt nog, mjuk audiosfar att ta sin tillflykt till nar bilderna plagar just dig. musiken av zbigniew karkowski.

..................

 

speciellt som man tenderar att hela tiden lagga en forsvarsstratego bade for henne och min egen text.det finns ingen hysa en from forhoppning om att autentcitet anda kan existera. malga kubiak videos innehaler foljande,sa hog ljudvolym att de permanent kan skada din horsel,bilder pa skote som aven en spekulativ pornograf skulle tycka vara grova.

mats olsson on malga kubiak art

 

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☯ Yin Yoga Class (40 Minutes) - Deep stretch yoga for cyclists, runners, hikers, athletes ☯ youtu.be/O_Vg-j5lkuA Yin Yoga Deep stretch yoga class was designed for cyclists, runners, hikers, athletes and yogis looking to restore balance and deepen their flexibility. Veteran teacher Michelle Goldstein of Heart Alchemy Yoga in Venice, California brings a simple practicality to her instruction that provides a safe and easy to understand Yoga program. This Yin Yoga course is intended to help improve strength, flexibility, stamina, range of motion, breath capacity and relaxation. In combination with the right medical program, it can be used to recover from various injuries and will help to restore the body to it's natural balance and posture. About Michelle Goldstein: Michelle has maintained a daily yoga practice for 15 years. A protégée of renowned Yoga teacher, Bryan Kest of Santa Monica Power Yoga, Michelle has been teaching yoga for 8 years. Michelle leads workshops, immersions & retreats worldwide as well as teaching at Santa Monica Power Yoga, Yogaraj & Equinox Fitness Clubs. Known for her creative vinyasas (sequences of yoga asana) and pranayama, Michelle Goldsteins teaching integrates influences from various forms of movement and meditation set to powerfully inspiring backdrops of music. Approaching instruction with a deep spiritual reverence for the sacredness of yoga coupled with a joyous playful sense of humor, Michelles classes offer a safe, nurturing and challenging environment for students to come and explore their mental and physical boundaries. A devoted student of Yoga, she has studied under a wide range of teachers including Max Strom, Bryan Kest, Guru Singh, Saul David Raye, Erich Schiffman and others. Check out all of our great Yoga flow videos below: Five Tibetan Rites with John Goltermanhttps://youtu.be/nnNJoRLJG9E Power Yoga for Weight Loss youtu.be/yUtK7v3dsr0 Strong Yoga For Beginners Workout youtu.be/xglmLhDppmo Meditative Bhakti Yoga Flow youtu.be/mQnAvEbDNPg Bhakti Yoga Workout youtu.be/AHMO0Ja0XC4 Cardio Yoga Workout youtu.be/hy-qss2Takg Yoga Workout 1 hour Yoga For Weight Loss youtu.be/yUtK7v3dsr0 Power Yoga Flow youtu.be/XpGnuK_u4gQ Bhakti Yoga Class youtu.be/K9scEzgir-8 Yoga for Beginners youtu.be/EaKZ3Xtxf5A Mindfulness Meditation youtu.be/2K-ZcAgka2g Gentle Yin Yoga Full Class youtu.be/Z3AlyD1CIJw Bhakti Yoga flow heart opening yoga workout with Kumi Yogini youtu.be/onS6uq94NHw Bhakti yoga class yoga flow with Kumi Yogini ॐ youtu.be/K9scEzgir-8 bhakti yoga class with Kumi Yogini youtu.be/ch4CEW-vEoc Advanced Yoga Workout - Inversions, Hand Stand, Core Work youtu.be/KbLVYpQ74Zo Bhakti Yoga Flow youtu.be/KvhIvZyemtI Inspired Yoga Workout with Breathwork youtu.be/_wG5hEBrMJQ Strong beginners Yoga Workout with JQ Williams youtu.be/vQdOhTKfEt8 Bhakti Yoga flow yoga workout youtu.be/VPmOF99bBHg Beginners Yoga Flow 2015 youtu.be/Dva-ThUN6Ww Bhakti Yoga Flow with Kumi Yogini 2015 youtu.be/onS6uq94NHw Yoga for Beginners Level 1 yoga workout youtu.be/f2sIjOHFZuU Yoga Flow youtu.be/YKVhB4TxuwU 40 Minute Yin Yoga Class youtu.be/O_Vg-j5lkuA Strong Power Yoga Flow youtu.be/UwJFpTRXI-g Yoga flow daily recharge total body workout youtu.be/LiTlpC0RU6Q Strong Power Yoga Flow youtu.be/Ua10v6kw27c 30 Minute Power Yoga Flow with Twists for detox youtu.be/Sy25cbDGqBM 30 Minute Daily Yoga Flow for weight loss youtu.be/Vc4u04a5A4o Yoga for Beginners youtu.be/3gWJBgAIXwg Sun Salutations (Surya A Surya B) youtu.be/GHGU18zg4rs Click below to subscribe to our channel: youtube.com/heartalchemyyoga Our Sites www.heartalchemyyoga.com plus.google.com/+HeartAlchemyYoga facebook.com/heartalchemyyoga instagram.com/travlinyogini twitter.com/travlinyogini www.pinterest.com/travlinyogini www.michellegoldsteinyoga.com

Another major European introduction for 1982 was the all-new 700 series from Volvo. Designed to replace the 200 series (itself derived from the 100 series of 1966), the 700 was produced alongside for 12 years. The two models are very close in exterior dimension.

 

The 700 underwent minor exterior changes to become the 900 series in 1991, notably a smoother front end treatment and revised rear treatment on the sedan. The sedan also received an independent rear suspension, with the estate car retaining a live rear axle. The 900 series was futher revised and named the S90/V90 in 1997 in line with Volvo's new naming convention. The model finally went out of production in 1998. The sedan models were subsequently replaced by the front-wheel-drive Volvo S80.

 

The engine line up included 4-cylinder, 4-cylinder turbocharged (one of the first major turbocharged passenger car ranges) and carryover vee-six cylinder engines shared with PSA and Renault. The 900 series later replaced the V6 with an inline six developed as part of a modular engine design of inline 4, 5 and 6-cylinder engines.

 

At launch the car was strongly criticised for its overtly rectilinear styling. The car matched the style that was popular in North America at the time, including a near vertical rear window. Unfortunately for Volvo this was the model year introduction of a key competitor, the Audi 100, which was notably aerodynamic in form.

 

This styling theme does have its advantages, with large windows and good visibility. It also provides ample space as an estate car. The model was popular with middle-class families with children, dogs etc, and are now considered 'Lifestyle' families.

 

Volvo's success in this market segment was later eroded by SUV and 'crossover' vehicles which emphasised the adventure part of the lifestyle image without being any more practical as a family car. Volvo went on to launch a vehicle in the crossover segment in place of the 900 wagon, the XC90. This model was very well recieved for its family practicality relative to other vehicles in the luxury crossover segment.

 

This miniland scale model has been created using Lego Digital Designer for Flickr LUGNuts 43rd build challenge - 'Plus or Mius Ten' - celebraing vehilces produced ten years before or after the birth year of the modeller. In this case 1982.

Here we have it, one of the most iconic little cars in the whole of history. A machine that revolutionised the concept of the city car, and what has now become a pure symbol of Englishness!

 

This little machine is simply known as the Mini! :D

 

Construction of the Mini first began in 1959, with the car designed by the British Motor Corporation's (BMC) chief designer Sir Alec Issigonis, who envisaged a car that had as much space as was humanly possible devoted to the passenger so as to combine the practicality of a big car with the nippy nature of a Dune Buggy. The result was that 80% of the car's platform was available for use by both passengers and luggage. The car was also designed to be fuel efficient, built in response to the 1956 Suez Crisis which resulted in rising fuel prices and petrol rationing. During this period it became apparent that German 'Bubble Car' equivalents such as the Heinkel Kabine and various Messerschmitt designs were starting to corner the market, and thus the Mini project was launched under project name ADO15 (Amalgamated Drawing Office project number 15). Great care was taken to make sure that as much space was saved for the passenger, including the instalment of compact rubber springs instead of conventional metal and the small but powerful BMC A-Series four-cylinder engine tucked away at the front.

 

In April 1959 the car was launched to the press under the designation of both the Austin Seven and the Morris Mini-Minor (due to the amalgamation of the Austin and Morris brands under BMC). By the time the car was let loose thousands had already been sent abroad in an audacious promotional campaign. Things however started slow for the Mini, but this rising star soon became an icon during the 1960's, selling 1,190,000 by 1967.

 

But, behind all the shining sales figures, there were some major problems for BMC and their wonderchild. Baffled by the car, Ford bought one for the base price of £497 and took it apart, desperate to know how their rivals were doing it for the money. As it turns out they weren't, and were able to determine that BMC was losing at least £30 on every single car they sold. Novelty was the only way to get the car properly moving in this competitive new world, and the Mini was all about that. By 1970 the car had appeared in a variety of movies and TV shows, the most famous of which was their charge to glory in the 1969 film 'The Italian Job', where a trio of Minis were used to plunder gold from under the noses of the Mafia and the Italian Authorities. A Leyland Mini holds a place in the heart of British TV under the ownership of Mr. Bean and his various clumsy antics, usually involving an unfortunate Reliant Regal. At the same time it was a car of choice for TV and Music Stars who wanted to show off their quirks!

 

From then on the car continued to keep up its notorious status as a British symbol of motoring, with a huge variety of cars being made including a spacious van, a country camper, a pickup truck and the Moke dune buggy! There were also two almost identical saloon versions of the car known as the Wolseley Hornet and the Riley Elf that were built between 1961 and 1969 as more luxurious alternatives to the original.

