#during the pre s2 advertisments

[3-aem]

the shibuya arc is almost over, i still cant believe it started off with 5 episodes of teen gojo and suguru having the best and then the worst time of their lives all to the back drop of a slice of life setting. I think i will always chose to live in those first 5 episodes they dedicated an entire marketing campaign to.

[ghoulphile]

no but like you're so right walton says that cooper thinks of barb as "the devil incarnate" in that interview and she may as well have sold her soul the second she made that proposition and like you said, it's so tragic... in ep8 when he demanded hank for the location of his family, you just sorta already know he's only trying to get janey back and in the mean time, mess up the corporate scum that sent the world (his world) to hell - barb being one of them what kind of love is there when it meant subjecting the human race to nuclear warfare, all for the sake of profit and the idea of becoming "new rulers" of the surface? his love was shattered into bits, left him a broken and bitter man because of a wife who severed that trust not to mention, the awful betrayal that resulted from this that forced cooper (as the ghoul) to do stuff he wouldn't have done if things were simply different ughjdsjs 😵‍💫 i just think it's neat writing... lots of tots bc i feel he sees so much of that hurt in lucy too which sets up for thick character potential in s2 anyways sorry this got long ily thank u for hearing me out

1000%!!!

i remember there was a walton interview going around too where he sees lucy's naivety and wants to poke at her because of it. with all of their similarities and parallels, she's a reminder of who he used to be at the beginning of this all - the soft, squishy parts of himself he's had to kill (or hide) in order to survive the wasteland.

the golden rule seems to be something he lived by pretty strictly pre-war, and lucy is unfettered by all the horrors surface dwellers face. she is very much a living timecapsle of a universe that no longer exists and very few people remain who remember it (cooper being one).

there's this moment - i cant remember which episode but i noticed it during my first watch and it hurts just as much every time i re-watch - but it's when cooper is doing the vault tec ads for the first time, and puts on the suit.

after greeting the exes he pauses to ask if the suit really blocks radiation like they say it does - the exes look at barb who narrows her eyes and gives a little nod, GIVES THEM THE GO AHEAD TO LIE RIGHT TO HER HUSBANDS FACE BC SHE KNOWS IF HE KNEW THE TRUTH OR IF THERE WAS ANY DOUBT TO THEIR VALIDITY, HE WOULDN'T BE DOWN TO ADVERTISE!

And that just gut punches me every time bc Cooper has such a strong moral code, and its taken advantage of so often and so easily by so many people (including the ones that are closest to him).

And we see that in Lucy.

She always wants to do the right thing, wants to abide by the idea that everyone is inherently good and just. That no one has ulterior motives and people can be taken at face value.

JUST AIGHDJHKLSGFUYS IDK WHERE IM GOING BUT YESS!!! I have soo many thoughts about so many of the characters lmao. I'm so excited to see what they do with season 2.

ALSO I LOVE HEARING FROM YOU NO NEED TO APOLOGIZE❤️!!!

[papermoonloveslucy]

LUCY AND THE USED CAR DEALER

S2;E9 ~ November 17, 1969

Directed by George Marshall ~ Written by David Ketchum and Bruce Shelley

Synopsis

When the Carters want to become a two-car family, Kim and Craig visit a used car dealer named Cheerful Charlie (Milton Berle).  When the car turns out to be a lemon, Lucy and Harry turn the tables on the huckster.

Regular Cast

Lucille Ball (Lucy Carter), Gale Gordon (Harrison Otis Carter), Lucie Arnaz (Kim Carter), Desi Arnaz Jr. (Craig Carter)

Guest Cast

Milton Berle (Cheerful Charlie) this is the first time that Milton Berle has not played Milton Berle on a Lucille Ball sitcom. He was born Milton Berlinger in New York City on July 12, 1908. He started performing at the age of five. Berle perfected his comedy in vaudeville, early silent films, and then on radio, before taking his act to the small screen, where he would be proclaimed “Mr. Television” and later “Uncle Miltie.” He hosted “Texaco Star Theater” on NBC from 1948 to 1956. The variety show was re-titled “The Milton Berle Show” in 1954 when Texaco dropped their sponsorship. The program was briefly revived in 1958, but lasted only one season. In 1959 he played himself in “Milton Berle Hides out at the Ricardos.” In return, Lucy and Desi appeared on his Sunday Showcase special that same year. Berle continued to perform live, in films, and on television specials for the remainder of his career. Berle previously appeared on "The Lucy Show” in “Lucy Saves Milton Berle” (TLS S4;E13) and did a cameo in “Lucy Meets John Wayne” (TLS S5;E10). He will also do one more episode of the series: “Milton Berle Is the Life of the Party” (S6;E19).  Berle died of cancer in 2002.

Jack Berle (Jack, uncredited) was the older brother of Milton Berle.  This is the second of his eleven uncredited appearances on the series.  He also did two episodes of “The Lucy Show.”  

The character has no dialogue.

The cameraman and cue card holder are played by uncredited performers.  

This is the first episode written by David Ketchum and Bruce Shelley. The pair will also return to write “Lucy and Rudy Vallee” (S3;E12).  Ketchum and Shelley began writing together in 1967 and their partnership ended in 1984.  The pair were nominated for a Writer's Guild of American (WGA) Award for a 1973 episode of “M*A*S*H”.  Ketchum was also an actor.  He played Agent 13 on “Get Smart” (1965-70).  

Milton Berle had a previous professional engagement he canceled in order to star in this episode.

