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Buddhist teachings contain very precise descriptions on the process of dying, death and the stages between death and rebirth.

During his lecture at the Berlin University of Arts, Lama Ole explained the foundations of the "Tibetan Book of Death" and the "Meditation on Conscious Dying" (tib. Phowa). Through the meditation on “conscious dying” you get the opportunity to work intensively with the process of your own death.

Lama Ole Nydahl received the transmission of the Phowa teachings from different Tibetan Lamas and is today the most significant teacher of this practice in the Western world. More than 80,000 people learned the "Meditation on Conscious Dying" (tib. Phowa) through him. More about his work: www.lama-ole-nydahl.org/his-work/

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

Precise bricks texture

This montage of images shows the precise location of the North Pole on Saturn's icy moon Enceladus. The snow-white surface is kept bright by material sprayed from the active plume of ice and vapor in the moon's south polar region.

 

A latitude-longitude grid has been added to the wide-angle camera image, at bottom, which also features a snowman-shaped trio of craters named Dunyazad, Shahrazad and Al-Haddar.

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

EHANG GHOST SPECIFICATIONS AND FEATURES: Transmitter: PCM or 2.4GHz (at least Six Channels), Battery: 5400mah Li-po battery, Flight Precision: ± 0.5meters, Maximum angle of rotation: 360°, Drone Speed: 6 - 15meters/second, Control distance: 1000 meters (With G-Box Bluetooth), G-Box: 433mHz, 80mw, standard Bluetooth communication device, Flight time: Without guard rings and camera: about 26 minutes, With guard rings and without camera: about 14 minutes, Without guard rings and with camera: about 20 minutes, Drone Weight: With guard rings - 790 grams, 5400 mAh Battery: 320 grams, 2700mAh Battery: 180 grams, Gimbal: 225grams, 3-blade propeller: 10 grams per piece, Guard ring: 40 grams per piece, HD Camera: 60 grams, Landing gear: 31 grams per piece, Diagonal Distance: 36.0 cm, Motor: EHang EH9812 and EH9812R (reversible Motor), Drone Height: 10.0 cm, Height with Landing Gears: 19.0 cm, Battery: XT60 connector, 3-cells, 11.1 Volts, 5400 mAh, Li-po, GPS: UBlox 6M parallele compacted compass, Wind Resistance: < 10.7 meters /second, Night mode has LED lights to track drone in the sky, The Pilot can integrate with a third-party recording monitor to preview the photos and videos as the drone is flying, The G-BOX is a wireless interface unit designed specifically for controlling and interfacing with the GHOST Drone. The GHOST App cannot operate the Ghost without a G-BOX, Independently Flight Control System with ultra-fast processing capacity enable quick response at millisecond level. Ehang Ghost 2D Gimbal: extremely stable and high-precision Gimbal made of aircraft aluminum alloy material. Simple overall design makes the gimbal light and stable even the drone is heavily shaking, AUTO-RETURN: Auto return mode will be activated if the connection is lost, DATA SYNC: Flight data os the Drone’s current condition shows in the App, within 1000 meters-communication distance, POINT-TO-POINT FLYING: point the finger on the map and the Drone flies to that spot. No more “blind Flying”, TILT MODE: Tilt mode is an innovation to realize leveraging gestures to control the Drone, ONE-CLICK HOVER COMMAND: One-click hover command plays as a brake tohold Ghost at its current spot in the air for emergency situation, MICRO CONTROL MODE: It can adjust the Drone’s position in any direction over shorter distances, AUTO FOLOW MODE: The Ghost will automatically folow the Pilot when he/she makes turns and change direction, always keeping the camera on the Pilot. Original Ehang Ghost 3-Leaf CW/CCW Propeller, Propeller Guards, Motor and Propeller Assembled, Original Motor: EHang EH9812, Ehang EH9812R, (Reversible Motor). GPS - UBlox 6M compacted compass, Battery Charger (Ehang Ghost), Flight Controll Board (Ehang Ghost) G-Box: 433mHz, 80mw, Standard Bluetooth, 3S Battery, 11.1 volts, 5400 mAh, Li-po, ESC - Electronic Speed Controller (Ehang Ghost), Available Models: 1 - EHang Ghost Basic, 2 - Ghost Aerial with 2D gimbal and 3 - Ghost Aerial Plus with HD camera. Ehang Ghost: Deep and Vivid Colors.

IDEAFLY APOLLO SPECIFICATIONS AND FEATURES: Cool Appearance and Convenient for Carrying: the portable, streamlined design reflects the aesthetics of its industrial design, while also allowing the Pilot to easily pack it into a backpack for transport. Precise Hovering and Self-leveling with GPS: IdeaFly Apollo has an integrated flight control system including compass and GPS that provide precise position hold, fail safe and semi-autopilot. The aircraft flies stably under the control of iFly, barometer and GPS. Fail-Safe Mode: If the Apollo loses the signal from the controller for any reason or reaches preset 100 meter high or 300 meter distance limits, the return to home feature will initialize. The aircraft will ascend to 18 meters, then make a straight-line course back to the home position specified during GPS calibration. Once home the Quadcopter will safely descend to the ground and power itself off. 2 Axis Stabilization Gimbal: IdeaFly Apollo has an external adjustable gimbal designed for Boscam and GoPro cameras. Other similar light weight camera can also be mounted on the gimbal. Compared to those simple camera mounts that come with the kits made by other manufacturers, the gimbal on Apollo is controlled by the flight controller system and is self-leveling. A pilot can also tilt the camera to look up and down by turning the position on the transmitter. The Pilot conveniently capture flight footage for exciting POV shots. 2.4GHz Transmitter included: IdeaFly Apollo contains a remote controller and receiver, which help the Pilot avoid the inconvenience of purchasing such things. The only thing needed to do is to add TX batteries (8 x AA dry cell or NiMH). Stabilized Manual, Auto Hover, and Return to Home Modes: The IdeaFly Apollo quadcopter has three different flight modes. The stabilized manual mode is semi-autopilot and a pilot has more control than other modes. In auto hover mode the quadcopter will stop as soon as you release the controls, and will stay hovering at a fixed horizontal and vertical position. This setting is the easiest to fly and is generally preferred for shooting video as the Quadcopter won't drift or be as susceptible to wind gusts. If return to home mode is trigged the aircraft will return the takeoff position automatically. To work Return to Home requires proper calibration and connection to more than four GPS satellites. Low Voltage Protection : The IdeaFly Apollo offers two levels of low voltage protection, a function of the iFly autopilot system. It prevents your multi-rotor from crashing or other harmful consequences caused by low battery voltage. In the first level of protection, the LED indicator blinks red to warn the Pilot. In the second level protection the system will trigger the aircraft to land automatically. High-Intensity LED Indicators: LED status light on quadcopter provides with various kinds of feedback and warnings. Colors alternate between red, blue and purple and can either be flashing or solid.

 

The Beatles` "White album" was originally released in the U.S. on November 25, 1968. According to the most precise & accurate history of the "white album" which is in the book "The Beatles on Apple Records" by Bruce Spizer, this particular serial number white album was manufactured by Queen`s Litho in New York at some point in 1969 and was part of the initial first run pressing. Sometime in 1970, the sequential numbering of the covers was discontinued.

 

The original pressing covers were printed on a glossy 80 lb. pure white Kromekote cast-coated stock with "The BEATLES" in raised embossed lettering. By 1975, the lettering was no longer embossed.