 

In 1969 the first major facelift came in the form of the Clubman, designed under British Leyland to give the car a new lease of life, but ended up being something of a mongrel. Although functionally the same, the boys at British Leyland couldn't help but get things off to a bad start by relocating construction from the Cowley Plant to the Longbridge Plant, which meant that all kits and tools had to be moved too and thus initial sales were very slow. British Leyland's reliability reputation was soon to follow, with the unfortunate Mini becoming a victim of the shoddy workmanship that had mired so many of its other products.

 

Eventually the Clubman was killed off in 1980, although the original Mini design had been built alongside and was still selling strong. British Leyland however had plans to kill off the Mini in 1980 by introducing its new small economy car, the Austin Metro. Built very much to the same principals of the Mini, the Metro was a much more angular design but still a capable little family hatchback. But the angular lines and big bulky body did nothing for the Metro, and the car failed to sell in the numbers domestically than those of the Mini internationally!

 

Towards the end of the 1980's and 1990's, the car came in a variety of different 'Special Editions' as the car became less of a mass-market machine and more a fashion item. The iconic nature of the car had sealed its fate with new owners of the Rover Group, BMW, who intended to keep the car going for as long as possible. At the same time the car was a major seller in Japan, which gave a boost of sales in the early 1990's with 40,000 new cars being exported there.

 

Eventually however, the design was starting to look very tired and with Rover Group making heavy losses, the Mini and its spiritual cousin the Metro were killed off in 2000 and 1999, respectively. Rover was granted the ability to run-out the model to the very end before Rover itself was sold off in 2000. During the breakup, BMW designed a new version of the Mini which was launched in 2000 and is still being built today as quite a sleek and popular machine, a little bit more bulky than the original but certainly keeping the novelty and charm. The originals however ended on the 4th October 2000, with a red Mini Cooper S bringing an end to 5,387,862 cars.

 

However, although the original Mini is now very much dead, the novelty that surrounds these tiny little cars is enough to keep thousands and thousands of these machines preserved or in continual everyday usage. Older Mini-Minors are a bit hard to come by and the Clubmans rusted away before you could get them home from the showroom, but the later Mini's sold in the 1980's and 1990's are still alive and kicking on the roads of Britain, and can still draw the attention of passers by even 56 years after the first ones left the production line!

Renault Avantime 2.0T 16v is a fixed-head coupe that has front wheel drive (FWD), 2 doors and 5 seats. It is manufactured for the first time in 2002. The automobile is 4642.00 mm long, 1627.00 mm high and 1827.00 mm wide. Additionally, its wheelbase is 2703.00 mm, its rear and front track are 1558.00 mm and 1547.00 mm respectively. 1640 kg is the curb weight. The Renault Avantime 2.0T 16v engine is turbocharged and has an engine displacement of 1998 cc, double overhead camshaft (DOHC) and 4 cylinders with 4 valves per cylinder. It is positioned in the front of the vehicle and its alignment is transverse. The cylinders are inline-arranged. The piston stroke length is 93.00 mm and the cylinder diameter is 82.70 mm. The compression ratio is 9.50:1. The maximum power and maximum torque of the engine are 120 kW / 164 ps at 5000 rpm and 250 Nm at 2000 rpm respectively. The fuel system of this model is multi-point fuel injection (MPFI). The engine's oiling system is wet sump. From 0 to 100 km/h the vehicle can accelerate for 9.90 s. The automobile can make a quarter mile and one kilometer for 17.00 s and 31.00 s respectively. The drag area of this model is 0.8704 m2, the frontal area is 2.5600 m2 and the drag coefficient is 0.34. The Renault Avantime 2.0T 16v has a 6-speed manual transmission. The combined fuel consumption of this automobile is 9.16 l/100 km, the urban fuel consumption is 12.64 l/100 km and the extra urban is 7.25 l/100 km. 80.00 l is the capacity of the fuel tank. The rating of CO2 emissions is 218 g/km. The vehicle has a power assisted rack and pinion steering box. The rear suspension includes independent, Panhard rod, torsion bar and the front suspension - independent, MacPherson strut. The turning circle of this automobile is 11.70 m. The size of the front wheels is 7J x 16. The size of the rear wheels is 7J x 16. The size/type of tyres in the front is 225/55 R 16. The tyres in the rear are 225/55 R 16. The front brake system includes ventilated disks. The rear brake system includes disks, servo assistance, anti-lock braking system (ABS). The diameter of the front brakes is 305.00 mm and the one of the rear brakes is 265.00 mm.

 

It’s nearly 13 years since the Renault Avantime MPV went into production. Conceived by the firm as a car to combine MPV practicality with coupe styling – a vehicle for the children of the original MPV, the Renault Espace – it was a forward thinking vehicle that was ahead of its time. Literally. The ‘avant’ part of its name means ‘before’ in French, translating as ‘ahead of’ or ‘before’ time. Despite this, a lot of people didn’t get the car and sales were poor. Renault only shifted 8,557 examples (V6: approx 4,500; Diesel: approx 3,000; Turbo: approx 1,000) between 2001 and 2003 – but this is exactly why it’s a guilty pleasure. It’s rare for a reason, and in the real world you probably wouldn’t consider one if you were in the market for a second-hand MPV, let alone a box-fresh vehicle of a similar type over a decade ago. The car was massive, but it only featured four seats, meaning it wasn’t really a multi-purpose vehicle at all. But it did boast one of the greatest features ever – the glass area from front to back was fully retractable on both sides, as well as the panoramic sunroof, creating an ‘open air’ mode and bringing the outside in. Add to that two long coupe doors and it meant the Avantime was really rather cool. The front side windows dropped of their own accord when the front seats were folded forward, helping improve ingress and egress – all-important in an MPV. Interestingly, the doors were mounted on special two-stage ‘double-kinematic’ hinges. This meant despite their considerable length they could be opened in tight spaces, allowing maximum access to the rear of the cabin with minimal outswing of the door.

 

Best Buy

Getting into the Avantime required plenty of clever engineering, but once in there, the ingenious little touches continued. The Avantime’s two rear seats were higher than the pair of front chairs, meaning everyone got a great view of the road ahead – a concept Renault called ‘theatre seating’. Renault’s quirky coupe-cum-people carrier also featured a number of high-end features that were still limited to large luxury German saloons of the time, including powered ‘sunshades’. Over a decade old, but actually still looking modern (maybe Renault were right in saying it was ahead of its time after all…), the Avantime has now developed something of a cult following. It seems you either love or hate this car… The styling of the Avantime is divisive to say the least. Penned by Patrick Le Quement, Renault wanted people walking around the car to be continually astonished. I think they succeeded. The two-tone aluminium roof works nicely, but this was a car styled at the time when Renault had an obsession with the derriere of its vehicles. Tiny touches such as the taillight design and the vents above the headlight are interesting, but the rest of the car’s aesthetics proved challenging – especially back in 2001. If the concept of the car proved head-scratching and the looks challenging, the ability to get an Avantime with a 210hp 3.0-litre V6 engine – completing the 0-62mph (approx 100kph) benchmark sprint in 8.4 seconds – was plain off the wall. Especially when trying to compete against the legions of 2.0-litre turbodiesel, relatively boring family boxes by comparison from the VW group, Ford and General Motors – not to mention internal competition from Renault’s own Scenic. That said, you could have specified your Avantime with a more conventional 2.0-litre turbocharged four-cylinder petrol unit producing 165hp, making more sense when it came to day-to-day efficiency, and when trying to sell it on.

 

Cool

Despite the arguable mismatch between Renault’s concept in combining the space of an MPV with the ‘four-place’ pillarless qualities of a coupe and how the firm executed the final product, there are many positives to take from the Avantime. It’s rare, cool, really rather clever in terms of its engineering – providing simple solutions to some challenging problems – and most of all interesting. It’s got character. That might be a synonym for flaws, but it’s all the better for it. It’s a true guilty pleasure.

 

There was more to art deco than elegance, glamour and eroticism. Its designs ushered in the modern world, says Sebastian Smee

Sex has traditionally been the easiest way to distinguish between them: where art nouveau had been feminine, art deco, the style that succeeded it, was masculine. Feminine meant curves and organic forms, an orgy of ornament; masculine meant straight lines, vitality, speed and streamlining. When art deco kicked in before the first world war, around 1910, the fine arts were still giddy from the revolutions of fauvism, primitivism and cubism. But it really blossomed in the roaring 20s, the age of the flapper: in the collective imagination art deco means women smoking, drinking cocktails and dressing like men.

 

But this masculinised version of art deco is misleading. It had been prophesied by the Italian Futurists, whose ringleader, the poet Tommaso Marinetti, declared in 1909 that "a roaring automobile, which seems to run like a machine gun, is more beautiful than the Victory of Samothrace". But on the other side of the Great War, machine guns no longer seemed such poetic similes.

  

By the 1920s - optimism being a hard condition to keep at bay - the heady infatuation with modernity that had whipped Futurism into being was once again gathering to a greatness, this time right across Europe.

 

Futurism's manifesto-driven, bully-boy dogma was spreading into something more complicated, sophisticated and subtle. We call it art deco (or we have since 1966; before then it was known as "Jazz Moderne", "Streamline Moderne" or simply "Moderne"), and though we tend to think of it as a swing in the zeitgeist towards the masculine, it was in many ways the feminine principle - or at least, feminine freedoms - that really got the boost.

