#Jean Yarborough

[thewarmestplacetohide]

Dread by the Decade: The Devil Bat

👻 You can support me on Ko-Fi! ❤️

★

Plot: A vindictive chemist creates giant bats to kill his enemies.

Review: Despite Lugosi's presence, this film is imbued with none of his charm. It's too silly to be taken seriously, yet too boring to laugh at.

Year: 1940 Genre: Creature Feature, Sci-Fi Horror Country: United States Language: English Runtime: 1 hour 8 minutes

Director: Jean Yarborough Writer: John Thomas Neville Cinematographer: Arthur Martinelli Editor: Holbrook N. Todd Composer: David Chudnow Cast: Bela Lugosi, Suzanne Kaaren, Dave O'Brien, Guy Usher, Yolande Mallot, Donald Kerr

------

Story: 1/5 - A terrible combination of stupid, repetitive, and dull. Any camp is negated by stock characters and empty filler.

Performances: 2/5 - Lugosi is sometimes fun to watch in a campy (and weirdly sweaty) way, but everyone else is fairly one-note.

Cinematography: 2.5/5 - Serviceable enough.

Editing: 2/5

Music: 2/5

Effects & Props: 1/5 - Hilariously bad. There's a stuffed bat that swings from a string and screams like R2-D2.

Sets: 3/5 - Most of the sets are generic, but the doctor's lab at least has some personality and dressing.

Costumes, Hair, & Make-Up: 3.5/5 - Just normal clothing, but of good quality.

Trigger Warnings:

Mild violence

Animal death

Casual racism (brief, dialogue-only)

[adamwatchesmovies]

The Devil Bat (1940)

Sometimes, you dig through the films that have fallen into the public domain and find some gems. Most of the time, you find the likes of The Devil Bat.

Dr. Paul Carruthers (Lugosi) is beloved by the town of Heathville. Particularly by the Morton and Heath families, whom he’s made rich by developing several of the beauty products they sell. Bitter and resentful of their fortunes, Carruthers has devised an elaborate means of getting revenge. Using electricity, he’s enlarged an ordinary bat to enormous size and trained it to attack anyone wearing a new aftershave he’s developed. After several murders, reporter Johnny Layton (Dave O’Brien) and his sidekick photographer “One-Shot” McGuire (Donald Kerr) begin investigating.

If the plot sounds needlessly complicated and dumb, it's because it is. Carruthers’ plan has way too many phases. Step one: train ordinary bats to attack anyone wearing a very specific scent. Step two: use his SCIENCE! to enlarge one of these bats. Step three: convince his targets to try the aftershave he’s developed. Step four: release the animal from its cage. Hopefully, it rips his target's’ throat out. Meanwhile, he’s got to cross his fingers hoping the police don’t connect him and the victims’ death, a task that would be pretty hard considering he’s always the last person they talk to before getting shredded.

The plot is ludicrous and made more comical by several unintentional quirks in the direction and set design. To release the Devil Bat, Carruthers has to open a secret door in a bookcase which leads to a secret room. In this secret room, there’s a hidden door in the wall which leads to a staircase. At the top is another room whose entrance is hidden in a wall. That final room, by the way, has a window which opens to the outside. After the first murder, you figure the police will need some time to connect the victim to our villain but no! Since no one saw the bat attack the first Heath son, they assume a person attacked him despite 1) the killer getting away fast as lightning 2) the strange bite marks and scratches around the victim’s neck and shoulders 3) the “rat-like” hairs found on the man’s clothing 4) the animal-like shrieks heard as the man’s sister, Mary (Suzanne Kaaren) ran towards him. Imagine going through all these hoops and still becoming suspect #1.

Watching the characters slowly piece together what would be obvious to everyone watching even if the “twist” wasn’t revealed in the first scene is funny. I’ll give the special effects a break - the bats featured don’t look much better than the ones alongside Lugosi in 1931’s Dracula - but the dialogue is so wooden and clunky it feels like a first draft. The characters show no emotion whatsoever. Even after their loved ones are violently killed. I’ve seen stronger reactions from people who spilled a drink than from Mary after her brother is torn apart! Everyone’s a cartoon, with Lugosi faring the best out of everyone. I guess because at least his hamminess fits the part of a mad scientist obsessed with bats.

Classic horror-movie connoisseurs may find their interests peaked when they see Bela Lugosi’s name in the credits. If I had to pick, I’d say the horror icon is the best part of this movie but in this case, that doesn’t mean a whole lot. The Devil Bat only lasts 68 minutes, which is one of its strong suits. It may be worth a watch… if you want some laughs. (On DVD, March 18, 2020)

[joostjongepier]

Wat?   Ringwood, a Brocklesby Foxhound (1792) door George Stubbs, A Dog lying on a Ledge (midden 17e eeuw) door onbekende kunstenaar, Laying down the Law or Trial by Jury (ca. 1840) door Edwin Landseer, Dog of the Havana Breed (1768) door Jean-Jacqes Bachelier, Portrait of Fanny, a favourite dog (1822) door James Ward, Hector, Nero, and Dash with the Parrot, Lory (1838) door Edwin Landseer, Podge (1850) door Koningin Victoria, Head of a Dachshund (1840) door Prins Albert, Pluto (1988) en Pluto’s grave (2003) door Lucian Freud en Dog Painting 30 (1995) door David Hockney

Waar?   Tentoonstelling Faithful and Fearless – Portraits of Dogs in de Walllace Collection, Londen

Wanneer?   8 augustus 2023

Vandaag bezoek ik een portrettententoonstelling in de Wallace Collection. Het is niet de eerste keer dat ik een expositie met portretten bezoek, maar deze keer is tóch anders: dit zijn namelijk allemaal portretten van honden.

Het schilderen van hondenportretten werd in Groot-Brittannië populair in de achttiende eeuw. Aristocraten kregen door de jacht een nauwe band met hun honden en ze waren rijk genoeg om hun viervoeters op canvas te laten vereeuwigen. De grootmeester op dit gebied was George Stubbs. Het Mauritshuis wijdde in 2020 een tentoonstelling aan de paardenportretten van deze schilder. Stubbs bestudeerde de anatomie van de door hem geschilderde dieren nauwkeurig en gaf hen weer met individuele kenmerken. Er zijn van deze kunstenaar vijftien hondenportretten bekend. Ringwood was een Brocklesby Foxhound in bezit van de eerste Baron Yarborough. Het was een top fokhond. Het gewas rechts is vingerhoedskruid. De Engelse naam Foxhood verwijst naar de naam van het ras.

Niet alleen aristocratische honden werden vereeuwigd. A Dog lying on a Ledge is een anoniem werk uit het midden van de zeventiende eeuw. Het toont een doodgewone straathond, maar wel uitstekend geschilderd. De belichting laat het dier prachtig uitkomen tegen de donkere achtergrond.