This is the second episode in a row to be set among parked cars.  The previous episode took place at a drive-in movie theatre, which is really just a used car lot with entertainment. In fact, seven of the last ten episodes have featured automobiles. Interestingly, none of the vehicles seen previously are used here.  

Kim's new boyfriend is named Herbie Hofferman (“Hoffy”).  In the previous episode she was dating a college graduate named Alan.  

Craig is now dating Susan. In the previous episode he was dating Patty.  He is planning to use the car to double date with Steve & Peggy, and Billy & Debbie. They are all going to a drive-in movie – just as Craig & Patty and Kim & Alan all did the previous week! Susan (or Susie, as Lucy calls her) may be a reference to Susan Callahan-Howe, a model that Desi Arnaz Jr. had a relationship with (and had a child with) the previous year.  The name Patty may refer to Patty Duke, another of Desi Jr.'s romances, but it is generally thought the two didn't meet until 1970, a year after this episode was shot.  The name Billy is probably a reference to Desi's good friend and band-mate Billy Hinsche of Dino Desi & Billy. The names Susie and Steve were mentioned as friends of Craig's in “Lucy the Fixer” (S1;E14).

Craig tells Kim that it is his night to use the car, so she should “take the bus and leave the driving to us!” This was the advertising slogan of the Greyhound Bus Company.  It was previously quoted in “Lucy Helps Craig Get a Driver's License” (S1;E24).  

Lucy says they have $147 in IOU's in their Emergency Fund but only $75 in cash. Pooling their resources, they find they have $97 to spend on a second car.  

Searching between the sofa cushions for coins, Kim finds a 'Win With Willkie' button. Wendell Lewis Willkie (1892–1944) was the 1940 Republican nominee for President.  His Democratic opponent, incumbent President Franklin D. Roosevelt, handily won a third term (pre-term limits). Lucy calls him Mendell Willkie. Later in the episode, Harry asks if anyone's found his Willkie button.

Cheerful Charlie's lot is located on the corner of Cherokee and Chatsworth. In the 1940's Lucille Ball and Desi Arnaz had a ranch in Chatsworth, California. 

The brightly painted lemon that is the subject of the transactions is actually a 1940 Packard One-Twenty [1397].  Harry calls the paint job “sick-o-delic.”  

Cheerful Charlie's lot also offers:

A 1966 tan Volkswagen Beetle

A light blue 1961 Ford Falcon

A blue 1964 Chevrolet Biscayne

Upon seeing the car Cheerful Charlie has sold the kids Harry says “Well, Chitty Chitty Bang Bang!” That was the title of a 1968 musical fantasy film (based on a novel by Ian Fleming) about a colorful flying car.  Harry then refers to it as “a purple people eater.”  “Purple People Eater” was the title of a hit kids novelty song written by Sheb Wooley in 1958.

When Craig tries to start the car by kicking the floorboard, Harry asks him “What in the name of Kaiser-Frazer are you doing?” The Kaiser-Frazer Corporation was a car company that briefly thrived after World War II.  When the car finally starts and fills the garage with smoke, Harry says it is “a one-car smog alert.” References to Los Angeles' smog problem were topical and frequent in this time period.  

Posing as a British dandy, Harry calls the car a Pierce-Ruxton with a sundial in place of a clock. 

Pierce-Ruxton is a combination of two automakers names. Pierce-Arrow Motor Car Company was an manufacturer based in Buffalo, New York, active from 1901 to 1938. The Ruxton was a front-wheel drive automobile produced by New Era Motors Company during 1929 and 1930.

Posing as Texan 'Laredo Lucy,' Lucy calls the car a combination Hudson Edsel Tucker Reo and Packard - all defunct automobile companies. Laredo Lucy sings a bit of “Deep in the Heart of Texas,” a 1941 song by June Hershey and Don Swander.

When Craig and Kim return to claim their car, Cheerful Charlie says “Go away kid, you bother me.” This is a quote attributed to W.C. Fields, talking to his nemesis Baby Leroy.

Lucy Carmichael drove a Packard in “Lucy Buys a Sheep” (TLS S1;E5).  

Looking for loose change in the sofa cushions was something Lucy Ricardo and Ethel Mertz did in “Ricky's European Booking” (ILL S5;E10).  

While Kim finds a 'Win With Willkie' button in the sofa, Lucy Carmichael found a ‘Vote for Dewey’ button under the sofa in “Lucy Gets the Bird” (TLS S3;E12).  

Lucy Ricardo also had trouble with an antique lemon when Fred Mertz bought a 1929 Cadillac for their trip across the country in “Getting Ready” (ILL S4;E11).  

Over The Line! When returning the car for a refund, Desi jumps one of Milton Berle's lines and has to repeat himself.

“Lucy and the Used Car Dealer” rates 5 Paper Hearts out of 5 

This is a memorable episode.  Lucy, Milton Berle and Gale Gordon all get to play dress-up and take on  funny and unusual characters.  The writers' dedication to Cheerful Charlie using as many 'CH' words as possible is silly but a lot of fun. 

[passhotdumps]

Easy to pass CCIE R&S LAB  ccie lab v5 topology

First of all, I want to thank the PASSHOT teacher for practicing ccie r&s lab for me. The teachers are very professional and patient! Choosing PASSHOT is really right! Let me talk about the problems that I encountered during the exam.

TS

1. The MAC addresses bound to the SW410 are inconsistent. Modify the MAC address on USER4 to be the same as the binding address on sw410. Roll the interface to get the IP address.