 

The war itself had made this inevitable. There was more to it than just the absence, the loss, of so many men. Smaller historical contingencies played their part. In fashion, for instance, the need during the war to conserve heavy fabrics for the troops played a huge part in hastening women's acceptance of a lighter, slimmer silhouette. This in turn brought about other, unforeseen effects: new materials like rayon and muslin were too light to bear the weight of heavy jewellery, which encouraged the gradual introduction of lighter and stronger platinum in jewellery design.

 

For the most part, art deco refers to a style that became manifest in traditionally feminine areas of life: interiors, jewellery, glass, silver, ceramics and furniture. Its greatest designers were men, but one could argue that these men were mostly responding to women and their newfound appetites.

 

One of art deco's stars was Josephine Baker, who had been performing on stage since she was 13. "Too skinny and too dark" to make it in her native America, she sashayed on to the stage in Paris in 1925, danced a freely improvised version of the Charleston and became an overnight sensation.

 

Her legendary opening night performance with La Revue Nègre, musicians and dancers from Harlem, was at the Thétre des Champs Élysées. It was seen by the New Yorker's correspondent, Janet Flanner, who wrote that Baker "made her entry entirely nude except for a pink flamingo feather between her limbs; she was being carried upside down and doing the splits on the shoulder of a black giant... She was an unforgettable female ebony statue... The two elements had been established and were unforgettable - her magnificent dark body, a new model that to the French proved for the first time that black was beautiful, and the acute response of the white masculine public in the capital of hedonism of all Europe - Paris."

  

African art, or "l'art nègre", had seduced first the artistic avant-garde and then the wider Parisian public from about 1906, when Matisse and Picasso, awed by its freedom and directness, first integrated African sculpture into their art. Baker's arrival in Paris came as the confluence of this interest and an infatuation with jazz reached a high-water mark.

 

In another famous performance, at the Folies-Bergère in 1926, Baker starred as a jungle savage, wearing a skirt of 16 satin bananas that swung freely about her hips. She descended to the stage by climbing backwards down a tree, then whipped the audience into an erotic frenzy with an uninhibited improvised dance.

 

Her talents made her a huge celebrity, one of the most photographed people of her day, and the highest-earning entertainer in Europe. Many of the most famous designers of art deco incorporated her into their work, and she in turn became a prestigious client to the top designers. She was introduced to high society and to Paris's artistic elite and was adored by writers and artists, including Hemingway, Gertrude Stein, Picasso, Georges Rouault, Alexander Calder and Adolf Loos.

 

Such was her impact that only a few weeks after she had arrived in Paris, "la Baker" featured as the guest artist at a gala celebration for the monumental Paris exhibition of 1925, by far the most important design event of the art deco era. Anna Pavlova, the great ballerina, had danced during the appetiser. The main course was reserved for Baker.

 

Singers and dancers aside, the star of that 1925 exhibition was Jacques-Emile Ruhlmann, still the first designer to come to most people's minds when they think of art deco. Ruhlmann, who had first attracted notice in 1910 at the Salon d'Automne, was commissioned to design several of the pavilions, including the Salon pour une Ambassade and the Pavillon d'un Collectionneur. He used the opportunity to display his own eye-catchingly modern furniture designs alongside opulent works of art, including, most famously, Les Perruches, a massive painting of nude women holding brilliant parakeets by Jean Dupas.

 

Even Ruhlmann's materials courted the exotic. For the grand piano that dominated the floor of the music room in the Pavillon d'un Collectionneur, he used Macassar ebony and amboyna woods applied with ivory detailing. But such sumptuousness and daring (he also favoured chromium and tortoiseshell trimming) was offset by classical designs, their formal restraint. In this, and in his penchant for designing expensive one-offs rather than modern designs for mass production, Ruhlmann came to be venerated as the foremost of the "traditionalist" art deco designers, a diverse group keen on reinterpreting late 18th- and early 19th-century French cabinetry.

 

The "modernists", by contrast, were influenced by art movements such as Cubism, Futurism, De Stilj and the Bauhaus. A utopian heartbeat pulsed through their ideas, and the affordability, mass-producibility and ideological "clean-ness" of their designs eventually put them in the ascendant.

 

But in the 1920s, with the stock market still riding high, Ruhlmann's designs made him a star: their combination of fine craftsmanship, elegant style and exotic finish seemed to embody the new spirit. He was the most prominent of the designers asked to work on a project that - more than any other - epitomised the new possibilities of leisure, glamour and luxury travel that define art deco: the Normandie.

  

Designed to be the biggest, the fastest and the most sumptuous passenger ship the world had ever seen, the Normandie set a transatlantic speed record on its maiden voyage in 1935. On board were Madame Albert LeBrun, wife of the French president, and the writer Colette. Later passengers included Fred Astaire, Gloria Swanson, David Niven, Joe Kennedy and his sons Joe Jr and John F Kennedy.

 

"The whole place is like a setting for a ballet," wrote Harold Nicholson to his wife, Vita Sackville-West. Some of the most extraordinary features of this setting were the product of radical new technology. The ship's dramatic, flared bow with a hollowed-out contour at the waterline and a bulblike shape at the foot - the ultimate in aquatic streamlining - was the innovation of Russian architect and engineer, Vladimir Yourkevitch. He also introduced turbo-electric power to propel the Normandie; his innovations cut the voyage from Le Havre to New York from a week to just over four days.

 

The Normandie's interior was designed by many of the biggest stars of the 1925 Paris exhibition, the leading lights of art deco, including Ruhlmann, the glass designer René Lalique, Jean Dupas and Jean Dunand, who worked on panels for the ship's smoking room and sections of the first-class salon. They were done in an Egyptian style (considered ultra-modern) and depicted fishing, dancing, horse-taming, grape-picking and hunting. Dunand and Dupas, a muralist, collaborated on a 32-gilded panel piece for the grand salon, the Chariot of Aurora, an allegorical history of navigation, and one of the greatest examples of art deco.

 

The Nazi occupation of France prevented the ship from returning there, and for two years it languished in New York harbour. Then, after Pearl Harbor, President Roosevelt seized the ship and trooped it for war. It was renamed the SS Lafayette, in honour of the Franco-American alliance, and its art deco fittings were dismantled with a haste that proved to be reckless. On the afternoon of February 9 1942, a week before it was scheduled to sail to Boston, a spark from a welder's torch set alight the life jackets temporarily stored in the Grand Salon. Within minutes, the Normandie was in flames, and within four hours, it lay gutted and overturned. It had cost $60m to build and was sold for scrap at $161,000.

 

The symbolism of the whole debacle - French opulence meeting a grisly end in a new atmosphere of war-time austerity; European self-indulgence sunk by the US practicality - is almost too easy. And it conveniently obscures the fact that it was America - and New York in particular - that gave birth to some of the most extraordinary examples of art deco extravagance. If transatlantic travel was emblematic of the new freedom in the 1920s, New York's astounding skyscrapers built in the final years of that decade suggested freedom was nothing without might - in the form of sheer, imposing height. Nothing bears witness to this more than the Chrysler building, still, perhaps, the most distinctive landmark on New York's skyline.

 

Here, surely, the notion that art deco was masculine in tone had found its ideal incarnation? Yet compare the Chrysler building with the boxy monoliths that have sprung up around Manhattan since and it begins to look beguilingly slender, jazzy and -dare one say it? - feminine.

  

The building was the improvised child of two ambitious men: the architect William van Alen and the millionaire Walter Chrys-ler. Poignantly, its impossibly high spire emerged (in the words of Van Alen, "like a butterfly from its cocoon" in October 1929 - more commonly remembered for the Wall Street crash, which signalled the end of art deco extravagance.

 

Van Alen, like so many creative Americans in the 1920s, had studied in Paris, and returned intoxicated by the new modern style: "No old stuff for me!" was his credo. "No bestial copyings of arches and colyums and cornishes[sic]! Me, I'm new! Avanti!" He was commissioned by William H Reynolds, a property entrepreneur, to build the world's tallest building, but the financing was soon taken over by Chrysler - a "real-life Gatsby", according to the New Yorker (itself, and to this day very visibly, a child of the jazz age).

 

The competition to earn kudos and acclaim by building tall was positively febrile at that time, and the Chrysler building's spire was really a device to out-do the Bank of Manhattan Company's building at 40 Wall Street. Less than a year later, Al Smith's Empire State building out-muscled them both in what was fast becoming an unseemly sky-grab.

 

But one would never say the Chrysler building was eclipsed, for its most astonishing feature was, and remains today, almost as dazzling as the sun itself. The heaped radiator caps, with wing-spans of 15ft, around the elongated dome, were clad in diamond-honed KA-2 steel, which gave them an incandescent glow visible for miles around.

 

The building remains as dazzling and iconic today, a symbol of glamour and hubris, and of a time when ornament was nothing to shy away from: it could be successfully incorporated into the very structure of a skyscraper.

 

Van Alen, who was all but forgotten almost as soon as the building was finished, had "managed to perfect", wrote the New Yorker, "as much as F Scott Fitzgerald or Duke Ellington, the uniquely American style of the honky-tonk sublime", the "art deco wonder of the world".

 

· Art deco 1910-1939 is at the V&A, London SW7, from March 27. Details: 020-7942 2000

  

A long length pant in close cut design with slight bootleg at hem gives you practicality with style. Using a draw string to pull the waist in a gathered effect offers less tension on the tummy with a snug fit. The embroidered tattoo on the back for a touch of style.

You might think that 591 horsepower would be enough for the Audi RS6 Avant, but apparently it was not. For 2024, Audi decided to crank the dial, adding a new Performance model that promises a ludicrous 621 ponies.

 

The new variant also weighs less, so acceleration should prove sufficiently brutal. And yet, the RS6 Avant's search for more power changes nothing about its impressive practicality, comfortably seating five in an interior replete with rich materials and plenty of trendy technology.