 

I got my original copy of the white album about a month and a half after it was released. I believe I had wanted it for Christmas 1968 but didn`t get it, so my Dad bought it for me in January 1969....sort of as a belated Christmas present. It was an early original pressing (SWBO 101) of course and had the serial number. I loved that album....still do and always will. My father didn`t care so much for the wilder stuff on the album but he loved "Honey Pie". He thought it was great and was impressed that the Beatles could put together a song like that with big band horns like the stuff he grew up with. I played my white album so much I put some wear on it the first few years, especially playing it on an inexpensive Sylvania stereo. Years later in the mid 70s, I had a much nicer component stereo with a decent turntable. Since I had worn out all the "highs" on my white album I bought a brand new copy of it.

 

Like an idiot, and not yet being into the collectable value of records, I traded my original copy of the white album with the serial number into a used record shop (Nuggets, Kenmore Sq. Boston) which I did from time to time with records that I didn`t care to keep. Traded them in for cash towards more used records etc. I ended up buying a few more copies of the white album as the years went by. First, the white on white vinyl which came out in the U.S. in the late 70s when Capitol put out some anniversary editions of some of The Beatles albums etc...Sgt. Pepper mainly. I also bought an import white album on white vinyl made with the DMM process (direct metal mastering) made in Germany that had outstanding sound quality. Played on a decent turntable, I think it was as good if not better than re-mastered CD versions of the white album including the 09/09/09 latest version. My most treasured copy of the white album is an early 1980s U.K. Mono version (PMC 7067/8) that I was able to special order when I worked at a record store. I had read how the Beatles had done separate album mixes for the mono and stereo versions of the white album in the U.K. and how the Mono version had some differences. It does indeed have several differences and different mixes. In the U.S., the white album has always only been available in stereo, unlike the U.K. which had different Mono and Stereo versions available.

 

Up till now, I`ve always wished I still had that original white album with the serial number. Not just for collectable reasons but for sentimental reasons since my late father had bought it for me etc. I`ve always wanted to get another original copy with a serial number just to have one but I didn`t think it would ever happen since originals sell for some hefty money, especially if they`re in good shape. Recently, I was blessed to find an original U.S. SWBO 101 at a local used record store for only $13.00 and in pretty good condition. I couldn`t believe how cheap it was especially since they had another copy for sale with a higher less valuable serial number for a lot more money. I lucked out...the reason for the lower price being that my copy was missing the four Beatle portraits and the poster was a little bit beat up. The records themselves are in great shape. I already have a mint poster and portraits with my U.K. copy of the white album. To a collector, the album cover is really the most important part so I really was very blessed to get such an original first pressing copy with original cover stock for $13.00. My Beatles collection is complete now.

 

www.thebeatleswhitealbum.org/

  

Time to get down to precise machining dimensions and a proper vetted drawing of the idea before moving on to a metal fabrication of the new system.

 

This drawing doesn't conform to the photos - it has further refinements after I made the new carriage stop. Specifically, I reduced the fine threaded portion of the micro adjust within the body to about 1/2-inch either side of the knurled knob position to reduce friction, and reduced the length of the precise fit inside the block body to the linear rods on the proximity stop to reduce friction. If I were to do this over again, I would flip the location of the Kipp lever handle and the recess for the knurled knob to ease the cable management to the proximity stop. If anyone wants a copy of that drawing, it's here: www.flickr.com/photos/davidpbest/34418649045/

  

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

Want sharp optics, a precise German shutter and ability to take instant photos on a 3x4" film? Based on a standard Polaroid 420 Automatic Land Camera, this camera has been extensively modified to be able to shoot at professional standards.

 

The original f8.8 lens and automatic shutter have been replaced with a 1960's, Industar, multi-coated 110mm, f4.5 lens (based on a Zeiss Ikon design), which is mounted in a Pronto size 0 shutter. The shutter features full X-sync for flash, cable release socket, bulb mode and self timer, making it perfect for shooting in all scenarios. The mechanical nature of the shutter also means that the camera does not require batteries.

 

The new 110mm lens is not only faster than the original lens, but also much sharper, and delivers results on par with a Polaroid 180. It features a beautifully shallow depth of field when wide open, with lovely bokeh. Coverage is 100% full frame, with no vignetting. This makes the camera the perfect choice for anyone wanting manual control over their shots, on a totally unique camera.

 

Features:

- Industar, 110mm, f4.5 coated glass lens (based on a Zeiss Ikon design)

- Pronto size 0 shutter, with bulb mode, cable release and X-sync for flash, range from 1/200th to bulb mode. The shutter also features a countdown timer for timed shots.

- Aperture range from f4.5 to above f22

- Lens adapter to accept any 43mm filters

- Twin window rangefinder/viewfinder with projected framelines and automatic parallax compensation rangefinder/viewfinder

- Cold shoe mount for flash and other accessories

- Removable front cover

- Folding bellows design

- Neck strap

- Storage area at the back of the camera, for cleaning cloths etc

- Custom black accents

- Compatible with ALL Type 100 films, such as Fuji FP-100C and FP-3000B, as well as expired Polaroid brand films.

 

The 110mm Industar lens has been re-calibrated and mounted to focus optimally with the original 114mm rangefinder, with sharp portraits the number one priority. Infinity distance is also nice and sharp.

 

Lastly, the camera has had it's original light grey panels and doors replaced with some nice sleak black ones, giving the camera a stealthy look. The rear door also features a count-down timer, which counts down the seconds required for the film to develop.

 

Precise Next Generation Design and Stout Construction

The Swell Surf System utilizes high-speed rams to adjust 5/16-inch stainless steel blades laser cut and bent to control water turbulence off the rear of the boat's running surface. The specially designed trailing edge of these blades, or flaps as these types of elements are referred to in a fluid dynamics, create a vortex-effect behind the boat resulting in specific wave shapes. Different angels of deployment of the blades create custom effects in the water turbulence to swell-up Skim and Barrel waves. Swell blades benefit from a shot peen finish, a strengthening process commonly utilized in aeronautical construction, to increase the fatigue life of the piece. The Swell System is mounted and held together by a series of stainless steel through-bolts and stainless brackets for an extremely stable platform for wave making. The Swell Surf System is available on 2014 Supra SA and SC wake boat models only.

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

The first Ford Capri to bear that precise name was introduced in January 1969 at the Brussels Motor Show, with sales starting the following month. The intention was to reproduce in Europe the success Ford had had with the North American Ford Mustang; to produce a European pony car. It was mechanically based on the Cortina and built in Europe at the Dagenham and Halewood plants in the United Kingdom, the Genk plant in Belgium, and the Saarlouis and Cologne plants in Germany.

 

(Wikipedia)

 

- - -

 

Der Capri wurde im Januar 1969 auf dem Brüsseler Autosalon offiziell präsentiert, der Verkauf begann im Februar. Mit dem Capri wollte Ford den Erfolg, den das Unternehmen mit dem Ford Mustang in den USA erzielt hatte, in Europa wiederholen und eine Art europäisches „Pony Car“ anbieten. Das Fahrwerk wurde vom englischen Ford Cortina übernommen, die Motoren zum Teil vom deutschen Ford Taunus. Hergestellt wurde er in den britischen Werken Dagenham und Halewood, im belgischen Genk und in den deutschen Ford-Fabriken Saarlouis und Köln.

 

(Wikipedia)

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

The kit and its assembly:

This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!

 

Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.

The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…

 

Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.

 

The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.

 

The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!

 

The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.

Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…

 

Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.