2. There is an ACL for NAT on R14, 10 deny 10.1.0.0 0.0.255.255 and direct no 10

3. There is a route-map on R10 which matches the entries of 10.2.200 and 10.2.201. Sets loc 200 and directly drops the lo0 port of R22 to declare the ospf process error.

4. R20 has a community attribute. Set the set extcommunity cost pre-bestpath 1 200 and directly NO off

5. R14, R51, R60 on the cry parameter is incorrect and refer to the completion. Ip nhrp auth HMcorp ...

6. Ipv6 under SW111 is not applied under vlan2001 ipv6 dhcp server VLAN2001

7. MPLS password on R3 cisco and cisc0 on this one and check DIST on R10 without modifying ospf

8. The dhcp gateway on the R30 is reversed and reconfigured

9. Missing on ip nhrp map multicast 201.99.24.2

10. R24 on the ip nat outside source static 201.99.70.2 IP address to be displayed.

This pre-matched multiple ip nat entries and interference items that I have not deleted and directly to see if there are 2 key IP NAT. There is ip nat inside and fill the ip nat ouside source static R70 external network interface. The IP to be displayed internally. Server2 has acl that I did not change the effect without looking at it.

The above TS part is almost the same as the material provided by PASSHOT so don't worry too much when you go to the exam!

DIAG2

There are a lot of materials given in the examination room. I must first judge which set it is. Then I will look at the material in a targeted manner. I will first capture the package and see that it is 193. It is probably judged to be DIAG2. Then look at R3's show ip pim rp map. You can found no RP and determined to be DIAG2 and follow the solution

CFG

S1

In contrast to the Layer 2 topology of the problem, the interfaces have been added to the VLAN and the interface is not configured sw mode acc. This must be completed on all switches and one by one inspection time and effort

The portchannel ports on SW501 and SW500 are opposite to others and the topology map is very clear.

There is no ip address on the R70 so pay attention to the command, ip address neg ip person 1492, etc. If there is a miss, you can't get the address. There is no default route, you need to restart the device.

S2

Many routers have missing router-id, none of them are on AS65004 and AS65005 and there are fewer other areas.

Lo1 interface exists on R31 but no ip address.

OSPF in the AS65001 area is already configured and the router-id is also available on SW100 and SW101. The Lo1 interface is not announced. Check whether the ospf routing table is available before suppressing. Check the 32-bit route after suppression. It should be 10 (lo0 port of all devices in the area and Lo1 port on SW100/101)

When OSPF suppression is configured, the following 2.4 and 2.5 BGP and multicast commands are flushed together. The vlan2000 and vlan2001 are advertised to the BGP process on SW110 and SW111 and there is no passive interface under ospf.

IPv6 part

There is no load when server1 trac 2001: CC: 1E: 1::1. Also, there is no effect diagram in the demand and just that it can ping.  I have checked it for a long time in the practice, it can display the load. Finally, I confirm that SW111 can receive 2 default routes. When R14 fails, trac take the R15 and leave it. Note to the students behind, don't spend too much time on this.

The multicast part takes time. First do 2.1 and then do the filtering immediately. After doing 2.11, the result filtering does not take effect. According to the previous report, the filtering is performed on the interfaces of R10 and R11. Lear ip pim rp, no effect. R31 ping, SW300 and SW111 have a return packet and check the configuration is no problem, then skip first. However, the effect map corresponding to multicast is correct.

The picture given in the examination room from the R13 on 2.11 that shows the E0/2 interface is used.

R13#show ip pim rp map

PIM Group-to-RP Mappings

Group(s) 239.250.0.0/16

RP 10.250.250.250 (DC1-RP), v2v1

Info source: 10.1.113.2 (?), elected via Auto-RP

//The e0/2 address is used on SW100, and the address of 10.1.113.0/30 is declared into BGP.

SW300#show ip pim rp map

PIM Group-to-RP Mappings

Group(s) 239.130.0.0/16

RP 10.3.250.250 (HQ-RP), v2v1

Info source: 10.3.250.250 (HQ-RP), elected via Auto-RP

Uptime: 2d01h, expires: 00:02:43

Group(s) 239.250.0.0/16

RP 10.250.250.250 (DC1-RP), v2v1

Info source: 10.250.250.250 (?), elected via Auto-RP

//Yes, is this displayed? Ip Host has been configured

Because the source address has inconsistencies in the above display. Both the e0/2 and lo1 ports so adopting such a configuration

SW 100:

ip pim send-rp-announce Loopback1 scope 255 group-list 10

ip pim send-rp-discovery Ethernet0/2 scope 255

SW101:

ip pim send-rp-announce Loopback1 scope 255 group-list 10

ip pim send-rp-discovery Loopback1 scope 255

After configuration, when show ip pim rp map，info source will jump on 10.250.25.250 and 10.1.113.2 to be inconsistent with the rendering of the problem.

Multicast filtering seems too slow and there have been feedbacks mentioned before. I spent an hour waiting for the multicast effect that nothing was done. R31 only has the return of SW300 and the return package on SW100 disappears.

Multicast is not recommended to stay until the end so even if it appears slow, it will not waste time.

The interfaces on multicast R14 and R15 are not provisioned ip pim sparse-mode. I also have no multicast commands.The interface on R12 is enabled and all configurations are multicast.

MPLS VPN

In my version, there is still only one color that indicating the neighbor relationship of vpnv4, or no iBGP. In normal configuration, I don't know if I made a mistake or was wrongly added by the examiner. I used the peer group to establish a relationship but there are no bgp neighbors on R4, 5, and 6 and R3. Quickly make up after the check, show ip bgp vpnv4 vrf HollyMaya and check for 4 routes like 100.10.

