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silent-raven13 · 4 months

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Present for the Birthday Boy!

"Come on, mates. This being one of the best birthdays I ever had. I wouldn't say it being the best of the BEST. I have to be completely gobsmacked." Hobie sats down on table after he finished dancing with his friends and boyfriend.

The Spider-Band created a surprised party for Hobie's twenty fourth birthday, it was a big deal since Hobie mentions his birthdays were never celebrated. It was always something small or the days weren't on their free day. Sometimes his closest friends Karl or Rhi-rhi would make a big party after weeks to celebrate.

So this time, Miles wanted to give him the best birthday party ever! Being twenty four is a big thing, Hobie is an adult and grew to one of the best Spider-mens around. The latest he can do is give something his boyfriend enjoys, so he had Gwen and Pavtri to help him Set a big party in an abandon warehouse in Hobie's world with the help of Karl and Rhi-Rhi- plus some close punkers.

Then, some of the main four Spider Band had their other friends helps like Peni, Margo, Slick, Sun Spider and so on. The only thing is they weren't sure how Hobie would feel about inviting adults like Jess, Peter, and Miguel... so they kept it professional tricking Hobie thinking a surprise party at HQ was his party.

The small party was a week before Hobie's actual birthday, and there was a small cake made by Margo. Gwen helped made some organic green cupcakes. Then, Pavtri made his family homemade Chai lattes, so all the adults get to enjoy the small party. It was mostly professional to keep away the adults from knowing the other party.

Miles knew his boyfriend wouldn't suspect nothing after that small party before his birthday. Not to mention, Hobie's birthday is on February and on a leap year at that. So this is a very big deal that his boyfriend's birthday is celebrate right on the 29th!

And boy, did Hobart didn't expected the surprised party on the day of his birthday. He was completely shock about it all. At first, he thought his darling Sunflower wanted to check out the abandon warehouse for fun after they got dressed up for the movies. Hobie really wanted to see Halloween, but the idea of watching a romantic film to make out was tempting. He should've known the moment his Sunflower disappear into the dark warehouse, chills run down his spine when he didn't hear Miles' response.

Then, as he steps into the warehouse a loud "SURPRISE!" Shook his to the core, when he saw firecrackers, lights and wicked decorated warehouse to a punker aesthetic for the birthday party. Miles giggles going up to his man to kiss him on the lips and hand him a bouquet of flowers to say, 'Happy Birthday, bae. Hope you like this.'

Hobie indeed can say he did love it, the more he hears it was his Miles' plan, the more he loves it. Oh, how his darling Sunflower is too good for him!

The party was MAD, it's the best blimey party Hobie ever had. There was music, everyone he cared for and dear. Hell, his siblings came by to celebrate, all his mates/punker allies were there to go crazy. There was beer, food, and many different indie bands from rock to soul to a whole mix of metal and punk. Then some people went up to sing karaoke or dance their heart out. Heck even young drag queens and other subcultured groups that were deemed by society. Some iconic Drag Queen performs and some did a stand up. It's the best party of the year some claimed.

Here is Hobie Brown sitting on a hand made Birthday boy Throne with a fake hand crafted crown on stage. One Drag Queen did a roast, then Karl hold his beer out to give his speech about being his best friend. Hobie couldn't help but chuckles at every joke the Drag Queen did or almost shedding a tear from his best mate's speech. Yet, his eyes were on his Miles. Wasn't he gonna give his own speech?

Surely he has to, because Gwen and everyone else did. Miles only sat by the table clapping and cheering on. Heck, Hobie's older sister made a small speech about him and they had their tiffs!

So here Hobie chug a Keg of beer while sloppily going to the table were his friends sat. Miles whispers low to Gwen's ear before getting up from his seat, "Hey, bae. I'm going to the bathroom, okay? Mwah, keep having fun." He kisses his punker boyfriend's lips.

"Wait, one more, luv." Hobie purrs with his lips locking against his partner's soft cherry flavor lips, "Mmm." He wishes his Sunflower made a speech then it would've been perfect.

Gwen and Pavtri were making, "OOOOHHHH, get it Miles! Get it Hobie!" They were drinking feeling more hyper than normal.

Hobie's hand rest on his boyfriend's waist before pulling away with a smirk, "Mmm."

"Hehehe, easy bae. Hold it out till the cake comes." Miles commented before leaving with his hand slipping away from his punker's hands. The young man wore a simple blouse top with dressing pants and nice Jordans. His hair still styled in short dreadlocks with gold cuffs.

Very different with Hobie having his hair stylized thick Jumbo dreads with added accessories like gold cuffs or beads. Then he had on a more spiked black leather jacket, shredded black skinny jeans with paint and added patches, and his thick heavy boots. All complete with accessories of two belts, chains, sloppy hand painted works and patches. Also he wore some rings and different types of bracelets, and three different types of necklaces.

"So, is this the best party you ever had?" Gwen finally asked the birthday boy as the loud band plays on stage everyone around them dancing and having fun.

And here they are, Hobie took a sip of his beer. Pavtri said, "Oh this isn't the best birthday? Why? This is totally top 1!"

"At least your top three." Gwen commented.

Hobie said, "I have my reasons."

"Well, maybe you'll change your mind when the cake comes." Gwen said.

"Why?" Hobie asked, then the whole lights in the warehouse shut off. Then a main light aim on stage giving a spotlight to a Rhi-rhi dressed as a Drag King, "Okay. Okay, I know you mutherfuckers want to keep drinking and partying, but it's time for the BIRTHDAY BOY TO CUT THE CAKE!"

"WHOO!" The whole crowd cheers out loud when the spotlight landed on Hobie.

"Huh? Wait, what about-" Pavtri and Gwen got him up while Karl pushes him up. Wait, what about his Sunflower? Surely, they wouldn't make him miss it.

"Come on, man! Sit here!" Karl made his best friend sit in front of the stage. "Rick, where is his crown?"

"Right here, bae!" Rick came in to place a crown on Hobie's head, "Hahaha, you're in for a surprised, man."

"Huh?" Hobie could only say that why Rhi-Rhi made a few dirty jokes here and there. The crowd laughs and cheers, until she did a stand up. All Hobie could think of, "Where is Miles?"

"Now, I would sing Happy Birthday, Hobie, but I ain't no fucking Marlyn Monroe so we got our buddy Rick rocking it." Rhi-Rhi shouted out loud as a small band plays a twisted version of Happy Birthday.

Then on stage there's a handmade large cake, it was being pushed by Gwen and Pavtri. Hobie sat being confused, "Is that real? Blimey it's huge!"

Rhi-Rhi smirking widely, "Happy Birthday Boy!"

Gwen rushes over to the DJ as she put on a song. They brought in futuristic music so they play variety. Hobie saw Pavtri and Rhi-Rhi quickly getting down from the stage once the cake stood in the middle of the stage. The punker's eyes arched as the cake shakes back and forth. "What is this?"

The large cardboard cake open up revealing Miles coming out wearing a sexy tight black leather front sleeveless body suit with a large v-neck with a large metal zipper dangling. His bare neat chest gave an illusion of cleavage, and he had long black gloves with thigh high boots, very thin six inch heels. Miles wore a black leather mini skirt. Makeup dramatic with a bold eyeliner, cheeks with glitter, and lips painted black lipliner and brown lipstick with a gloss over. His hair remained in his short dreads, but he added earrings.

Hobie's face fell, mouth dropped wide open making a huge 'O' shape. His eyes never been so wide by his Sunflower's appearance. His friends spotted his reaction having to laugh out loud.

"OMG, look at his face. He's shookth!" Gwen laughs along with Margo.

