A few nice muscle car girls images I found:
Tatoo Girls
Image by aresauburn™
Tags:Cool, girls, images, muscle, today
Sunday, June 30, 2013
Cool Muscle Car Girls images today
Tags:Cool, girls, images, muscle, today
Cool Fast Cars Girls images today
Check out these fast cars girls images today:
KA6R6524-13-04-2008
Image by Geogan
Modified Motors Cork 2008 – Canon EOS-1D Mark II, f4, 1/160", ISO 800, 73mm, Auto
KA6R6584-13-04-2008
Image by Geogan
Modified Motors Cork 2008 – Canon EOS-1D Mark II, f4, 1/160", ISO 800, 31mm, Auto
KA6R7270-13-04-2008
Image by Geogan
Modified Motors Cork 2008 – Canon EOS-1D Mark II, f4, 1/125", ISO 800, 70mm, Auto
Tags:Cars, Cool, Fast, girls, images, today
Cool Car Girls images today
A few nice car girls images I found:
Salon 2011 Miss 33
Image by stef_dit_patoc
Please don’t use this image on websites, blogs or other media without my explicit permission. © 2011 "Patoc" . All rights reserved.
Cette photo est mise à disposition sous un contrat Creative Commons
Salon 2011 Miss 32
Image by stef_dit_patoc
Please don’t use this image on websites, blogs or other media without my explicit permission. © 2011 "Patoc" . All rights reserved.
Cette photo est mise à disposition sous un contrat Creative Commons
Tags:Cool, girls, images, today
Nice Nice Cars For Girls photos
Some cool nice cars for girls images today:
Bristol born Amelia Dyer – one of the most evil women who ever lived!
Image by brizzle born and bred
Amelia Elizabeth Dyer née Hobley (1838 – June 10, 1896) was the most prolific baby farm murderer of Victorian England. She was tried and hanged for one murder, but there is little doubt she was responsible for many more similar deaths—possibly 400 or more–over a period of perhaps twenty years.
Unlike many of her generation, Amelia Dyer was not the product of grinding poverty. She was born the youngest of five (with three brothers, Thomas, James and William, and a sister, Ann) in the small village of Pyle Marsh, just to the East of Bristol (now part of Bristol’s urban sprawl known as Pile Marsh), the daughter of a master shoemaker, Samuel Hobley, and Sarah Hobley née Weymouth.
maps.google.co.uk/maps?hl=en&q=pile+marsh+bristol&…
She learned to read and write and developed a love of literature and poetry. However, her somewhat privileged childhood was marred by the mental illness of her mother, caused by typhus. Amelia witnessed her mother’s violent fits and was obliged to care for her until she died raving in 1848. Researchers would later comment on the effect this had on Amelia, and also what it would teach Amelia about the signs exhibited by those who appear to lose their mind through illness.
After her mother’s death Amelia lived with an aunt in Bristol for a while, before serving an apprenticeship with a corset maker. Her father died in 1859, her eldest brother Thomas inheriting the family shoe business. In 1861, at the age of 24, Amelia became permanently estranged from at least one of her brothers, James, and moved into lodgings in Trinity Street, St Philips, Bristol BS2.
There she married George Thomas. George was 59 and they both lied about their ages on the marriage certificate to reduce the age gap. George deducted 11 years from his age and Amelia added 6 years to her age—many sources later reported this age as fact, causing much confusion.
The advertisement in the "Miscellaneous" column of the Bristol Times & Mirror newspaper was poignant.
"Wanted," it read, "respectable woman to take young child."
It was a sadly common request in Victorian Britain, where life was particularly hard for unmarried mothers.
The ad had been placed by 25-year-old Evelina Marmon, who two months earlier, in January 1896, had given birth in a boarding house in Cheltenham to a little girl she named Doris.
Evelina was a God-fearing farmer’s daughter who had gone astray, left the farm for city life and resorted to work as a barmaid in the saloon of the Plough Hotel, an old coaching inn.
With her blonde hair, busty figure and quick wit, she was popular with its male customers – though which one of them made her pregnant has gone unrecorded.
And now she was deserted, with a baby she loved but knew she could not bring up on her own.
She would have to find a foster home for little Doris – to have her "adopted out", in the language of the time – go back to work and hope in time to be able to reclaim her child.
Quite by chance, next to her own ad, was another: "Married couple with no family would adopt healthy child, nice country home. Terms, £10."
It seemed the answer to her prayers, and she quickly contacted the name at the bottom, a Mrs Harding.
From Oxford Road in Reading, Mrs Harding replied in ecstatic terms.
"I should be glad to have a dear little baby girl, one I could bring up and call my own."
She described her situation. "We are plain, homely people, in fairly good circumstances. I don’t want a child for money’s sake, but for company and home comfort.
"Myself and my husband are dearly fond of children. I have no child of my own. A child with me will have a good home and a mother’s love."
Mrs Harding sounded every bit the respectable, caring woman that Evelina hoped to find for Doris and she wrote at once begging her not to consider anyone else until they had met.
The reply came back: "Rest assured I will do my duty by that dear child. I will be a mother, as far as lies in my power.
"It is just lovely here, healthy and pleasant. There is an orchard opposite our front door." Evelina could visit whenever she wished.
The only issue between them was that Evelina really wanted to pay a weekly fee for her daughter to be looked after whereas Mrs Harding preferred – indeed, insisted on – a full adoption and a one-off payment in advance of £10, for which "I will take her entirely, and she shall be of no further expense to you".
Reluctantly, the desperate mother agreed, and a week later Mrs Harding, clutching "a good warm shawl to wrap round baby in the train for it is bitter cold", arrived in Cheltenham.
Evelina was surprised to discover that the woman she had been corresponding with was more elderly than she had expected and thick-set beneath her long cape. But she seemed affectionate as she swaddled little Doris in the shawl.
Evelina handed over a cardboard box of clothes she had packed – nappies, chemises, petticoats, frocks, nightgowns and a powder box – and the £10, and received in return a signed receipt.
She accompanied Mrs Harding to Cheltenham station and then on to Gloucester, where she stood weeping amid the choking steam on the platform as the 5.20pm train took her little girl away. She returned to her lodgings a broken woman.
A few days later, she had a letter from Mrs Harding saying all was well. Evelina wrote back straight away. She never received a reply.
Evelina and little Doris Marmon had fallen victim to one of the murkiest of all the many social evils in Britain just over a century ago – the "baby farmers".
Infant mortality was high and children’s lives were cheap. Many families in straitened circumstances were happy to dispose of an infant to a new home and not ask too many questions about where and to whom it was going.
Some, like Evelina, had every intention of retrieving their youngsters.
Others were just glad to see the back of them – one less mouth to feed, one less burden in the struggle to survive.
They were prey to the unscrupulous, the immoral and the murderous, and none was quite as chillingly evil as the "caring woman" to whom Doris had just been entrusted.
At £10 a pop, a career in baby farming was not to be sniffed at in the 19th century. Considered to be a nice little earner, Amelia Dyer got in on the act and became a refuge for unwanted babies or unmarried mums who couldn't cope with the scandal or afford to hold onto their children.
Problem was she couldn't be doing with actually looking after the children. No, she had far less honourable motives than helping people on her mind – she just wanted to pocket the money.
According to evidence held by Thames Valley Police plus reports, Dyer may have murdered as many as 50 babies. And those children would have amassed our dastardly Dyer around £500, which was a fortune in those days. But sometimes she struck even luckier if people were desperate to hush up the incident.
If the families in question had money, you were talking £50, even £80 a time. Doesn't sound much today, until you hear that the purchasing power of that £80 could have bagged you a small city car in today's terms.
Not bad thought our baby killer…for next to no work. For Dyer would throttle them, then dump the bodies and run: literally. She wouldn't hang around in one place long and had a number of aliases and addresses to foil the law.