The internal ospf route is normal. The interface between R1 and R2 is not pre-provisioned with mpls ip.

DMVPN

Note that the bgp on R51 and R60 is configured with the neighbor relationship, but there is no local-as 65100. It is recommended to add it first. Otherwise, after the R14 dmvpn neighbor is configured, the error will be reported continuously and the peer AS number will not match. Don't forget allowas-in.

Pay attention to the interface on the R60 no ip pro .

The acl of nat on R71 has been matched, using a match of 10.7.0.0/16 bits.

Directly copy the crypto policy on the R24, ACL, modify the destination IP address and exchange the source address of the acl. Consistent with the version, the ipsec stream of interest is 10.7.0.0/24

4-5 parts are not flawless, directly by version

All in all, I believe PASSHOT is definitely right! They can definitely help you pass the exam!

[andreihan-cipm]

Scoping the Project (S2)

 Meeting the Client:

I would firstly like to clarify the fact that I will be my own client and I will create this magazine under my own supervision and using my own skills for me to achieve the final outcome. I however think that working along with a  business owner or a client other than me, it would have given me the opportunity to experience what working in the media industry really feels like. I also think that working by myself towards this project, will allow me to do my own research on the topic that excites and and interests me the most. This way I can really aim to collect as much information as possible. Overall, I think that both ways have their own ups and downs, but either way, I am confident enough that my artefact will meet my expectations.

Identifying clients previous multimedia experience:

Previous Experience - My very first professional experience in Media was back in secondary school when I chose to study Photography for my GCSE for two years. During that time, I had the opportunity to use DSLR cameras both outside the school and within the school campus, and also explore different techniques using various software (mainly Photoshop) to edit the photos with. A few of the projects that I managed to create were based on landscape photography, subject cloning, close up photography and portraiture. Along with this, I have, for the first time, learned how to use studio lights and do risk assessments. Several project required me to ask my classmates to take part in my  projects, which I believe it has been successful, due to the fact that my ideas were pretty creative, also thanks to my teacher for supporting me through all the work. Along with all the work, towards the end of my GCGS’s, I have also learned how to present artwork in a unique and creative way. I have done this by creating a photo collage of one single picture, using small glass tubes, inside a cardboard box. The other portraits and photographs were for instance, several clones of myself within the same image, close up photography of the human eye (studio work) inspired by Suren Manvelyan, different types of portraits of my classmates, and self portraiture, followed by re-working the lighting and adding special effects by using Illustrator. All this has been delivered onto PowerPoint presentations, along with documentation and techniques and resources used. Also, just for the record, I still own every single bit of work from my GCSE’s. 

Previous Experience - The second professional experience I had was during college. After having received a C in Photography for my GSCE, I felt more confident and thought that I could take my creative skills to the next level, and chose to study 'Interactive Media’ in college. While studying this course, a few of the units that I have come across were pre-production techniques, communication skills, research techniques, creative media production management, working to a brief, digital graphics, working freelance, advertisement production, stop motion, producing video installation, photography and photographic practice, interactive design, sound, page layout and design. For each one of these units I have had to create a specific artefact. However, I must mention that the work required was not expected to be fully professional, but as I was eager to push my limits, according to my diplomas, the best things I was best at were pre-production techniques, working to a brief, production management, digital graphics, advertisement production and page layout and design. A few of the project I was entitled to create, and have created were a mobile app design, a stop motion animation film using a little plastic figure toy, a perfume advert, which I filmed and edited using Adobe Premiere Pro, a short film production, advertising for my teacher’s website (banners/business cards) and many more. The ones stated above were the most successful projects that I carried out.       

Current Experience - After having finished college, I chose to carry on this  route, by taking a degree in Digital Media at university level. Before carrying on elaborating this experience, I must admit that many of my previous units at college are very similar to the ones being studied at university. The only difference is that university level coursework require much documentation and evaluation on our projects, along with enough relevant research made on your preferred topics, and a much more professional outcome. I have managed to improve my professional look during the first year of university, by completing units such as creative coding, digital graphics, e-portfolio, film and sound etc.. I have to admit that they were not the best units I’ve come across, but they taught me a lot of things, especially how to step up from the type of work I did in college to working professionally to a brief and slowly getting to understand and experience what the media industry has to offer, along with raising my standards when working on my own/other’s projects. My previous units are relevant to this project because since I’m creating a magazine, it will involve branding, which can be taken forward to creating a website/blog for this magazine. Along with this, the digital graphics unit has made me want to explore how software such as Illustrator and InDesign work, therefore, according to my current knowledge, I have decided that creating a magazine would be just perfect for me to show how I can apply those skills. Since finishing the first year of university, my interest in Adobe Illustrator has increased, and because of this, I have spent a whole summer working on unique pieces of art posters. This demonstrates that I have high potential in this area and I could publish some of my current artwork in my magazine. 

I believe that I have the required skills and experience, and all the information stated above will result in me submitting a successful, one of a kind artefact.