In de negentiende eeuw schilderde Edwin Landseer allegorische voorstellingen van honden. Een fraai voorbeeld is Laying down the Law or Trial by Jury. Een poedel als rechter spot met de pruiken en gewaden die rechters droegen. Het schilderij is een satire op de ouderwetse juridische procedures in de negentiende eeuw.

Ook van schoothondjes werden schilderijen vervaardigd, Zoals Bachelier’s Dog of the Havana Breed. Het beestje vertoont antropomorfe trekken. Hij kijkt schuldig uit zijn ogen, wetend dat hij ondeugend is geweest.

Bij de schoothondjes kom ik ook een bekende tegen. Afgelopen zondag was ik in Soane’s Museum en zag daar een portret van zijn vrouw Eliza met een hondje op haar schoot. Van datzelfde hondje, Fanny, hangt hier een portret door James Ward. Toen Eliza was overleden ontstond er een sterke band tussen Soane  en Fanny. Na haar dood bouwde hij een grafmonument voor haar en gaf de schilder Ward opdracht tot het maken van dit portret.

De band van het Britse koninklijk huis met honden is bekend. Vooral koningin Victoria was een fervent hondenliefhebster. De schilder Edwin Landseer, met wie zij een uitstekende relatie had, schilderde haar favoriete huisdieren: Dash, Hector en Nero samen met de papegaai Lory. Victoria en Albert waren zelf ook actief als kunstenaar en maakten waterverfschilderijen en etsen van hun honden, zoals Podge (potlood en waterverf door Victoria) en Head of a Dachshund  (ets door Albert).

Lucien Freud schilderde de geadopteerde hond Pluto meerdere keren en na diens dood schilderde hij zelfs zijn graf. En ook David Hockney schilderde zijn honden Stanley en Boodgie veelvuldig.

[firstelevens]

1-5 and 100 :)

1) "Sons and Daughters" by The Decemberists

2) "Dawn" by Jean-Yves Thibaudet, from Pride and Prejudice

3) "I And Love And You" by The Avett Brothers

4) "The Skye Boat Song" by Bear McCreary & Raya Yarborough, from Outlander

5) "Paperman" by Christophe Beck

100) "The Beach" by Alexandre Desplat, from Little Women

[screamscenepodcast]

It's a fun but dumb spoopy film with Bela Lugosi in THE DEVIL BAT (Yarborough 1940)! It's a surprising hit with your deadicated hosts, despite being produced by the Producers Releasing Corporation, the cheapest poverty row studio there ever was.

Starring Bela Lugosi, Suzanne Kaaren, Dave O'Brien, Guy Usher, and Donald Kerr, plus a very early appearance of Arthur Q Bryan, the voice of Elmer Fudd!

Context setting 00:00; Synopsis 11:04; Discussion 14:51; Ranking 24:12

[eucanthos]

Unknown

Portrait of Mary Tudor and Charles Brandon, ca. 1516

Attributed to Jan Gossaert, or Jan Mabuse. In the collection of the Earl of Yarborough; Brocklesby Park, Lincolnshire. There exist several copies. – wiki

Celia Fisher in The Queen and the Artichoke: A Study of the Portraits of Mary Tudor and Charles Brandon (The British Art Journal). Fisher dates the painting to this period, and attributes it to Jean Perréal (1450-1530). The presence of the artichoke, still almost unknown in England, gives it a likely French provenance. – Tudortimes

“Four versions are recorded but the original is lost. The painting itself, Mary’s clothes and Suffolk’s hat are in the French style, suggesting that it was painted between Feb and Apr 1515, in the early clandestine days of they marriage. During which, they waited in Paris for Henry VIII’s fury to subside.” – Celia Fisher "The Queen and the Artichoke”

At her coronation Queen Mary would have held a sceptre in one hand and an orb, or globe, in the other. It has been suggested that the globe artichoke (caduceus) represents the orb, or globe – National Trust Collections

[bikingthroughhawkins]

Thank you so much to the beautiful @maplestreet83 @m11ke-wheeler @itcouldbendoritcouldbreak @theplanetsunicornleader (love the name btw)! You are all amazing humans and I am so truly grateful that you all thought of me during this! 💙💙💙 Rules: tag 20 blogs you'd like to get to know better Nickname: Lex, Ally, Allycat (but I go by Lex on here 😊) Zodiac: Libra (I have the same bday as Caleb!! 😱😱🙌) Height: 5"7 Last thing you googled: Yarborough Leisure Center (so I could book my aqua aerobics class lol 😂👌) Fav music artist: R5 😍😍 (but Against the Current, the 1975, Hands Like Houses and SWMRS are top mentions too) Last movie you watched: Happy Gilmore (Adam Sandler is lifeeee) What are you wearing right now: jeans, band t-shirt, bomber jacket and high tops (channeling my inner Finn 😜👌) Why did you choose your URL: Cause one of my fav songs on the ST score is 'Biking Into Town' and I wanted my URL to reflect ST. Thus, 'BikingThroughHawkins' was born 😉 Do you have any other blogs: I do! I run one with the amazing and truly incredible @devptel called @fuckyeahjoekeery - it's pretty lit if you ask me haha Fav colour: Scarlett Red (wow that's specific) Fav characters: Austin Moon, Mike Wheeler, Eleven, Jonathan Byers, Day Wing, Dustin Henderson, Will Byers, Adrien Agreste/Chat Noir, Cody Martin How many blankets do you sleep with: 1, but I guess that's the Australian in me Dream job: Actor or screen writer (but cause I'm in no way talented I'm aiming for either a teacher or Human Resource manager haha) If you managed to make it through this - you deserve a medal. But sadly, I am poor and cannot afford to give you a medal. Therefore, this emoji one will have to do: 🏅 Now practically everyone has already done this but I'm still gonna tag all the people I want to as if I was the first one doing this. So, I tag the wonderful: @supercomsandeggos @youlookpretty-good @milevenge @the-weirdo-on-maple-street @nancytheslutwheeler @hell-yeah-eggos @strangerthings-meb @sincerely-millie @elevenknope @richiegayzier @baileytsample @megxnoelle @mikewheelxerr @mouthbreathingeggo @devptel (I know this is only 15 but I have a goldfish memory so if I forgot you I am ashamed and don't deserve you amazing people as mutuals! 😍😍)

[narcisbolgor-blog]

Trumps Trade War Is Killing American Blue Jeans

Victor Lytvinenko is thumbing through emails on his iPhone trying to find the one that best shows the damage the global trade war has already done to his little, decade-old American jeans company.

The 37-year-old -- dressed in a black t-shirt, rolled-up blue jeans and a pair of Stan Smiths -- eventually looks up after finding the message. It’s from a customer in Scotland who’s apologizing for canceling an order worth tens of thousands of dollars. The reason? The shop owner balked at paying an additional 25 percent tariff the European Union slapped on American-made jeans in June as part of its response to President Donald Trump’s duties on steel and aluminum.