Annoyingly, the baby farmer was had up for manslaughter at one point, but six months of hard labour sadly didn't deter her and some say her murder spree spanned as much as 20 years.
Thankfully, she was never able to enjoy all her spoils – for the evil Dyer had a calling card that was ultimately to give her away. She would strangle the children with white tape. But it was wrapping paper that led the police to her doorstep. A parcelled baby's body was hoiked out of the Thames and a 19th-century forensics team (yep, you read right) from the Reading police force identified an address faintly written on the paper. That address took them straight to Dyer and there they found the tell-tale thread, coupled with the stench of death.
It only took the body of just one baby to have her sent down for murder. If that case had failed there were another six in reserve (after they trawled the Thames and found more). If the police had needed it they could probably have found another six to boot.
But one was enough. Dyer was strung up for her evil child-killing ways, aged 57.
On May 22, 1896, Amelia Dyer appeared at the Old Bailey and pleaded guilty to one murder, that of Doris Marmon. Her family and associates testified at her trial that they had been growing suspicious and uneasy about her activities, and it emerged that Dyer had narrowly escaped discovery on several occasions. Evidence from a man who had seen and spoken to Dyer when she had disposed of the two bodies at Caversham Lock also proved significant. Her daughter had given graphic evidence that ensured Amelia Dyer’s conviction.
The only defence Dyer offered was insanity: she had been twice committed to asylums in Bristol. However, the prosecution argued successfully that her exhibitions of mental instability had been a ploy to avoid suspicion; both committals were said to have coincided with times when Dyer was concerned her crimes might have been exposed.
It took the jury only four and a half minutes to find her guilty. In her 3 weeks in the condemned cell, she filled five exercise books with her "last true and only confession". Visited the night before her execution by the chaplain and asked if she had anything to confess, she offered him her exercise books, saying, "isn’t this enough?" Curiously she was to appear as a witness in Polly’s trial for murder, set for a week after her own execution date. However it was ruled that Amelia was already legally dead once sentenced and that therefore her evidence would be inadmissible. Thus her execution was not delayed. On the eve of her execution Amelia heard that the charges against Polly had been dropped.
She was hanged by James Billington at Newgate Prison on Wednesday, June 10, 1896. Asked on the scaffold if she had anything to say, she said "I have nothing to say", just before being dropped at 9am precisely.
Unfortunately, not a few baby farmers took the cash and murdered the babies. The most notorious and prolific was Dyer. She was a trained nurse from Bristol who managed to continue her foul deeds by staying on the move, changing her name and other slippery tactics. Her orbit was the south west, in an area encompassing Somerset, Berkshire, Gloucestershire and Bristol. Her only connection to London was her trial and death. But London did have its own baby farm murderers, who included: Margaret Waters, convicted in 1870 of murdering five children in the Brixton area; Anna Chard-Williams of Barnes, the last woman to be hanged at Newgate, in 1899; partners in crime Annie Walters and Amelia Sach – the "Finchley Baby Farmers" – who were the first prisoners to be executed at the new Holloway Prison in 1903.
www.youtube.com/watch?v=Ub4ucjo9wmw
James Billington of Farnworth near Bolton in Lancashire (1847-1901).
Period on Home Office List – 1884-1901.
James Billington had a life long fascination with hanging and had unsuccessfully applied for Marwood’s post but managed to secure the Yorkshire hangman’s position. Like Henry Pierrepoint he was to found a dynasty of hangmen. James ran a barber shop in Farnworth when not engaged in executions. He executed 141 men and five women in England and Wales, at least one man in Ireland and three men in Scotland.
James’ first execution was at Armley Gaol in Leeds on the 26th of August 1884, when he hanged Joseph Laycock, a Sheffield hawker, for the murder of his wife and four children. Laycock was to have said just before being hanged, "You will not hurt me?" to which James Billington replied, "No, thaal nivver feel it, for thaal be out of existence i’ two minutes."
This execution was judged to be successful and he carried out a further seven hangings at Armley and one at York Castle before succeeding Berry as the executioner for London and the Home Counties in 1892 and then effectively working nationwide. His first commission outside Yorkshire was at Shepton Mallet on the 15th December 1891 where he hanged Henry Dainton for the murder of his wife at Bath
James Billington hanged 24 men and three women at Newgate prison, including Henry Fowler and Albert Milsom on the 9th of June 1896 for beating to death 79 year old widower Henry Smith.
Perhaps his most interesting execution was that of the poisoner, Dr. Thomas Neil Cream, on the 15th of November 1892, again at Newgate. Cream waited till the very last moment as he felt the mechanism under the trap begin to move, to utter the words, "I am Jack the…." It is highly unlikely that Cream could have been Jack the Ripper but it certainly caused a stir at the time.
He hanged Amelia Dyer at Newgate for the murder of four month old Doris Marmon, a baby who had been entrusted to her care, having received £10 to look after her. This particular form of murder was known as "Baby Farming" and it is thought that Dyer had murdered at least six other babies for money. Each baby had been strangled with white tape. As Mrs. Dyer said, that was how you could tell it was one of hers. At 57, she was the oldest woman to go to the gallows since 1843.
The last female hanging of the 19th century was that of Mary Ann Ansell at St. Albans prison on the 19th of July 1899. She was executed for the poisoning of her sister.
James Billington conducted Britain's first hanging of the 20th century, that of 33 year old Louise Masset at Newgate on the 9th of January 1900 for the murder of her illegitimate son. In all James Billington carried out 146 executions on England and Wales, including five women. His last job was at Strangeways prison in Manchester on December 3rd, 1901 the hanging of Patrick M’Kenna, who was to die for murdering his wife. James Billington died of severe bronchitis on the 13th of December 1901 and was succeeded by his two sons, William and John.
I should delete all of these
Image by stars alive
decided to give this a shot. saw something online about writing a list of 100 things you love about your boyfriend to show yourself and him how much you appreciate him.
this is on my bathroom door. i bet my parents really love this. haha.
Je voulus tout avoir
Image by Julie70
I have still in me some of that daring young girl
=================
That is me at 5. That was the time when, perhaps the last time in my life, I felt everything belongs to me. Happy with the life around me and no "soucies", worries.
It was taken in a tiny place, forest village, in a corner of the Carpathians Mountains, where lived my grand-parents from the side of my father, and him, until he had to go to school. It is called "Comandau or Komando" because before that place was lived by "people" (now 200 families), it was used by military to train recruits.
Towards 1890, an older jew went there and fell for the place, it is surounded by huge trees, on the top of the mountains, he decided to make a sawmill there, so the cut trees do not go away too cheap and only others profit from it.
He did bring workers and build them houses, not only caban comon for everyone. He wanted them to come with their familly and remain. At that time, not many had education, but he did bring also a school teachear and build a place where the children were taken care and given the first four classes, all together.
He encouraged others to come by also, so my grand-father came, young married, and opened a tiny shop. He did the assorted cooked pork meats together with his wife, they prepared everything and sold to the workers in the factory.
He had to go down by foot, because the place is 500 meters higher than the small "town" bellow. At that time, there was no road, no cars, no train. Slowly, a road (not asphalted even today) was build. And later, lot later, a train to transport the finished products, and seldom taken even some people.
With time, the sawmill was taken away from the original owner and fondator of the "village" and the bank whom he owned money sold it to another, who build a house with two stiries called even today "the castle". Of course, todays, normal houses are lot bigger and nicer looking, but not at that place.
My grand-father, Adolph, worked a lot, but then someone other came who sold directly for the workers and taken the money only the end of month when they were paid, and slowly pushed every other aside. By that time, Adolph was tired and ill, and almost could not walk. As much as I remember, he sit down (the time this photo was taken by me) looking. My grand mother took care of everything. And her daughter. Girls were not suposed to learn, so only my father, (the eldest son) was send, with great effort from them to internat.