Mind Map - 

Content

Cover Pages (Front/Back - Inside/Out) - Title, Background, Issue Title, Adverts

Index/Credits - Page number/Topic, Editor, Design, Special Thanks, Contact, Printing/Publisher, Copyright, Directory

Editors Letter - Aimed to readers, Personal, Black and White

Sticker Page - Custom Sticker, City List

Portfolio - Own Artwork, Photography

Other Artists Portfolio - Profile, Background, Images, Description

Adverts - Independent Products, Clothing Brands, Software, Technology

Articles/Interviews - Own Experiences, Art Galleries, Stories, Lifestyle/Culture, Social Media

Directory - References

Design and Layout

Cover Pages - Magazine Title , Issue number, Original artwork featured

Background Colours - White, Black, Custom

Fonts 

Headlines

Sub-Heads (Issue Name - Amongst Few

Body

Paragraphs

Q/A’s

Borders

Images

Captions

Credits

Quotes

Understanding the breadth and depth of the project:

BREADTH:

By analyzing the brainstorms above, I came to a conclusion that both of them will require the same amount of attention and research, and that they both have a huge role in this project.  I also believe that all the elements above will be mixed with one another to create a final look for each page/section of the magazine. In my case, every element from the ‘Content’ section will include most of the elements from the ‘Design and Layout’ section. This way, every page and article will have its own ‘personality’, by the use of COMPOSITION. In order for me to complete logical articles, I will have to use current knowledge of the main four subjects (Art, Music, Fashion & Culture) and further research on many other relevant areas of those topics.  Since this is the first magazine I’m establishing, I will have to thoroughly ensure that I follow all the pre-production stages and be aware of all the things that might go wrong, such as schedule, quality of the product, and finances. 

DEPTH:

I will make sure that all the elements in the ‘Design and Layout’ have been thought about carefully, after conducting further research on all the different elements that a magazine can include. In this case, further research stands for exploring other magazines of such kind, and relating thoughts and ideas made both by me and other writers/editors etc... By proceeding forward in this project, I should have already gained enough knowledge about the type of work I will be creating and all the types of elements I will be using to create my artefact, from aspects such as fonts or colours to all the intricate details of each object. I will be managing this project mainly by the use of different work schedules, such as a GANTT Chart. I will have to analyse the strengths and weaknesses of this project by using a SWOT analysis template. Lastly, but most importantly, I will conduct a Risk Assessment, so I will make sure no one (in this case, especially me) will not get hurt while out working on this project.

Questionnaire:

The magazine:

1. What will be the title and the issue name for the magazine?

2. What software will you be using to produce this magazine?

Collaborations - 

3. Who will you collaborate with?

4. Are they relevant to the chosen topics?

Audience - 

5. Who would be interested in your magazine?

6. Why would the audience be interested in your magazine?

7. How will your audience find out about your magazine? 

Design and Layout - 

8. How many pages will your magazine include?

9. What is the style and layout of the magazine?

10. What is the size of your magazine?

11. What kind of paper will the magazine have?

Content - 

12. Is copyright required?

13. What current knowledge do you have related to magazines?

14. Will you magazine have any special features? 

Selling and Distribution - 

15. How will you distribute this magazine?

16. What are the production and delivery costs?

17. What is your budget?

Answers:

1. What will be the title and the issue name for the magazine?

My magazine will be titled as ‘EAZZY’. The reason for this is because I own a sticker that says ‘Easy Does It’. Therefore, the magazine was initially meant to be called Easy, but after doing some research, it has already been taken, therefore I have changed the ‘S’ to a double ‘ZZ’ so it can be distinguished from the other magazine. This way it gives it a personality and originality. The issue name will be ‘Amongst Few’, because I would like to present the featured artists in my magazine as ‘unique’, ‘rare’ and ‘talented’. 

2. What software will you be using to produce this magazine?

I will be mainly using ‘Adobe InDesign’ to put all the elements together. I will install the ‘Blurb’ plugin onto my software and I will then choose the size of the magazine and type of paper. I will then be watching tutorials and other tips from fellow editors, and try to accumulate as many skills as I can while producing the magazine.

3. Who will you collaborate with?

I am going to get in touch with as many students as I possibly can. They will be students that study in the creative faculty, in Eldon Building, on courses such as Fashion, Art, Music, Architecture etc..I will get in touch with them by both, email and face to face, and explain what their roles are along with why I want them to be featured on my magazine. Moreover, I believe I will also require a few adverts in between articles, therefore I will have to get in touch with certain business and ask for copyright permission. I will be doing this by sending formal emails that will include a brief description of the project and my aims with the magazine, along with required material.

4. Will the featured artists/students be relevant to the chosen topics?

The reason I chose them to be featured in my magazine is because I believe they have a very high potential and their work needs more credit. Therefore, since some of them are my friends, I have been amazed by the amount of great work they did, so I decided to give them an opportunity and let them open up to the public, and present their work in a very distinctive way. They are suitable for this magazine, because the main topics that my magazine is based on is Music, Art, Fashion, Culture/Lifestyle. After making a list of people and their key skills, they have all matched my chosen areas of exploring.

5. Who would be interested in your magazine?

I believe that after releasing the first issue of the magazine, the public would be pretty curious to find out what the type content it holds. Overall, I am aiming this magazine to be specifically delivered to young artists, preferably students, who have high potential in their field and want to share their talent with the world. Through the issues of Eazzy Magazine, people such as other popular artists, such as painters, graphic designers, DJ’s, fashion designers etc. will be able to use the magazine as a source of inspiration and news in the latest trends in those fields.

6. Why would the audience be interested in your magazine?

They will find my magazine interesting because I, as the Editor in Chief, will have to make sure that every element is presented in a unique way and the composition has a decent overall look, because any person looks at the style and layout before they get digging into the contents. However, I will probably struggle creating real articles for each of the featured artist, because I have no main key skills in journalism. The main reason my audience will probably have an interest in my magazine is because the magazine will present artwork that has not yet reached a lot of attention yet and artists who are looking to collaborate and show off their hard work. This way, the magazine will become personal to the audience and hopefully, whoever gets their hand on it, will stay interested until the other issues will be released.