 

This model sports a 8 speed gearbox, neutral and reverse - designed by @anto_lego_creations - coupled with a new compact paddle shifter I designed to fit in a narrow space between the engine and the dash.

 

Ultra Compact 8+N+R-speed Sequential Gearbox designed by Anto:

 

rebrickable.com/mocs/MOC-50877/Anto/ultra-compact-8nr-spe...

 

The car has 2 suspension height options, manually adjusted for a sporty look or off-road. Loaded with gearbox / paddle shifter, V8 engine, steering by HOG and working steering wheel, front and rear lights, opening doors, hood and hatch.

 

PLEASE NOTE:

1. Only the daytona rim size will fit on the car. Smaller Sian / Bugatti rims will not fit.

 

4 different colour options:

 

1. All black interior / exterior

2. Lime exterior, red seat

3. Red exterior, LBG (light grey) seats

4. White exterior, black interior

 

Partlists avail below:

 

drive.google.com/drive/folders/1RbLweMJqEiLIh91HJlWovwjA8...

 

The framework is designed rigidly and can be lifted from the roof. This widened version with body kit will be sure to turn heads, not your average 5 door Audi creation!

LAVA’s (Laboratory for Visionary Architecture) Digital Origami Emergency Shelter is a concept for an inhabited molecule. The design is based on a water-molecule, referencing the Japanese Metabolist movement`s idea of prefabricated capsules as living space. (Source: LAVA website)

 

Elizabeth Farley in the Sydney Morning Herald (22 Sep 2011) writes:

The recent Emergency Shelter Exhibition at Customs House was organised by Japanese architect Jun Sakaguchi with - no doubt - the highest possible motives. Yet the proposals ranged from the daft to the downright fatuous.

 

Lanterns were big. Japan, lanterns - get it? The Laboratory for Visionary Architecture(LAVA) , usually conspicuous for its thoughtful intelligence, produced digital origami, a ''new take on the paper lantern''.

 

A layered plywood amoeba, stylishly edged in LAVA's trademark lime green, it was designed more for media attention than for tedious practicalities like blocking water, wind or rats.

 

Described by its architects as ''an inhabited … water molecule, referencing the Japanese metabolist movement's idea of prefabricated capsules as living space'' it ''plays with ideas of prefabrication'' and ''can be shipped as a flat pack, cut out of local plywood, or dropped off by helicopter''. The interior can then be ''carved out of wood, cardboard, newspapers or other locally available materials''.

 

''Local plywood? Cut by local CNC routers?'' Professor Tokyo exploded. ''Newspaper? Does it rain in disaster areas?''

 

LAVA's Chris Bosse, pressed on this, comes clean. The computer-cut layering isn't really part of it. Nor is the lime green. Nor, actually, is the LED lighting. In fact, the model isn't really like the proposal, at all.

 

''My initial response,'' he says, ''was to buy an IKEA tent for $20 … but then we didn't see how that contributes to the world's design response.''

 

Had he done that, we might have had a proper discussion, instead of a flatulent PR flurry. But it wouldn't have got LAVA front-covered by a dozen different design mags. He can hardly be blamed for doing what the media demands.

 

One local firm of architects also had a little lantern moment, offering homeless Japanese a collection of translucent white Tardises with walls created by the people of Sydney out of ''ema'' or Japanese prayer tablets, to show that ''we are here for them''. Crikey. Is that what worries people as the road opens up in front of them, their babies get doused with radiation and they find cows rotting in trees - that we are here for them?

 

There are effective responses but, predictably, they miss the limelight, mainly because they're getting on and doing it, such as Tony Clark's prizewinning backpack bed.

 

Such as DV. Rogers's Disastr Hotel, which at least uses its ply to shed water. Or ShelterBox, whose waterproof boxes hold a tent, water purifiers, stoves, tools, blankets and toys. This year, 107,470 ShelterBoxes have gone out across four continents. Have you heard of them? No.

 

My Tokyo friend wonders whether it's too jaundiced to ''expect architects who do good to behave more like [the media-shy] Paul Pholeros than Donald Trump''.

 

But what we should wonder is how it came to this. Why a sensible, cheap, targeted solution is not a ''design response'' yet an airhead object that barely considers the issues garners global attention. Definitely time to get cynical.

   

Read more: www.smh.com.au/opinion/society-and-culture/victims-need-a...

Here we have it, one of the most iconic little cars in the whole of history. A machine that revolutionised the concept of the city car, and what has now become a pure symbol of Englishness!

 

This little machine is simply known as the Mini! :D

 

Construction of the Mini first began in 1959, with the car designed by the British Motor Corporation's (BMC) chief designer Sir Alec Issigonis, who envisaged a car that had as much space as was humanly possible devoted to the passenger so as to combine the practicality of a big car with the nippy nature of a Dune Buggy. The result was that 80% of the car's platform was available for use by both passengers and luggage. The car was also designed to be fuel efficient, built in response to the 1956 Suez Crisis which resulted in rising fuel prices and petrol rationing. During this period it became apparent that German 'Bubble Car' equivalents such as the Heinkel Kabine and various Messerschmitt designs were starting to corner the market, and thus the Mini project was launched under project name ADO15 (Amalgamated Drawing Office project number 15). Great care was taken to make sure that as much space was saved for the passenger, including the instalment of compact rubber springs instead of conventional metal and the small but powerful BMC A-Series four-cylinder engine tucked away at the front.

 

In April 1959 the car was launched to the press under the designation of both the Austin Seven and the Morris Mini-Minor (due to the amalgamation of the Austin and Morris brands under BMC). By the time the car was let loose thousands had already been sent abroad in an audacious promotional campaign. Things however started slow for the Mini, but this rising star soon became an icon during the 1960's, selling 1,190,000 by 1967.

 

But, behind all the shining sales figures, there were some major problems for BMC and their wonderchild. Baffled by the car, Ford bought one for the base price of £497 and took it apart, desperate to know how their rivals were doing it for the money. As it turns out they weren't, and were able to determine that BMC was losing at least £30 on every single car they sold. Novelty was the only way to get the car properly moving in this competitive new world, and the Mini was all about that. By 1970 the car had appeared in a variety of movies and TV shows, the most famous of which was their charge to glory in the 1969 film 'The Italian Job', where a trio of Minis were used to plunder gold from under the noses of the Mafia and the Italian Authorities. A Leyland Mini holds a place in the heart of British TV under the ownership of Mr. Bean and his various clumsy antics, usually involving an unfortunate Reliant Regal. At the same time it was a car of choice for TV and Music Stars who wanted to show off their quirks!

 

From then on the car continued to keep up its notorious status as a British symbol of motoring, with a huge variety of cars being made including a spacious van, a country camper, a pickup truck and the Moke dune buggy! There were also two almost identical saloon versions of the car known as the Wolseley Hornet and the Riley Elf that were built between 1961 and 1969 as more luxurious alternatives to the original.

 

In 1969 the first major facelift came in the form of the Clubman, designed under British Leyland to give the car a new lease of life, but ended up being something of a mongrel. Although functionally the same, the boys at British Leyland couldn't help but get things off to a bad start by relocating construction from the Cowley Plant to the Longbridge Plant, which meant that all kits and tools had to be moved too and thus initial sales were very slow. British Leyland's reliability reputation was soon to follow, with the unfortunate Mini becoming a victim of the shoddy workmanship that had mired so many of its other products.

 

Eventually the Clubman was killed off in 1980, although the original Mini design had been built alongside and was still selling strong. British Leyland however had plans to kill off the Mini in 1980 by introducing its new small economy car, the Austin Metro. Built very much to the same principals of the Mini, the Metro was a much more angular design but still a capable little family hatchback. But the angular lines and big bulky body did nothing for the Metro, and the car failed to sell in the numbers domestically than those of the Mini internationally!

 

Towards the end of the 1980's and 1990's, the car came in a variety of different 'Special Editions' as the car became less of a mass-market machine and more a fashion item. The iconic nature of the car had sealed its fate with new owners of the Rover Group, BMW, who intended to keep the car going for as long as possible. At the same time the car was a major seller in Japan, which gave a boost of sales in the early 1990's with 40,000 new cars being exported there.

 

Eventually however, the design was starting to look very tired and with Rover Group making heavy losses, the Mini and its spiritual cousin the Metro were killed off in 2000 and 1999, respectively. Rover was granted the ability to run-out the model to the very end before Rover itself was sold off in 2000. During the breakup, BMW designed a new version of the Mini which was launched in 2000 and is still being built today as quite a sleek and popular machine, a little bit more bulky than the original but certainly keeping the novelty and charm. The originals however ended on the 4th October 2000, with a red Mini Cooper S bringing an end to 5,387,862 cars.

 

However, although the original Mini is now very much dead, the novelty that surrounds these tiny little cars is enough to keep thousands and thousands of these machines preserved or in continual everyday usage. Older Mini-Minors are a bit hard to come by and the Clubmans rusted away before you could get them home from the showroom, but the later Mini's sold in the 1980's and 1990's are still alive and kicking on the roads of Britain, and can still draw the attention of passers by even 56 years after the first ones left the production line!

Here we have it, one of the most iconic little cars in the whole of history. A machine that revolutionised the concept of the city car, and what has now become a pure symbol of Englishness!