Pavtri and Karl cracking up. "YOUR FACE!"

Hobie didn't hear them by the crowd hyping up the dancer, which is his boyfriend and being so awestruck by him.

Miles began lip syncing as he began to dance sexually on stage, "It's okay, I know you want me," His body sway to the music, he did a slow cartwheel to split as he went toward Hobie's direction.

"Don't be afraid, love my body" Miles crawls on the stage being like a sexy feline with his intense stare. The young dancer stood on his knees as he did a hair flip while his hands rubs his waist to his chest and giving a little shimmy of chest toward his face.

Hobie watches his Sunflower leaving him speechless as he saw him lay on the floor then did a heel clack against the stage. "Up on display, at the party" The roaring at the show.

"I know you want me," Miles did a knee twist having to lay on the floor, "I know you want me"

Gwen grinning from ear to ear having to nudge Pavtri as they watch Hobie completely Pink, so pink and red that there was so many fonts popping up. Fonts like, "!?" Or "XXX" or "GOTDAMN!" The two were cracking up while they cheer on Miles.

The young man did a lot of erotic floor work, "I'm a god damn prize Kissing and victory in my eyes." Miles did another split with his ass bouncing on the beat and did another hair flip.

"I'm first in line," Hobie watches as his Sunflower finally got to him having to do a lap dance, his Sunflower smelled so amazing like tropical breeze. The punker turned mad bashful when his boyfriend flirtatiously lift his chin up as he lip sync, "Baby, better think twice 'cause the crown is mine.."

Miles smirks seeing his boyfriend leaning forward wanting to kiss him, but playfully shove him back against his seat, he turns away to slowly grind against his rear against his punker, "I'm a cut throat queen."

"I make the rules, I do as I please," The Black Latino head back the stage leaving his boyfriend flabbergasted, that he gave a wink. When Hobie wanted to lean close to him, Miles' boot gently shove him back again being a sexy minx. "Got you on your knees!"

"WhOOO, GO MILES!" Margo squeals!

Peni and Spider Zero laughs, "Heck yeah!"

"Oh my gawd, I never knew he can dance like that." Pavtri being surprised.

Miles smiles standing on stage. Time for the big reveal, "I'm a full course feast," He turns away from the crowd as he sway his hips side to side. "I'm a masterpiece! Uh!" He remove his mini skirt to reveal his other part of his body suit, which is the thong part with his plump ass cheeks hanging out.

"WHOOO! OH YEAH, BABY!" The crowd shouted.

Hobie's had no words, his whole body froze, palms sweaty, his lower groin aching, with his mouth being super dry. His heart beating so fast as he watches his confident boyfriend dancing on stage for him. So beautiful, so perfect, Hobie wanted to ravished him but he had to control himself.

The only time Miles allow him to touch him is when he did a close split at the edge of the stage so his punker can grab a fistful of his right asscheek. Honey brown eyes caught dark lustful eyes wanting him. Hobie seems he didn't want to let go of his rear, and this made him go to him to finish the lip sync. "I know you want me"

Hobie had his Sunflower on his lap again, this time he can smell the leather black gloves. Miles hugs his boyfriend with his arms around his punker's neck, "Happy Birthday, bae. Did you like my surprised?" He finally asked.

There was no words said from the punker. Instead he dipped Miles into a deepen kiss. Without another word, Hobie got up with Miles in his arms and he went off making the crowd laughing out loud. The party continued on as they all expected that little dance had the punker hot and bother.

"Hobie, what about your cake?" Miles pouted.

Hobie purrs lowly in his partner's eye, "You're my cake." This made Miles' face so warm. It wasn't long till Hobie took him back to his house boat and had their heated fun.

That being said, Hobie can say this birthday party is on his top three. Especially his darling looking too damn fine in tight leather bodysuits. Miles can say he is happy he got his boyfriend the best gift.

#punkflower #miles morales #hobie brown #spiderman #spider verse #across the spider verse #spiderverse

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garudabluffs · 2 years

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Kathy Kallick and Friends - Dodi Kallick (Live Oak/22)

In 2001, Kathy Kallick released My Mother’s Voice, an album of songs learned from Dodi Kallick, who was a folksinger and educator in Chicago’s thriving folk scene of the 1950s and ‘60s. Dodi helped found the Old Town School Of Folk Music and several iconic venues – and passed on the music to her daughter. George Hauenstein in Country Standard Time, noted that the songs played and swapped by Dodi "are, for the most part, very familiar, the treatment given them by Kallick and company is fresh and very pleasing,” while WPLN Radio’s Dave Higgs says that “the CD contains a mouth-watering array of talent who play these songs better than they've ever been played before.” The only thing the album lacked: performances by Dodi Kallick herself. However, a reel-to-reel tape was discovered in the WFMT archives labeled "Dodi Kallick Midnight Special, 1966 and 1969.” That’s inspired an 18-track sequel to Kathy’s 2001 album, combining new recordings by Kathy and her musical friends of additional songs learned from Dodi with highlights from those Midnight Special radio shows. What Are They Doing In Heaven Today? is scheduled for a 2022 release on Live Oak Records. DODI KALLICK 1. What Are They Doing In Heaven Today? 2. I'm A Long Time Traveling 3. Cotton-Eyed Joe 4. One Hundred Miles 5. Row Us Over the Tide 6. Red Clay Country 7. Down In the Willow Garden 8. My Home's Across the Blue Ridge Mountains 9. The Parting Glass

All tracks (except as noted): Dodi Kallick – vocal, dulcimer 4: Dodi Kallick – vocal, guitar 9: Dodi Kallick - vocal All tracks (except as noted): The Midnight Special, WFMT, 1966 or 1969 7: with Hobart Smith (fiddle), 1963 8: Frank Proffitt Memorial concert - Old Town School Of Folk Music, 1966 KATHY KALLICK (guitar, vocal) with 1. MOLLY TUTTLE: Put My Little Shoes Away MT: guitar, vocal 2. TRISTAN SCROGGINS: Sittin' On Top of the World TS: mandolin, vocal 3. CLIFF PERRY & LAUREL BLISS: Little Moses CP: guitar vocal; LB: dobro, vocal 4. JIM HURST: Jimmy Brown the Newsboy JH: guitar, vocal 5. KATHY KALLICK BAND: Footprints In the Snow Annie Staninec: fiddle; Tom Bekeny: mandolin; Greg Booth: banjo; Cary Black: bass 6. KKB + JUNIPER WALLER, RILEY THOMPSON, and PAUL SHELASKY: The Wild Side Of Life > It Wasn’t God Who Made Honky Tonk Angels KKB + JW: vocal; RT: vocal: PS: fiddle 7. ANNIE STANINEC: Handsome Molly AS: fiddle; KK: percussion (and no guitar) 8. MIKE COMPTON & JOE NEWBERRY: Farther Along MC: mandolin, vocal; JN: banjo, vocal 9. LAURIE LEWIS & SUZY THOMPSON: What Are They Doing In Heaven Today? LL: fiddle, vocal; ST: guitar, vocal

Kathy’s putting the finishing touches on an her second album of songs learned from her mother, Dodi Kallick. Unlike My Mother’s Voice, this one includes some performances by Dodi herself, mostly from The Midnight Special radio show in the 1960s. The new release also includes Kathy’s collaborations with Molly Tuttle; Mike Compton & Joe Newberry; Tristan Scroggins; Laurie Lewis & Suzy Thompson; Jim Hurst; Cliff Perry & Laurel Bliss; Juniper Waller & Riley Thompson; and others — including the mighty Kathy Kallick Band.