7. How will your audience find out about your magazine?

I believe that it is not about who you know, but about who they know. After the first issue will be released, the word of mouth will be the main way the magazine will be going round. But for people to actually view it and give feedback, it’ll be using Blurb.co.uk (or issuu.com) to upload a PDF version of the final artefact, which can be then forwarded to anybody just by sending a link. 

8. How many pages will your magazine include?

I am aiming to have in between 5-10 articles. Each article would have an average of 4-5 pages, excluding all the double spreads for adverts, features, portfolios, directory, and Q/A pages. As an overall, I would like it to contain at least 50 pages (25 double spreads).

9. What is the style and layout of the magazine?

The style of the magazine will be modern, but simple. It will have simple, but effective key features, such as clear quotes, that stand out and paragraphs that will not have broken words, by deactivating the ‘HYPHENATE’ tool. Each article will have an intro double (or single spread) that will basically give an overview of that particular artist and the topic name. Each one will have a different look, layout, background, colours etc.. depending on the person and its chosen area of study. Every other element such as the table of contents, directory , credits will be plain and easy for the audience to read (strong big fonts, black on white).

10. What is the size of your magazine?

According to blurb.co.uk, the most popular magazine size would be 8.5in x 11.5in, which is a portrait style magazine. According to the research I made on other types of magazines, I found out that this is the most common size for a magazine.

11. What kind of paper will the magazine have?

I am aiming to produce high quality content for my magazine, therefore I’m expecting it to be delivered in a high quality type of paper. According to blurb.co.uk, they can provide standard or  premium matte paper, and only softcover for the 8.5in x 11.5in magazines.

12. Is copyright required?

In order for me to feature other brands or companies, will firstly need their approval to use material created by them. I will create a copyright form and send it out to whoever it may apply to, for instance, the brands featured in the advert sections, or the artists whose work is featured in the magazine. 

13. What current knowledge do you have related to magazines?

Before I started this project, I made a lot of research related to the type of magazines available on the market, their style and layout, what elements put together make a magazine complete and how to get started on actually making a magazine. I have been using Adobe software for many years, and yet I am about to find out what Adobe InDesign really feels like. I have put a lot of time into research while creating the project proposal, and it allowed me to find out things such as what happens during pre-production stages,  schedule and time frames, how to plan things ahead and how to find content, how and where I can get the magazine printed etc.. The last thing remaining is putting all the things I’ve learned together for my final artefact.

14. Will you magazine have any special features?

To make the magazine stand out from the other magazine, I have decided to personally attach a sticker with the issue’s name on the 2nd page of the magazine. This way, the magazine will have a gift attached for the audience.

15. How will you distribute this magazine?

Since blurb.co.uk has a special feature for selling and distributing, I could use that as an e-store and get my magazine to be sold on there, and add a higher price than showed, for me to get a commission out of it.

16. What are the production and delivery costs?

Production costs at blurb.co.uk start at £3.99 for 20 pages(premium). From there onward it will cost £0.20p per page. Standard delivery would cost somewhere around £8.50

17. What is your budget?

My current budget to get the magazine printed and delivered is up to £50. However if the magazine will end up being cheaper than expected, I will order a few copies.

[itsworn]

How Bad Did Mopar’s 340 beat Ford & Chevy? Shocking New Data!

Everyone knows Mopar factory horsepower ratings in the muscle car era were the most honest of them all; if the 440 Magnum was advertised with 375 horsepower, that’s what it made. And let’s not forget how the 426 Street Hemi was cleverly under-rated by the ad guys. Rather than tout its nearly 500 horsepower at 6,000 rpm (and give the safety watchdogs even more to chew on), Chrysler intentionally stopped counting at 5,000 rpm, where 425 horsepower was legitimately on tap.

But what about the 340, launched in 1968 specifically for lightweight A-Body installations, then spread throughout the B- and E-Body performance models in 1970-’73? Did it really make “only” 275 horsepower in pre-’72 mode with 10.5:1 compression and 2.02-inch intake valves? And what about the 1970 SCCA-inspired 340 Six Pack installed in those special Challenger T/A (2,399 built) and AAR ’Cuda (2,724 built) E-Bodies? Was the claim of its 290 horsepower (5,000 rpm) and 345-lb-ft (3,200 rpm) realistic?

We’ve always wanted to know, and tagged along with Donnie Wood and Steve Chmura of R.A.D. Auto Machine to watch the assembly of a nearly stock-specification 340, and the subsequent dyno test comparison with factory 4-BBL and 6-BBL induction setups. The results was surprising and not surprising at the same time.

On factory claims of 275 horsepower at 5,500 rpm and 340 lb-ft (3,200 rpm), we got 320 horsepower at 5,500 rpm and 368 lb-ft at 3,500 rpm. So it’s clear Mopar understated the facts by 45 horsepower and 28 lb-ft. Then we replaced the manifolds with a set of headers and got 352.1 horsepower and 395.9 lb-ft (at 3,200 rpm)—77.1 horsepower and 55.9 lb-ft higher than published peak claims.

For some in the dyno room, the elevated power readings came as a surprise. Let’s remember, the 340-powered 1968-’69 Dart GTS/Swinger 340 and Barracuda Formula S/’Cuda 340 A-Bodies were initially marketed as budget or “junior” supercars, battling stuff like the SS350 Nova (295 horsepower), W-31 Olds 350 (325 horsepower), Pontiac 350 HO (325 horsepower) and 351 Windsor four-barrel Mustang (290 horsepower). There it would have been great to advertise its real 300-plus horsepower capability against the competition.