 

This little machine is simply known as the Mini! :D

 

Construction of the Mini first began in 1959, with the car designed by the British Motor Corporation's (BMC) chief designer Sir Alec Issigonis, who envisaged a car that had as much space as was humanly possible devoted to the passenger so as to combine the practicality of a big car with the nippy nature of a Dune Buggy. The result was that 80% of the car's platform was available for use by both passengers and luggage. The car was also designed to be fuel efficient, built in response to the 1956 Suez Crisis which resulted in rising fuel prices and petrol rationing. During this period it became apparent that German 'Bubble Car' equivalents such as the Heinkel Kabine and various Messerschmitt designs were starting to corner the market, and thus the Mini project was launched under project name ADO15 (Amalgamated Drawing Office project number 15). Great care was taken to make sure that as much space was saved for the passenger, including the instalment of compact rubber springs instead of conventional metal and the small but powerful BMC A-Series four-cylinder engine tucked away at the front.

 

In April 1959 the car was launched to the press under the designation of both the Austin Seven and the Morris Mini-Minor (due to the amalgamation of the Austin and Morris brands under BMC). By the time the car was let loose thousands had already been sent abroad in an audacious promotional campaign. Things however started slow for the Mini, but this rising star soon became an icon during the 1960's, selling 1,190,000 by 1967.

 

But, behind all the shining sales figures, there were some major problems for BMC and their wonderchild. Baffled by the car, Ford bought one for the base price of £497 and took it apart, desperate to know how their rivals were doing it for the money. As it turns out they weren't, and were able to determine that BMC was losing at least £30 on every single car they sold. Novelty was the only way to get the car properly moving in this competitive new world, and the Mini was all about that. By 1970 the car had appeared in a variety of movies and TV shows, the most famous of which was their charge to glory in the 1969 film 'The Italian Job', where a trio of Minis were used to plunder gold from under the noses of the Mafia and the Italian Authorities. A Leyland Mini holds a place in the heart of British TV under the ownership of Mr. Bean and his various clumsy antics, usually involving an unfortunate Reliant Regal. At the same time it was a car of choice for TV and Music Stars who wanted to show off their quirks!

 

From then on the car continued to keep up its notorious status as a British symbol of motoring, with a huge variety of cars being made including a spacious van, a country camper, a pickup truck and the Moke dune buggy! There were also two almost identical saloon versions of the car known as the Wolseley Hornet and the Riley Elf that were built between 1961 and 1969 as more luxurious alternatives to the original.

 

In 1969 the first major facelift came in the form of the Clubman, designed under British Leyland to give the car a new lease of life, but ended up being something of a mongrel. Although functionally the same, the boys at British Leyland couldn't help but get things off to a bad start by relocating construction from the Cowley Plant to the Longbridge Plant, which meant that all kits and tools had to be moved too and thus initial sales were very slow. British Leyland's reliability reputation was soon to follow, with the unfortunate Mini becoming a victim of the shoddy workmanship that had mired so many of its other products.

 

Eventually the Clubman was killed off in 1980, although the original Mini design had been built alongside and was still selling strong. British Leyland however had plans to kill off the Mini in 1980 by introducing its new small economy car, the Austin Metro. Built very much to the same principals of the Mini, the Metro was a much more angular design but still a capable little family hatchback. But the angular lines and big bulky body did nothing for the Metro, and the car failed to sell in the numbers domestically than those of the Mini internationally!

 

Towards the end of the 1980's and 1990's, the car came in a variety of different 'Special Editions' as the car became less of a mass-market machine and more a fashion item. The iconic nature of the car had sealed its fate with new owners of the Rover Group, BMW, who intended to keep the car going for as long as possible. At the same time the car was a major seller in Japan, which gave a boost of sales in the early 1990's with 40,000 new cars being exported there.

 

Eventually however, the design was starting to look very tired and with Rover Group making heavy losses, the Mini and its spiritual cousin the Metro were killed off in 2000 and 1999, respectively. Rover was granted the ability to run-out the model to the very end before Rover itself was sold off in 2000. During the breakup, BMW designed a new version of the Mini which was launched in 2000 and is still being built today as quite a sleek and popular machine, a little bit more bulky than the original but certainly keeping the novelty and charm. The originals however ended on the 4th October 2000, with a red Mini Cooper S bringing an end to 5,387,862 cars.

 

However, although the original Mini is now very much dead, the novelty that surrounds these tiny little cars is enough to keep thousands and thousands of these machines preserved or in continual everyday usage. Older Mini-Minors are a bit hard to come by and the Clubmans rusted away before you could get them home from the showroom, but the later Mini's sold in the 1980's and 1990's are still alive and kicking on the roads of Britain, and can still draw the attention of passers by even 56 years after the first ones left the production line!

The Chevrolet Corvette (C1) is the first generation of the Corvette sports car produced by Chevrolet. It was introduced late in the 1953 model year, and produced through 1962. It is commonly referred to as the "solid-axle" generation, as the independent rear suspension did not appear until the 1963 Sting Ray. The Corvette was rushed into production for its debut model year to capitalize on the enthusiastic public reaction to the concept vehicle, but expectations for the new model were largely unfulfilled. Reviews were mixed and sales fell far short of expectations through the car's early years. The program was nearly canceled, but Chevrolet would ultimately stay the course.

 

HISTORY

ORIGIN 1951

In 1927 General Motors hired designer Harley Earl who loved sports cars. GIs returning after serving overseas in the years following World War II were bringing home MGs, Jaguars, Alfa Romeos, and the like. In 1951, Nash Motors began selling an expensive two-seat sports car, the Nash-Healey, that was made in partnership with the Italian designer Pinin Farina and British auto engineer Donald Healey, but there were few moderate-priced models. Earl convinced GM that they needed to build a two-seat sports car, and with his Special Projects crew began working on the new car, "Project Opel" in late 1951. The result was the hand-built, EX-122 pre-production Corvette prototype, which was first shown to the public at the 1953 General Motors Motorama at the Waldorf-Astoria in New York City on January 17, 1953. Production began six months later. The car is now located at the Kerbeck Corvette museum in Atlantic City and is believed to be the oldest Corvette in existence.

 

DESIGN AND ENGINEERING

To keep costs down, GM executive Robert F. McLean mandated off-the-shelf mechanical components, and used the chassis and suspension design from the 1949–1954 Chevrolet passenger vehicles. The drivetrain and passenger compartment were moved rearward to achieve a 53/47 front-to-rear weight distribution. It had a 102-inch wheelbase. The engine was a 235 cu in (3.85 L) inline six engine that was similar to the 235 engine that powered all other Chevrolet car models, but with a higher-compression ratio, three Carter side-draft carburetors, mechanical lifters, and a higher-lift camshaft. Output was 150 horsepower (110 kilowatts). Because there was currently no manual transmission available to Chevrolet rated to handle 150 HP, a two-speed Powerglide automatic was used. 0–60 mph (0–97 km/h) time was 11.5 seconds.

 

During the last half of 1953, 300 Corvettes were to large degree hand-built on a makeshift assembly line that was installed in an old truck plant in Flint, Michigan while a factory was being prepped for a full-scale 1954 production run. The outer body was made out of then-revolutionary glass fiber reinforced plastic material. Although steel shortages or quotas are sometimes mentioned as a factor in the decision to use fiberglass, no evidence exists to support this. In calendar years 1952 and 1953 Chevrolet produced nearly 2 million steel bodied full-size passenger cars and the intended production volume of 10,000 Corvette for 1954 was only a small fraction of that.

 

The body engineer for the Corvette was Ellis James Premo. He presented a paper to the Society of Automotive Engineers in 1954 regarding the development of the body. Several excerpts highlight some of the key points in the body material choice:

 

The body on the show model was made of reinforced plastic purely as an expedient to get the job done quickly.

 

Although we were going ahead with the building of an experimental plastic body in order to get a car rolling for chassis development work – at the time of the Waldorf Show, we were actually concentrating body-design-wise on a steel body utilizing Kirksite tooling for the projected production of 10,000 units during the 1954 model year. It was some time later that we decided to produce this quantity in reinforced plastic.

 

About this time, some doubt was expressed that we should build the 1954 model of steel. People seemed to be captivated by the idea of the fiberglass plastic body. Furthermore, information being given to us by the reinforced plastic industry seemed to indicate the practicality of fabricating plastic body parts for automobiles on a large scale.

 

A 55 degree raked windshield was made of safety glass, while the license plate holder was set back in the trunk, covered with a plastic window. Underneath the new body material were standard components from Chevrolet's regular car line, including the "Blue Flame" inline six-cylinder engine, two-speed Powerglide automatic transmission, and drum brakes. The engine's output, 136 hp (101 kW), was increased however from a Carter triple-carburetor system exclusive to the Corvette, but performance of the car was decidedly "lackluster". Compared to the British and Italian sports cars of the day, the Corvette lacked a manual transmission and required more effort to bring to a stop, but like their British competition, such as Morgan, was not fitted with roll-up windows; this would have to wait until sometime in the 1956 model year. A Paxton centrifugal supercharger became available in 1954 as a dealer-installed option, greatly improving the Corvette's straight-line performance, but sales continued to decline.

 

The Chevrolet division was GM's entry-level marque. Managers at GM were seriously considering shelving the project, leaving the Corvette to be little more than a footnote in automotive history, and would have done so if not for three important events. The first was the 1955 introduction of Chevrolet's first V8 engine since 1919. Late in the model year, the new 195 hp (145 kW) 265 small-block became available with a Powerglide automatic transmission, until the middle of the production year when a manual 3-speed became available, coupled to a 3.55:1 axle ratio, the only one offered. The engine was fitted with a single 2218S or 2351S WCFB four-barrel (four-choke) Carter carburetor. The combination turned the "rather anemic Corvette into a credible if not outstanding performer". The second was the influence of a Russian émigré in GM's engineering department, Zora Arkus-Duntov. The third factor in the Corvette's survival was Ford's introduction of the 1955 two-seat Thunderbird, which was billed as a "personal luxury car", not a sports car. Even so, the Ford-Chevrolet rivalry in those days demanded GM not appear to back down from the challenge. The original concept for the Corvette emblem incorporated an American flag into the design, but was changed well before production since associating the flag with a product was frowned upon.