“We’ve already lost two accounts,” said Lytvinenko, who co-founded Raleigh Denim Workshop with his wife, Sarah Yarborough, in 2008. “That hurts.”

Lytvinenko was in Manhattan in late July for an apparel trade show. The annual trip was usually a fun excuse to catch up with customers or play ping pong over beers with friends also trying to earn a living making clothes in the U.S. But this year was different. The talk was very much about how American-made jeans -- of all things -- had been pulled into the trade spat.

Industry in Peril

It’s the latest gut punch for an industry that had already declined into a shell of what it once was. In the past year, two of the last-standing major denim mills closed, including the biggest: Cone Denim’s facility in Greensboro, North Carolina, that many firms say was the last to make high-end denim fabric in the U.S. on a large scale. Increases in California’s minimum wage also helped drive several apparel factories in Los Angeles to shutter or move to Mexico, adding to a tumultuous year for an industry that’s been just hanging on.

On top of that, free-trade agreements had been pushing blue jean-making overseas for two decades, and now the remaining manufacturers can’t believe the irony of getting hit by a return to protectionism. Major brands, like Levi Strauss & Co., had already largely bailed, shifting almost all of their production to Asia or Mexico. What’s left is mostly small businesses surviving by pitching craftsmanship and Americana in the premium end of the market with jeans priced at $200 or more.

“It’s another blow,” said Roy Slaper, who runs jeans-maker Roy Denim in Oakland, California. The tariffs don’t make sense economically because U.S. production is such a “microscopic” part of the global market, he said. The U.S. shipped just $31 million worth of jeans to the EU last year, or about 16 percent of the industry’s total global exports. “But politically, I can see why. Nothing is more American than jeans.”

Denim Birthplace

American blue jeans were born in San Francisco in the 1870s, and became a symbol of the frontier with Levis Strauss making the first pairs for miners working in the California gold rush. By the 1960s, they had evolved into a fashion emblem of cool and rebellion after pop icons like actor James Dean wore them. The EU no doubt had symbolism on its mind -- it placed duties on bourbon, too.

“They should put a tariff on hot dogs and apple pie, as well,” said Slaper, who has been making jeans for a decade. “I get it.”

Europe had already been a difficult market for American-made brands because it protected its apparel and textile industries. The EU had 12 percent duties on jeans in place, meaning that with the additional tariff, importers are now on the hook for 37 percent.

“It is a slap in the face,” for companies dedicated to American manufacturing, said Scott Morrison, the founder of New York-based premium denim company 3x1. With two decades in the industry, he’s one of the few to survive the great migration overseas. So far, the company has been sharing the cost of the tariff with a European distributor and avoided raising prices, but “we are not sure if it’s sustainable for a small business like ours,” Morrison said.

Supply Chains

The production of blue jeans is a testament to how global trade has evolved. The cotton can come from the U.S. and be made into denim in Pakistan. The cutting and sewing then might take place in Indonesia and finished off with buttons and zippers from China.

But making jeans still requires more labor than other clothing because of all the sewing and finishing touches like making them look distressed. And while moving production to lower-cost markets has reduced prices for consumers, it’s also given big companies even more advantages. Larger firms have the money and expertise to adjust their supply chains. Their clout also gives them leverage to pressure suppliers to take on cost increases. If they don’t oblige, production can be moved.

That’s what happened in L.A., with minimum wage hikes convincing some brands to source from Mexico -- where labor is much cheaper, according to Ilse Metchek, president of the California Fashion Association.

“The issue is it’s so difficult to make it here,” said Metchek, who has been in the apparel business for more than 50 years. Los Angeles used to be this “cluster of denim, but not anymore.”

Of course, moving to Mexico is so advantageous because jeans can be shipped into the U.S. without any duties under the North American Free Trade Agreement. But Nafta is also what helps make Canada, a member of the pact, the industry’s biggest export market at more than three times the size of the EU at $108 million last year.

USA Revival?

There are other bright spots, too. A new denim mill is being built in Louisiana. Plus, Denimburg in Edinburg, Texas -- a large mill that’s just a few years old -- is witnessing increased demand for made-in-America fabrics from brands like Calvin Klein.

“We are seeing some signs that there are opportunities for a small revival,” said Mike Brown, who is commercial director for Denimburg and has been in the industry for four decades. “But it’s never going to be as big as it once was.”

Back at Raleigh Denim, which makes jeans at a 7,000 square-foot factory in the downtown of North Carolina’s capital city, Lytvinenko is still worried about the tariffs because some European customers aren’t responding to emails about their next round of orders.

“We’ve been viewing Europe as a huge market opportunity,” he said. “It’s a huge bummer because we’ve been growing every year, creating manufacturing jobs and building great products here in North Carolina. This hurts our prospects.”

Original Article : HERE ; This post was curated & posted using : RealSpecific

=> *********************************************** Learn More Here: Trumps Trade War Is Killing American Blue Jeans ************************************ =>

Trumps Trade War Is Killing American Blue Jeans was originally posted by Viral News - Feed

[ueberbrands]

Making Slow Fashion Grow - Interview with Raleigh Denim Workshop co-founder Victor Lytvinenko

Making Slow Fashion Grow – Interview with Raleigh Denim Workshop co-founder Victor Lytvinenko

Victor and his wife Sarah are in love with making jeans the old, slow way in their Raleigh Denim Workshop. They sewed them themselves and proudly signed every pair when they started out in 2007.  But in the meantime, they employ some two dozen people and ‘getting to use the signing Shapie’ has become a rite of passage, of sorts, to becoming one of them – a true ‘jeans-smith’.  And that’s just one…

[dejavufm]

Master G The Late Breakfast Show - Podcast 5.2.17

Master G The Late Breakfast Show – Podcast 5.2.17

Master G The Late Breakfast Show Podcast 5.2.17

Master G Podcast 5.2.17 featuring Alicia Keys, Bob Andy, Bel Biv Devoe, One Blood, Jean Carne, Side Effects, Atlantic Star, Yarborough And People, Faith Evans and Notorious BIG, Leon Ware

<iframe width="100%" height="180" src="https://www.mixcloud.com/widget/iframe/?embed_type=widget_standard&feed=https://www.mixcloud.com/widget/iframe/?feed=https%3…

[unimonsterjohn]