https://californiabluegrass.org/kathy-kallick-band-member-2022-teaching-gigs/

The post Put My Little Shoes Away from Kathy Kallick and Molly Tuttle appeared first on Bluegrass Today.

http://yasahentertainment.com/amp/put-my-little-shoes-away-from-kathy-kallick-and-molly-tuttle/

#Kathy Kallick Dodi Kallick cd

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gabryelc · 2 years

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🕸️░⠀⠀⠀Sριdᥱr-Pᥙᥒk✧༘﹆

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uravitys-kinhelp · 4 years

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Spider-Punk Icons

(Please credit me if you use these)

#spiderpunk #spiderman #spiderverse #marvel #marvel comics #marvel kin #spiderman kin #spiderpunk kin #icons #punk #scenecore #spiderverse comics #hobart brown #hobie brown #hobie brown kin #hobart brown kin #punkcore #self indulgent

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citizenscreen · 5 years

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You’ve probably heard that the schedule for the Turner Classic Movies Film Festival (TCMFF) 2019 was published earlier this week. TCMFF is scheduled for April 11-14 and this year’s theme is Follow Your Heart: Love at the Movies. As you can imagine, such a broad theme allows for all sorts of relationships in movies and in that sense the offerings don’t disappoint. There’s something for everyone – from traditional romance to bromance to love in pure evil form. What’s important is that for the 10th consecutive year, classic movie fans will have a love affair with movies in Hollywood.

As has become tradition on this blog I’ve put together my planned schedule for discussion sake. I tried to go a bit beyond my comfort level this year choosing new-to-me fare in more slots than ever before with a dear coming home at the end the festival. This will be my seventh year in Hollywood for this event and the excitement has not waned. There’s simply a lot to look forward to.

Also exciting is the fact that I will be playing a dual role at TCMFF 2019. I’ve mentioned my media credentials to cover TCMFF in the past and that is true again this year. In addition, I will also be one of about 30 Brand Ambassadors. I don’t know many details of this post yet, but follow me on social media and we’ll learn together.

Now to my picks…I hope some of you will chime in with yours. If you’re a blogger and publish a pre-TCMFF post be sure to leave me the link in the comments so I can include it in this post. I enjoy comparing people’s picks and think others do as well. Here we go…

Thursday, April 11

I’m betting the biggest crowd aside from Grauman’s for the official opening night feature, will be at the Egyptian for Howard Hawks’ enjoyable Gentlemen Prefer Blondes (1953) and its iconic images. Although I adore that movie, which features Marilyn Monroe in standout comedic form, I plan to attend the 35MM screening of Hobart Henley’s Night World (1932), which I’ve never seen. Sara Karloff, daughter of the legendary Boris Karloff, will do the introductory honors alongside writer Susan King. Spending some time at a Karloff speakeasy is simply too good to pass up and it’s a fantastic way to start the festival.

Next I’ll likely meet bunches of people I know at the Egyptian for the Nitrate screening of Irving Reis’ The Bachelor and the Bobbysoxer (1947) starring my love Cary Grant, the lovely Myrna Loy, and the popular Shirley Temple. This is the first of several movies featuring Cary Grant this weekend and I plan to stare at him every chance I get. Almost.

Friday, April 12

Friday morning poses a bit of a dilemma for me. There’s the film noir staple The Postman Always Rings Twice (1946) opposite pre-code Merrily We Go to Hell (1932) opposite Judy Garland’s only drama appearance in The Clock (1945) opposite the enjoyable High Society (1956). I decided on Dorothy Arzner’s pre-code featuring Sylvia Sydney, Fredric March and a pre-stardom Cary Grant. How can I go wrong with that combination?

Following that movie I’ll have a bit of time before the Club TCM presentation of The Descendants: Growing Up in Hollywood. This presentation may be as close as I’ll ever get to the idea of “Legacies” I’ve been hoping for, which calls for a panel of children of classic stars. In attendance at The Descendants presentation will be Cary Grant’s daughter, Jennifer. This means I’ll be one degree away from the greatest Hollywood has ever seen.

The next Friday block poses another slight problem. My choice of screening is Garson Kanin’s delightful, My Favorite Wife (1940) at the Egyptian, but skipping Sunrise: A Song of Two Humans (1927) is not easy. The reason I’m going to see Cary and Irene Dunne, besides the fact they’re wonderful, is due to the next screening, which will likely be a popular one.

For the 5:30 to 8:00 PM block on Friday I plan to watch the new-to-me Vanity Street (1932) directed by Nick Grinde followed by John Reinhardt’s Open Secret (1948). I think these two films will have long lines because the others screening in the slot are much newer movies. That means die-hard “old” movie lovers have my choices as their choices as well. Robert Wise’s beloved The Sound of Music (1965) is also screening in the slot and that eases my worries a bit.

Next I go to go see Jean Negulesco’s Road House (1948) starring Ida Lupino and Richard Widmark. The other movie I seriously considered in this slot is the premiere restoration of Anthony Mann’s Winchester ’73 (1950). Watching at least one important Western at the festival has become a tradition for me. If I skip Winchester the tradition will be broken, which is tough.

This year I am making it a point to attend at least one midnight screening and it looks like Joselito Rodríguez’s Santo Contra Cerebro Del Mal (1961) is the choice. It’s exciting to watch a movie in Spanish at TCMFF and, although I am familiar with the Santo superhero character, I’ve never seen one of his films. This should be a heck of a lot of fun.

Saturday, April 13

What hit me immediately upon perusing the Saturday morning line-up is that I might not make it into Grauman’s at all the entire festival. Can you imagine? One of the two golden age films screening at the historic theatre, Fred Zinnemann’s From Here to Eternity (1953) opens the day there, but I am going for science fiction and Rudolph Maté’s When Worlds Collide from 1951. The movie stars John Hoyt, Richard Derr, Barbara Rush, and Peter Hansen. Rush will be in attendance to introduce the film with Dennis Miller. I’ve had the pleasure of meeting Barbara Rush on a couple of occasions and she couldn’t be more down to Earth, a truly lovely person who will no doubt offer interesting tidbits about the making of When Worlds Collide.

From possible world annihilation I will venture into the jungles for the special presentation of the 85-year old Tarzan and His Mate (1984), the only directing outing by legendary art director, Cedric Gibbons. One of the first film courses I ever took was taught by a film historian and author obsessed with the nude swim scene and its artistry. I’ve seen it, of course, several times, but never on a big screen so this one is exciting.

Before you continue down my schedule, know that the rest of Saturday is a web of sacrifices for me. Foregoing a few screenings to ensure entrance in the ones I cannot miss is the order of this day. With that I continue…

Following Tarzan I’ll be visiting with Irene Dunne and Charles Boyer in Leo McCarey’s Love Affair (1939) celebrating its 80th anniversary. This will be introduced by Dana Delaney who is a great classics fan in her own right. Although I have no reservation about enjoying this film, which I haven’t seen in quite some time, it would not be my choice if not for the rest of the day’s offerings. For instance, I think I’d enjoy the Tom Mix Double Feature immensely and would attend that if not for Rowland Brown’s Blood Money (1933) hailed as “the ultimate pre-Code film” on the TCMFF page and I’ve never seen it. Blood Money follows in the next slot and if I see Tom Mix I won’t have time to get to it. That’s the deciding factor for me. I’ll also be truly sorry to miss the Hollywood Home Movies presentation at Club TCM yet again.