I will not tell here all the story. But this was taken in 1940. Then the war arrived near us. We went to live in Cluj, Transylvania, then Hungary. And my father had taken his parents to live near us. In 1944 spring, the german SS come and decided to "clean" Hungary from its jews.
We hid, went away, my grand parents stay and my father believed no one in the big new city knows they were jews. But one neighbour knew and needed a flat for her youngly married daughter. So they ended up being taken. Adolph died on the train, in the animal wagon and as soon as they arrived in Auschwith, my grand mother, aount, young cousin my age too.
For years, I felt that if they would have left them alone, in their tiny place, they would lived, the people would hide them. Last year I went, after 60 years back there. Found the wonderfull familly whose name we had taken while hidding, they had given my father their own papers. They told me not one jew lives any more there, and that all were taken one morning and no one dared to tell them before, they were in danger. "My father was afraid to tell them, but gave them bred."
"They found even the children send to a school, far away" told me one of the woman I met there. And she did not seem to regret it. I asked. She answered : "that was the children of the owner who brought soldiers when the workers striked, the one who build himself a caste here." (the two story house) Even today, she did not have water in her house, and was writing the story of the village.
From that time one, I am happy my grand-parents did not remain there. They did not have to walk down the mountain, by foot, old, and ill. They were taken from the city.
And after I went to the scool, the mischief was a little bit taken out of me by my first teacher who liked to beet children and then, after the war by the realisation of what happened. So, here is the story that come out of me looking and that happy picture.
When my (first) husband had seen it, he told me: "I’ll marry you so you make me children like this one."
Tags:Cars, girls, Nice, photos
Nice Sexy Car Girl photos
Some cool sexy car girl images today:
Black-Morgan-Car__41464
Image by Public Domain Photos
Sexy Girl and Morgan Car – publicphoto.org/transportation/morgan-car/
Tags:girl, Nice, photos, Sexy
steve jobs rip Oh Wow! Oh Wow! Oh Wow!
A few nice sports cars for girls images I found:
steve jobs rip Oh Wow! Oh Wow! Oh Wow!
Image by safoocat
A Sister's Eulogy for Steve Jobs
By MONA SIMPSON
Published: October 30, 2011
SHAREI grew up as an only child, with a single mother. Because we were poor
and because I knew my father had emigrated from Syria, I imagined he looked
like Omar Sharif. I hoped he would be rich and kind and would come into our
lives (and our not yet furnished apartment) and help us. Later, after I'd
met my father, I tried to believe he'd changed his number and left no
forwarding address because he was an idealistic revolutionary, plotting a
new world for the Arab people.
Related
Opinion: The Genius of Jobs(October 30, 2011)Even as a feminist, my whole
life I'd been waiting for a man to love, who could love me. For decades, I'd
thought that man would be my father. When I was 25, I met that man and he
was my brother.
By then, I lived in New York, where I was trying to write my first novel. I
had a job at a small magazine in an office the size of a closet, with three
other aspiring writers. When one day a lawyer called me — me, the
middle-class girl from California who hassled the boss to buy us health
insurance — and said his client was rich and famous and was my long-lost
brother, the young editors went wild. This was 1985 and we worked at a
cutting-edge literary magazine, but I'd fallen into the plot of a Dickens
novel and really, we all loved those best. The lawyer refused to tell me my
brother's name and my colleagues started a betting pool. The leading
candidate: John Travolta. I secretly hoped for a literary descendant of
Henry James — someone more talented than I, someone brilliant without even
trying.
When I met Steve, he was a guy my age in jeans, Arab- or Jewish-looking and
handsomer than Omar Sharif.
We took a long walk — something, it happened, that we both liked to do. I
don't remember much of what we said that first day, only that he felt like
someone I'd pick to be a friend. He explained that he worked in computers.
I didn't know much about computers. I still worked on a manual Olivetti
typewriter.
I told Steve I'd recently considered my first purchase of a computer:
something called the Cromemco.
Steve told me it was a good thing I'd waited. He said he was making
something that was going to be insanely beautiful.
I want to tell you a few things I learned from Steve, during three distinct
periods, over the 27 years I knew him. They're not periods of years, but of
states of being. His full life. His illness. His dying.
Steve worked at what he loved. He worked really hard. Every day.
That's incredibly simple, but true.
He was the opposite of absent-minded.
He was never embarrassed about working hard, even if the results were
failures. If someone as smart as Steve wasn't ashamed to admit trying, maybe
I didn't have to be.
When he got kicked out of Apple, things were painful. He told me about a
dinner at which 500 Silicon Valley leaders met the then-sitting president.
Steve hadn't been invited.
He was hurt but he still went to work at Next. Every single day.
Novelty was not Steve's highest value. Beauty was.
For an innovator, Steve was remarkably loyal. If he loved a shirt, he'd
order 10 or 100 of them. In the Palo Alto house, there are probably enough
black cotton turtlenecks for everyone in this church.
He didn't favor trends or gimmicks. He liked people his own age.
His philosophy of aesthetics reminds me of a quote that went something like
this: "Fashion is what seems beautiful now but looks ugly later; art can be
ugly at first but it becomes beautiful later."
Steve always aspired to make beautiful later.
He was willing to be misunderstood.
Uninvited to the ball, he drove the third or fourth iteration of his same
black sports car to Next, where he and his team were quietly inventing the
platform on which Tim Berners-Lee would write the program for the World Wide
Web.
Steve was like a girl in the amount of time he spent talking about love.
Love was his supreme virtue, his god of gods. He tracked and worried about
the romantic lives of the people working with him.
Whenever he saw a man he thought a woman might find dashing, he called out,
"Hey are you single? Do you wanna come to dinner with my sister?"
I remember when he phoned the day he met Laurene. "There's this beautiful
woman and she's really smart and she has this dog and I'm going to marry her
"
When Reed was born, he began gushing and never stopped. He was a physical
dad, with each of his children. He fretted over Lisa's boyfriends and Erin's
travel and skirt lengths and Eve's safety around the horses she adored.
None of us who attended Reed's graduation party will ever forget the scene
of Reed and Steve slow dancing.
His abiding love for Laurene sustained him. He believed that love happened
all the time, everywhere. In that most important way, Steve was never ironic
never cynical, never pessimistic. I try to learn from that, still.
Steve had been successful at a young age, and he felt that had isolated him.
Most of the choices he made from the time I knew him were designed to
dissolve the walls around him. A middle-class boy from Los Altos, he fell in
love with a middle-class girl from New Jersey. It was important to both of
them to raise Lisa, Reed, Erin and Eve as grounded, normal children. Their
house didn't intimidate with art or polish; in fact, for many of the first
years I knew Steve and Lo together, dinner was served on the grass, and
sometimes consisted of just one vegetable. Lots of that one vegetable. But
one. Broccoli. In season. Simply prepared. With just the right, recently
snipped, herb.
Even as a young millionaire, Steve always picked me up at the airport. He'd
be standing there in his jeans.
When a family member called him at work, his secretary Linetta answered,
"Your dad's in a meeting. Would you like me to interrupt him?"
When Reed insisted on dressing up as a witch every Halloween, Steve, Laurene
Erin and Eve all went wiccan.
They once embarked on a kitchen remodel; it took years. They cooked on a
hotplate in the garage. The Pixar building, under construction during the
same period, finished in half the time. And that was it for the Palo Alto
house. The bathrooms stayed old. But — and this was a crucial distinction —
it had been a great house to start with; Steve saw to that.
This is not to say that he didn't enjoy his success: he enjoyed his success
a lot, just minus a few zeros. He told me how much he loved going to the
Palo Alto bike store and gleefully realizing he could afford to buy the best
bike there.
And he did.
Steve was humble. Steve liked to keep learning.