Hillbillies in a Haunted House (1967, Jean Yarborough) An outgrowth of the TV Western fad of the 1950s and '60s, the 'Rural' genre of film and television, less kindly known as 'hillbilly' or 'Hicksploitation' movies, was very popular in the 1960s, resulting in television hits such as The Andy Griffith Show and The Beverly Hillbillies, and dozens of feature films that flooded Drive-ins and main Street theaters. Most of these tilted to the adult side of the genre; however there were some that aimed at a more family-oriented audience. These often used Country music stars to boost name recognition, and bring in rural movie-goers. Hillbillies in a Haunted House, the final theatrical feature film directed by veteran low-budget filmmaker Jean Yarborough, follows that pattern; indeed, is an excellent example of the form. Starring Ferlin Husky, Joi Lansing, Basil Rathbone, John Carradine, and Lon Chaney, Jr., it boasts a guest cast straight from the stage of the Grand Old Opry. The plot is simple, the bad guys making the house they're using as their hideout appear to be haunted, in order to keep people away. The good guys, in this case Woody (Husky), a country signer; Boots (Lansing), his girlfriend; and their manager Jeepers (Don Bowman) stumble into the plot. Throw in secret agents, Chinese spies, and a killer ape, and you have a down home recipe for horror and hilarity. And if it sounds familiar, well, then you've probably watched TV sometime in the last half-century. I must admit that, while I enjoy this movie immensely, it's the Rifftrax version that is so enjoyable. Though I do have the unriffed regular DVD in my collection, I've watched it maybe twice. The Rifftrax edition, however, I can watch over and over. Give it a try! #unimonstersmovieoftheday #theunimonsterscrypt

[etherluna]

Word Association: Lumina Yarborough

BOLD what applies to your muse. Remember to REPOST. Feel free to add to the list!

Lumina Yarborough

[ COLOR ]  red. brown. orange. yellow. green. blue. purple. pink. black. white. teal. silver. gold. grey. lilac. metallic. matte.  royal blue. royal purple. strawberry red. charcoal grey. forest green. apple red. navy blue. crimson. cream. mint green. magenta. pastels. bubblegum pink. blood red. ivory. sky blue.

[ ELEMENTAL ] fire. ice. water. air.  earth. rain. snow. wind. moon. stars. sun. heat. cold. steam. frost. lightning. sunlight. moonlight. dawn. dusk. day. twilight. midnight. sunrise. sunset. dewdrops. clouds. light. smoke. umbra. penumbra. char. darkness. ash.

[ BODY ]  claws. long fingers. fangs. teeth. wings (usually not visible). tails. lips. bare feet. freckles. bruises. canine. scars. scratches. (pointed) ears. wounds. burns. spikes. sweat.  tears. feline. permanent wounds. chubby. curvy. (fairly) short. tall. height. feathers. webs. eyes. hands. muscular. slender. trained. piercings. tattoos. strong. weak. birdlike. shapeshifting. junoesque. svelte. long hair. short hair. dark circles. big. voluptuous. small. prosthetic. experimented. cyborg. halos. horns. wolfish. effeminate. frightening. ethereal. angelic. demonic. metallic. angular. scales. barbs. vertebrae. tendrils. tentacles. sharp. soft. unusual. shapely. unnatural. disproportionate. spindly. monstrous.  

[ WEAPONRY ]  fists. swords. daggers. spear. scythe. bow and arrow. hammer. shield. poison. guns. axes. throwing axes. whips. knives. throwing knives. pepper sprays. tasers. machine guns. slingshots. katanas. maces. staffs. wands. powers. magical items. magic. rocks. power loader. flamethrower. metal rods. shotguns. needles. prowess. ability. instinct. bloodthirst. supernatural. inhuman. talons. speed. agility. cunning. reflexes. talons. biomech tendrils.

[ MATERIALS ]  gold. silver. platinum. titanium. diamonds.  pearls. rubies. sapphires. emeralds. amethyst. metal. iron. rust. steel. glass. wood. porcelain. paper. wool. fur. lace. leather. copper. silk. velvet. denim. linen. cotton. charcoal. clay. stone. asphalt. brick. marble. dust. glitter. blood. dirt. mud. smoke. ash. shadow. carbonate. rubber. synthetics. yarn. slime. ivory. aether. crystal. dark matter. lapis lazuli. emerald. adamantite. wootz. brass. lamé. guipé. bone. moonstone. metalloids. alloys. ceramic. alabaster. marble. aluminum. bismuth. bronze. polonium. chrome. osmium. sand.

[ NATURE/EVINRONMENT ]  grass. leaves. trees. bark. roses.  daisies. tulips. holly. lavender. lilies. petals. thorns. sunflowers. seeds. hay. sand. rocks. snow. ice. roots. flowers. ocean. river. lake. meadow. forest. desert. tundra. savanna. rain forest.  swamp. caves. underwater. coral reef. beach. waves. space. stars. clouds. mountains. fungi. cliffs. sunlight. moonlight. darkness. wasteland. void.

[ ANIMALS/CREATURES ] lions. wolves. black panther. eagles. owls. falcons. hawks. swans. snakes. turtles. ducks. bugs. roaches. tarantulas. scarabs. spiders. birds. whales. dolphins. fish. sharks. horses. cats. dogs. bunnies. praying mantis. crows. ravens. mice. lizards. frogs. bears. werewolves. unicorns. pegasus. dinosaurs. dragons. felines. foxes. centaurs. antelope. chimeras. demons. angels. parakeets. harpy eagles. seagulls. warblers. birds of paradise. parrots. toucans. orioles. cobras. black mambas.

[ FOOD/DRINK ] sugar. salt. water. candy. bubblegum. wine. milk. champagne. hard liquor. beer. coffee. tea. spices. herbs. apple. orange. lemon. cherry. strawberry. watermelon. vegetables. fruits. meat. fish. pies. desserts. chocolate. cream. caramel. berries. nuts. cinnamon. steak. burgers. burritos. pizza. vanilla. cookies. chocolate. tiramisu. cheesecake. sushi. tempura. pasta. cookies. garlic. bread. noodles.

[ HOBBIES ] music. art. piercing. watercolors. gardening. knitting. smithing. sculpting. painting. sketching.  murder. fighting. fencing. riding. writing. composing. cooking. sewing. training. dancing. acting. singing. martial arts. self-defense. electronics. technology. cameras. video cameras. tinkering. video games. computer. phone. movies. theater. libraries. books. magazines. poetry. philosophy. cds. records. vinyls. cassettes. piano. organ. violin. cello. guitar. electronic guitar.  bass guitar. harmonica. synthesizers. harp. woodwinds.  brass. trumpet. flute. drums. bells. playing cards. poker chips. chess. dice. motorcycle riding. eating. climbing. tree climbing. running. vivisection. reading. learning. lecturing. teaching. torment. tracking.

[ STYLE ] lingerie. armor. cape. dress. robes. suit. tunic. vest. shirt. boots. heels. leggings. trousers. jeans. skirt. shorts. jewelry. earrings. necklace. bracelet. ring. pendant. hat. crown. circlet.  helmet. scarf. neck tie. brocade. cloaks. corsets. doublet. chest plate. belt. sash. coat. jacket. hood. gloves. socks. masks. cowls. braces. watches. glasses. sunglasses. visor. eye contacts. makeup. pantyhose. stockings. thigh highs. eyepatch.collar. bangle. torque. gorget. bracers. cuffs. body jewelry. crop tops.