 

1953–1955

The 1953 model year was not only the Corvette's first production year, but at 300 produced it was also the lowest-volume Corvette. The cars were essentially hand-built and techniques evolved during the production cycle, so that each 1953 Corvette is slightly different. All 1953 models had Polo White exteriors, red interiors, and black canvas soft tops. Order guides showed heaters and AM radios as optional, but all 1953 models were equipped with both. Over two-hundred 1953 Corvettes are known to exist today. They had independent front suspension, but featured a rigid axle supported by longitudinal leaf springs at the rear. The cost of the first production model Corvettes in 1953 was $3490.

 

The quality of the fiberglass body as well as its fit and finish was lacking. Other problems, such as water leaks and doors that could open while the car was driven, were reported with the most severe errors corrected in subsequent units produced, but some shortcomings continued beyond the Corvette's inaugural year. By December 1953, Chevrolet had a newly equipped factory in St. Louis ready to build 10,000 Corvettes annually. However, negative customer reaction in 1953 and early 1954 models caused sales to plummet.

 

In 1954, only 3,640 of this model were built and nearly a third were unsold at year's end. New colors were available, but the six-cylinder engine and Powerglide automatic, the only engine and transmission available, were not what sports car enthusiasts expected. It is known that 1954 models were painted Pennant Blue, Sportsman Red, and Black, in addition to Polo White. All had red interiors, except for those finished in Pennant Blue that had a beige interior, and beige canvas soft top. Order guides listed several options, but all options were "mandatory" and all 1954 Corvettes were equipped the same.

 

In the October 1954 issue of Popular Mechanics there was an extensive survey of Corvette owners in America. The surprising finding was their opinions in comparison to foreign sports cars. It was found that 36% of those taking the survey had owned a foreign sports car, and of that half, they rated the Corvette as better than their previous foreign sports car. Ninteen percent rated the Corvette as equal to their foreign sports car and 22% rates the Corvette as inferior. While many were well pleased with the Corvette, they did not consider it as a true sports car. The principal complaint of the surveyed owners was the extensive body leaks during rain storms.

 

Chevrolet debuted its 265 cu in (4.34 L) small-block, 195 hp (145 kW) V8 in 1955 and the engine found its way into the Corvette. At first 1955 V8 Corvettes continued with the mandatory-option Powerglide automatic transmission (as did the few 6-cylinder models built), but a new three-speed manual transmission came along later in the year for V8 models only. Exterior color choices were expanded to at least five, combined with at least four interior colors. Even soft-tops came in three colors and different materials. Despite all this, only 700 1955 Corvettes were built, making it second only to 1953 in scarcity. Very few six-cylinder 1955 models were built, and all documented examples are equipped with automatic transmissions. The "V" in the Corvette emblem was enlarged and gold colored, signifying the V8 engine under the hood and 12 volt electrical systems, while 6-cylinder models retained the 6-volt systems used in 1953-54. Rare option estimate: Manual transmission (75).

 

Although the C1 Corvette chassis and suspension design were derived from Chevrolet's full-size cars, the same basic design was continued through the 1962 model even after the full-size cars were completely redesigned for the 1955 model year. This was due to the combined factors of the relatively high re-engineering and re-tooling costs for this low-volume production vehicle, the continued potential for cancellation of the car, and the increased size and weight of the all-new suspension design for the full-size cars, which made it unsuitable for use in the lighter weight Corvette.

 

1956–1957

There was no doubt Chevrolet was in the sports car business with the release of the 1956 model. It featured a new body, a much better convertible top with power assist optional, real glass roll up windows (also with optional power assist), and an optional hardtop. The 3-speed manual transmission was standard. The Powerglide automatic was optional. The six-cylinder engine was gone. The V8 remained at 265 cubic inches but power ranged from 210 to 240 hp (160 to 180 kW). The volume was 3,467, a low number by any contemporary standard and still less than 1954s 3,640, meaning this was the third lowest-volume model in Corvette history. Delco Radio transistorized signal-seeking (hybrid) car radio, which used both vacuum tubes and transistors in its radio's circuitry (1956 option). Rare options: RPO 449 special camshaft with the 240 hp engine (111), RPO 426 power windows (547).

 

Visually the 1957 model was a near-twin to 1956. Engine displacement increased to 283 cu in (4.6 L), fuel injection became optional, and a 4-speed manual transmission was available after April 9, 1957. Fuel injection first saw regular use on a gasoline engine two years prior on the Mercedes-Benz 300SL "Gullwing". Although the Corvette's GM-Rochester injection used a constant flow system, as opposed to the diesel style nozzle metering system of the Mercedes', the Corvette's engine nevertheless produced about 290 bhp (220 kW). This was underrated by Chevrolet's advertising agency for the 283 hp (211 kW) 283 small-block V8 "One HP per cubic inch" (1 hp (0.75 kW) per 1 cu in (16 cc)) slogan, making it one of the first mass-produced engines in history to reach 1 hp/in³. Pushed toward high-performance and racing, principally by Zora Arkus-Duntov who had raced in Europe, 1957 Corvettes could be ordered ready-to-race with special options. Fuel injection was in short supply and 1,040 Corvettes with this option were sold. Rare options: RPO 579E 283 hp engine with fresh air/tach package (43), RPO 684 heavy-duty racing suspension (51), RPO 276 15 by 5.5 in (380 by 140 mm) wheels (51), RPO 426 power windows (379), RPO 685 4-speed transmission (664).

 

1958–1960

In an era of chrome and four headlamps, the Corvette succumbed to the look of the day. The 1958 model year and the four that followed all had the exposed four-headlamp treatment and prominent grills, but a faux-louvered hood and chrome trunk spears were unique to 1958. The interior and instruments were updated, including placing a tachometer directly in front of the driver. For the 1958 model, an 8000 rpm tachometer was used with the 270 hp (200 kW) and 290 hp engines, rather than the 6000 rpm units used in the lower horespower engines. Optional engine choices included two with twin carburetors (including a 270 hp model with Carter 2613S and 2614S WCFB four-barrels) and two with fuel injection. Power output for the highest rated fuel-injected engine was 290 hp. Displacement remained 283 cid. For the first time, seat belts were factory-installed rather than being dealer-installed as on previous models. Rare options were RPO 684 heavy-duty brakes and suspension (144), RPO 579 250 hp engine (554), RPO 276 15"×5.5" wheels (404).For the 1959 model, engines and horsepower ratings did not change. Interiors were revised slightly with different instrument graphics and the addition of a storage bin to the passenger side. A positive reverse lockout shifter with "T" handle was standard with 4-speed manual transmission. This was the only year a turquoise convertible top color could be ordered,[9] and all 24-gallon fuel tank models through 1962 could not be ordered with convertible tops due to inadequate space for the folding top mechanism. Rare options: RPO 684 heavy-duty brakes and suspension (142), RPO 686 metallic brakes (333), RPO 276 15"×5.5" wheels (214), RPO 426 power windows (547), RPO 473 power convertible top (661).Last features to appear in 1960 models included tailamps molded into the rear fenders and heavy grill teeth. New features include aluminum radiators, but only with 270 hp and 290 hp engines. Also for the first time, all fuel-injection engines required manual transmissions. The 1960s Cascade Green was metallic, unique to the year and the rarest color at 140 made. Rare options: RPO 579 250 hp engine (100), RPO 687 heavy-duty brakes and suspension (119), RPO 276 15"×5.5" wheels (246), RPO 473 power convertible top(512), RPO 426 power windows (544)

 

1961–1962

Four taillights appeared on the 1961, a treatment that continues to this day. Engine displacement remained at 283 cubic inches, but power output increased for the two fuel-injected engines to 275 and 315 hp (205 and 235 kW). Power ratings for the dual-four barrel engines did not change (245 hp and 270 hp) but this was the last year of their availability. This was the last year for contrasting paint colors in cove areas, and the last two-tone Corvette of any type until 1978. Also debuting in 1961 was a new boat-tail design later used on the C2. Rare options: RPO 353 275 hp engine (118), RPO 687 heavy-duty brakes and steering (233), RPO 276 15"×5.5" wheels (357), RPO 473 power convertible top (442).

 

The 1962 model year was the last Corvette with a solid-rear-axle suspension that was used from the beginning. With two new engines it was also the quickest. Engine displacement increased with the indroduction of the 327 cu in (5,360 cc) engine, but dual 4-barrel carburetor engines were no longer available. Hydraulic valve lifters were used in the base 250 hp and optional 300 hp (220 kW) engines, solid lifters in the optional carbureted 340 hp and fuel-injected 360 hp (270 kW) versions. Rocker panel trim was seen for the first time, exposed headlights for the last, until 2005. This was the last Corvette model to offer an optional power convertible top mechanism. Rare options: RPO 488 24-gallon fuel tank (65), RPO 687 heavy-duty brakes and steering (246), RPO 473 power convertible top (350), RPO 276 15"×5.5" wheels (561).

 

1956–1957

There was no doubt Chevrolet was in the sports car business with the release of the 1956 model. It featured a new body, a much better convertible top with power assist optional, real glass roll up windows (also with optional power assist), and an optional hardtop. The 3-speed manual transmission was standard. The Powerglide automatic was optional. The six-cylinder engine was gone. The V8 remained at 265 cubic inches but power ranged from 210 to 240 hp (160 to 180 kW). The volume was 3,467, a low number by any contemporary standard and still less than 1954s 3,640, meaning this was the third lowest-volume model in Corvette history. Delco Radio transistorized signal-seeking (hybrid) car radio, which used both vacuum tubes and transistors in its radio's circuitry (1956 option). Rare options: RPO 449 special camshaft with the 240 hp engine (111), RPO 426 power windows (547).