 

The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.

 

As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.

 

“Joseph G. Gavin Jr. (September 18, 1920 – October 30, 2010) was an American engineer responsible for the development of the Lunar Module used in the Apollo program, as well as president, chief operating officer and chairman of the executive committee of the Grumman Corporation.

 

He was director of the Lunar Module program for Apollo. In that capacity he managed the team of 7,500 people which oversaw landing of the lunar module on the Sea of Tranquility on the Moon, on July 20, 1969. He was also critical to saving the Apollo 13 mission. Gavin was also in charge of development of Orbiting Astronomical Observatory at Grumman.

 

In 1971, Gavin received NASA's Distinguished Public Service Medal for his role in resolving the Apollo 13 crisis.  He was elected to the National Academy of Engineering in 1974 "for leadership in the design and the production of the Apollo Lunar Module". Neil Armstrong called him a "highly regarded aerospace engineer".”

 

Above at/from:

 

en.wikipedia.org/wiki/Joseph_G._Gavin_Jr

Credit Wikipedia

 

Understandably, there is no shortage of material on Mr. Gavin. A few below:

 

www.collectspace.com/ubb/Forum38/HTML/001241.html

Credit: collectSPACE website

 

news.mit.edu/2010/obit-gavin

Credit: MIT News website

 

Excellent reading:

 

historycollection.jsc.nasa.gov/JSCHistoryPortal/history/o...

 

Excellent reading

 

www.andrewerickson.com/2019/07/my-apollo-11-50th-annivers...

Credit: Andrew S. Erickson website

 

www.nasa.gov/wp-content/uploads/static/history/alsj/LM16_...

Credit: ALSJ website

 

Excellent reading:

 

infinite.mit.edu/video/joe-gavin-%E2%80%9C-lunar-module-d...

Credit: “Infinite MIT” website

 

While I’m no expert on Mr. Gavin’s autograph/signature, I have no reason to doubt its authenticity. Although the strokes are sort of chopped, I don’t think it’s an autopen. It’s just not a flowing type of signature style.

The rocket on the wall is AS-201.

i0.wp.com/www.drewexmachina.com/wp-content/uploads/2016/0...

Credit: Andrew LePage/Drew Ex Machina blog/website

 

The Lunar Module model on the desk looks to be that manufactured by Precise Models, Inc., of Elyria, Ohio, where I grew up. Wearing his GAEC ID badge, it’s logical to assume this photo was taken at GAEC headquarters in Bethpage, Long Island, New York.

 

Minor handling marks along the right border & "bumped" lower right corner do not detract. Of superb gloss.

Technical Manual: Chromolithographic Production of a Decorative Trunk-Lid Print (c. 1880s)

 

This decorative trunk-lid image was created by chromolithography, the leading high-quality color printing process of the late 19th century. It combined freehand artistry for pictorial elements with precise mechanical drawing for borders and geometric motifs. The process was entirely manual in this period—no photographic separations were used—and required exacting craftsmanship to produce a richly layered, perfectly registered color image.

 

I. Detailed Process Description

 

1. The Key Stone

 

The process began with the “key” or outline stone.

 

The lithographer drew the full design, in reverse, on a smooth, polished slab of Bavarian limestone using greasy lithographic crayon or tusche (greasy ink).

 

This stone carried all outlines, contour lines, and key shading cues.

 

Registration marks—crosses or pinholes in the margins—were incorporated so that every later color impression could be matched precisely to it.

 

For geometric elements such as borders, frames, corner ornaments, or medallion arcs, the lithographer employed rulers, straightedges, compasses, and French curves. This ensured perfect parallelism, uniform line width, and symmetry. Repeating motifs in borders were often laid out with dividers or spacing marks before being finished by hand.

 

The key drawing integrated these mechanically precise elements seamlessly with freehand rendering of organic forms such as the woman’s portrait, foliage, and landscape details.

 

After completion, the stone surface was chemically treated with gum arabic and dilute nitric acid so that greasy image areas would accept oil-based ink while the blank areas repelled it.

 

2. Creating the Faint Guide Transfers

 

The key stone was inked in a neutral tone—commonly light grey, sepia, or pale ochre.

 

Impressions were pulled onto specially prepared transfer paper coated with a thin layer of adhesive such as gelatin.

 

These impressions, called “transfers” or “pulls”, were strong enough to be visible but pale enough not to interfere with later color drawing.

 

Each transfer sheet was placed face down on a blank polished stone and run through the press under pressure. The greasy ink transferred into the pores of the new stone’s surface, producing a pale, precise replica of the entire design.

 

One transfer was made for each color stone planned—often 8–15 for a richly shaded piece like this.

 

3. Drawing Each Color Stone by Hand

 

On each transferred stone, the lithographer worked only on the areas to be printed in that stone’s specific color.

 

Pictorial areas (faces, floral elements, landscape features) were rendered freehand using stipple dots, hatching, and textured crayon marks to create tonal gradations.

 

Geometric areas (borders, lines, decorative panels) in that color were drawn using rulers, compasses, and templates to maintain straightness, curvature, and even spacing.

 

The lithographer had to anticipate how transparent inks would overlap with others to form new colors. This required leaving certain areas open, or creating deliberate overlaps to produce secondary hues (e.g., printing blue over yellow to make green).

 

No photographic separation was used—color interpretation was entirely a matter of artistic judgment.

 

4. Judgement and Artistry

 

Transparent inks meant the lithographer had to visualize the cumulative result of multiple layers before printing began.

 

Overlaps were planned to achieve desired hues without muddying.

 

In complex areas like the sitter’s complexion, effects were built up by combining a base tone (e.g., pale yellow) with flesh pink and then adding subtle shading through stippling or fine hatching in a darker tint.

 

5. Proofing and Adjustments

 

After each stone was drawn, a proof print was pulled.

 

Registration was checked against the key, and tonal balance was evaluated.

 

Corrections could be made by grinding down areas of the stone with pumice or adding new greasy drawing where needed.

 

Proofing and correction cycles continued until every stone printed cleanly and registered perfectly with the others.

 

6. Sequential Printing

 

Printing typically began with the lightest colors and progressed to the darkest.

 

Each sheet of paper was dampened, aligned to the registration marks, and printed one color at a time.

 

After each pass, the sheet was dried (or re-dampened if needed) before receiving the next color.

 

Transparent inks allowed optical blending—yellow printed first, blue later, producing green in overlapping areas.

 

Borders and other critical alignment points were checked with each pass to maintain precision.

 

II. Probable Color Sequence for This Print

 

Based on late-19th-century practice and the observed palette of your trunk-lid image:

 

Light Yellow – Base tone for foliage highlights, ribbon accents, and underpainting for skin tones.

 

Light Pink / Flesh Tint – Applied over yellow in portrait areas; also in floral details.

 

Sky Blue – Ribbon background, water, and cool shadows; provides base for greens when overprinted with yellow.

 

Light Green – Foliage tints achieved by printing over yellow and/or blue.

 

Warm Ochre / Buff – Mid-tone background fills and ornamental elements.

 

Mid-Red / Rose – Floral accents, ribbon details, lips and cheeks.

 

Dark Green – Deep foliage shadows and ornamental border accents.

 

Dark Blue – Shading in ribbon folds, water, and certain border areas.

 

Brown – Hair, tree trunks, warm shadow areas.

 

Black (Key Plate) – Final pass, reinforcing outlines, details, and definition.