[ MISC ] balloons. bubbles. cityscape. landscape. diligence. light. dark. candles. war. peace. money. power. percussion. clocks. photosmirrors. pets. diary. fairy lights. madness. sanity. sadness. happiness. optimism. pessimism. realism. misanthropy. loneliness. anger. family. synthetic. friends. assistants. co-workers. plushies. enemies. lovers. loyalty. smoking. alcohol. drugs. kindness. love. embracing. magitek. futuristic. ancient. science.  voidsent. cruelty. trust. mistrust. strength. doubt. reverence. ferocity. danger. automatons. metallic. allure. value. intelligent. revolutionary. defiant. advanced. engines. naïve. temporary. changing. split personality. paradigm shift. freedom. belief.

Tagged by: @ahkmenkare

Tagging: @dogonaleash, @gaeliseeker, @hot-auri-chocolate, @meuliaire

[connorrenwick]

Listen to Episode 78 of Clever: Victor Lytvinenko of Raleigh Denim Workshop

On this episode of Clever, Amy and Jaime talk to jeansmith and co-founder of Raleigh Denim Workshop, Victor Lytvinenko. Victor was born with tons of energy and curiosity. As he grew it led to playing soccer, building small engines, and digging deep into whatever was capturing his attention – woodworking, cooking, wine-making… until he found a sewing machine and became obsessed with making the perfect pair of jeans. Together with his now-wife Sarah Yarborough, they perfected the pants and went on to build a brand deeply committed to craftsmanship. Cult following ensued. Listen:

//html5-player.libsyn.com/embed/episode/id/8311622/height/90/theme/custom/thumbnail/yes/preload/no/direction/backward/render-playlist/no/custom-color/ff0099/

Collaboration with Bernhardt Design

Collaboration with Bernhardt Design

Collaboration with Bernhardt Design

Stay tuned for a new episode of Clever in two weeks! Don’t miss an episode: Subscribe to Clever on Apple Podcasts, Stitcher, Google Play, SoundCloud, Spotify, and YouTube, or use our feed http://clever.libsyn.com/rss to subscribe via your favorite podcast app.

Follow Clever on Facebook, Twitter and Instagram. And most importantly, please spread the word to anyone who you think would like it.

via http://design-milk.com/

from WordPress https://connorrenwickblog.wordpress.com/2019/01/22/listen-to-episode-78-of-clever-victor-lytvinenko-of-raleigh-denim-workshop/

[the-connection]

Victor Lytvinenko is thumbing through emails on his iPhone trying to find the one that best shows the damage the world-wide sell combat has already done to his little, decade-old American jeans company.

The 37 -year-old -- dressed in a pitch-black t-shirt, rolled-up blue jeans and a duo of Stan Smiths -- eventually gazes up after acquiring the message. It's from a purchaser in Scotland who's rationalizing for canceling an succession importance several tens of thousands of dollars. The reason? The patronize owned balked at an additional 25 percentage excise the European union countries slammed on American-made jeans in June as part of its response to President Donald Trump's obligations on sword and aluminum.

" We've already lost two chronicles ," said Lytvinenko, who co-founded Raleigh Denim Workshop with his wife, Sarah Yarborough, in 2008." That hurts ."

Lytvinenko was in Manhattan in late July for an apparel trade show. The annual journey was typically a enjoyable excuse to catch up with customers or frisk ping pong over brews with pals also trying to earn a living starting clothes in the U.S. But this year was different. The talk was very much about how American-made jeans -- of all things -- had been pulled into the transaction spat.

Industry in Peril

It's the latest gut punch for an industry that had already declined into a shell of what it immediately was. In the last year, two of the last-standing major denim mills shut, including the biggest: Cone Denim's facility in Greensboro, North Carolina, that many houses say was the last to stir high-end denim cloth in the U.S. on a large scale. Increases in California's minimum wage too helped drive several clothe plants in Los Angeles to shutter or move to Mexico, adding to a tumultuous time for the purposes of an manufacture that's been only hanging on.

On top of that, free-trade agreements had been pushing blue jean-making overseas for two decades, and now the remaining producers can't believe the incongruity of getting hit by a return to protectionism. Major symbols, like Levi Strauss& Co ., had already largely bailed, shifting virtually all of their production to Asia or Mexico. What's left is largely small businesses existing by pitching craftsmanship and Americana in the premium resolve of the market with jeans priced at $200 or more.

" It's another jolt ," said Roy Slaper, who runs jeans-maker Roy Denim in Oakland, California. The tariffs don't make sense economically because U.S. production is such a "microscopic" part of the global market, he said. The U.S. shipped merely $31 million usefulnes of jeans to the EU last year, or about 16 percentage of the industry's total world-wide exportations." But politically, I can see why. Nothing is more American than jeans ."

Denim Birthplace

American blue jeans were born in San Francisco in the 1870 s, and became a epitomize of the territory with Levis Strauss drawing the first duet for miners working in the California gold rush. By the 1960 s, they had evolved into a pattern badge of hot and uprising after pop icons like performer James Dean wore them. The EU no doubt had symbolism on its knowledge -- it situated obligations on bourbon, too.

" They should articulate a excise on hot dogs and apple pie, as well ," said Slaper, "whove been" making jeans for a decade." I get it ."

Europe had already been a difficult market for American-made labels because it protected its garment and textile industries. The EU had 12 percent functions on jeans in place, means that with the added tariff, importers are now on the hook for 37 percent.

" It is a slap in the face ," for companionships dedicated to American manufacturing, said Scott Morrison, the founder of New York-based premium denim busines 3x1. With two decades in the industry, he's one of the few to survive the largest migration overseas. So far, the company has been sharing the cost of the tariff with a European distributor and shunned developing rates, but" we are not sure if it's sustainable for a small business like ours ," Morrison said.

Supply Chains

The production of blue jeans is a testament to how world transaction has progressed. The cotton can come from the U.S. and be made into denim in Pakistan. The slouse and seaming then might take place in Indonesia and finished off with buttons and zippers from China.

But stimulating jeans still requires more proletariat than other dres because of all the seam and finishing touch like becoming them glance distressed. And while moving production to lower-cost groceries has abbreviated premiums for buyers, it's also opened big companies even more advantages. Bigger houses have the money and expertise to adjust their render series. Their leverage also gives them leveraging to influence suppliers to take on increase in costs. If they don't impel, yield can be moved.

That's what happened in L.A ., with minimum wage hikes persuasion some symbols to source from Mexico -- where labor is much cheaper, according to Ilse Metchek, president of the California Fashion Association.

" The questions is it's so difficult to make it here ," said Metchek, who has been in the clothe business for more than 50 times. Los Angeles used to be this" knot of denim, but not anymore ."

Of course, moving to Mexico is so advantageous because jeans can be shipped into the U.S. without any obligations for the purposes of the North American Free Trade Agreement. But Nafta is also what facilitates compile Canada, a member of the alliance, the industry's biggest export marketplace at more than three times the size of the EU at $108 million last year.