But on the other side of the coin, when sold beside 383-powered Road Runners and Super Bees at Plymouth and Dodge dealerships nationwide, the difference between their 335 horsepower rating and the 340’s 320 horsepower may have led to internal competition, and reduced B-Body sales. It’s all water under the bridge at this point, but the 320 horsepower we observed explains a stock 340’s well documented ability to toss any A-Body well into the 14-second zone at the strip. So what about the Six Pack?

Testing RAD’s patience, we asked them to swap intake and exhaust systems on the dyno so we could get more answers. Going back to the factory stock cast-iron exhaust manifolds, a Six Pack replaced the four barrel and we got 356 horsepower at 5,500 rpm and 382 lb-ft at 4,000 rpm. Again, Chrysler’s 1970 claim of 290 horsepower at 5,000 rpm and 345 lb-ft at 3,200 rpm was bettered by 66 horsepower and 37 lb-ft. Finally, we replaced the headers and watched it grow another 20.1 horsepower and 26.9 lb-ft with readings of 376.1 horsepower at 5,500 rpm and 408.9 lb-ft at 4,000 rpm.

So the next time you see a stock 340 or 340 Six Pack, don’t be fooled into thinking it’s a sub-300 horsepower muscle car wannabe. Follow along as we assemble a 340 small-block and put it to the test!

For our rebuild, the stock 4.04-inch bores were enlarged to 4.080 by a 0.040-inch cut on RAD’s Rottler F79A boring machine. Torque plates were bolted to the decks before the Rottler HP6A diamond hone went to work. Sharing the same 3.312-inch stroke with the 273 and 318, the 340’s extra cubes came strictly from its bigger 4.04-inch bores. Bore spacing is 4.46 inches.

Like all LA 273, 318, 340, and 360 engines, the displacement is cast into the driver’s side of the block. Ours was cast on 10-1-71 and originally fitted to a 1972 model year car with reduced 8.5:1 compression, electronic ignition, a Carter Thermo-Quad, and a cast crank. Rated power was 240 horsepower at 4,800 rpm with 290 lb-ft at 3,600 rpm. We’ll bring it back to full-pep 1968-’71 status.

The cheaper cast-iron cranks used in 1972-’73 340s are safe to 400 horsepower, but RAD had several forged cranks on hand (left) so they made the upgrade. At 55.6 pounds, the forged crank is only 2.6 pounds heavier than the casting. Unlike externally balanced 1972-’78 big-blocks, all 1968-up 273 and 318 cast cranks were internally balanced.

With the main saddles aligned on RAD’s Sunnen align hone machine, the Clevite main bearings (PN MS963-P) are installed. The 340 block has thicker bulkheads and wall sections than the 318. Hemi legend Tom Hoover played a key role in developing the A105 340. Read Willem Weertman’s book Chrysler Engines 1922-1998 (SAE Books) for the full story.

Some 11.6 pounds lighter than a forged 440 big-block crank, Donnie sets the crank in place. The cap bolts torque to 85 lb-ft in two steps. While 273 and 318 blocks have two core plugs per side, the 340 (and later 360) have three per side.

For under $300, forged Eagle cap screw rods (left) share the same 6.123 length and weigh 166 grams less (587 versus 753) than factory items (right). At 893 grams the forged Sealed Power pistons (part No. L2316F) are 23 grams heavier than the stock castings. Refurbishing the stock rods can come close to the cost of superior aftermarket offerings. Times have changed, why go there?

Hastings moly-faced rings (part No. 2M694-040) share the same 5/64, 5/65, 3/16 width as stock, and are gapped at 0.018 inch. The Sealed Power pistons feature anti-scuff coating on the skirts and deliver the same 10.5:1 compression as stock. Note the floating pins and clips. The stock 340 pins are also floating type, all other LA pins are press-fit.

A mild hydraulic flat-tappet cam from Sealed Power (part No. LS644) with 0.429-/0.442-inch lift, 201-/ 220-degrees duration and 114 degree LSA matches the cam used in 340s mated to the Torqueflite automatic transmission. Four-speed 340s got a slightly hotter cam in 1968 (only) with 0.445-/0.455-inch lift and a few more degrees of overlap. Stock-spec hydraulic lifters are also from Sealed Power (part No. HT211B). The 1970 340 Six Pack used the same Torqueflite-spec cam used in all other 340s that year.

Standard-issue windage trays separated the 340 from lesser LA small-blocks until the E58 360 came along in the late seventies. Chrysler claimed it saved 5 to 10 horsepower. Specific main cap fasteners with tapped receiver holes accept the tray hold-down bolts on caps two and four. The stock-spec oil pump (part No. M-72) and 5/8-inch pickup tube and screen (part No. 72-S2) are from Melling.

The stock pan was dented and rusty so a new 5-quart unit from Spectra (part No. CRB-09B) went on. Don’t forget, 360 pans are not interchangeable.

With the cam thrust plate, Engine Pro double-roller timing set (part No. 3028), fuel pump eccentric, and oil-sling disc in place, a fresh Pioneer die-cast aluminum front cover (part No. 500390) seals the block.

After a light surface cut to restore deck flatness, the stock J heads (casting number 3418915-H) were cut for PC valve seals. Bronze wall valve guides were also installed. With the cutting fixture in between, note the stock guide boss (left) and post-surgery boss (right). The outside diameter is reduced to 0.530 inch so PC seals press right on.