The worst block of the entire 2019 TCMFF for me as far as decisions go is the Saturday evening offerings after Blood Money. My good friend Laura of Laura’s Miscellaneous Musings mentioned the rarity that will be the screening of George Marshall’s Life Begins at 40 (1935) and she should know as she takes full advantage of the numerous classic screenings available in the Los Angeles area. The problem, my dears, is that if I go to Life Begins at 40 I won’t make it to what I believe will be an unforgettable experience, Mervyn LeRoy’s The Bad Seed (1956) poolside with Patty McCormack in attendance. I’m super excited about this one as I consider McCormack’s portrayal of Rhoda one of the all-time great child performances and an impressionable evil. That said, this decision comes at a great cost because while I’ll be watching this terrific film, Cary Grant and Ingrid Bergman, two stars that mean the world to me, will be Indiscreeting in a nearby theater. This actually hurts to think about, but this will be my first ever screening by the pool at the Roosevelt and I couldn’t look forward to it more.

Sunday, April 14

Another tough choice opens Sunday with Peter Lorre’s fantastic performance in Karl Freund’s Mad Love (1935) screening opposite George Cukor’s Holiday (1938), but in the end Cary Grant wins as does Diane Baker’s introduction. Touch one though.

My choice for this next block may change depending on the TBA. I’m hoping it’ll be Indiscreet in which case that’s where I’ll be. Barring that happening I may well forego movies and attend two Club TCM presentations in a row, which would be a first: Hollywood Love Stories and The Complicated Legacy of Gone With the Wind are both enticing and likely to be entertaining and informative.

Finally, I arrive at the end of the weekend with the two final screenings. These are no-brainer choices for me. The first is Clarence Brown’s A Woman of Affairs (1928), the third picture to team Greta Garbo and John Gilbert and their final silent film together. Present for the introduction will be Kevin Brownlow and Leonard Maltin. This screening will also be accompanied by a live orchestra performing a score composed and conducted by Carl Davis and it should be spectacular.

Now talk about thrilling. This will be a nitrate presentation of Irving Cummings’ The Dolly Sisters (1945) starring one of my idols, superstar Betty Grable and June Haver as famous vaudeville entertainers, Jenny and Rosie Dolly. This movie strays far from the real story of The Dolly Sisters who were known more for their dark beauty than for their talent, so if you’re looking for biographical drama look elsewhere. However, if enchanting entertainment, the wonderful fluff I adore that’s important enough to get a Carol Burnett parody, if what you’re after then look no further. This one means a lot to me. Remember, Betty Grable was my idea of the biggest star in the world. Oh oh…I may cry during this screening. With John Payne as Grable’s love and character greats S. Z. Sakall and Sig Ruman, The Dolly Sisters screening cannot come soon enough even though it ends my TCMFF 2019.

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There you have my picks and ideas on this year’s festival. It all adds up to 16 movies – a decent number for me – three Club TCM presentations, and numerous new experiences. I hope to run into you in Hollywood, but if not follow me on social media for the latest from TCMFF 2019.

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It’s always fun to compare notes with friends so I’m including links to a few other bloggers’ TCMFF picks. I love reading how everyone makes his/her decisions on such things and hope you do too. If your blog post is not included leave the link in the comments section and I’ll be happy to add it to this list.

Check out the choices of Pre-Code.Com

My Picks for #TCMFF 2019 You've probably heard that the schedule for the Turner Classic Movies Film Festival (TCMFF) 2019 was published earlier this week.

#TCM #TCM Classic Film Festival #TCMFF

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showlexsite · 4 years

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The 10 Best Places Getting Hitched In Australia

Amidst the chaos of organising a marriage – and prior to saying “i actually do” – partners need certainly to make the best and to be honest among the most difficult commitments of most: choosing the place. Dramatics apart, ask any bride-to-be and they’ll tell you that choosing the environment with this occasion that is momentous much simpler said than done! Not merely does the room need certainly to express you as a couple of, it requires to tick lots of containers – accommodation, amenities, meals, bar, damp climate choice (merely to name a couple of) – as well as it requires to be positively stunning (non-negotiable).

Therefore, whether you’re interested in that perfect country property or you’re following a relaxed coastal do, right here, we’ve rounded within the top ten places to have hitched in Australia.

1. Glenmore Nation Estate, Hunter Valley – NSW

Hunting for an exclusive, nation location that offers you as well as your visitors treatment that is five-star? Near the top of our list is Glenmore nation Estate – an ideal spot for the whimsical, yet bold bride.

Based in the Hunter Valley (yes, that is wine nation) an easy 3.5 hours north of Sydney, this location boasts nation charm having a luxurious side. Even though it’s close to nearby establishments, when you’re regarding the home it is like you’re in the center of nowhere – pure bliss!

Along with heralding several of the most tranquil views the valley is wearing offer, the location includes the artfully preserved and newly renovated homestead that rests eight and the classic nation barn that may hold around 100 guests. The setup that is ideal those that want the ease of keeping every thing within one destination (ceremony and reception) but still want that “wow factor”.

Owned and operated by the Crowne Plaza Hunter Valley, your wedding day is created better (a less strenuous) with meals and drink choices tailored for you by the finest in the biz. A devoted wedding coordinator is here that will help you curate the area to meet your requirements while making sure the afternoon is really as gorgeous as it’s unforgettable!

2. Luna Park, Milsons Point – NSW

Exactly just just What could possibly be more pleasurable compared to a trip on a rollercoaster, followed closely by a ceremony with a few of the greatest Sydney Harbour views being offered? When it comes to few that are looking for a place with a colour that is little a entire large amount of enjoyment, Luna Park the most iconic wedding venues around.

‘Brides on Rides’ apart (yes, that’s an inclusion), Luna Park is certainly not just fun and games. With a few stunning spaces readily available for hire, the waterfront park has a thing that will appeal to any or all.

Here’s an example: the mesmerising Crystal Ballroom. Along with its ceiling to floor windows overlooking the harbour, there’s small concern as to the reasons this will be probably the most popular wedding venues in Sydney.

3. The Brown Brothers Winery, Milawa – Victoria

Bubbles, bubbles and much more bubbles. Referred to as home of Australian prosecco, the Brown Brothers Winery is significantly more than a secondary hotspot, it is a magical location for those searching for a wedding location providing you with a straightforward and intimate outside experience – and did we mention the bubbles?

Having an unimpeded view of mt. Buffalo additionally the vineyard that is gorgeous, you’ll have your ceremony inside their recently restored barnyard, as well as perhaps also schedule a wine tasting within the celebrations!

4. The Fig Tree, Byron Bay – NSW

Byron Bay is definitely the location for those of you looking for the best escape that is relaxing. For similar explanation, the encompassing hinterland offers probably the most intimate wedding areas in Australia.

Ontop a mountain and boasting both mountain and lovely coastline views, The Fig Tree is certainly one such establishment. Called after the 150-year-old Moreton Bay Fig Tree on location, this place is classic and stylish with this relaxed bohemian vibe that Byron Bay is renowned for.

5. Loyal Hope Regarding The Valley, Brisbane – Queensland

Totally rejecting the concept that a wedding in a hallway is daggy and dated, Loyal Hope associated with the Valley may be the bride that is DIY fantasy!

Based in Brisbane’s fortitude valley, simply moments out of the bustle of busy James Street, this place is really as picturesque as it really is romantic. Think: whitewashed walls, beams of sun light, hardwood timber floorboards plus an emerald green art-deco design club that may move you to swoon.

With unique utilization of the room, partners may do as much or as low as they like. A blank canvas for you really to make your perfect, contemporary wedding.

6. The Langham, Melbourne – Victoria

Romance; beauty; grandeur: all terms that this quintessential luxury wedding location is well known for. Appropriate in the center of Melbourne, The Langham is actually for the bride that wants it all – after which some!