USA Revival?

There are other light blots, extremely. A new denim mill is being built in Louisiana. Plus, Denimburg in Edinburg, Texas -- a large mill that's just a few years old -- is watching increased demand for made-in-America textiles from symbols like Calvin Klein.

" We are realizing some signs that there are opportunities for a small resurrection ," said Mike Brown, who is commercial-grade superintendent for Denimburg and has been in the industry for four decades." But it's never going to be as big as it once was ."

Back at Raleigh Denim, which makes jeans at a 7,000 square-foot plant in the downtown of North Carolina's capital city, Lytvinenko is still worried about the tariffs because some European clients aren't responding to emails about their next round of orders.

" We've been ending Europe as a huge market opportunity ," he said." It's a huge bummer because we've been growing each year, generating manufacturing jobs and improving great concoctions here in North Carolina. This hurts our expectations ."

[itsworn]

Petty, Shelby, Smokey, Garlits, Granatelli, and Parnelli Set The Pace For 1967

1967.

The minds of future automotive archeologists will surely be blown by all that occurred this year, on and off the track. We’d advise them that the hundreds of race cars frozen in black-and-white in the Petersen archive only begin to tell this season’s big stories. Investigating their builders, drivers, successes, and struggles for this final installment of Power Struggles led us down many rabbit holes, into some dead ends, and to the conclusion that American auto racing in 1967 was better than ever before—if not the best ever, period. Eleven of those months offered major events, at least in southern California. The best Grand National stock cars were already trading paint in January on Riverside’s road course. On a Saturday night in November, six teams of top Funny Cars—30 different drivers, plus standby alternates—squared off at brand-new Orange County International Raceway in the Manufacturers Meet.

There were no shortages of race cars or controversies in between. Two years after Chrysler pulled out of NASCAR and just as Ford was ending its 1966 boycott, both factories threatened to flee again in protest of Bill France’s acceptance of each other’s questionable “optional accessories” and one radically streamlined, supposedly independent Chevelle. While General Motors officially extended its own corporate ban of all motorsports into the new year, rabble-rousers Smokey Yunick and Curtis Turner sat on the Daytona 500 pole, more than a dozen race-ready examples of the recently released Camaro materialized for Sebring’s Trans-Am series opener, and aluminum rat motors overpowered the sporty-car competition in the U.S. Road Racing Championship and Can-Am series.

Thanks partly to a booming muscle-car craze, drag strip staging lanes were filled four and five days a week. Thirty-two-car, open-qualifying Top Fuel shows were not uncommon. So many “hot cars” entered NHRA’s February opener that the Winternationals instituted side-by-side qualifying, thus ending a time-honored, time-wasting tradition of single runs prior to eliminations. Another historic first was the all-dragster, one-day PDA Meet at Lions, headlined by 64 blown fuelers (though “only” 62 starters survived brutal qualifying attrition).

Oval-track traditionalists convinced that mid-mounted V8s were the worst idea since women in the pits tried every trick short of sabotage to convince USAC to outlaw the pistonless powerplant entered by the influential Granatelli brothers. The little car with the big engine could’a, should’a, would’a won Indy, but for the best-known bearing failure in history. Collateral damage beyond the one-off gearbox included the end of a Firestone winning streak dating all the way back to 1915. When the Firestone-shod STP Turbine crapped out four laps short of certain victory, A.J. Foyt sped past on Goodyears.

Goodyear provoked and fought tire wars on multiple fronts. M&H Racemasters had been standard dragster equipment for the decade since Marvin and Harry Rifchin rendered recaps obsolete by molding all-new slicks. That monopoly was broken by gifts of Blue Streak tires, cash, and rides in the original Goodyear blimp. Lots of pro racers jumped the blimpless M&H ship, including Don Garlits—who dramatically switched back for U.S. Nationals eliminations, chopped four tenths from his previous-best e.t., and won drag racing’s biggest event on Racemasters.

Most of these historic events and innovations are illustrated here by one or more archive photos. As in all previous installments of this series, unpublished outtakes enjoyed an edge over images found in the author’s private collections of Petersen’s big three monthlies: HOT ROD, Car Craft, and Motor Trend. (Digital HRM back issues are accessible at Club.HotRod.com by Platinum-level members of the HOT ROD Club.) For every negative approved for publication by editors, hundreds more were doomed to decades of darkness in steel drawers.

We’re going back for more of those. Another pictorial historical series, similar but different, debuts in the next HOT ROD Deluxe (Jan. ’18). We’ll begin by winding the clock back to 1955, when Robert E. Petersen instructed photographic director Bob D’Olivo to start tracking, numbering, and preserving any film exposed and processed by PPC employees. Subsequent years will be covered chronologically, one per issue, through the ’50s and into the mid-’60s. So, stick around. Your eyes will be among the first to see images previously seen only by the long-gone employees who shot, processed, rejected, or filed film that’s waited five or six decades to be appreciated.

Power Struggles Series

•Part 1, 1955: Nov. ’15 HRD

•Part 2, 1956: Jan. ’16 HRD

•Part 3, 1957: Mar. ’16 HRD

•Part 4, 1958: May ’16 HRD

•Part 5, 1959: July ’16 HRD

•Part 6, 1960: Sept. ’16 HRD

•Part 7, 1961: Nov. ’16 HRD

•Part 8, 1962: Jan. ’17 HRD

•Part 9, 1963: Mar. ’17 HRD

•Part 10, 1964: May ’17 HRD

•Part 11, 1965: July ’17 HRD

•Part 12, 1966: Sept. ’17 HRD

•Part 13, 1967: Nov. ’17 HRD

An odd, mostly unwritten, near-universal requirement for dragster drivers to complete winning rounds “without outside assistance” stemmed from an era of stripped-down rail jobs pushed by healthy youths in T-shirts and jeans. By 1967, a typical Top Fueler weighed upwards of 1,300 pounds, and its pilot wore a hot, heavy, aluminized firesuit. Some strips further demanded that helmets and even face masks remain in place. These program interruptions delighted fans, who cheered the pusher as he passed and again when his win light finally flickered, and proved irresistible to photographers and editors. Drag racing’s original jungle man, “Jungle” Larry Faust, advanced the hard way during Riverside’s 32-car HOT ROD Magazine meet after Don Prudhomme red-lighted and this car’s clutch fried on the starting line. He returned in time for the semifinals, but must’ve been all worn out, falling asleep against dark horse Glenn Brown (7.41/213.76 to 7.29/212.76), the eventual runner-up. Ironically, Faust’s frustrating outing generated the most publicity of a solid career driving fuel cars for Gene Mooneyham. Bob D’Olivo’s photo is an outtake to at least three different angles appearing in postrace coverage (June ’67 HRM; July ’67 CC).