A “bowl hog” cutter (center) was inserted in the Rottler SGF8 seat machine to lightly dress the throats (left). We argued against this step to keep things stock for testing but were overruled by the engine owner. It’s doubtful this work added more than a few clicks to the results with the mild cam. No other porting or hand blending was performed.

Stock-diameter 2.02-/1.60-inch swirl-polished Manley valves replace the burnt stockers. Some 1972 and all 1973 340s were demoted to 1.88-inch intake valves but retained the 1.60 inch exhaust valves.

With FelPro Permatorque composite gaskets (part No. 8553PT) in place, the ARP half-inch head bolts were torqued to 100 lb-ft in three steps. The neutral balance crank damper is from Liberty Performance Components (part No. LPB1004ST). The 340 intake port windows measure 2.2 square inches versus 1.60 on the 318 head. The big-port 340 head was adopted for the 360 “family car” engine in 1971 (with smaller 1.88-inch intake valves).

We deviated from the stock stamped rocker arms and chosen an internet-sourced roller rocker arm kit. Complete with shafts, fasteners, rocker arms, and even the spacer blocks, the $180 purchase price was amazing. Unfortunately, the undersides of the rocker arms contacted the 1.440-inch diameter valve spring retainers. The pen points to the large gap between roller and valve stem tip during contact.

For kicks, Donnie logged onto the AERA online data site (a paid subscription service) and unearthed this service bulletin from January of 1970. Though it isn’t directly applicable to our situation, it confirms the 340’s history of rocker-to-retainer contact. Chrysler’s remedy called for grinding 0.030-inch clearance slots into the stock rocker arms!

COMP Cams beehive valve springs (part No. 26986-16) and matching 1.340-inch diameter retainers (part No. 795-16) saved the day. The 10-degree locks were transferred and reused. With 123 pounds on the seat and 284 pounds at 0.500-inch lift, the tapered springs restored the ability to use the roller rocker kit. The pen points to the resulting clearance. Stock 340 valve springs were rated at 96/242 (I/E) pounds and used Hemi-style surge dampers.

The roller rocker arm kit rendered the Chrysler’s 7.500-inch 340 push rods too long for the job. Donnie found some 7.266-inch long, 5/16-inch diameter COMP Cams push rods (part No. 7809-16) from a Brand X application. The lifter preload was set at ½ turn beyond zero lash.

Auto Metal Direct (AMD) supplied fresh 1970-spec 340 valve covers (part No. EF-3882AR), breather (part No. EF-3881-BTB1), and oil fill cap (part No. EF-3881-CAP). The original parts (in orange) can trap residual grime that can never be fully eradicated. AMD offers year-correct valve covers for all popular small- and big-block applications, not to mention a growing line of excellent, high-precision body panels.

Though all 1965-’67 A861 273 four-barrel engines got dual-point distributors, they were only installed on four-speed 340s in 1968-’71. For 1972, Chrysler’s breaker-less electronic ignition was standardized on the 340 (optional in ’71). Our 340 uses a Mopar Performance electronic unit (part No. P3690430, right). Total timing is set at 35 degrees BTDC.

The stock dual-plane four-barrel manifold (46.6 pounds) is an excellent piece. The Edelbrock-sourced Six Pack (23.4 pounds) is the only aluminum intake manifold ever offered on the 340. A full two inches taller, the added runner and plenum volume are a huge bonus. Our Six Pack is a 1970 unit; Edelbrock still makes them.

There’s no Six Pack setup better than a brand new one, and Holley still sells ’em. Unlike swap meet stuff, no gurus have been inside tinkering, and the optimal factory settings are ready to deliver crisp cruising or neck-snapping, bog-free surges when wanted. The center carb (part No. 0-4792) has 1.50-inch diameter throttle blades and is rated at 350 cfm. The twin 500cfm outboard carbs (part No. 0-4790) are vacuum operated.

Lacking a vintage Carter AVS (1968-’70) or Thermo-Quad (1971-’73) we substituted an Edelbrock Performer 1405 for baseline testing. Its 600cfm rating puts it between the 570cfm AVS (1968-’70) and 750cfm TQ (1971-’73), both of which Chrysler claimed made the same 275 horsepower atop the 340.

So much for Chrysler’s claims! With the single four-barrel cast-iron factory dual-plane intake and exhaust manifolds, the basically stock 340 revealed the glorious truth with 320.3 horsepower at 5,500 rpm. Torque was 368 lb-ft at 3,500 rpm. There’s no way our minor bowl work, roller-tip rocker arms, and lighter rods added 45.3 horsepower and 28 lb-ft to Chrysler’s claim. The 340 is one potent little animal!

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With the simple addition of 1 7/8-inch headers, output jumped to 352.1 horsepower at 5,300 rpm and 395.9 lb-ft of torque. In a 3,200-pound A-Body with 3.91 gears and traction, mid-thirteen second e.t.s are guaranteed.

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With the Six Pack installed, we reverted to the factory exhaust manifolds and got 356 horsepower at 5,500 rpm and 382 lb-ft at 4,000 rpm. The trio of Holley 2300-series carburetors were intentionally run straight out of the box. Donnie says, “Resist the urge to fiddle. As long as the linkage and vacuum hose routing is correct, Six Packs are maintenance-free on the street.”

No holds barred, the Six Pack with the same 1 7/8-inch headers cranked 376.1 horsepower and 408.9 lb-ft at 4,000 rpm. The air/fuel readings were safe with box-stock calibrations. After testing, the engine was sprayed Street Hemi Orange.

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