The Langham is luxury and bespoke at the same time from the Alto Room on the 25 th Floor with sweeping views of Melbourne’s city skyline and terrace to the Clarendon Ballroom (yes, BALLROOM) and Yarra Room with magnificent crystal chandeliers and French silk upholstered walls.

Our suggestion? Get married in the rooftop, then keep the reception inside their ballroom. Beverages, dinner, and dance shall be memorable in this resort.

7. Royal Botanic Gardens, Sydney – NSW

Whimsical and wonderful; there’s one thing therefore special about a garden wedding, and, as far gardens get, nothing quite even compares to the Royal Botanic Gardens in Sydney.

With a few vast yards for establishing marquees or even a reception that is picnic there’s a garden setting for every single few. The Gardens home is our pick that is top for yard wedding. This is certainly an amazing location you want to avoid wedding-stress if you’re dying to have a beautiful ceremony, but.

Peter Rowland’s specialist planners have already been preparing and providing weddings right here for over a decade; their all-inclusive packages suggest for you– from the budget to the flowers, they’ll take care of everything that they’ll manage every thing!

8. Museum Of Old And Brand Brand Brand New Art (MONA), Berriedale – Tasmania

Then the MONA is the wedding venue for you if your love for art comes a close second to your love for each other.

Situated only a brief ferry ride from Hobart, this attraction is just a feast when it comes to eyes. Not merely does it house a few of the best artworks of all time, nevertheless the architectural components of the structures are going to wow your friends and relatives – and then make for a few extremely impressive pictures.

Our choose? The Void: an area that sits 13 metres underground, and encased by way of A triassic-aged sandstone wall surface.

9. Nedlands Yacht Club, Perth – Western Australia

For couples interested in that perfect waterfront location regarding the west coast, take a look at Nedlands Yacht Club.

This venue is an idyllic choice for your summer wedding with its lush foreshore leading down to the banks of the Swan River in Nedlands.

The space which supports to an astonishing 500 people, could be utilised an array of means. Foodtrucks, dancefloor beneath the movie stars, marquee – the employees are versatile scandinavian online date and there to assist you produce magic that is pure!

10. Kingsford Homestead, Barossa Valley – Southern Australia

And, final but most certainly not least, a marriage place hitlist wouldn’t be complete with out a Barossa Valley addition. Using its jaw-dropping scenery, advanced vibe and exclusive nature, we couldn’t get passed away the Kingsford Homestead.

Just 45 minutes from Adelaide this amazing location is really one thing unique. Nonetheless, just providing up to a number that is select of every year, it really is one particular venues you ought to hop on – quickly!

Source: https://showlex.site/2020/03/17/the-10-best-places-getting-hitched-in-australia-8/

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somar78 · 4 years

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A Brief History of the Bricklin SV-1 – Everything You Need To Know

The Bricklin SV-1 – A Canadian Match for the Corvette

In April 1975 Car and Driver magazine had the opportunity to do a head to head test of the Chevrolet Corvette and a new Canadian built rival, the Bricklin SV-1. You can read the full May 1, 1975 test here, but in summary the performance of the two cars was near identical.

The Corvette had a North American rival that not only matched its performance, but which also matched it in terms of style and crowd gathering ability.

The Bricklin was looked upon with great interest by another prominent Detroit figure, John Z. DeLorean.

DeLorean found that he and Malcolm Bricklin could not form a business partnership so he went off to begin a project of his own: the car with gull-wing doors that he created was the one Doctor Emmett Brown turned into a “time machine with style” for the movie “Back to the Future” and it bore a striking resemblance to the Bricklin SV-1 with its gull-wing doors and clean angular styling.

The Bricklin SV-1 however could get to 88 miles per hour rather more quickly than the DeLorean thanks to its 220 hp V8 engine.

Plumbing Supplies And The Subaru 360

The story of the Bricklin SV-1 began as Malcom Bricklin dropped out of college and invested his time and talents into his father’s hardware and plumbing supplies franchise, which was based in Orlando, Florida. With his strong entrepreneurial skills Malcom managed to turn the family’s business into a multi-million dollar franchise of a chain of hardware stores and with such an elegant sufficiency of finance behind him, not to mention being flushed with success, he decided not to stop there but to see what other projects his Midas Touch might make possible.

By this time it was the mid 1960’s and to understand Malcom Bricklin’s next choice of project it is helpful to see his decision in the historical perspective – what was going on in the world at that time?

The 1956 Suez Crisis had shown people the ease with which their supplies of fuel could be threatened and in that period of post-war austerity the Suez Crisis caused the British government to reintroduce fuel rationing while in the US and Canada the idea that the future would herald the demise of the big American car and see its replacement with smaller and more economical modes of transport gained some traction.

This was the period in which the “bubble cars” from such makers as Heinkel and BMW Isetta became popular in Britain and Europe and even had a footprint in the United States: a young rock ‘n roll singer named Elvis Presley had been driving around in his Messerschmidt bubble car before his career took off.

In Britain this was the period that gave birth to the iconic Mini, and motor scooters also became fashionable with young people. Seeing these things Malcom Bricklin could see an opening for establishing a franchise business just like the one he’d just set up for hardware, but this time selling small cars and motor scooters.

He found a Japanese company – Fuji Heavy Industries – who were wanting to establish a foothold in the North American market – and who made the Fuji Rabbit motor scooter, and who also made the Subaru 360 micro car which was basically a bubble car with four wheels instead of three. So his next venture was to set up Subaru America and start selling franchises for those products.

While the Fuji Rabbit motor scooters sold like little hotcakes the Subaru 360 was dealt a death blow when the Chicago based “Consumer Guide” magazine reviewed the Subaru 360 and found it fared worse than anything else in crash tests, so they stated that it was “the most unsafe” automobile on the market. The little Subaru that had proved to be a perfect small car for Japan and her roads back in the mid-1960’s was way out of its depth on roads shared with the huge American cars and pickup trucks.

This led Malcom Bricklin to conclude, perhaps too hastily, that Subaru America had no future, and so he sold his interest in the company and with all that lovely investment capital burning a hole in his bank account he got thinking about how best to invest it in a new money-making venture.

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The “Safety Vehicle 1”

1965 had seen the publication of Ralph Nadar’s book “Unsafe at Any Speed” and it was in this environment that Malcom Bricklin began putting together his ideas for a car for the 1970’s. He seems to have reasoned that there would be little point in trying to produce a standard family car as the major manufacturers were already doing that and he could not be competitive. To begin in the car industry he needed a Halo automobile, and that meant a sports car.

He could create an exotic sports car and, just like Lotus Cars of Britain, he could make it economically on a small scale. Toyota were making their 2000GT, Mazda made their Cosmo, and Chevrolet the Corvette. He could do something similar but he needed an angle to make his car something different and desirable. Safety seemed to be high in the public interest at that time so he decided to build the Bricklin Safety Vehicle. This was to be a car that delivered what British car maker MG promised in their advertising for their sports cars – “Safety Fast”.

Bricklin established a new company, General Vehicles Inc. based in Phoenix, Arizona, and went looking for a suitable place to set up manufacturing. His research would ultimately take him to Canada, to the maritime province of New Brunswick, where the Premier Richard Hatfield would embrace the project as a way to provide employment for local workers.

With this in mind the provincial government would provide an initial subsidy of USD$4.5 million to get the first run of cars into production. Not only that but they would also provide an empty factory building and a promise to subsidize the worker’s wages.

As the project took shape two production facilities would be established in New Brunswick, one in St. John and a body construction works in Minto.