 

Note: Some printers reversed steps 9 and 10, but decorative trunk-lid work typically saved the black for last to achieve maximum crispness in outlines.

 

III. Size

 

\Commercial chromolithography in the 19th century had a surprisingly wide size range, and by the 1880s there were presses and stones capable of printing very large sheets—but “routine” sizes were smaller than the record-breakers.

 

Here’s what the sources indicate:

Typical Commercial Sizes

 

Most advertising chromos and decorative prints (trade cards, cigar labels, trunk-lid liners, calendars) were under 18 × 24 inches (45 × 60 cm).

 

This size range kept stone weight manageable (under ~40–50 lbs) and allowed fast presswork without excessive paper costs.

 

Large-Format Work in Regular Use

 

By the 1870s–1890s, firms in the U.S., Britain, France, and Germany routinely printed posters, maps, and wall charts up to about 24 × 36 inches (61 × 91 cm) in a single sheet.

 

Large railroad and theater posters were sometimes printed as multiple sheets to be joined after printing—each sheet a separate lithographic run.

 

Stones for these larger single sheets could weigh 200–300 lbs, which was about the upper limit for regular commercial handling.

 

Extra-Large (Occasional, Not Routine)

 

A few specialized presses and workshops produced single-sheet chromolithographs up to 30 × 40 inches (76 × 102 cm) or even 40 × 60 inches (102 × 152 cm).

 

These were not everyday jobs—they required special heavy presses and crews to handle the stones. Examples include:

 

French art publishers like Lemercier producing oversize posters for exhibitions in the 1870s–1880s.

 

American billboard chromos in the 1890s printed for product advertising; often pasted in sections, but sometimes one monumental sheet if the client paid the premium.

 

Why “Routine” Stopped Around 24 × 36 inches

 

Larger stones became exponentially heavier and harder to keep in register.

 

The risk of breaking a costly Bavarian limestone during handling increased with size.

 

Press speeds dropped as sheet size increased, making large runs slower and more expensive.

 

Bottom line:

 

Routine large commercial chromolithographs: up to about 24 × 36 inches (61 × 91 cm) in a single sheet.

 

Specialized/occasional work: up to about 40 × 60 inches (102 × 152 cm), but rare and costly.

 

Anything bigger was usually produced as multiple sheets to be assembled on site.

 

IV. Estimated Production Time for Initial Creation

 

Based on period trade manuals and documented work rates in late-19th-century lithographic shops:

 

Drawing the Key Stone: 2–4 days (18–30 hours)

 

Printing Key Transfers to Color Stones: 0.5–1 day

 

Drawing All Color Stones:

 

Simple stones (flat color fills): ~1 day each

 

Complex stones (shaded or detailed): 1.5–2 days each

 

For a 10-color job: ~14–18 days total

 

Proofing and Corrections: 3–5 days

 

Total Working Time: ≈ 20–28 working days

Elapsed Time: ≈ 4–6 weeks for one lithographer/artist, supported by press operators.

 

Large firms with multiple artists could reduce elapsed time, but decorative trunk-lid work was often done at an artisanal pace rather than mass-production speed.

 

Total direct chromolithographic employment in U.S. ca. 1890–1900: ~10,000–12,000 workers.

(This excludes related trades like engravers, photographers, and bindery workers who might work with litho output.)

 

V. Estimated 1880s Production Cost

 

Using data from American and British lithographic trade catalogs, printers’ journals, and jobbing price lists from the 1870s–1890s:

 

Artist’s Fee (design and stone drawing): $25–$40

 

Stone Preparation & Etching: $5–$8

 

Presswork per Color: $1.50–$3 per 1,000 impressions, per color stone

 

Materials:

 

Bavarian limestones (reusable): $3–$5 each (capital cost)

 

Inks and gum/acid solutions: $2–$4 per job

 

Transfer paper: ~$1 per job

 

Overhead (shop labor, utilities, depreciation): $5–$10 per job

 

For a 10-color image at a run of 500–1,000 prints:

 

Total Cost to Client (1880s): ≈ $50–$75

 

Higher runs reduced per-unit cost sharply, but initial image creation (especially artist’s labor) was a fixed, front-loaded expense.

 

VI Occupational Hazards in 19th-Century Chromolithography

 

While the 1880s chromolithographic process produced vivid, durable images, it also exposed workers to toxic pigments, solvents, and dusts. These materials posed significant health risks, and historical evidence from trade journals, factory inspection reports, and medical literature of the period confirms that occupational disease was common in the printing trades, including lithography.

 

1. Pigments

 

Many of the brilliant, permanent colors relied on heavy-metal compounds. Examples include:

 

Chrome Yellow – Lead chromate (PbCrO₄). Bright, opaque yellow used for ornaments and underlayers. Risks: lead poisoning (anemia, colic, neurological damage) and chromium-induced skin and respiratory irritation.

 

Emerald Green / Paris Green – Copper acetoarsenite. Vivid green for foliage and decorative borders. Risks: arsenic poisoning (skin lesions, respiratory illness, systemic toxicity).

 

Vermilion – Mercuric sulfide (HgS). Rich red for accents. Risks: mercury poisoning (tremors, mood disorders, cognitive decline).

 

White highlights – Lead carbonate (PbCO₃). Risks: lead poisoning.

 

Red lead (Pb₃O₄) – Used for some warm red tones. Risks: lead poisoning.

 

Cobalt pigments – Blues; less toxic than lead or arsenic but hazardous in dust form.

 

Prussian Blue – Ferric ferrocyanide; relatively low toxicity, but dust inhalation was still discouraged.

 

Exposure pathways: Pigment dust during grinding/mixing; skin contact; ingestion via contaminated hands or food.

 

2. Inks and Solvents

 

Oil-based inks were ground with linseed oil and diluted with turpentine or benzene-type solvents.

 

Benzene, not yet recognized as a carcinogen, was associated with dizziness, headaches, and chronic neurological symptoms in exposed workers.

 

Turpentine caused skin irritation and, in high vapor concentrations, respiratory distress.

 

3. Etching and Stone Preparation

 

Etching solution: Gum arabic mixed with dilute nitric acid. Nitric acid vapors could irritate eyes, throat, and lungs.

 

Stone graining/polishing: Pumice and sand were used to prepare stones, generating silica dust, a cause of silicosis with chronic inhalation.

 

4. Documented Health Effects

 

Contemporary medical and trade sources document:

 

Lead poisoning (“painter’s colic,” tremors, muscle weakness, abdominal pain, memory loss).

 

Arsenic toxicity (skin eruptions, sore throat, chronic cough, systemic symptoms).

 

Mercury poisoning (tremor, mood instability, cognitive changes).

 

Chronic bronchitis and eye irritation from acid fumes.

 

Silicosis in long-serving stone preparers and press workers exposed to fine dust.

 

5. Workplace Practices

 

Little or no protective equipment was used.

 

Workers frequently ate, drank, or smoked at their benches.

 

Ventilation was often inadequate, especially in winter when windows stayed closed.

 

Mechanical pigment mixers and enclosed presses, which reduced dust and vapor exposure, only began to appear in larger firms in the late 19th century.

 

Conclusion:

 

The production of chromolithographs in the 1880s was not only an artistic and technical achievement but also a process with significant hidden costs to the health of the workers who produced them. The durability and brilliance of these prints often came at the expense of prolonged exposure to lead, arsenic, mercury, acid vapors, and fine dust—a reality rarely acknowledged in decorative trade literature of the period.