 

Visually the 1957 model was a near-twin to 1956. Engine displacement increased to 283 cu in (4.6 L), fuel injection became optional, and a 4-speed manual transmission was available after April 9, 1957. Fuel injection first saw regular use on a gasoline engine two years prior on the Mercedes-Benz 300SL "Gullwing". Although the Corvette's GM-Rochester injection used a constant flow system, as opposed to the diesel style nozzle metering system of the Mercedes', the Corvette's engine nevertheless produced about 290 bhp (220 kW). This was underrated by Chevrolet's advertising agency for the 283 hp (211 kW) 283 small-block V8 "One HP per cubic inch" (1 hp (0.75 kW) per 1 cu in (16 cc)) slogan, making it one of the first mass-produced engines in history to reach 1 hp/in³. Pushed toward high-performance and racing, principally by Zora Arkus-Duntov who had raced in Europe, 1957 Corvettes could be ordered ready-to-race with special options. Fuel injection was in short supply and 1,040 Corvettes with this option were sold. Rare options: RPO 579E 283 hp engine with fresh air/tach package (43), RPO 684 heavy-duty racing suspension (51), RPO 276 15 by 5.5 in (380 by 140 mm) wheels (51), RPO 426 power windows (379), RPO 685 4-speed transmission (664).

 

1958–1960

In an era of chrome and four headlamps, the Corvette succumbed to the look of the day. The 1958 model year and the four that followed all had the exposed four-headlamp treatment and prominent grills, but a faux-louvered hood and chrome trunk spears were unique to 1958. The interior and instruments were updated, including placing a tachometer directly in front of the driver. For the 1958 model, an 8000 rpm tachometer was used with the 270 hp (200 kW) and 290 hp engines, rather than the 6000 rpm units used in the lower horespower engines. Optional engine choices included two with twin carburetors (including a 270 hp model with Carter 2613S and 2614S WCFB four-barrels) and two with fuel injection. Power output for the highest rated fuel-injected engine was 290 hp. Displacement remained 283 cid. For the first time, seat belts were factory-installed rather than being dealer-installed as on previous models.[9] Rare options were RPO 684 heavy-duty brakes and suspension (144), RPO 579 250 hp engine (554), RPO 276 15"×5.5" wheels (404).For the 1959 model, engines and horsepower ratings did not change. Interiors were revised slightly with different instrument graphics and the addition of a storage bin to the passenger side. A positive reverse lockout shifter with "T" handle was standard with 4-speed manual transmission. This was the only year a turquoise convertible top color could be ordered, and all 24-gallon fuel tank models through 1962 could not be ordered with convertible tops due to inadequate space for the folding top mechanism. Rare options: RPO 684 heavy-duty brakes and suspension (142), RPO 686 metallic brakes (333), RPO 276 15"×5.5" wheels (214), RPO 426 power windows (547), RPO 473 power convertible top (661).Last features to appear in 1960 models included tailamps molded into the rear fenders and heavy grill teeth. New features include aluminum radiators, but only with 270 hp and 290 hp engines. Also for the first time, all fuel-injection engines required manual transmissions. The 1960s Cascade Green was metallic, unique to the year and the rarest color at 140 made. Rare options: RPO 579 250 hp engine (100), RPO 687 heavy-duty brakes and suspension (119), RPO 276 15"×5.5" wheels (246), RPO 473 power convertible top(512), RPO 426 power windows (544)

 

1961–1962

Four taillights appeared on the 1961, a treatment that continues to this day. Engine displacement remained at 283 cubic inches, but power output increased for the two fuel-injected engines to 275 and 315 hp (205 and 235 kW). Power ratings for the dual-four barrel engines did not change (245 hp and 270 hp) but this was the last year of their availability. This was the last year for contrasting paint colors in cove areas, and the last two-tone Corvette of any type until 1978. Also debuting in 1961 was a new boat-tail design later used on the C2. Rare options: RPO 353 275 hp engine (118), RPO 687 heavy-duty brakes and steering (233), RPO 276 15"×5.5" wheels (357), RPO 473 power convertible top (442).

 

The 1962 model year was the last Corvette with a solid-rear-axle suspension that was used from the beginning. With two new engines it was also the quickest. Engine displacement increased with the indroduction of the 327 cu in (5,360 cc) engine, but dual 4-barrel carburetor engines were no longer available. Hydraulic valve lifters were used in the base 250 hp and optional 300 hp (220 kW) engines, solid lifters in the optional carbureted 340 hp and fuel-injected 360 hp (270 kW) versions. Rocker panel trim was seen for the first time, exposed headlights for the last, until 2005. This was the last Corvette model to offer an optional power convertible top mechanism. Rare options: RPO 488 24-gallon fuel tank (65), RPO 687 heavy-duty brakes and steering (246), RPO 473 power convertible top (350), RPO 276 15"×5.5" wheels (561).

Zora Arkus-Duntov

 

Although not a part of the original Corvette project, Zora Arkus-Duntov made available late in the 1955 model year the 265 cu in (4.3 L) engine with a three-speed manual transmission. Duntov improved the car's positioning and image and helped the car compete with the new V8—engined Ford Thunderbird, and turned the Corvette from decidedly "lackluster" into a "credible performer". In 1956 he became the director of high-performance vehicle design and development for Chevrolet helping him earn the nickname "Father of the Corvette."

 

WIKIPEDIA

Hmm, it's another one of those strange 3-wheeled things. But even if the practicality of the Reliant Robin was a little untoward, the car did still sell heavily in the UK, especially in the West Midlands where the car was originally built.

Hundreds of African Refugees from Eritrea and Ethiopia make a pilgrimage to Bethlehem to visit Manger Square and the Church of the Nativity for a Coptic Christmas. Bethlehem, Palestine, 6th January 2012.

 

Shortly about me:

 

It’s my passion to create stories and bring back pictures of events, people and places that are rarely seen. It’s a combination of exploration, exposition and artistry that together create a life of adventure and excitement.

 

In my work it is imperative for me that information be accurate and the images must be respectful of the subject and viewer. My goal is to combine creativity with practicality to capture the best possible images to document events, tell a story, meet the picture editor's deadlines.

 

If you would like to know more, or even just pick my brains to discuss your project with me, please visit my homepage documentary photography or send me an Email.

Silcox only built two double deck bodies - "Thank goodness" I hear you cry. Probably the ugliest bus I ever seen. I never experienced a ride on it so cannot comment on its practicality, comfort etc.

 

The chassis of no. 39 had been new in 1950 and kept in store. I have speculated elsewhere on how it was Silcox were able to take delivery of Bristol chassis years after nationalisation of the manufacturer restricted sales of their products to other nationalised undertakings. I am leaning to the theory that after experience with their wartime allocation Silcox ordered a number of Bristols to be delivered at 2 a year over an 8 year period. Bristol had to honour the contract but delivered all the outstanding chassis in 1950 to get shot of the commitment to a private customer. I emphasise that is a just a guess.

 

It would explain why 39 and a couple of single deck Bristol L chassis were not bodied and put straight into service whilst new Leyland chassis were - the Bristols having arrived unexpectedly but the Leylands on schedule. One wonders if Silcox had to pay for the Bristols at the time of delivery or in accordance with the original phased delivery contract - always supposing my theory is correct. Between 1945 and 1954 Silcox bought 16 Bristols, 5 Leylands and a Crossley new and 2 new and 5 second hand Guy Arab II. The Crossley and 4 Leylands received Silcox bodies in 1950 so it would seem the influx of Bristols was unexpected. 5 single deckers received single deck Silcox bodies 1951 - 2 and Silcox contrived to mount 2 ex Birmingham Corporation Trolleybis bodies on Bristol K chassis in 1952. No Silcox bodies are recorded as being built in 1953 but th fleet of wartime Stachan bodied Guys was needing attention by then. Maybe work on them inspired Silxox craftsmen to have a go at building this monstrosity on the remaining K chassis. Who knows?

 

The other Silcox double deck body was on a utility Guy Arab II and was equally bizarre in appearance. See the photo of no. 28 in Bus.Uk.Silcox of Pembroke Dock

E26

 

Coys of Kensington

 

Techno Classica 2019

Essen

Deutschland - Germany

April 2019

 

BMW’s glorious M1 supercar is a rare mix of stunning performance and practicality. Whenever it has been compared to other high performance sports cars from the 1970s and 80s by the motoring press it is always the BMW which comes out on top.

The original concept was for a car which BMW could compete with in the Ferrari type market place, but which provided BMW-style reliability. However the Bavarian company were sufficiently aware of their inexperience in this field so Lamborghini was called in to design and develop the car, with the intention that they would be built under licence in the Sant’ Agata manufacturer’s factory. However at the crucial time Lamborghini went through one of their periodic financial crises and takeovers, so none of the production examples were actually built in Italy.

The bodywork was styled by Giugiaro’s, Ital Design; with stunning compact two door coupe coachwork which accommodated two occupants and a mid-mounted six cylinder twin cam 24 valve BMW Motorsport engine with fuel injection. In this application 277 bhp was coaxed out of the superb motor, allowing a maximum speed in excess of 160 mph. and a 0-60 mph. sprint in 5.5 seconds. Handling was vice less and reliability was excellent. Furthermore, levels of comfort were of a degree unheard of in a mid-engined supercar up till then.