Smacking a wall and shedding a front wheel just 15 laps into the Motor Trend 500 didn’t stop Curtis Turner from grinding the mile and a half back to Bud Moore’s pit. The damage proved irreparable, however, after rain arrived later this afternoon and NASCAR locked up the cars for a week, on jack stands. When the race resumed, teams were forbidden from any preparation beyond tire inflation. (See Apr. ’67 HRM & MT.)

Like you, we saw this and assumed that the flying ’58 Fairlane surely was done for the day, if not forever more. Research revealed that regional racer Frank Deiny miraculously bounced back for a second-place finish (to Oren Prosser) in Riverside’s Permatex 100 undercard. We also learned that Deiny drove Grand National cars, though never finishing higher than 30th, and is better known as the founder of Speedway Engineering.

Eventual Motor Trend 500 winner Parnelli Jones provided plenty of excitement enroute, spinning out both weekends in virtually the same spot, then recovering in Riverside’s notorious Turn Six. He became the first event champion not named Gurney since 1963’s inaugural. Note the unprecedented sheetmetal stretching that factory teams applied to FoMoCo’s new Fairlane-Comet intermediate. Beyond chopping, channeling, and flaring, some cars sported shortened A-pillars that drooped the roof edges but maintained stock windshield height in the center, where inspectors measured. The streamlining and tunnel-port 427s were loudly protested by Chrysler, which threatened a repeat of its 1965 boycott over NASCAR’s failure to enforce its own rules.

Even Ford’s powerful new tunnel-port 427 must’ve struggled to deliver the Wood brothers’ team to the winner’s circle. Leonard and Glen Wood, who’d crewed for Dan Gurney during his last three (of four straight) Motor Trend 500 wins, came aboard only after Cale Yarborough crashed their Fairlane in practice. The brothers brought along their stash of state-of-the-art, tunnel-port 427s prepared by Holman-Moody.

All we can tell you about this fluke photo is that it came from the shutdown area of Bee Line Dragway near Phoenix during AHRA’s Winter Nationals. None of our usual sources could identify the car or off-road driver, who’d presumably been blinded by oil gushing from the valve-cover breather. We say fluke photo because the preceding frames on this roll are all low-speed parachute shots of Funny Cars slowing to make a turnout. Instead of running for his life when the speeding fueler approached, CC staffer Bob Swaim turned, refocused, and stopped the action for us to enjoy, 50 years later. (See Apr. ’67 HRM & CC.)

It’s awfully tough to stump the network of geezers responsible for identifying numerous cars and people depicted in past Power Struggles, but nobody remembers this manpower struggle during NHRA’s Winternationals. (Help, readers?) Drag Racers Inc. members pointed out that the combination of blown Chrysler and skinny slicks indicates a Top Gas transplant. (See Apr. ’67 HRM, CC & MT; Aug. ’67 HRM, CC & MT.)

After taking a year off from rocking the Brickyard establishment, Mickey Thompson held a February press conference in Irwindale, California, to unveil his most-radical setup yet: a slingshot-style Indy roadster driven by the front wheels, steered by all four (a la hook-’n’-ladder), and pulled by a three-valve (two intake, one exhaust), all-aluminum engine based on a small-block Chevy. A single Crower roller cam in the conventional location actuated one exhaust and two intake valves per pent-roof chamber. Thompson also cast new injectors to squeeze between the dual rocker shafts. Gary Congdon was driving both here and at Indy, where neither this car nor a rear-engined backup got past practice sessions. CC’s Dan Roulston reported that the team ultimately combined surviving parts and pieces from both Huffaker cars into a hybrid that got stranded in line when qualifying closed. (See May & June ’67 HRM; May & Aug. ’67 CC.)

Only after scanning and enlarging this frame did Smokey Yunick’s silhouette emerge from what had looked like a weird shadow or film defect in the original negative. MT photographer Bob D’Olivo got the candid shot prior to the Daytona 500. Curtis Turner debuted the famous “second Chevelle” on the pole with a record average of 181.541, breaking Daytona’s 180-mph barrier and leading the rest of the field by fully three mph. After losing Smokey’s 404-inch “qualifier” motor in a 100-mile qualifying race, Turner stayed in the top five in the main event and led repeatedly before blowing the race engine, too. Nonetheless, this was the most-impressive, most-publicized effort by any Chevy race car since GM halted direct and indirect support in 1963. Mario Andretti went on to win for Ford, his only NASCAR victory. (See May & July ’67 HRM; May ’67 MT.)

It’s hard to believe now that such an itty-bitty spoiler caused a humongous ruckus, but Ford’s brass had been simmering since mid-1966, when Dodge rushed the aero aid into its retail catalog and NASCAR blessed it as a legitimate option. The added downforce transformed ill-handling Dodge Chargers into leaders virtually overnight. Chrysler countered that Ford’s new 427 heads, tunnel-port intake, and headers were not production items, nor were chopped, channeled, sectioned, widened Fairlane and Comet bodies. At Atlanta, Chrysler officials actually encouraged its factory teams to boycott the rest of the season—a plot unrealized only because the Pettys refused to go along with fellow owners Ray Nichels and Cotton Owens. Meanwhile, David Pearson’s Charger was getting checked against one of the plywood templates introduced at Daytona. (See June ’67 HRM; Jan. & June ’67 MT.)

Smokey’s slippery Chevelle met a violent end during Atlanta 500 practice. After lapping effortlessly at 151 mph (while other teams struggled for 149), Curtis Turner smacked the wall, got airborne, and flipped approximately 10 times. He was knocked out but reportedly unhurt. Yunick (at right, pointing, in a rare bareheaded photo) yanked the Tri-Powered 427 and tranny before getting the wreck crushed into a four-foot-square office decoration. (See June ’67 HRM & MT.)

We’re hoping that some of you—ahem—”mature” Midwesterners will fill us in about butchered Chevelle panels wrapped around an old altered chassis. We picked the shot from Detroit Dragway’s AHRA Grand Nationals to illustrate how Funny Car variety was probably peaking in this last season before rules makers began banning Jeeps and roadsters from major events. (See Aug. ’67 HRM.)

Determined to demonstrate that the traditional kings of the sport could draw big crowds without Funny Cars, novice promoter and United Drag Racers Association board member Doug Kruse persuaded Lions operator C.J. Hart to host an all-dragster show paying the largest cash purse ever, from $5,100 to the Top Fuel Eliminator to round money for all qualifiers. Imagine a single Saturday of qualifying and eliminations for 64 blown fuelers, 16 Top Gassers, and 16 injected Junior Fuel rails. The respective winners were Don Prudhomme, Bob Muravez (aka Floyd Lippencott Jr.), and longshot Tom Barres (Jr. Fuel)—plus the estimated 16,000 to 17,000 fans who arrived before Hart had to lock the gates of the overflowing facility two hours early. In addition to pounding out countless aluminum race-car bodies, Kruse designed and assembled the twin-engined Invader roadster that won back-to-back AMBR awards in 1967-1968. He passed away this June 19, just shy of the 50th anniversary of his inaugural, incomparable Professional Dragster Association Championships. (See Oct. ’67 HRM & CC.)