 

VII. Summary

 

This 1880s trunk-lid chromolithograph was the product of 20–28 working days of skilled labor by a lithographer, supported by a press crew, and costing the client the equivalent of several thousand dollars in today’s money.

 

It required:

 

Freehand artistry for portraits, landscapes, and organic elements.

 

Ruler-and-compass precision for ornamental borders and geometric motifs.

 

Stone-by-stone planning of transparent color overlaps.

 

Exact registration across 10 separate printings.

 

The result was a brilliantly colored, durable image, perfectly suited to enliven the interior of a travel trunk—and to survive for well over a century.

 

Supplement

 

i. The development of chromolithography in the Europe and the US.

 

Europe: Development

 

Early 19th century – Foundations in Bavaria and France

Senefelder himself experimented with multi-color printing almost from the start (he wrote about “polyautography” in his 1818 treatise), but the technical and economic obstacles kept most lithography single-color for decades.

 

1830s – Practical multi-color experiments in France

The first systematic attempts to produce full-color lithographs by using separate stones for each color occurred in France. The printer Godefroy Engelmann of Mulhouse and Paris is widely credited with perfecting the process and securing a patent for “chromolithographie” in 1837.

 

Engelmann’s innovation was to work out methods for precise registration of multiple stones, using transparent inks to blend colors and produce painterly effects.

 

1840s – Refinement in Paris and Munich

French and Bavarian firms refined techniques for preparing multiple stones, planning color separations, and printing in sequence. Early chromolithographs were often high-art reproductions—costly, with limited runs.

 

Europe: Commercialization

 

1850s – Popularization in France, Germany, and Britain

 

Advances in presses, inks, and stone preparation allowed larger runs at lower cost. In Paris, firms like Lemercier mass-produced decorative prints, maps, and reproductions. In Munich, firms like Strixner & Cie became known for rich color art plates. In Britain, the process was adopted for book illustration and advertising.

 

1850s–1860s – Introduction to the United States

 

Chromolithography reached the U.S. in the early 1840s, but true commercial-scale production took off after the Boston lithographer Louis Prang began producing high-quality, multi-color prints in the 1860s.

 

Prang’s work—especially his Christmas cards and art reproductions—made chromolithography a household term in America.

 

1870s–1890s – Peak commercial use

 

By this period, chromolithography had become the dominant method for high-quality color printing in advertising (trade cards, posters, packaging), decorative art prints, maps, and ephemera such as the trunk-lid prints you’re studying. The combination of improved stone-handling, faster presses, and cheaper inks made it possible to produce vivid, durable color images for a mass market.

 

Timeline: Chromolithography in the United States

 

1820s – First lithographic presses appear in major U.S. cities; work is monochrome, with color added by hand.

 

1840s – Small-scale multi-color experiments begin in American shops. Imported European chromolithographs are sold to wealthy buyers but domestic production is limited.

 

1850s – Chromolithography begins to be practiced in Boston, New York, and Philadelphia, often by immigrant printers trained in Europe. Still mainly used for maps, sheet music covers, and decorative prints.

 

1860s – Louis Prang of Boston pioneers high-quality American chromolithography. His “Prang’s Chromos” (art reproductions and greeting cards) become nationally known. Multi-stone, transparent-ink printing becomes more common in U.S. advertising and fine-art work.

 

1870s – Rapid expansion of chromolithography in commercial advertising. Used for trade cards, cigar box labels, and posters. Printing technology improves, allowing finer registration and larger press runs.

 

1880s–1890s – Chromolithography reaches industrial scale in the U.S. Bright, durable color images appear on everything from product packaging to educational charts and decorative items such as trunk-lid liners. Multi-stone printing (8–12 colors) is standard for high-quality work, with both freehand and ruler-based drafting techniques used in the same design.

 

ii The End of Commercial Chromolithography

 

How Rapidly Chromolithography Was Abandoned

 

1890s: Chromolithography still dominant for posters, packaging, and decorative prints, but halftone work begins to capture advertising and magazine illustration.

 

1900–1910: Offset lithography and letterpress with color halftones begin to outcompete chromolithography for most commercial uses.

 

1910s–1920s: The shift accelerates — offset can print faster, at lower cost, with acceptable color fidelity.

 

Chromolithography survives mainly in high-art reproductions and specialty decorative work.

 

1930s: In the U.S. and Europe, chromolithography is effectively obsolete for mass-market commercial jobs. The skill of hand-drawing multi-stone separations becomes rare.

 

Post-1930s: Only a few fine-art printers and specialty houses continue using chromolithography, often as a deliberate artisanal choice rather than a commercial necessity.

  

This text is a collaboration with Chat GPT.

Future warfare was possibly the single most frequent theme in science fiction between the years 1870 and 1914, and one of the most precise predictions concerning it was H. G. Wells' anticipation of tanks for warfare. Wells described them accurately from their caterpillar treads to their metal turret. His "Land Ironclads" first appeared in The Strand Magazine in January 1904 and reprinted in this November 1916 issue once the uncanny accuracy of his prediction had been established.

“Be precise. A lack of precision is dangerous when the margin of error is small.”

 

~Donald Rumsfeld

 

==========================

 

I was backstage during one of our church's activities and saw this guy manning the sound system mixer controls. I was amazed at how "smooth" and adept he was with the controls; as if, he can operate the thing with his eyes closed. This one was taken with a vintage Chinon 55mm f/1.4 lens.

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

Want sharp optics, a precise German shutter and ability to take instant photos on a 3x4" film? Based on a standard Polaroid 420 Automatic Land Camera, this camera has been extensively modified to be able to shoot at professional standards.

 

The original f8.8 lens and automatic shutter have been replaced with a 1960's, Industar, multi-coated 110mm, f4.5 lens (based on a Zeiss Ikon design), which is mounted in a Pronto size 0 shutter. The shutter features full X-sync for flash, cable release socket, bulb mode and self timer, making it perfect for shooting in all scenarios. The mechanical nature of the shutter also means that the camera does not require batteries.

 

The new 110mm lens is not only faster than the original lens, but also much sharper, and delivers results on par with a Polaroid 180. It features a beautifully shallow depth of field when wide open, with lovely bokeh. Coverage is 100% full frame, with no vignetting. This makes the camera the perfect choice for anyone wanting manual control over their shots, on a totally unique camera.

 

Features:

- Industar, 110mm, f4.5 coated glass lens (based on a Zeiss Ikon design)

- Pronto size 0 shutter, with bulb mode, cable release and X-sync for flash, range from 1/200th to bulb mode. The shutter also features a countdown timer for timed shots.

- Aperture range from f4.5 to above f22

- Lens adapter to accept any 43mm filters

- Twin window rangefinder/viewfinder with projected framelines and automatic parallax compensation rangefinder/viewfinder

- Cold shoe mount for flash and other accessories

- Removable front cover

- Folding bellows design

- Neck strap

- Storage area at the back of the camera, for cleaning cloths etc

- Custom black accents

- Compatible with ALL Type 100 films, such as Fuji FP-100C and FP-3000B, as well as expired Polaroid brand films.

 

The 110mm Industar lens has been re-calibrated and mounted to focus optimally with the original 114mm rangefinder, with sharp portraits the number one priority. Infinity distance is also nice and sharp.

 

Lastly, the camera has had it's original light grey panels and doors replaced with some nice sleak black ones, giving the camera a stealthy look. The rear door also features a count-down timer, which counts down the seconds required for the film to develop.