Once, he told me if he'd grown up differently, he might have become a
mathematician. He spoke reverently about colleges and loved walking around
the Stanford campus. In the last year of his life, he studied a book of
paintings by Mark Rothko, an artist he hadn't known about before, thinking
of what could inspire people on the walls of a future Apple campus.
Steve cultivated whimsy. What other C.E.O. knows the history of English and
Chinese tea roses and has a favorite David Austin rose?
He had surprises tucked in all his pockets. I'll venture that Laurene will
discover treats — songs he loved, a poem he cut out and put in a drawer —
even after 20 years of an exceptionally close marriage. I spoke to him every
other day or so, but when I opened The New York Times and saw a feature on
the company's patents, I was still surprised and delighted to see a sketch
for a perfect staircase.
With his four children, with his wife, with all of us, Steve had a lot of
fun.
He treasured happiness.
Then, Steve became ill and we watched his life compress into a smaller
circle. Once, he'd loved walking through Paris. He'd discovered a small
handmade soba shop in Kyoto. He downhill skied gracefully. He cross-country
skied clumsily. No more.
Eventually, even ordinary pleasures, like a good peach, no longer appealed
to him.
Yet, what amazed me, and what I learned from his illness, was how much was
still left after so much had been taken away.
I remember my brother learning to walk again, with a chair. After his liver
transplant, once a day he would get up on legs that seemed too thin to bear
him, arms pitched to the chair back. He'd push that chair down the Memphis
hospital corridor towards the nursing station and then he'd sit down on the
chair, rest, turn around and walk back again. He counted his steps and, each
day, pressed a little farther.
Laurene got down on her knees and looked into his eyes.
"You can do this, Steve," she said. His eyes widened. His lips pressed into
each other.
He tried. He always, always tried, and always with love at the core of that
effort. He was an intensely emotional man.
I realized during that terrifying time that Steve was not enduring the pain
for himself. He set destinations: his son Reed's graduation from high school
his daughter Erin's trip to Kyoto, the launching of a boat he was building
on which he planned to take his family around the world and where he hoped
he and Laurene would someday retire.
Even ill, his taste, his discrimination and his judgment held. He went
through 67 nurses before finding kindred spirits and then he completely
trusted the three who stayed with him to the end. Tracy. Arturo. Elham.
One time when Steve had contracted a tenacious pneumonia his doctor forbid
everything — even ice. We were in a standard I.C.U. unit. Steve, who
generally disliked cutting in line or dropping his own name, confessed that
this once, he'd like to be treated a little specially.
I told him: Steve, this is special treatment.
He leaned over to me, and said: "I want it to be a little more special."
Intubated, when he couldn't talk, he asked for a notepad. He sketched
devices to hold an iPad in a hospital bed. He designed new fluid monitors
and x-ray equipment. He redrew that not-quite-special-enough hospital unit.
And every time his wife walked into the room, I watched his smile remake
itself on his face.
For the really big, big things, you have to trust me, he wrote on his
sketchpad. He looked up. You have to.
By that, he meant that we should disobey the doctors and give him a piece of
ice.
None of us knows for certain how long we'll be here. On Steve's better days,
even in the last year, he embarked upon projects and elicited promises from
his friends at Apple to finish them. Some boat builders in the Netherlands
have a gorgeous stainless steel hull ready to be covered with the finishing
wood. His three daughters remain unmarried, his two youngest still girls,
and he'd wanted to walk them down the aisle as he'd walked me the day of my
wedding.
We all — in the end — die in medias res. In the middle of a story. Of many
stories.
I suppose it's not quite accurate to call the death of someone who lived
with cancer for years unexpected, but Steve's death was unexpected for us.
What I learned from my brother's death was that character is essential: What
he was, was how he died.
Tuesday morning, he called me to ask me to hurry up to Palo Alto. His tone
was affectionate, dear, loving, but like someone whose luggage was already
strapped onto the vehicle, who was already on the beginning of his journey,
even as he was sorry, truly deeply sorry, to be leaving us.
He started his farewell and I stopped him. I said, "Wait. I'm coming. I'm in
a taxi to the airport. I'll be there."
"I'm telling you now because I'm afraid you won't make it on time, honey."
When I arrived, he and his Laurene were joking together like partners who'd
lived and worked together every day of their lives. He looked into his
children's eyes as if he couldn't unlock his gaze.
Until about 2 in the afternoon, his wife could rouse him, to talk to his
friends from Apple.
Then, after awhile, it was clear that he would no longer wake to us.
His breathing changed. It became severe, deliberate, purposeful. I could
feel him counting his steps again, pushing farther than before.
This is what I learned: he was working at this, too. Death didn't happen to
Steve, he achieved it.
He told me, when he was saying goodbye and telling me he was sorry, so sorry
we wouldn't be able to be old together as we'd always planned, that he was
going to a better place.
Dr. Fischer gave him a 50/50 chance of making it through the night.
He made it through the night, Laurene next to him on the bed sometimes
jerked up when there was a longer pause between his breaths. She and I
looked at each other, then he would heave a deep breath and begin again.
This had to be done. Even now, he had a stern, still handsome profile, the
profile of an absolutist, a romantic. His breath indicated an arduous
journey, some steep path, altitude.
He seemed to be climbing.
But with that will, that work ethic, that strength, there was also sweet
Steve's capacity for wonderment, the artist's belief in the ideal, the still
more beautiful later.
Steve's final words, hours earlier, were monosyllables, repeated three times
Before embarking, he'd looked at his sister Patty, then for a long time at
his children, then at his life's partner, Laurene, and then over their
shoulders past them.
Steve's final words were:
OH WOW. OH WOW. OH WOW. "So as the clock ticked and the day passed, opportunity met preparation, and luck happened." – Maurice Clarett
Racheal Taylor
Image by Eva Rinaldi Celebrity and Live Music Photographer
Any Questions for Ben? Premiere In Sydney, Australia
The Sydney premiere of the rom com Any Questions For Ben? enjoyed its premiere in Sydney, Australia tonight.
The weather was wet, but the atmosphere was warm.
With a big name and ultra talented cast, this movie is set to do extremely well in a tough market.
St George Open Air Cinema was the venue for the premiere showing, and actress Rachael Taylor did the honours, coming back to Australia especially for the promos.
Promo
For 27-year-old Ben (Josh Lawson), life couldn't be better. A well paid job, friends, parties, girls and nothing to tie him down. But when he is invited back to his old school to join several other ex-students including Alex (Rachael Taylor) and Jim (Ed Kavalee) in talking about their personal achievements, something goes wrong. Ben is the only speaker not to be asked a question by the school kids. This triggers a year of soulsearching and looking for answers in all the wrong places.
From his best friend Andy (Christian Clark) whose solution is that they both take another holiday, to his mentor Sam (Lachy Hulme) who loans him a sports car in the belief that there's nothing like excessive speed to resolve emotional turmoil. Not even Ben's father (Rob Carlton) or friends Nick (Daniel Henshall) and Em (Felicity Ward) can offer much in the way of meaningful guidance.
Of course, it's not easy seeking enlightenment in nightclubs, or on the ski fields of New Zealand, and when you start dating a Russian tennis star things can get really complicated. As the poster boy for a generation desperate to tick every box, Ben begins to suspect that the meaning of life may well reside in the things he’s already doing – and a girl he used to know.