Design and Development: From Prototypes to Production

Malcom Bricklin got started on the concept and development of his new sports car in 1971. The original concept work was entrusted to Bruce Meyers of Meyers Manx fame but was transferred to a designer named Marshall Hobart who worked to perfect the design in collaboration with Richard Dean Sawitskas, who is best known by the name Dick Dean.

Dick Dean had become famous during the mid-late 1960’s, particularly because of his 1969 Shalako which made the cover of several magazines including Car & Driver, Rod & Custom, Motor Trend, Hot Rod, and Playboy. It was because of one of these cover stories that Malcolm Bricklin sought out Dick Dean to help with his car project.

Malcolm Bricklin’s initial idea was to make something a bit like a British Lotus in concept. It was to be powered by a four cylinder Opel engine and was to have a fully independent suspension to give it superb handling.

The four cylinder engine idea was scrapped quite early, presumably because the car’s performance would have been on a par with the Brazilian Volkswagen SP1 and SP2 “sports” cars which were notably under-powered. So a Chrysler “Slant Six” was installed instead. This Chrysler engine was the one used in the popular Chrysler Valiant sedan and it had an excellent reputation as well as being common. It was an engine that most mechanics would know how to fix, and for which parts were readily available.

The design was done in the conventional way for building a new production car; from clay mock-up models, and then the development and construction to create a running prototype. This first running prototype is interesting as it shows the nature of the original design concept. Dubbed the “Gray Ghost” because it was painted silver-gray this car mated the Chrysler engine to a four speed manual gearbox and also used a Datsun 510 rear differential and fully independent trailing arm rear suspension.

This combination would make that Bricklin prototype quite like the 1969 Datsun 240Z in terms of performance and handling potential. The car used a range of off the shelf parts from Datsun, Toyota and GM Opel and had a tilting steering wheel assembly from a Chrysler.

Malcolm Bricklin began working with Herb Grasse Design and Advanced Vehicles Concepts (AVC) of Michigan in 1972 to work from the “Gray Ghost” and re-engineer it into a production ready car. Significant in this process was the work of Tom Monroe who would go on to become the Chief Engineer of Bricklin’s company.

In this period AVC built seven of the next eight prototypes.

These prototypes provide a summary history of the re-engineering and development of what would become the production car.

The first of these was painted red and had a fiberglass body on a steel perimeter chassis. The engine used was an AMC 360 V8 which was later changed to an AMC six cylinder. This car did not use the Datsun 510 fully independent rear suspension but instead used a front and rear suspension from the AMC Hornet. This meant it had unequal “A” arms with coil springs and telescopic shock absorbers at the front and a live axle with semi-elliptic leaf springs at the rear. The brakes were also from the AMC Hornet and comprised discs at the front and drums at the rear.

The second also had a fiberglass body and was painted in yellow-ochre. This was the first prototype to have a fully fitted out interior. Its first engine was an AMC 360 which was then changed to a Ford 351 with automatic transmission. This car was later painted red.

The third was fitted with a red acrylic body and had an AMC 360 engine and automatic transmission.

The fourth had a white acrylic body and four speed manual transmission.

The fifth car was used for crash testing and had a white acrylic body and automatic transmission.

The sixth prototype was not completed but was only made as a chassis, frame, and “bird cage”.

The seventh was fitted with a “Suntan” acrylic body and automatic transmission.

The eighth and last prototype was made with an acrylic orange body and was used for crash/impact tests. This prototype was built by General Vehicle Incorporated (GVI).

The Bricklin SV-1 Production Cars

The production of the Bricklin SV-1 began in 1974 with 774 cars made. These cars were built on a steel perimeter chassis with a tubular steel cage around the passenger compartment to provide a safe cocoon for the occupants, and it was also fitted with an integral roll bar to provide roll-over protection.

This was a period in which it was thought that US regulators might ban convertible cars because of their lack of roll-over protection and Malcolm Bricklin’s team were doing all they knew to do to ensure their car would pass or exceed the most stringent safety regulations.

Much changed from the original concept of a lightweight sports car with a fully independent suspension. The engine grew from four cylinders, to six cylinders, to eight. To accommodate the power of the V8, and to use affordable “off the shelf” parts, the rear suspension was changed to a live axle with leaf springs. The original fiberglass body was changed to fiberglass with an acrylic top layer which had the color of the car molded in so the car did not need to be painted, and minor scratches could be buffed out.

The engine used in the first production Bricklin SV-1 was the AMC 360, a V8 that was used in the Jeep J-Series, Wagoneer SJ and Cherokee SJ, as well as being used in the AMC Rebel and Matador passenger cars of that era. This choice of engine was without doubt influenced by availability issues: GM would not have wanted to supply engines to a company that was going to build a car that was in direct competition with the Corvette for example.

The AMC 360 engine as fitted to the SV-1 had a displacement of 5,896.1 cc (359.8 cu. in.) and was fitted with a four barrel carburetor. When development of the SV-1 began in 1971 this engine had been producing 285-295 hp, but as emissions regulations came in during mid-1971 this was reduced to 220 hp.

Had the engine not been subject to those emissions restrictions the SV-1 would have had a 5.9 liter 285 hp V8 under the hood and would have been a lively little performer. As it was though the 220 hp V8 was an impressive feature of the SV-1: we can be sure it looked good when the hood was raised, that it sounded gorgeous, and that it performed nicely despite having 3,470 lb of car to haul around – the SV-1 was no lightweight and would have benefited greatly from extensive use of aluminum alloy – but steel was cheaper and much easier to weld.

For the early production cars the available gearbox was either a BorgWarner T-10 four speed manual or Chrysler Torque Command 3 speed automatic sending the power to a live rear axle with a ratio of 3.15:1 which was mounted on semi-elliptic leaf springs with telescopic shock absorbers. The front suspension was by unequal “A” arms with coil springs and telescopic shock absorbers. Brakes were 11″ vented discs at the front and 10″ drums at the rear providing a swept area of 328 square inches.

Being a “Safety Vehicle” the design team incorporated what were probably over-engineered impact bumpers front and rear. To their credit these bumpers were integrated into the body styling beautifully and were one of the starring aspects of the SV-1 design.

As a small scale production vehicle the designers of the SV-1 had to use off-the-shelf parts wherever possible and for the tail lights Herb Grasse decided to use the same tail light assembly as he had on his De Tomaso Pantera. This was a tail light set made by Italian company Carello and were also used on cars from Lamborghini and Maserati: so “off-the-shelf” can be pretty exotic.

Stylish, but more controversial was the decision to use gull-wing doors. Gull-wing doors were chosen ostensibly as a safety feature as the doors would not open into the passing traffic flow. They are also good for getting in and out of a vehicle in the limited space of a car-park. However, on the downside, a gull-wing door has to be lifted up rather than just swung open and so the weight of the door becomes an important factor.

Each gull-wing door of the SV-1 tipped the scales at around 90 lb, which was too heavy for a person to lift open unassisted. These gull-wing doors were power operated by a hydraulic system which made door opening push-button effortless, but which was noted for being slow. If the hydraulic system failed however opening the doors manually was very difficult and beyond the muscle power of many people.

A major drawback to the hydraulic system used in the SV-1 was that if one attempted to raise one door at the same time as lowering the other one it would cause the hydraulic pump to fail. This is a failing that should never have found its way into a production sports car, but it did.