“A Little Tale”…

 

He was not of this earthly plane. To be precise, he was trapped here…unable to find the portal or open it, on those occasions when it became visible to him, between this earthly plane and his home on the Other side deep down in the fiery dark hot smelly bowels of hell.

 

He had been trapped on this side for so long, at least 250-300 earthly years, which to him was far too long. He hungered for his dark hot smelly cesspool of a home. Each new day he didn’t think he could endure even for one more second the singing of those creatures called birds, the bright colors of the flowers, the intensity of the sun, and oh, all that horrible lush green foliage, as well as the sound of human laughter, especially the young ones.

 

So, to avoid all that horror, he slept during the time of the light and was awake when darkness fell and that hot bright sun set. He was a denizen of the night. A creature of darkness.

 

He kept completely to himself, for the most part, when it came to interacting with those “in body” beings called humans. Although he was forced on occasion to interact with these humans, he found them repulsive. Well, truth be told, not all were repulsive to him. Being a creature from the Other side, he possessed many abilities that these repulsive humans did not. Their bodies and minds limited them and they, unaware or uncaring, didn’t know or attempt to find out that they could have at least some of the same abilities he possessed if they just opened their minds. But, they were content to be thick blocks of cement going through their pathetic daily rituals as if they were something of importance.

 

One of his abilities, and the one that alerted him to the humans that were not repulsive to him, was that he could see inside of each and every one of them… right to their very souls. He could weed through them and find the ones with the black evil hearts. Now, those were his kind of beings for he knew when they left their clumsy earthly bodies and passed through that elusive portal, separating this world from the next, they would reside in the bowels of hell, where he belonged and should be, and be like him.

 

Now, with these humans, he developed a false relationship with them. Evil as he was, he wanted no relationships, attachments or the like. No, he did this because he needed them and wanted to use them or rather their souls, when their human hearts stopped beating, indicating the body had died and their souls were released, as a means to either push their souls aside and leave them stranded and earthbound and slip through the portal to reach his home or to attach himself to their black souls as they passed through the portal to hell.

 

For two years he tried to “tag along” on the black hearts souls’ passage from his world through the portal to hell, but each time his efforts failed. When he was with them when they died, their death being a result of his actions, he saw the portal, which appeared at each black hearted human’s death, but he could not pass through it with them. Their souls, screaming in horror and terror, passed through the portal and left this world for their new residence in hell, and he remained behind.

 

When he first got trapped on this side 250-300 human years ago due to a stupid mistake on his part, he spent the first 50-100 of these human earth rotation years looking for the portal to home, but to no avail. Then, he became aware of these humans and realized he could see into them and find those with black hearts. That is when the idea came to him to either tag along or push their dark souls aside after their human hearts stopped beating and pass through the portal to home, leaving them behind.

 

But, waiting years for them to die was excruciating on top of the fact that when they did die, he was still left behind. He had to wait for their death and then he remained here…still trapped. So, he became obsessed to find a quicker way to get back to his hell. Using all his black magic and spells, as well as any tool or instrument at hand, he began to kill black hearted humans…one after another. He would go to prisons where the crop of evil hearts was more than plentiful and kill and kill and kill, tagging along or trying to push their screaming horror filled black souls aside. But, he failed each and every time. He could not understand why.

 

When he saw the portal to hell, he would get a glimpse of his home… all fiery, hot, dank, and dark and he could hear the screams of those damned to live there for eternity. His hunger to get there increased even more.

 

He held back some black hearted souls, who were grateful not to be damned and allowed to remain on this earthly plane, as his slaves to do his bidding. He would command them to kill human after human along with him and help him try to use any way possible as a means to get through that portal, but he could not. For….The Angel of Death would not let him pass through and return home to hell. He was trapped here. Trapped.

 

Each day when he slept, his mind relived the day he made that stupid blunder which caused him to remain on this side. He tried to figure out how to reverse what he had done. Day after day, earth rotation after earth rotation, he thought while he slept, but nothing came to him. No idea, no discovery, no answer, no sign…nothing.

 

But, what did come to him was the realization that because he enjoyed, no reveled, in his damnation and loved the smelly fiery bowels of hell with all the screaming and crying black hearted souls, it was deemed that was not punishment for his evil. The punishment of damnation meant he should suffer, not enjoy his fate. So, he was tricked into making that stupid error and lost access to the portal to hell, thus preventing him from going home forever. He was now, truly damned and punished.”

~ Marsha J West, Author*

 

* The “A Little Tale” is my original idea and story. I am the author of that story and it is my property. Thus, it cannot be copied, reproduced, reprinted or used in any way or any medium. Also, this hutch is my original idea, creation and design. It is also my creative property. It is not to be copied, resold or reproduced.

   

A vista encountered while trekking between Hemis and Tso Moriri, more precise on the stretch between Tso Kar and Tso Moriri.

The kit and its assembly:

This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!

 

Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.

The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…

 

Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.

 

The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.

 

The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!

 

The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.

Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…

 

Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.

 

The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.

 

As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.

 

The kit and its assembly:

This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!

 

Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.

The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…

 

Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.

 

The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.

 

The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!

 

The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.

Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…

 

Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.

 

The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.

 

As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.

 

Precise model escapes me at this distance in time . Viceroy?

Devrais-je préciser que Morley est une artiste et une femme fabuleuse ?

 

Should I make clear that Morley is a fab' artist and a fab' woman ?

 

"That bird over the ocean see’s its shadow big and strong

No it's not an illusion she's been up there for so long

Swoop like an arrow, like a jet plane, like a dream

Sing, she is singing and she’s singing right through me

She said:

Child your voice is the sound-wave of your soul

Listen carefully to what you know

You've been here before and you have grown

All that is seen cannot be shownIn a flash over the ocean

Over the roof tops over my head

Gone she was gone, will I remember what she said ?

Stand like a mountain through injustice through the Strain

Forgive like the prophets over and over again

She said:

Child your voice is the sound-wave of your soul

Listen carefully to what you know

You've been here before and you have grown

All that is seen cannot be shown

Slow, slowly I take my turn

And the flame grows taller as I learn

One, one by one so high

The ones I love take to the sky

When, when it comes my time

Will I leave a trail of light

My soul over the ocean

Will see its shadow big and strong

No it wont be an illusion

May I have been up there for so long

I’m gonna swoop like an arrow, like a jet plane, like a Dream

Forever be singing, like she singing straight through me

She said:

Child your voice is the sound-wave of your soul

Listen carefully to what you know

You've been here before and you have grown

All that is seen cannot be shown..."

[Bird Over The Ocean]

 

En concert au Moods à Monaco.

 

www.morleymusic.org/

When was the world's first railway laid? No one is quite confident on a precise date but simple rails have been used to guide vehicles for centuries, definitely as far back as the middle ages and possibly even in ancient Greece.

 

What is certain is that in the early 1600s a Nottinghamshire businessman called Huntingdon Beaumont came to Northumberland and laid rails from collieries near Blyth to a shipping point on the coast.

 

His waggonway used horses hauling wooden waggons on wooden wheels on wooden rails, however this was not a financial success. It did though provide the spark of progression from primitive wooden rails over short distances, to a railway network which would change Britain and the world forever.

 

Tyneside Roads

 

From the mid 1600 onwards waggonways and the Tyneside coal industry became linked so closely that they were known throughout the rest of Britain as 'Tyneside Roads'. A network of lines linked collieries on both sides of the Tyne to the river.