Stars: Josh Lawson, Rachael Taylor, Daniel Henshall, Felicity Ward, Christian Clark, Jodi Gordon
Director: Rob Sitch
Distributor: Roadshow Films
Cinema Release: 9 Feb 2012
Websites
Village Roadshow Australia
www.village.com.au
St George Open Air Cinema
www.stgeorgeopenair.com.au
Working Dog
www.workingdog.com
Eva Rinaldi Photography Flickr
www.flickr.com/evarinaldiphotography
Eva Rinaldi Photography
www.evarinaldi.com
Music News Australia
www.musicnewsaustralia.com
Tags:jobs, Steve
Saturday, June 29, 2013
Cool Car images today
A few nice car images I found:
Old Jaguar E-type sports car: hubcap sprocket text “UNDO –> RIGHT (OFF) SIDE”
Image by Chris Devers
Quoting from Wikipedia: Jaguar E-Type:
• • • • •
The Jaguar E-Type (UK) or XK-E (US) is a British automobile manufactured by Jaguar between 1961 and 1974. Its combination of good looks, high performance, and competitive pricing established the marque as an icon of 1960s motoring. A great success for Jaguar, over seventy thousand E-Types were sold during its lifespan.
In March 2008, the Jaguar E-Type ranked first in Daily Telegraph list of the "100 most beautiful cars" of all time.[2] In 2004, Sports Car International magazine placed the E-Type at number one on their list of Top Sports Cars of the 1960s.
Contents
• 1 Overview
• 2 Concept versions
•• 2.1 E1A (1957)
•• 2.2 E2A (1960)
• 3 Production versions
•• 3.1 Series 1 (1961-1968)
•• 3.2 Series 2 (1969-1971)
•• 3.3 Series 3 (1971-1975)
• 4 Limited edtions
•• 4.1 Low Drag Coupé (1962)
•• 4.2 Lightweight E-Type (1963-1964)
• 5 Motor Sport
• 6 See also
• 7 References
• 8 External links
Overview
The E-Type was initially designed and shown to the public as a grand tourer in two-seater coupé form (FHC or Fixed Head Coupé) and as convertible (OTS or Open Two Seater). The 2+2 version with a lengthened wheelbase was released several years later.
On its release Enzo Ferrari called it "The most beautiful car ever made".
The model was made in three distinct versions which are now generally referred to as "Series 1", "Series 2" and "Series 3". A transitional series between Series 1 and Series 2 is known unofficially as "Series 1½".
In addition, several limited-edition variants were produced:
• The "’Lightweight’ E-Type" which was apparently intended as a sort of follow-up to the D-Type. Jaguar planned to produce 18 units but ultimately only a dozen were reportedly built. Of those, one is known to have been destroyed and two others have been converted to coupé form. These are exceedingly rare and sought after by collectors.
• The "Low Drag Coupé" was a one-off technical exercise which was ultimately sold to a Jaguar racing driver. It is presently believed to be part of the private collection of the current Viscount Cowdray.
Concept versions
E1A (1957)
After their success at LeMans 24 hr through the 1950s Jaguars defunct racing department were given the brief to use D-Type style construction to build a road going sports car, replacing the XK150.
It is suspected that the first prototype (E1A) was given the code based on: (E): The proposed production name E-Type (1): First Prototype (A): Aluminium construction (Production models used steel bodies)
The car featured a monocoque design, Jaguar’s fully independent rear suspension and the well proved "XK" engine.
The car was used solely for factory testings and was never formally released to the public. The car was eventually scrapped by the factory
E2A (1960)
Jaguar’s second E-Type concept was E2A which unlike E1A was constructed from a steel chassis and used a aluminium body. This car was completed as a race car as it was thought by Jaguar at the time it would provide a better testing ground.
E2A used a 3 litre version of the XK engine with a Lucas fuel injection system.
After retiring from the LeMans 24 hr the car was shipped to America to be used for racing by Jaguar privateer Briggs Cunningham.
In 1961 the car returned to Jaguar in England to be used as a testing mule.
Ownership of E2A passed to Roger Woodley (Jaguars customer competition car manager) who took possession on the basis the car not be used for racing. E2A had been scheduled to be scrapped.
Roger’s wife Penny Griffiths owned E2A until 2008 when it was offered for sale at Bonham’s Quail Auction. Sale price was US.5 million
Production versions
Series 1 (1961-1968)
Series I
• Body style(s)
2-door coupe
2-door 2+2 coupe
2-door convertible
• Engine(s)
3.8 L XK I6
4.2 L XK I6
• Wheelbase
96.0 in (2438 mm) (FHC / OTS)
105.0 in (2667 mm) (2+2) [5]
• Length
175.3125 in (4453 mm) (FHC / OTS)
184.4375 in (4685 mm) (2+2) [5]
• Width
65.25 in (1657 mm) (all) [5]
• Height
48.125 in (1222 mm) (FHC)
50.125 in (1273 mm) (2+2)
46.5 in (1181 mm) (OTS)[5]
• Curb weight
2,900 lb (1,315 kg) (FHC)
2,770 lb (1,256 kg) (OTS)
3,090 lb (1,402 kg) (2+2) [6]
• Fuel capacity
63.64 L (16.8 US gal; 14.0 imp gal)[5]
The Series 1 was introduced, initially for export only, in March 1961. The domestic market launch came four months later in July 1961.[7] The cars at this time used the triple SU carburetted 3.8 litre 6-cylinder Jaguar XK6 engine from the XK150S. The first 500 cars built had flat floors and external hood (bonnet) latches. These cars are rare and more valuable. After that, the floors were dished to provide more leg room and the twin hood latches moved to inside the car. The 3.8 litre engine was increased to 4.2 litres in October 1964.[7]
All E-Types featured independent coil spring rear suspension with torsion bar front ends, and four wheel disc brakes, in-board at the rear, all were power-assisted. Jaguar was one of the first auto manufacturers to equip cars with disc brakes as standard from the XK150 in 1958. The Series 1 can be recognised by glass covered headlights (up to 1967), small "mouth" opening at the front, signal lights and tail-lights above bumpers and exhaust tips under the licence plate in the rear.
3.8 litre cars have leather-upholstered bucket seats, an aluminium-trimmed centre instrument panel and console (changed to vinyl and leather in 1963), and a Moss 4-speed gearbox that lacks synchromesh for 1st gear ("Moss box"). 4.2 litre cars have more comfortable seats, improved brakes and electrical systems, and an all-synchromesh 4-speed gearbox. 4.2 litre cars also have a badge on the boot proclaiming "Jaguar 4.2 Litre E-Type" (3.8 cars have a simple "Jaguar" badge). Optional extras included chrome spoked wheels and a detachable hard top for the OTS.
An original E-Type hard top is very rare, and finding one intact with all the chrome, not to mention original paint in decent condition, is rather difficult. For those who want a hardtop and aren’t fussy over whether or not it is an original from Jaguar, several third parties have recreated the hardtop to almost exact specifications. The cost ranges anywhere from double to triple the cost of a canvas/vinyl soft top.
A 2+2 version of the coupé was added in 1966. The 2+2 offered the option of an automatic transmission. The body is 9 in (229 mm) longer and the roof angles are different with a more vertical windscreen. The roadster remained a strict two-seater.
There was a transitional series of cars built in 1967-68, unofficially called "Series 1½", which are externally similar to Series 1 cars. Due to American pressure the new features were open headlights, different switches, and some de-tuning (with a downgrade of twin Zenith-Stromberg carbs from the original triple SU carbs) for US models. Some Series 1½ cars also have twin cooling fans and adjustable seat backs. Series 2 features were gradually introduced into the Series 1, creating the unofficial Series 1½ cars, but always with the Series 1 body style.
Less widely known, there was also right at the end of Series 1 production and prior to the transitional "Series 1½" referred to above, a very small number of Series 1 cars produced with open headlights.[8] These are sometimes referred to as "Series 1¼" cars.[9] Production dates on these machines vary but in right hand drive form production has been verified as late as March 1968.[10] It is thought that the low number of these cars produced relative to the other Series make them amongst the rarest of all production E Types.