This extraordinary BMW M1 was built to standard specification in 1979 and delivered to it’s first owner in Berlin the following year. In 1981 the car was purchased by renowned racing driver, Harald Ertl, the following year; at which point the car went through an extreme makeover! Developed in conjunction with British Petroleum who were looking to promote their new Autogas product, this unique M1 was hoping to break 300 km/h to set a new record. Using Gustav Hoecker Sportwagen-Service GmbH, Ertl had the M1 engine fitted with twin KKK turbochargers developing in the region of 410 bhp. On 17th October, 1981, Ertl managed to achieve a record breaking 301.4 km/h.

This wonderfully sleek and even more aggressively-styled M1 has recently been unearthed from a garage in East London, ‘lost’ for nearly a quarter of a century and coming to the market for the first time since 1993 ; this is possibly the rarest M1 in the models history. Undoubtedly a piece of motoring history and the subject of several magazine articles, this is a hugely interesting prospect for any serious enthusiast or collector.

For some reason I always had a bit of an affinity towards these cars, largely due to the fact that they seemed to be smiling with those light clusters. But much like the Maestro, it had purpose, it was innovative, and it was a car that refused to die!

 

The Austin Montego first started development life way back in 1977 under project code LC10 (Leyland Cars 10), as an intended replacement for the Morris Marina and the Princess. However, like many of the company's promising projects, such as the Maestro and the Metro, it was shelved for years on account of the fact that British Leyland ran out of money! After a corporate bailout by the British Government, the company chose instead to prolong the development of these cars and instead simply give the existing Marina and Princess a facelift, resulting in the Morris Ital and Austin Ambassador, both cars notable for being unimpressively bland masterpieces.

 

However, this delay did give British Leyland a chance to tie up with Honda, and in 1980 launched the Triumph Acclaim as both the first Japanese/British hybrid car, but also British Leyland's first consistently reliable product! The result was that both the simultaneously developed Austin Maestro and Montego could take some leaves out of Honda's book and therefore improve the reliability. Styling came from David Bache, who had previously had a hand in penning the Rover P4, the Rover SD1 and the Range Rover, and Roy Axe, who would later go on to style the Rover 800 and the Rolls Royce Silver Seraph. The lengthy development time of the car however clearly showed as the first sketches of the car were done back in 1975. Apparently when Roy Axe, who took over as Director of Design in 1982, saw the first prototype with the original design, he was so horrified that he suggested they scrap the whole thing and start over!

 

However, their combined design talent truly shows through with the Montego as in essence these are very handsome cars, with a long smooth body, a pleasing frontal alignment and design, and internally very capable and comfortable. Some novel features included were the colour coordinated bumpers that matched the rest of the car, and the wiper spindles hiding under the bonnet when parked.

 

Although many consider the Maestro just to be a hatchback version of the Montego, there were many features the Montego had that made it an all around better car. These included a new S-Series engine in place of the A-Series engine that dated back to the 1950's, and a more practical and robust dashboard. Variations of the car included the stylish and luxury Vanden Plas, which was styled internally by the world renowned coachbuilder with lavish wood veneer and seating (thankfully not given a chrome nose, that would have been insane!), the sporty MG Montego which featured a higher performance O-Series Turob Engine and a revolutionary synthesised computer voice that announced problems and warnings, and finally the Estate versions which were by far the most popular and received almost unanimous acclaim for their spacious interior.

 

The Montego was launched on April 25th 1984, being available at first as a 4-door saloon to replace the standard Morris Ital, but the Ital in estate form continued on until August, bringing an end to the 11 year old Morris Marina family. In October the Estate version was launched at the British International Motor Show. Initially things were looking up for the Montego, as mentioned the Estate version was lauded for its practicality, the MG Montego became the fastest MG ever built with 115hp to rocket it up to a top speed of 126mph at a rate of 0-60 in 7.1 seconds, and the Vanden Plas was a modest success for the business executive, as well as finding a home in the company car market.

 

Promotion for the car also helped to seal the deal with a fantastically choreographed advert where professional stunt driver Russ Swift, pretty much danced around a crowded car park in a Montego, doing reverse 180's in gaps only a few feet wide, and driving the car on two wheels through a gap only a ruler's length apart! Jeremy Clarkson would attempt to do the same thing 14 years later on one of his DVD's in another Montego, again with the help of Russ Swift, which went well the first time, but not so well the second, third, fourth, fifth, sixth or seventh time. Eventually the Montego was smashed in half by a large truck in a fiery explosion.

 

Sadly though, the honeymoon like with all good British Leyland cars was short lived, and soon afterwards the various faults and build quality problems became once again apparent. Although many of the features fitted to these cars such as the synthesised voice, the computer engine management and the redesigned dashboard were endearing, the main fault that these cars had were in the electrics, which would frequently go wrong. Some examples I've heard from early Montego owners have included the car failing to start, pressing the indicator switch only to blow the horn, or the synthesised talking lady never, ever, ever shutting up! Because of these problems the cars built up a very quick and poor reputation, added to by the poor construction of the actual car, with the colour coded bumpers being particularly problematic as they'd crack in cold weather.

 

But British Leyland didn't give up on the Montego, and in the background designers continued to tinker with the idea of further additions and changes to the car. Throughout the period following its introduction, British Leyland began to be broken up by the Thatcher Government, with Jaguar being made independent, the various parts manufacturers such as UNIPART being sold off, Leyland Trucks and Buses being sold to Volvo and DAF, and eventually the whole outfit being reduced to just MG and Rover. The Montego has been credited with being the last car to carry the Austin name, the badge being dropped in 1988 with future cars simply being dubbed the Montego. This coincided with a facelift in 1989 and the re-engineering of the car to be fitted with a Perkins Diesel. In 1989 a new seven-seater estate model was created called the Montego Countryman, built to combat the rising trend of People-Carriers such as the Renault Espace, but still being able to perform as well as a regular car. This, much like the original estate, proved immensely popular, especially in France for some reason, which went on to be one of the Montego's major markets.

 

In the early 90's the Montego did start getting back some reputation, winning the CAR Magazine's 'Giant Test' (all technical names I'm sure) when competing against the likes of the Citroen BX and the Audi 80. In fact the Rover Montego Turbo became a favourite with the RAF, and was used to whisk Officers across airfields as a personal transport. The Montego may have failed to outdo the Volkswagen Passat, but as for the British mob such as the Ford Sierra and the Vauxhall Cavalier, it was able competition. In fact when I was young in the 90's a lot of kids I'd see dropped off to school would be in then new Montego's because by this point the reliability issues had been ironed out following Rover Group's return to private ownership under British Aerospace.

 

But by 1992 the car was very much looking its age and was in desperate need of a replacement. In 1993 the Rover 600 was launched which pretty much ended the Montego for mass-production then and there, but special orders for the car continued until 1995. The machines continued to be a favourite among Company Car firms, and a lot of the developments made in the Montego lived on in later Rover cars, primarily the 600 and the 75, which inherited its rear suspension which was often held in high regard. But the curtain did eventually fall for the official Montego production in 1995 as new owners BMW desired nothing more than to be out with the old and in with the new, with facelifts all around including a new Rover 25 to replace the 200, a new Rover 45 to replace the 400, and a new Rover 75 to replace the 800, and the original Range Rover was revamped into the absolutely magnificent Range Rover P38 in 1995. The Maestro too was axed and the Metro followed not long afterwards in 1999, with the classic Mini being killed off in 2000, only to be brought back to life the same year under BMW management after the breakup of Rover that year.

 

But like the Maestro, the Montego simply wouldn't die, but unlike the Maestro, attempts to revive the car under bootlegged brands weren't as prosperous. In India, the company Sipani Automobiles, notable for attempting to recreate British cars such as the Reliant Kitten but instead consistently turning out garbage, attempted to built a few, but folded soon afterwards. In Trinidad & Tobago, a small firm attempted to sell their own copycat versions of the Montego, which were notable for their exceptional poor quality. But most famously was the attempt to recreate the car in China with the Lubao CA 6410, which yoked the nose of a Montego onto the back of a Maestro using a Maestro platform. Today that car is technically still in production as the Jiefang CA 6440 UA Van, but owes more to the Maestro than the Montego.

 

Today the Montego is a very rare car to find. Of the 571,000 cars built, only 296 remain, making it Britain's 8th most scrapped car. Contributing to this, areas of the bodywork that were to be covered by plastic trim (such as the front and rear bumpers) were left unpainted and thus unprotected. In addition, pre-1989 models cannot run on unleaded petrol without the cylinder head being converted or needing fuel additives.

 

However, as mentioned, the Montego estate was a huge hit in France, and chances are you'll find a fair number ambling about the countryside there. Malta too was another popular locale for the Montego, as well as many other British Leyland cars, including Marina's, Allegros and even Princesses!

 

My opinion on the Montego? Like most British Leyland cars it had prospects and purpose, but lacked the desire to build good, honest cars. It was comfortable, it was handsome, it performed as well as a family saloon car should, it was spacious and very well equipped, and like many British Leyland cars, such as the Princess with its Hydragas suspension, it was innovative. If these cars had been built better and had some of the teething problems ironed out with the electrical systems, then British Leyland could have easily gone on to make the family car of the 1980's. But like all pathfinders in the world of technology, they will suffer the full brunt of the problems they are most likely to experience.

 

People rarely remember the originals, only the one's that perfected it...

In celebration of Yule, we kept our fire at home lit continuously for the full twelve days from Christmas Eve.

 

Practicality meant that it had to be smokeless fuel but this morning we finished it with apple wood from our allotment.