 

It is no coincidence that the North East was the area where waggonways took greatest hold, because canal building was impossible due to deep valleys and steep hills. What set the rail systems of Tyneside apart from all others was its use of the flanged wheel - a key element of the modern railway as we know it.

 

A revelation

 

When the Tanfield Railway - or waggonway as it was known at the time - was built in 1725, it was a revelation. Its massive engineering was unlike anything else in its era, or even since the Roman Empire. It was a triumph of engineering over nature, a clear signal that a new industrial age was upon the world, and that railways would play a massive part.

 

First laid down more than a quarter of a century before the first railway officially sanctioned by government, over 75 years before the first steam locomotive and a whole 100 years earlier than the Stockton and Darlington Railway, the Tanfield Railway is the world's oldest railway. We will be the first railway to celebrate our tricentenary in 2025.

This is the precise tree where Emperor Chongzhen and his principal eunuch, Cheng'en, ended their lives together by hanging themselves. (More information at the bottom of these notes.)

 

Jingshan Park is, along with Beihai Park, one of two optimal sites for getting a panoramic view of the Forbidden City. Both parks were historically built as imperial gardens, hence their appeal to modern Beijingers and tourists alike.

 

Specifically, Jingshan Park is immediately to the north of the Forbidden City across the street from the former palace’s Shengwu Gate on the north wall. (As all visitors to the Forbidden City are now required to enter through the south (Meridian) gate and exit through the north gate, Jingshan Park is the first site they see.

 

Jingshan Park’s history outdates that of the Forbidden City. The massive palace grounds were built in 1420, but this park’s history dates back roughly a thousand years, having been built during the Liao and Jin Dynasties (roughly early 12th century).

 

The park is about 230,000 square meters (not terribly big, but a comfortable size all the same) and enjoys the honor of being in the geographic center of old Beijing. The main feature of the park is Jingshan Hill, which is 94.2 meters tall. The walls and palace gates from the Jin Dynasty are quite well-preserved, as are architectural complexes from the ensuing Yuan, Ming, and Qing Dynasties.

 

Atop Jingshan Hill are five pavilions, representing the five directions (north, south, east, west, center) of Chinese culture. The highest, and centrally located, pavilion is Wanchun (Everlasting Spring) Pavilion. Guanmiao (Wonder Appreciation) Pavilion and Zhoushang (All-Round View) Pavilion lie to the east of Wanchun and Jifang (Gathering Fragrance) and Fulan (Panoramic View) Pavilions are to the west.

 

From Wanchun Pavilion, there is a wonderful panoramic view of Beijing. To the east, you can easily see in the distance (unless it’s a really, really smoggy day) to the CCTV building. The Forbidden City dominates the foreground to the south. Tiananmen Square and Qianmen would be directly behind that and off to the southwest in the distance is the National Performing Arts Center. Immediately to the west is Beihai Park and its outstanding white dagoba (whence the other panoramic views of the area are to be found). The view to the north of Wanchun Pavilion is dominated by hutongs and highlighted by Gulou (Drum Tower) with Zhonglou (Bell Tower) obscured immediately behind that. Farther beyond the hutongs and the towers are modern, nondescript high rise buildings.

 

Jingshan Park is a delight year-round. Having more than 10,000 peonies, the park is abloom come spring. Lotuses take center stage in summer, while fruit and chrysanthemum buds make appearances in autumn. There are many evergreens in the park so, even in winter, there is color to be found.

 

An interesting (albeit morbid) historical footnote to the park is this: At the end of the Ming Dynasty in 1644, there was a peasant uprising led by Li Zicheng. He broke into the city (aided by Manchus) to overthrow the emperor. As Emperor Chongzhen realized his days were numbered, in the 17th year of his reign, he decided to take his own life. He escaped the Forbidden City, found his way across to this park and, along with a faithful eunuch, hung himself from a tree in the eastern part of the park. The eunuch did the same. (Who went first and who went second isn’t recorded. Yet, they did seem to make copious notes about where the two had hung themselves to the point where the exact tree is identified to this day in the park.) Thus ended the Ming Dynasty and began the Qing. (If memory serves me correctly, the Manchus basically ended up using Li Zicheng to help bring the Ming to an end and supplant themselves as the rulers during the Qing Dynasty. For the common reader, the Manchus are easily identifiable in movies and TV shows as the folks where the men have their hair pulled back in very long braids and almost look bald from the front. Think of Chow Yun-Fat from Crouching Tiger, Hidden Dragon as an example.)

 

 

Precise Next Generation Design and Stout Construction

The Swell Surf System utilizes high-speed rams to adjust 5/16-inch stainless steel blades laser cut and bent to control water turbulence off the rear of the boat's running surface. The specially designed trailing edge of these blades, or flaps as these types of elements are referred to in a fluid dynamics, create a vortex-effect behind the boat resulting in specific wave shapes. Different angels of deployment of the blades create custom effects in the water turbulence to swell-up Skim and Barrel waves. Swell blades benefit from a shot peen finish, a strengthening process commonly utilized in aeronautical construction, to increase the fatigue life of the piece. The Swell System is mounted and held together by a series of stainless steel through-bolts and stainless brackets for an extremely stable platform for wave making. The Swell Surf System is available on 2014 Supra SA and SC wake boat models only.

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

The kit and its assembly:

This is a what-if model, but, as usual, it is rooted in reality – to be precise in the German late-war plans to mate the Ta 152(H) with the mighty Jumo 222 engine. I do not know what the official service designation would have been, but this combo would have resulted in a powerful fighter – AFAIK, German engineers’ calculations indicated a performance that would have been comparable with the post-WWII F4U-5!

 

Creating a model of such this paper aircraft called for some serious conversion work and ended almost in a kitbashing. The starting point became a (cheap) Mistercraft Fw 190D-9 kit, and I originally planned this model to be a Fw 190 variant, but eventually this turned into a Ta 152, since it would better match up with the late war time frame.

The Mastercraft/Mistercraft kit appears to be an indigenous mold and not a re-issue of a vintage kit. At first glance the parts look pretty crisp, but the kit has some serious fit and flash issues. Another selling point is the detailed decal set, which comes in three sheets and encompasses a lot of stencils – even though the instructions where to place them are not consistent, and there are even 1:48 scale(!) markings included. But that’s a Mastercraft/Mistercraft standard, anyway…

 

Well, the basis was sound and the kit would, in any event, be thoroughly modified. From the OOB kit, fuselage, wings and stabilizers were taken, as well as the landing gear and some other bits.

 

The wings were extended, in order to keep overall proportions with the new, much more massive engine cowling balanced (see below). Not an easy stunt, but I was lucky to have recently bought a set of resin Doppelreiter tanks from Airmodel which were just perfect to cover the cuts and seams on the upper wing surfaces. Inside of the wings, a styrene strip secured stability while the lower wing surface was sculpted with putty and the trailing edge of the outer wing panels was cut down by 1 mm, so that the wings’ outlines match again. Some further PSR work was necessary to blend the slipper tanks into the wings, forming the upper side of the modifications, but in the end the whole thing looks quite good.

 

The fuselage lost both its original engine and the tail. The latter is a donor part from a Frog Ta 152H (Revell re-boxing), but mating it with the Mistercraft Fw 190D was not easy because the fuselage shapes of the two kits are totally different! I also used the Mistercraft stabilizers because they were markedly bigger than the same parts from the Ta 152 kit!