An open 3.8 litre car, actually the first such production car to be completed, was tested by the British magazine The Motor in 1961 and had a top speed of 149.1 mph (240.0 km/h) and could accelerate from 0-60 mph (97 km/h) in 7.1 seconds. A fuel consumption of 21.3 miles per imperial gallon (13.3 L/100 km; 17.7 mpg-US) was recorded. The test car cost £2097 including taxes.[11]
Production numbers from Graham[12]:
• 15,490 3.8s
• 17,320 4.2s
• 10,930 2+2s
Production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Series 2 (1969-1971)
Series II
• Body style(s)
2-door coupe
2-door 2+2 coupe
2-door convertible
• Curb weight
3,018 lb (1,369 kg) (FHC)
2,750 lb (1,247 kg) (OTS)
3,090 lb (1,402 kg) (2+2) [6]
Open headlights without glass covers, a wrap-around rear bumper, re-positioned and larger front indicators and taillights below the bumpers, better cooling aided by an enlarged "mouth" and twin electric fans, and uprated brakes are hallmarks of Series 2 cars. De-tuned in US, but still with triple SUs in the UK, the engine is easily identified visually by the change from smooth polished cam covers to a more industrial ‘ribbed’ appearance. Late Series 1½ cars also had ribbed cam covers. The interior and dashboard were also redesigned, with rocker switches that met U.S health and safety regulations being substituted for toggle switches. The dashboard switches also lost their symmetrical layout. New seats were fitted, which purists claim lacked the style of the originals but were certainly more comfortable. Air conditioning and power steering were available as factory options.
Production according to Graham[12] is 13,490 of all types.
Series 2 production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Official delivery numbers by market and year are listed in Porter[3] but no summary totals are given.
Series 3 (1971-1975)
Series III
• Production
1971–1975
• Body style(s)
2-door 2+2 coupe
2-door convertible
• Wheelbase
105 in (2667 mm) (both)[6]
• Length
184.4 in (4684 mm) (2+2)
184.5 in (4686 mm) (OTS)[6]
• Width
66.0 in (1676 mm) (2+2)
66.1 in (1679 mm) (OTS)[6]
• Height
48.9 in (1242 mm) (2+2)
48.1 in (1222 mm) (OTS)[6]
• Curb weight
3,361 lb (1,525 kg) (2+2)
3,380 lb (1,533 kg) (OTS)[6]
• Fuel capacity
82 L (21.7 US gal; 18.0 imp gal)[14]
A new 5.3 L 12-cylinder Jaguar V12 engine was introduced, with uprated brakes and standard power steering. The short wheelbase FHC body style was discontinued and the V12 was available only as a convertible and 2+2 coupé. The convertible used the longer-wheelbase 2+2 floorplan. It is easily identifiable by the large cross-slatted front grille, flared wheel arches and a badge on the rear that proclaims it to be a V12. There were also a very limited number of 4.2 litre six-cylinder Series 3 E-Types built. These were featured in the initial sales literature. It is believed these are the rarest of all E-Types of any remaining.
In 2008 a British classic car enthusiast assembled what is surely the last ever E-Type from parts bought from the end-of-production surplus in 1974.[15]
Graham[12] lists production at 15,290.
Series 3 production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Limited edtions
Two limited production E-Type variants were made as test beds, the Low Drag Coupe and Lightweight E-Type, both of which were raced:
Low Drag Coupé (1962)
Shortly after the introduction of the E-Type, Jaguar management wanted to investigate the possibility of building a car more in the spirit of the D-Type racer from which elements of the E-Type’s styling and design were derived. One car was built to test the concept designed as a coupé as its monocoque design could only be made rigid enough for racing by using the "stressed skin" principle. Previous Jaguar racers were built as open-top cars because they were based on ladder frame designs with independent chassis and bodies. Unlike the steel production E-Types the LDC used lightweight aluminium. Sayer retained the original tub with lighter outer panels riveted and glued to it. The front steel sub frame remained intact, the windshield was given a more pronounced slope and the rear hatch welded shut. Rear brake cooling ducts appeared next to the rear windows,and the interior trim was discarded, with only insulation around the transmission tunnel. With the exception of the windscreen, all cockpit glass was plexi. A tuned version of Jaguar’s 3.8 litre engine with a wide angle cylinder-head design tested on the D-Type racers was used. Air management became a major problem and, although much sexier looking and certainly faster than a production E-Type, the car was never competitive: the faster it went, the more it wanted to do what its design dictated: take off.
The one and only test bed car was completed in summer of 1962 but was sold a year later to Jaguar racing driver Dick Protheroe who raced it extensively and eventually sold it. Since then it has passed through the hands of several collectors on both sides of the Atlantic and now is believed to reside in the private collection of the current Viscount Cowdray.
Lightweight E-Type (1963-1964)
In some ways, this was an evolution of the Low Drag Coupé. It made extensive use of aluminium alloy in the body panels and other components. However, with at least one exception, it remained an open-top car in the spirit of the D-Type to which this car is a more direct successor than the production E-Type which is more of a GT than a sports car. The cars used a tuned version of the production 3.8 litre Jaguar engine with 300 bhp (224 kW) output rather than the 265 bhp (198 kW) produced by the "ordinary" version. At least one car is known to have been fitted with fuel-injection.
The cars were entered in various races but, unlike the C-Type and D-Type racing cars, they did not win at Le Mans or Sebring.
Motor Sport
Bob Jane won the 1963 Australian GT Championship at the wheel of an E-Type.
The Jaguar E-Type was very successful in SCCA Production sports car racing with Group44 and Bob Tullius taking the B-Production championship with a Series-3 V12 racer in 1975. A few years later, Gran-Turismo Jaguar from Cleveland Ohio campaigned a 4.2 L 6 cylinder FHC racer in SCCA production series and in 1980, won the National Championship in the SCCA C-Production Class defeating a fully funded factory Nissan Z-car team with Paul Newman.
See also
• Jaguar XK150 – predecessor to the E-Type
• Jaguar XJS – successor to the E-Type
• Jaguar XK8 – The E-Type’s current and spiritual successor
• Guyson E12 – a rebodied series III built by William Towns
References
• ^ Loughborough graduate and designer of E Type Jaguar honoured
• ^ 100 most beautiful cars
• ^ a b cPorter, Philip (2006). Jaguar E-type, the definitive history. p. 443. ISBN 0-85429-580-1.
• ^ a b"’69 Series 2 Jaguar E Types", Autocar, October 24, 1968
• ^ a b c d eThe Complete Official Jaguar "E". Cambridge: Robert Bentley. 1974. p. 12. ISBN 0-8376-0136-3.
• ^ a b c d e f g"Jaguar E-Type Specifications". http://www.web-cars.com/e-type/specifications.php. Retrieved 29 August 2009.
• ^ a b"Buying secondhand E-type Jaguar". Autocar 141 (nbr4042): pages 50–52. 6 April 1974.
• ^ See Jaguar Clubs of North America concourse information at: [1] and more specifically the actual Series 1½ concourse guide at [2]
• ^ Ibid.
• ^ Compare right hand drive VIN numbers given in JCNA concours guide referred to above with production dates for right hand drive cars as reflected in the XKEdata database at [3]
• ^"The Jaguar E-type". The Motor. March 22, 1961.
• ^ a b cRobson, Graham (2006). A–Z British Cars 1945–1980. Devon, UK: Herridge & Sons. ISBN 0-9541063-9-3.
• ^ a b chttp://www.xkedata.com/stats/. http://www.xkedata.com/stats/. Retrieved 29 August 2009.
• ^Daily Express Motor Show Review 1975 Cars: Page 24 (Jaguar E V12). October 1974.
• ^ jalopnik.com/5101872/british-man-cobbles-together-last-ja…
Car Kitchi Gammi Club plan
Image by Train Chartering & Private Rail Cars
The Kitchi Gammi Club rail car can be chartered / hired from Private Rail Cars.