In 1975 Bricklin was forced to change engines from the AMC 5.9 liter 220 hp V8 to a Ford 351 cu. in. (5.8 liter) small block Windsor V8 which was rated at 175 hp, that modest power being partly due to its breathing through a two barrel carburetor. Although this was a distinct drop in power by comparison with the AMC’s 220 hp we should consider that the Ford Windsor V8 had been the engine fitted to the Ford Mustang, Shelby Cobra and Sunbeam Tiger in various forms.

So although in the Bricklin of 1975 it was not an engine that would cause neck straining acceleration it was an engine that would have allowed for some significant tweaking. Carrol Shelby had his Windsor V8’s getting up to 390 hp. So the potential was there, but Bricklin were in financial trouble by that stage and were not going to be able to capitalize on that potential.

Murphy’s Law Manifests

Most readers will be aware of Murphy’s Law which tells us that “Nothing is as easy as it looks, everything takes longer than you expect, and if anything can go wrong it will, at the worst possible moment.” For those who aspire to building a sports car we should probably add “Everything will cost more than you expect.” And all of these things came to pass for the Bricklin SV-1 just as they had for the creators of the original Chevrolet Corvette.

As originally created the Bricklin SV-1 was intended to be a direct competitor to the Corvette and if things had gone according to plan it would have been. The cost estimates for the SV-1 originally predicted the car would sell for around USD$4,000. When it entered the market in 1974 the Bricklin actually cost USD$7,490, which was almost double the original price estimate.

By comparison in 1974 a base model Chevrolet Corvette sold for USD$6,082. The price of the SV-1 would continue to spiral upwards and by 1975 the Bricklin price was USD$9,980 and the base Corvette USD$6,810. Despite that Bricklin managed to establish more than 400 US dealerships and had thousands of cars on order at the time the company was forced into receivership.

The things that killed the Bricklin were the same things that killed many other automotive startups – poor quality workmanship, over pricing, and labor relations problems. The cars were built using mechanical parts made in the United States and so those parts posed no problems. At the St. John works the factory hands were tasked with the job of assembling the cars. This was the first point of difficulty as the quality of that assembly was sub-standard and this was particularly acute in the first year of production 1974.

The second major area of difficulty was the Minto body works where the problems encountered in getting the acrylic layer to bond with the fiberglass resulted in a wastage of about two thirds of panels produced. Bricklin brought in Archie Hamielec, an expert from the McMaster University of Hamilton, Ontario. With his help the wastage rate for panels was reduced to around a fifth of production, which was obviously a lot better than two thirds but still not ideal.

The final straw was that Bricklin was hiring workers in a place where unemployment was at around 25%. This must have meant he was getting a lot of unskilled and under-skilled labor. There is reported also the problem that when hunting season came a large portion of the workforce left work and went hunting, leaving the factory badly understaffed.

So to sum up, the Bricklin was not killed because it was an inferior design – although if you were 6 foot tall you’d be much better off with a Corvette – but it was killed off by problems related to labor, quality control, and unforeseen technical problems related to the bonding of the acrylic and fiberglass of the body panels.

Despite having a backlog of orders on the books Bricklin was forced into receivership in 1975 with the last few cars being built from remaining parts in 1976.

Bricklin SV-1 Specifications

Chassis and Body: Steel perimeter frame with roll bar and tube steel cage around the passenger compartment. Fuel tank protected on five sides against impact damage. Body made of fiberglass with a colored acrylic layer bonded to it obviating the need for painting. Colors available were Safety Orange, Safety Red, Safety Green, Safety White, and Safety Suntan.

Engines: For 1974; 5,896.1 cc (359.8 cu. in.) AMC 360 OHV V8 engine delivering 220 hp and 315 lb/ft of torque. For 1975 and the few cars made in 1976; Ford 351 Windsor 351 cu. in. (5,752 cc) OHV V8 delivering 175 hp and 286 lb/ft of torque.

Transmission: For the AMC 360 engine – BorgWarner T10 four speed manual gearbox (137 cars), Chrysler Torque Commander three speed automatic gearbox (635 cars). For the Ford 351 Windsor engine – Ford FMX thee speed automatic (approximately 2,100 cars). Rear live axle from AMC Hornet with final drive ratio of 3.15:1.

Suspension and Brakes: Suspension system taken from the AMC Hornet. Front; Unequal “A” arms with coil springs and telescopic shock absorbers. Rear; Hotchkiss live axle with semi-elliptic leaf springs and telescopic shock absorbers. Servo assisted braking system from the AMC Hornet. Front; 11″ vented discs. Rear; 10″ drums. Total swept area 328 square inches.

Steering: Recirculating ball sector and gear. Turning circle diameter 34′ wall to wall.

Wheels and Tires: 15″ Wheels wearing FR 60 x 15 tires. No provision for a spare tire.

Dimensions: Length 178.6″ (4,536 mm), Width 67.6″ (1,717 mm), Height 48.25″ (1,226 mm), Wheelbase 96.0″ (2,438 mm), Kerb weight 3,520 lb (1,597 kg), Fuel tank capacity 21 US gallons. Ground clearance 5.5″.

Performance: Standing quarter-mile 16.6 seconds (attaining 83.6 mph). Top speed 118 mph (190 km/hr).

The End of the Bricklin SV-1 Story

The Bricklin SV-1 was a pioneering automobile and like any trailblazer it contained features that were new, unfamiliar, and therefore features that would attract negative criticism from reviewers. One area of criticism was the thickness of the “A” pillars and general lack of visibility from within the vehicle.

This was caused by the integration of the cage around the passenger compartment and integral roll-bar and the aerodynamic body style. Nowadays cars are constructed with integral roll-over protection and commonly have air bags installed in the “A” pillars which makes them sufficiently thick that the blind spot created can obscure an entire car from view. This is something that drivers of modern cars are used to and have learned to compensate for, but that was not the case in 1974.

The Bricklin went to market as an unfinished prototype and suffered accordingly. It was created by a highly competent design team who got most things right – except for the mechanism for the gull-wing doors. Added to that the factory was staffed with workers who had mostly not worked on an automotive production line before and had to learn on the job. The resulting sub-standard workmanship would appear to have resulted from what would seem to be a lack in leadership, and a failure to train workers adequately. Financial pressures, including pressure to get cars rolling off the production line quickly, would seem to be the principal underlying cause behind putting an unfinished model into production in a factory that had been hastily established and staffed.

Nowadays the Bricklin SV-1 has a keen support network in the form of the Bricklin International Owners Club. Many of the surviving Bricklins have been stripped and completely restored and in that process the faults, including the gull-wing door mechanism, have been fixed so these restored cars are examples of what should have been, but wasn’t back then, but is perfected now.

The gull-wing door fix is the design creation of Terry Tanner and you can find more details from Bricklin Parts of Virginia.

Another good source for Bricklin SV-1 happiness is Big H Bricklin Parts and Service who are located in St. Louis, Missouri.

The Bricklin SV-1 appears on “worst cars” lists from time to time. From a design standpoint it doesn’t really belong on any “worst cars” list; the faults were in quality control and the need to cut costs during production. Had the money been there to give the car impeccable manufacturing quality control, sort out the door design, tweak up the suspension, and give the engine the Carrol Shelby treatment, a Bricklin could have been quite a machine. Which makes the Bricklin SV-1 a historic classic that is as yet largely undiscovered.

Perhaps its real moment of fame will come if the classic car collector market discovers it.

Photo Credits: Bricklin, Subaru America, Mecum Auctions.