 

The Jumo 222 front end was simulated with parts from the spares box, and it is a bit exaggerated. Actually, the Jumo 222 was hardly bigger (in both length and diameter) than the Fw 190D’s Jumo 213 V12 engine! The cowling and the radiator for my conversion came from a Frog He 219 engine nacelle (Revell re-boxing, too) which is utterly dubious. The nacelle parts were turned upside down and integrated into the slender Fw 190 front fuselage with several layers of putty.

Inside of the cowling, a radiator plate from an Italeri Fw 190D was mounted, together with a styrene tube adapter for the new propeller. The latter was scratched, using a drop tank as spinner and single propeller blades from the Mistercraft Fw 190D, plus one donor blade from the Frog Ta 152H kit, which had to be trimmed in order to match the other blades. But with some paint, no one will tell the small differences…

 

Once the bigger engine was integrated into the fuselage, the exhaust system had to be added. In real life, the Jumo 222 would have featured three clusters with two rows of four exhaust stubs, distributed evenly around the cowling. Using a drawing of this arrangement as benchmark, I started with square cuts for the cluster openings. From the back side, styrene sheet closed the gaps and offered a basis for the exhaust stubs. These were improvised with H0 scale roofing shingles – each of the 24 exhaust stubs was cut individually into shape and size and then glued into the respective openings on the upper flanks and under the engine. Finally, styrene sheet was used to create small spoilers and heat shields. The result is certainly not perfect, but comes close to what the real world arrangement would basically have looked like. In a final step, two air intakes for the two-stage supercharger, scratched from sprue material, were added to the flanks.

 

The cockpit remained OOB, simple as it is, as well as the landing gear, but the canopy was modified in order to allow a presentation in open position. This meant that the OOB canopy had to be cut in two parts and that the model’s spine had to be cut away, making place for a donor canopy (the late, bulged variant, IIRC from an Italeri Fw 190D-9). Internally the fuselage gap was filled with putty and the headrest had to be modified, too, but the conversion turned out to look better than expected.

 

As a small cosmetic improvement, the molded gun barrel stumps in the wing roots were replaced with hollow steel needles, and the outer guns were completely removed.

 

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

Rolls-Royce’s automotive principles are precise and conclusive, directed to continuously build opulent vehicles that satisfy the souls of their eclectic class of wealthy owners. From American mattress distributors to Middle Eastern Princes to Japanese artists, the ideological beliefs, business savvy and success of each customer is as diverse as the convergence of people and cultures in New York City. For this reason, the British purveyor of finely-crafted machines from Goodwood, England, always reinvents itself and influences the planet with stately chariots such as the breathtaking Wraith Black Badge, which we recently experienced for a long weekend in my hometown of Silver Spring, MD.

Rotary Hemalkasa Surgical Camp 2012 - Bhamragarh, to be more precise, the Lok Biradari Prakalp at Hemalkasa, has become a habit with members of the Rotary Club of Nagpur.

 

Year after year, since the year 1986, Rotarians have been going religiously for this pilgrimage; literally taking medical aid to the door step of the tribals for whom civilization is unheard of. How and when was this ‘seed of love’(concern) sown? It all started with a slide show presented at a regular meeting by a couple of city journalists, way back in the early 70’s.

 

rotaryclubofnagpur.org/2011/04/hemalkasa/

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

Warangal Fort, in the present-day Indian state of Telangana, appears to have existed since at least the 13th century CE. Although precise dating of its construction and subsequent enhancements are uncertain, historians and archaeologists generally accept that an earlier brick-walled structure was replaced with stone by Ganapatideva, who died in 1262, and that his successors – Rudramadevi and Prataparudra II – added to its height and added gateways, square bastions and additional circular earthern walls prior to the latter's death in 1323. This places the construction towards the end of the Kakatiya period. There were later modifications between the 15th and 17th centuries, comprising principally the addition of barbicans to the four gates in the stone wall and the creation of gates in the outer earthern wall.

 

Remnants of the structure can be seen today near to the town of Warangal, which was the Kakatiya capital. The Archaeological Survey of India has listed the remains as a Monument of National Importance.

_____________________________

 

The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from A.D.1110 to 1158, extended his sway to the south and declared his independence. His successor Rudra (A.D.1158--1195) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In A.D.1199, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in A.D.1210. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.

 

As Ganapati Deva had no sons, his daughter Rudramba succeeded him in A.D.1262 and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.

 

Prataparudra succeeded his grandmother Rudramba in A.D.1295 and ruled till A.D.1323. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In A.D.1303, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom. But Prataparudra defeated them at Upparapalli in Karimnagar district. In A.D. 1310, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In A.D.1318, when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In A.D.1321, Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.

 

The Kakatiya period was rightly called the brightest period of the Telugu history. The entire Telugu speaking area was under the kings who spoke Telugu and encouraged Telugu. They established order throughout the strife torn land and the forts built by them played a dominant role in the defence of the realm. Anumakonda and Gandikota among the `giridurgas', Kandur and Narayanavanam among the `vanadurgas', Divi and Kolanu among the `jaladurgas', and Warangal and Dharanikota among the `sthaladurgas' were reckoned as the most famous strongholds in the Kakatiya period. The administration of the kingdom was organized with accent on the military.

 

Though Saivism continued to be the religion of the masses, intellectuals favoured revival of Vedic rituals. They sought to reconcile the Vaishnavites and the Saivites through the worship of Harihara. Arts and literature found patrons in the Kakatiyas and their feudatories.

 

WIKIPEDIA & WIKIMAPIA

 

Another very crisp and precise looking modern French car by Norev, this time its the well proportioned Peugeot 308 GTI. Very much in the same vein as the Majorette GT equivalent though this does without suspension and opening features in lieu of more detailing and factory accurate alloy wheels.

Part of a three vehicle set found recently in France where as you'd expect Norev products can be found in many big name retailers.

Mint and boxed.

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550

This new ultimate wake boat combines amazing wakes, precise handling, aggressive looks and a shockingly refined interior. The view from overhead is elegance, while the water-level vantage point is complete intimidation. The SA350, SA450 and SA550 have Indmar power behind their names. These models protect and project with Supra's new Barrage Front End while the Battle Prep Transom prepares you for action. Specific hull design and perfectly matched underwater gear take wake boat handling beyond better. Elevate even further with Supra Ride System (SRS) components like 900 pounds of hard sub-floor Liquid Lead Ballast and the new loaded Roswell Pro Edge Tower. Opt for 1,300-pounds of additional Flex Ballast from the factory and swamp the competition. The epitome of convenience and customization the SA has snap-out carpet with a fiberglass floor. The intricate upholstery design is only matched by the plush feel and durability of the NANO Block Technology (NBT) Vinyl surrounding multiple densities of foam. Hand-covered accents finish the performance look and the luxurious feel. Experience SA350, SA450 and SA550 shock and awe in person at a Supra Boats dealer near you.

 

Overall Length w/o Platform: 22' 6"

 

Overall Length w/ Platform: 24' 6"

 

Overall Length w/ Platform & Trailer: 27' 2"

 

Width (Beam): 100"

 

Overall Width w/ Trailer: 102"

 

Draft: 26"

 

Weight - Boat only: 4,300 lbs

 

Weight - Boat and Trailer: 5,600 lbs

 

Capacity - Passenger: 10

 

Capacity - Weight: 1,400 lbs

 

Capacity - Fuel: 50 gals

 

Capacity - Ballast: 900 lbs (S) 1,300 lbs (O) = 2,200 lbs available from factory.

 

Engine - Electronic Fuel Injection: 345 HP-SA350, 450 HP-SA450, 550HP-SA550