A Sleeper/Buffet-Lounge/Observation; Car that still has its classic appointments and amenities of the early 20th Century while being operationally state-of-the-art.
Sleeping sections convert to table space during the day. A private bedroom is also available and the solarium lounge offers deluxe seating. Meals are prepared in the full kitchen. An ideal ‘classic’ for a family vacation, a group outing or a business meeting.
Old Jaguar E-type sports car: back fender & exhaust pipe array
Image by Chris Devers
Quoting from Wikipedia: Jaguar E-Type:
• • • • •
The Jaguar E-Type (UK) or XK-E (US) is a British automobile manufactured by Jaguar between 1961 and 1974. Its combination of good looks, high performance, and competitive pricing established the marque as an icon of 1960s motoring. A great success for Jaguar, over seventy thousand E-Types were sold during its lifespan.
In March 2008, the Jaguar E-Type ranked first in Daily Telegraph list of the "100 most beautiful cars" of all time.[2] In 2004, Sports Car International magazine placed the E-Type at number one on their list of Top Sports Cars of the 1960s.
Contents
• 1 Overview
• 2 Concept versions
•• 2.1 E1A (1957)
•• 2.2 E2A (1960)
• 3 Production versions
•• 3.1 Series 1 (1961-1968)
•• 3.2 Series 2 (1969-1971)
•• 3.3 Series 3 (1971-1975)
• 4 Limited edtions
•• 4.1 Low Drag Coupé (1962)
•• 4.2 Lightweight E-Type (1963-1964)
• 5 Motor Sport
• 6 See also
• 7 References
• 8 External links
Overview
The E-Type was initially designed and shown to the public as a grand tourer in two-seater coupé form (FHC or Fixed Head Coupé) and as convertible (OTS or Open Two Seater). The 2+2 version with a lengthened wheelbase was released several years later.
On its release Enzo Ferrari called it "The most beautiful car ever made".
The model was made in three distinct versions which are now generally referred to as "Series 1", "Series 2" and "Series 3". A transitional series between Series 1 and Series 2 is known unofficially as "Series 1½".
In addition, several limited-edition variants were produced:
• The "’Lightweight’ E-Type" which was apparently intended as a sort of follow-up to the D-Type. Jaguar planned to produce 18 units but ultimately only a dozen were reportedly built. Of those, one is known to have been destroyed and two others have been converted to coupé form. These are exceedingly rare and sought after by collectors.
• The "Low Drag Coupé" was a one-off technical exercise which was ultimately sold to a Jaguar racing driver. It is presently believed to be part of the private collection of the current Viscount Cowdray.
Concept versions
E1A (1957)
After their success at LeMans 24 hr through the 1950s Jaguars defunct racing department were given the brief to use D-Type style construction to build a road going sports car, replacing the XK150.
It is suspected that the first prototype (E1A) was given the code based on: (E): The proposed production name E-Type (1): First Prototype (A): Aluminium construction (Production models used steel bodies)
The car featured a monocoque design, Jaguar’s fully independent rear suspension and the well proved "XK" engine.
The car was used solely for factory testings and was never formally released to the public. The car was eventually scrapped by the factory
E2A (1960)
Jaguar’s second E-Type concept was E2A which unlike E1A was constructed from a steel chassis and used a aluminium body. This car was completed as a race car as it was thought by Jaguar at the time it would provide a better testing ground.
E2A used a 3 litre version of the XK engine with a Lucas fuel injection system.
After retiring from the LeMans 24 hr the car was shipped to America to be used for racing by Jaguar privateer Briggs Cunningham.
In 1961 the car returned to Jaguar in England to be used as a testing mule.
Ownership of E2A passed to Roger Woodley (Jaguars customer competition car manager) who took possession on the basis the car not be used for racing. E2A had been scheduled to be scrapped.
Roger’s wife Penny Griffiths owned E2A until 2008 when it was offered for sale at Bonham’s Quail Auction. Sale price was US.5 million
Production versions
Series 1 (1961-1968)
Series I
• Body style(s)
2-door coupe
2-door 2+2 coupe
2-door convertible
• Engine(s)
3.8 L XK I6
4.2 L XK I6
• Wheelbase
96.0 in (2438 mm) (FHC / OTS)
105.0 in (2667 mm) (2+2) [5]
• Length
175.3125 in (4453 mm) (FHC / OTS)
184.4375 in (4685 mm) (2+2) [5]
• Width
65.25 in (1657 mm) (all) [5]
• Height
48.125 in (1222 mm) (FHC)
50.125 in (1273 mm) (2+2)
46.5 in (1181 mm) (OTS)[5]
• Curb weight
2,900 lb (1,315 kg) (FHC)
2,770 lb (1,256 kg) (OTS)
3,090 lb (1,402 kg) (2+2) [6]
• Fuel capacity
63.64 L (16.8 US gal; 14.0 imp gal)[5]
The Series 1 was introduced, initially for export only, in March 1961. The domestic market launch came four months later in July 1961.[7] The cars at this time used the triple SU carburetted 3.8 litre 6-cylinder Jaguar XK6 engine from the XK150S. The first 500 cars built had flat floors and external hood (bonnet) latches. These cars are rare and more valuable. After that, the floors were dished to provide more leg room and the twin hood latches moved to inside the car. The 3.8 litre engine was increased to 4.2 litres in October 1964.[7]
All E-Types featured independent coil spring rear suspension with torsion bar front ends, and four wheel disc brakes, in-board at the rear, all were power-assisted. Jaguar was one of the first auto manufacturers to equip cars with disc brakes as standard from the XK150 in 1958. The Series 1 can be recognised by glass covered headlights (up to 1967), small "mouth" opening at the front, signal lights and tail-lights above bumpers and exhaust tips under the licence plate in the rear.
3.8 litre cars have leather-upholstered bucket seats, an aluminium-trimmed centre instrument panel and console (changed to vinyl and leather in 1963), and a Moss 4-speed gearbox that lacks synchromesh for 1st gear ("Moss box"). 4.2 litre cars have more comfortable seats, improved brakes and electrical systems, and an all-synchromesh 4-speed gearbox. 4.2 litre cars also have a badge on the boot proclaiming "Jaguar 4.2 Litre E-Type" (3.8 cars have a simple "Jaguar" badge). Optional extras included chrome spoked wheels and a detachable hard top for the OTS.
An original E-Type hard top is very rare, and finding one intact with all the chrome, not to mention original paint in decent condition, is rather difficult. For those who want a hardtop and aren’t fussy over whether or not it is an original from Jaguar, several third parties have recreated the hardtop to almost exact specifications. The cost ranges anywhere from double to triple the cost of a canvas/vinyl soft top.
A 2+2 version of the coupé was added in 1966. The 2+2 offered the option of an automatic transmission. The body is 9 in (229 mm) longer and the roof angles are different with a more vertical windscreen. The roadster remained a strict two-seater.
There was a transitional series of cars built in 1967-68, unofficially called "Series 1½", which are externally similar to Series 1 cars. Due to American pressure the new features were open headlights, different switches, and some de-tuning (with a downgrade of twin Zenith-Stromberg carbs from the original triple SU carbs) for US models. Some Series 1½ cars also have twin cooling fans and adjustable seat backs. Series 2 features were gradually introduced into the Series 1, creating the unofficial Series 1½ cars, but always with the Series 1 body style.
Less widely known, there was also right at the end of Series 1 production and prior to the transitional "Series 1½" referred to above, a very small number of Series 1 cars produced with open headlights.[8] These are sometimes referred to as "Series 1¼" cars.[9] Production dates on these machines vary but in right hand drive form production has been verified as late as March 1968.[10] It is thought that the low number of these cars produced relative to the other Series make them amongst the rarest of all production E Types.