The post A Brief History of the Bricklin SV-1 – Everything You Need To Know appeared first on Silodrome.

source https://silodrome.com/bricklin-sv-1-history/

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bhfineart · 5 years

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Monumental Painting by Emily Kame Kngwarreye in a First at Art Basel

In a first for Art Basel which concluded on 16 June 2019, paying for a stand at the world’s most prestigious art fair, has become somewhat easier (if you are accepted into the fair by the vetting committee in the first place – 290 this year from 34 different countries). Art Basel director Marc Spiegler announced in his press conference on the opening VIP day that square metre prices for smaller galleries are less than those paid by mega-galleries like Gagosian, Zwirner, Hauser & Wirth, Acquavella, Helly Nahmand and others.

[caption id="attachment_5755" align="alignleft" width="300"] In a first for Art Basel, Salon 94 partner Alissa Friedman presenting Emily Kame Kngwarreye’s Yam Dreaming 1996, acrylic on linen, 205 x 360 cm, at their Art Basel 2019 booth.[/caption]

Up until now all participating galleries have paid 830 francs (AUD $1,200) per square meter of exhibition space. From this year the price will depend on the size of the gallery’s stand. A 25 square meter stand will cost 760 francs (AUD$1,100) per square meter while a 124 meter stand will cost 905 francs (AUD $1,300) per square meter.

These galleries of course occupy the premium locations at the fair, but now perhaps the playing field has been levelled to some degree, as galleries that are not selling multi-million dollar artworks might be able to at least break even, if not profit from sales of the artists they represent.

The cost of general admission is 58 francs (AUD$85).

As Art Basel Hong Kong is now Australia’s nearest international art fair, one does not expect to see too many Aussies on the ground in Basel. Those spotted however included regular exhibitors at Art Basel Hong Kong Joanna Sullivan and Ursula Strumpf. Martin Browne, also of his namesake gallery, was present, as was Sydney art consultant Mark Hughes, and Felicity Johnson, director of Western Australia’s Art Collective WA, which represents some of the Western Australia’s finest artists.

It was exciting to see that Mother’s Tankstation with galleries in Dublin and London represent not just one, but two Australian artists, with their paintings now for international collectors on full display: Prudence Flint’s aloof women and Noel McKenna’s quirky take on our animal companions. A show of Prudence Flint’s work has also just opened in their Dublin Gallery (8 May to 29 June). Mother’s Tankstation considers the international market for both artists as strong and growing. In Australia, Prudence Flint is represented by Bett Gallery in Hobart and Australian Galleries in Sydney, while Noel McKenna is showing with Niagara Galleries in Melbourne and Darren Knight in Sydney.

It was announced to much fanfare that Simon Lee Gallery of London and New York now represents one of Australia’s most sought after contemporary artists Cressida Campbell. Her work was presented at Art Basel Hong Kong in 2018, so we were a little disappointed not to see any of her sublime woodcuts displayed at Simon Lee’s very large stand. But perhaps that is not so surprising, given her work is in such high demand in Australia and therefore in short supply.

Campbell’s work doesn’t look necessarily like a natural fit at Simon Lee Gallery against the very different style of say George Condo or Mel Bochner. However Kimberly Brown of their London Gallery pointed out that diversity was integral to the Simon Lee model and its success. Hopefully we will see an exhibition of her work in London soon.

Meanwhile with a slim supply of her work in commercial galleries – in Australia, Campbell is represented by Sophie Gannon in Melbourne and Philip Bacon Galleries in Brisbane, the auction room is helping out desperate collectors to a (small) degree. Lack of supply is pushing prices well above recent retail prices. Sotheby’s sold two large and important interior scenes by Campbell just recently: Interior with Sunflowers and Figs, 1998, sold for more than $200,000 incl. buyer’s premium in April this year, and in the same sale, her auction record was broken again by Interior with Wheat, 1996, selling for $256,000 IBP.

A major survey show of Campbell’s work is currently on at Hamilton Gallery in Victoria until 7th July.

Aboriginal art is having a major moment in time in New York, with Gagosian Gallery’s non-selling exhibition of comedian Steve Martin’s collection, and Sotheby’s first auction of Aboriginal Art ever in the US in New York is scheduled for November this year – a very exciting development for the Aboriginal art movement.

Spotting a large iconic Emily Kame Kngwarreye painting at Art Basel was however completely unexpected. It is quite possible that this is the first time that a work by perhaps Australia’s most outstanding Aboriginal artist has been shown in the premier commercial hub of the contemporary art world. The gallery exhibiting Yam Dreaming, 1996, 205 x 360 cm, is Salon 94, a gallery with three New York locations.

This is no co-incidence: Salon 94 represent two Aboriginal artists, Warlimpirrnga Tjapaltjarri and Yukultji Napangati whose serene Untitled, 2019, 152 x 121 cm is also on display at their Art Basel booth. The gallery has already shown both artists in New York to great acclaim: Warlimpirrnga in September and October 2015 and Yukultji from January to March this year.

Speaking with Salon 94 partner Alissa Friedman, her enthusiasm for these artists and Aboriginal art was obvious, but she said that it was a slow process spreading the appreciation of Aboriginal as contemporary art in this environment. If the number of photographs taken of the gloriously colourful Emily at the Salon 94 booth is any indication, this might happen sooner rather than later. The asking price for this very typical Emily at Art Basel is US$350,000 (AU$500,000).

Another Australian artist represented at Art Basel is Jemima Wyman, here courtesy of Commonwealth and Council Gallery Los Angeles, and in Australia the artist is with Milani Gallery in Brisbane and Sullivan + Strumpf in Sydney.

Meanwhile, very brisk business was being done with considerable numbers of multi-million USD / Euro / Swiss franc and GBP sales reported by Art Basel management. The top spot went to Gerhard Richter’s 1966 Versammlung (Gathering), which had been off market for 50 years and was sold for USD 20 million on Tuesday by David Zwirner Gallery. Lévy Gorvy sold Christopher Wool’s Untitled, 2004, for around USD 6 million, and Mark Grotjahn’s Untitled (Indian #2 Face 45.47), 2014 for around USD 5 million, amongst other million dollar sales such as an Alberto Giacometti Bronze from 1961 priced between USD 2-2.5 million. (In case you are wondering, this is actually how prices were communicated).

Skarstedt Gallery sold Richard Prince’s The Housewife and the Grocer, 1988, for USD 3 million, and a George Condo Man and Woman, 2019 for US$1.5 million.

We noticed Alexander Calder’s ethereal mobiles on prominent display at several galleries. If you are interested: they come with a hefty price tag, as Galerie Thomas (Munich) reported the sale of an untitled work from 1966 in the range of USD2 million. This makes something like David Hockney’s bold photographic drawings going for around USD 52,000 to USD60,000 look like comparative bargains, as sold through Pace/MacGill Gallery.

The vibe at this year’s Art Basel two VIP preview days was very buzzy. Buyers and sellers looked fully engaged and ready to spend, which seems to have translated according to the number of reported sales. Of course not all galleries are inclined to reveal their sales, and a noticeable absence from this list was Gagosian Gallery which does not even label the artworks exhibited – either you know your contemporary artists or you don’t.

High fashion was of course ever present, but with enormous ground to cover with close to 300 galleries, footwear always has to be carefully considered. Prada sneakers were a popular choice for ladies, whilst Tod’s suede loafers were the preferred shoes for many male art buyers, with the occasional Balenciaga super chunky sneaker making an appearance.

Art Basel makes Sydney Contemporary look like extremely good value, and visiting Art Basel makes us appreciate fully how lucky we are to have such a high quality contemporary art fair in Sydney which represents the best of Australian contemporary art, but at prices at a fraction of their international counterpart.

Exclusive article by David Hulme and Brigitte originally published in AASD.

Monumental Painting by Emily Kame Kngwarreye in a First at Art Basel is courtesy of: BH Fine Art

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