A broken axle instantly spoiled Mark Donohue’s day in Loudon, New Hampshire—but not a season that produced Trans-Am wins with Roger Penske’s Z-28 and the U.S. Road Racing Championship title in Penske’s Lola-Chevy Mark III. This car was the main testbed for joint 302 development by Traco, GM engineers, and Smokey Yunick (who later shared the recipe with HRM readers, Mar. ’68 issue). Vince Piggins, Chevrolet’s racing boss, is often credited for successfully mating 327 cranks to 283 blocks, though countless drag racers did it first, dubbing the resulting hybrid a 301. An entire injected-nitro category, Junior Fuel Dragster, was based on the combination (up to 310 cubic inches).

Sir Mick never could stay away from the salt for long. Getting back to Bonneville with a canopied Indy car should’ve made some news, but we haven’t found a single published photo or any mention of the effort. (See Nov. ’67 HRM.)

This classic Wendover, Utah, photo almost didn’t make the final cut for lack of IDs, but it’s just too cool to put back into the file drawer. Whoever they are, these bikers were responsible motel guests: Another frame on this roll reveals a protective tarp beneath the tools and the British double. (Do you think the leggy blonde is bored yet?)

We ran this scan past Don Garlits—who always remembers everything—but Big doesn’t know what prompted his reaction, nor whom he was signaling, at Indianapolis Raceway Park. Don is sure about the day it happened, pointing out the rotating M&H slicks borrowed from James Warren and Roger Coburn for Labor Day’s eliminations. After he and James both advanced out of the semifinals, Garlits famously offered to return the rubber, his opponent famously declined, and this extra-long (175-inch), super-light (1,170-pound) slingshot won the U.S. Nationals in a career-best 6.77 seconds. Immediately afterwards, he fulfilled a vow to shave his beard in front of fans if he ever ran in the sixes. (See Nov. ’67 HRM & CC.)

If forcing those newfangled Funny Cars into heads-up dragster classes was NHRA’s plot to eliminate them as early as possible, it backfired when Dick Jesse’s radically sectioned, blown GTO and Gene Snow’s injected Dart respectively trophied in BB/ and CC/Fuel Dragster at Indy to qualify for Super Eliminator (which Snow also won). “Mr. Unswitchable” really was: Jesse stuck with Pontiac power long after other Poncho heroes defected to 392 or 426 Chryslers.

Darlington’s Southern 500 was among Richard Petty’s 10 straight NASCAR wins between August 12 and October 1. In a season that will undoubtedly never be equaled, he won 27 of 48 races driving the same ’66 Belvedere that won 13 times the previous year. In the process, he broke another record that folks figured would never be threatened: 54 career wins scored by his daddy, Lee. Darlington Raceway’s enthusiastic flag waver must’ve been wearing insulated underwear on that hot hood. Directly below sat a destroked Hemi whose 404 cubic inches netted a 206-pound weight break for short tracks, improving handling and fuel mileage. (See Nov. & Dec. ’67 MT.)

The hard-fought Trans-Am series’ manufacturers’ championship came down to a Mercury-vs.-Ford showdown in the last of 12 races—and a missing gas cap—at Kent, Washington. Needing to finish one spot higher than the Mustangs, Dan Gurney’s factory Cougar fell back to third after acquiring a black-flag penalty for spewing fuel, a punctured rear tire, and a smashed windshield that forced him to push against the broken glass to see. In the absence of Jerry Titus’s wrecked Mustang, teammate Ron Bucknum held onto the second position (behind winner Mark Donohue) necessary for owner Carroll Shelby to secure a second title for Ford in Trans-Am’s second season. (Drivers would not be awarded individual points until 1972.)

Joseph Granatelli impressed the L.A. media by firing up the turbine (note exhaust heat) at a press party in early April, then drove the car from of the stately Ambassador Hotel’s courtyard to a makeshift photo studio nearby. HRM’s Ray Brock and Eric Rickman teamed up for the static photography.

The sexy skin was among the earliest computer-designed, wind-tunnel-tested race-car bodies. Racing weight of 1,750 pounds was distributed 60/40, left/right, and 45/55, front/rear.

A unique four-wheel-drive system evolved from the mechanism custom-built by Ferguson Formula in England for the previous season’s STP Novi. The engine’s projected four-to-six mpg (doubling Indy’s typical fuel mileage) enabled a small, 48-gallon kerosene load to be strategically distributed inside the chassis.

Little-known factoid: Those perfect rows of rivets were proudly installed by Jim Lytle, who previously built and drove the pair of Allison-powered ’34 Fords known as Big Als I and II. The youngster tried but failed to convince boss Ken Wallis that a race car—unlike the aircraft he’d designed—needed U-joints in the drivetrain to ensure survival throughout practice laps, qualifying, and a 500-mile race. He said he quit after Wallis took issue with the suggestion and demeaned him as “a drag racer, not an engineer” who “should do more riveting and less talking.” Lytle predicted to friends that the car would be fast, but would not finish.

Publisher Ray Brock’s Aug. ’67 HRM editorial lobbied USAC not to penalize future turbines for performance that might’ve been achievable with conventional Indy power: “We think that a Ford or Offy engine in this very same chassis would outrun the rear-engined cars.” A left-foot-operated flapper later attached to the exhaust pipe functioned as an air brake, partially compensating for the absence of compression braking.

In one year, Novi diehards Andy (in suit), Joe, and Vince Granatelli graduated from perennial backmarkers to feared frontrunners while generating priceless publicity for STP.

Note how the turbine’s intense exhaust heat distorts the background. The round shield enabled crewmen to access nearby components during pit stops.

When Andy rushed to meet his coasting driver on the track, the turbine was running perfectly, but no power was reaching the wheels. Only later did he realize that had his crew left the disabled car where it stopped, instead of pushing it back to the pits, Parnelli Jones would’ve been awarded third place, instead of sixth.

The post Petty, Shelby, Smokey, Garlits, Granatelli, and Parnelli Set The Pace For 1967 appeared first on Hot Rod Network.

from Hot Rod Network http://www.hotrod.com/articles/petty-shelby-smokey-garlits-granatelli-parnelli-set-pace-1967/ via IFTTT

[moviesandmania]

House of Horrors (1945)

House of Horrors (1945)

‘Beautiful artists models and a beastly killer!’

House of Horrors is a 1945 US horror movie directed by Jean Yarborough (She-Wolf of London; The Creeper; Hillbillys in a Haunted House) from a screenplay by George Bricker (Pillow of Death; She-Wolf of London) and story by Dwight V. Babcock (Dead Man’s Eyes; The Jungle Captive) for Universal Pictures.

It was filmed in September 1945 as Murder…