An open 3.8 litre car, actually the first such production car to be completed, was tested by the British magazine The Motor in 1961 and had a top speed of 149.1 mph (240.0 km/h) and could accelerate from 0-60 mph (97 km/h) in 7.1 seconds. A fuel consumption of 21.3 miles per imperial gallon (13.3 L/100 km; 17.7 mpg-US) was recorded. The test car cost £2097 including taxes.[11]
Production numbers from Graham[12]:
• 15,490 3.8s
• 17,320 4.2s
• 10,930 2+2s
Production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Series 2 (1969-1971)
Series II
• Body style(s)
2-door coupe
2-door 2+2 coupe
2-door convertible
• Curb weight
3,018 lb (1,369 kg) (FHC)
2,750 lb (1,247 kg) (OTS)
3,090 lb (1,402 kg) (2+2) [6]
Open headlights without glass covers, a wrap-around rear bumper, re-positioned and larger front indicators and taillights below the bumpers, better cooling aided by an enlarged "mouth" and twin electric fans, and uprated brakes are hallmarks of Series 2 cars. De-tuned in US, but still with triple SUs in the UK, the engine is easily identified visually by the change from smooth polished cam covers to a more industrial ‘ribbed’ appearance. Late Series 1½ cars also had ribbed cam covers. The interior and dashboard were also redesigned, with rocker switches that met U.S health and safety regulations being substituted for toggle switches. The dashboard switches also lost their symmetrical layout. New seats were fitted, which purists claim lacked the style of the originals but were certainly more comfortable. Air conditioning and power steering were available as factory options.
Production according to Graham[12] is 13,490 of all types.
Series 2 production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Official delivery numbers by market and year are listed in Porter[3] but no summary totals are given.
Series 3 (1971-1975)
Series III
• Production
1971–1975
• Body style(s)
2-door 2+2 coupe
2-door convertible
• Wheelbase
105 in (2667 mm) (both)[6]
• Length
184.4 in (4684 mm) (2+2)
184.5 in (4686 mm) (OTS)[6]
• Width
66.0 in (1676 mm) (2+2)
66.1 in (1679 mm) (OTS)[6]
• Height
48.9 in (1242 mm) (2+2)
48.1 in (1222 mm) (OTS)[6]
• Curb weight
3,361 lb (1,525 kg) (2+2)
3,380 lb (1,533 kg) (OTS)[6]
• Fuel capacity
82 L (21.7 US gal; 18.0 imp gal)[14]
A new 5.3 L 12-cylinder Jaguar V12 engine was introduced, with uprated brakes and standard power steering. The short wheelbase FHC body style was discontinued and the V12 was available only as a convertible and 2+2 coupé. The convertible used the longer-wheelbase 2+2 floorplan. It is easily identifiable by the large cross-slatted front grille, flared wheel arches and a badge on the rear that proclaims it to be a V12. There were also a very limited number of 4.2 litre six-cylinder Series 3 E-Types built. These were featured in the initial sales literature. It is believed these are the rarest of all E-Types of any remaining.
In 2008 a British classic car enthusiast assembled what is surely the last ever E-Type from parts bought from the end-of-production surplus in 1974.[15]
Graham[12] lists production at 15,290.
Series 3 production numbers from xkedata.com[13]: [omitted -- Flickr doesn't allow tables]
Limited edtions
Two limited production E-Type variants were made as test beds, the Low Drag Coupe and Lightweight E-Type, both of which were raced:
Low Drag Coupé (1962)
Shortly after the introduction of the E-Type, Jaguar management wanted to investigate the possibility of building a car more in the spirit of the D-Type racer from which elements of the E-Type’s styling and design were derived. One car was built to test the concept designed as a coupé as its monocoque design could only be made rigid enough for racing by using the "stressed skin" principle. Previous Jaguar racers were built as open-top cars because they were based on ladder frame designs with independent chassis and bodies. Unlike the steel production E-Types the LDC used lightweight aluminium. Sayer retained the original tub with lighter outer panels riveted and glued to it. The front steel sub frame remained intact, the windshield was given a more pronounced slope and the rear hatch welded shut. Rear brake cooling ducts appeared next to the rear windows,and the interior trim was discarded, with only insulation around the transmission tunnel. With the exception of the windscreen, all cockpit glass was plexi. A tuned version of Jaguar’s 3.8 litre engine with a wide angle cylinder-head design tested on the D-Type racers was used. Air management became a major problem and, although much sexier looking and certainly faster than a production E-Type, the car was never competitive: the faster it went, the more it wanted to do what its design dictated: take off.
The one and only test bed car was completed in summer of 1962 but was sold a year later to Jaguar racing driver Dick Protheroe who raced it extensively and eventually sold it. Since then it has passed through the hands of several collectors on both sides of the Atlantic and now is believed to reside in the private collection of the current Viscount Cowdray.
Lightweight E-Type (1963-1964)
In some ways, this was an evolution of the Low Drag Coupé. It made extensive use of aluminium alloy in the body panels and other components. However, with at least one exception, it remained an open-top car in the spirit of the D-Type to which this car is a more direct successor than the production E-Type which is more of a GT than a sports car. The cars used a tuned version of the production 3.8 litre Jaguar engine with 300 bhp (224 kW) output rather than the 265 bhp (198 kW) produced by the "ordinary" version. At least one car is known to have been fitted with fuel-injection.
The cars were entered in various races but, unlike the C-Type and D-Type racing cars, they did not win at Le Mans or Sebring.
Motor Sport
Bob Jane won the 1963 Australian GT Championship at the wheel of an E-Type.
The Jaguar E-Type was very successful in SCCA Production sports car racing with Group44 and Bob Tullius taking the B-Production championship with a Series-3 V12 racer in 1975. A few years later, Gran-Turismo Jaguar from Cleveland Ohio campaigned a 4.2 L 6 cylinder FHC racer in SCCA production series and in 1980, won the National Championship in the SCCA C-Production Class defeating a fully funded factory Nissan Z-car team with Paul Newman.
See also
• Jaguar XK150 – predecessor to the E-Type
• Jaguar XJS – successor to the E-Type
• Jaguar XK8 – The E-Type’s current and spiritual successor
• Guyson E12 – a rebodied series III built by William Towns
References
• ^ Loughborough graduate and designer of E Type Jaguar honoured
• ^ 100 most beautiful cars
• ^ a b cPorter, Philip (2006). Jaguar E-type, the definitive history. p. 443. ISBN 0-85429-580-1.
• ^ a b"’69 Series 2 Jaguar E Types", Autocar, October 24, 1968
• ^ a b c d eThe Complete Official Jaguar "E". Cambridge: Robert Bentley. 1974. p. 12. ISBN 0-8376-0136-3.
• ^ a b c d e f g"Jaguar E-Type Specifications". http://www.web-cars.com/e-type/specifications.php. Retrieved 29 August 2009.
• ^ a b"Buying secondhand E-type Jaguar". Autocar 141 (nbr4042): pages 50–52. 6 April 1974.
• ^ See Jaguar Clubs of North America concourse information at: [1] and more specifically the actual Series 1½ concourse guide at [2]
• ^ Ibid.
• ^ Compare right hand drive VIN numbers given in JCNA concours guide referred to above with production dates for right hand drive cars as reflected in the XKEdata database at [3]
• ^"The Jaguar E-type". The Motor. March 22, 1961.
• ^ a b cRobson, Graham (2006). A–Z British Cars 1945–1980. Devon, UK: Herridge & Sons. ISBN 0-9541063-9-3.
• ^ a b chttp://www.xkedata.com/stats/. http://www.xkedata.com/stats/. Retrieved 29 August 2009.
• ^Daily Express Motor Show Review 1975 Cars: Page 24 (Jaguar E V12). October 1974.
• ^ jalopnik.com/5101872/british-man-cobbles-together-last-ja…
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