#rear differential

[automotiveamerican]

A Brief Look at Quick Change Rear Ends

[pritchardautobody]

Transmission Adjustments & In-Car Repairs

Seven Oaks Transmissions is a full-service automotive transmission repair business that has been serving Winnipeg since 1980. Our Certified technicians are professionals and use the best automotive diagnostic equipment to troubleshoot and fix customers' car problems quickly and efficiently. This ensures our customers are repaired correctly the first time, saving them unnecessary auto repair costs down the road. Seven Oaks Transmissions values our reputation as being the best transmission and auto repair shop in Winnipeg, we offer only the highest quality automotive service & repair for each and every customers' vehicle. Please feel free to call us to book an appointment and get your vehicle back on the road.

Transmission Adjustments & In-Car Repairs

The technicians at Seven Oaks Transmissions understand that problems with your vehicle's transmission can often be resolved with adjustments or a minor repair. In fact, a simple adjustment can be done without even removing the transmission from the vehicle. When a late model transmission is failing to shift correctly, it can often be due to a faulty sensor receiving incorrect signals from the computer. Additionally shifting problems can arise when a transmission is not responding to the computer correctly due to a bad connection or a defective solenoid pack. These types of repairs can be fixed without having to remove the transmission from the vehicle saving you a considerable amount of money when compared to a complete overhaul.

In situations where a non-computer-controlled transmission is either shifting too early or too late, the throttle cable may need to be adjusted. Seldom will a throttle cable go out of adjustment on its own or because of wear and tear, but rather most wrong adjustments are a result in other repair work or due to damage from an accident. When a vacuum modulator is used in lieu of a throttle cable, an adjustment screw can be used to correct a transmission problem. When a vehicle uses a modulator instead of a throttle cable it is crucial that there be no vacuum leaks and the engine is performing at peak efficiency. The vacuum conditions of an engine are very sensitive and significantly impact the performance of an engine. Our technicians will quite often use a vacuum gauge when diagnosing a vehicle's performance problem and state of tune. Many of the problems a vehicle's transmission may present will disappear after a thorough tune-up or other engine performance related repairs are completed.

Transmissions in older model vehicles can experience what is called "slipping". Slipping is a condition that results in an engine racing briefly when shifting from one gear to another. Often times a transmission band adjustment is all that is required to correct slipping conditions.Call us to schedule an appointment for a road test

Reseal Job

Spotting of red oil on the ground underneath your vehicle is usually indicative of your transmission needing a reseal job. Reseal jobs are done in order to repair external transmission fluid leaks. Checking for leaks involves one of our technicians placing your vehicle on a rack to examine the transmission for signs of oil leaks. If while examining your vehicle our technician notices leaks near any of the external gaskets or seals and your transmission is otherwise performing well, our recommendation will usually the transmission be resealed. While most external seals can be replaced without needing to remove the transmission, a front seal replacement requires the removal of the transmission in order to gain access to it, resulting in a more expensive transmission repair.

Accessible Part Replacement

The transmission in your vehicle has numerous parts that are accessible without requiring the removal of your transmission, including the majority of the electrical parts that are serviced simply by removing the oil pan. Repairing a transmission's external parts may result in limited warranty coverage as it is not possible to see if there is any additional problems with the parts inside the transmission that are only accessible with the complete removal of the transmission.

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[sickeninglyshoujo]

a/n: i saw the renders (you know the ones) and became feral with need for dad!ghost, other cod dads coming soon, sorry to my friends for being forced to read me word vomit this in chat over four hours. ao3 link coming soon warnings: pregnancy talk word count: 1.8k

Simon doesn’t like when the baby wears the skulls but you do because it reminds you of him

When he grew up he equated the skull mask to terror, the baby only has positive thoughts about it and gets excited seeing it yelling out “daddy!” if she sees the motif in public, mortifying Simon and delighting you. Onlookers growing even more concerned when you coo back, “Yes, that is daddy!” pointing to the Halloween display of a grim reaper statue.

I can tell you that Simon is a master at baby rearing

Simon would absolutely carry the baby under his arm like a football once her neck is strong enough even if you don’t like it because it’s more comfortable like that

It’s second nature to him somehow

Even when you’re stressed about the baby and can’t get her to stop crying somehow Simon just comes over and says the one thing you haven’t tried because he can differentiate between her cries

You were afraid about introducing the baby to Riley, but Simon wasn’t. “They live in the same flipping house, he has t’ get used to her!”

“But not when she’s newborn! Let her get a little bigger first!”

“No better time than now! She’ll never be afraid of him then and he’ll protect her!”

“They call them malingators for a reason!”

“Riley is a well-trained retired soldier. He’s not going to hurt the baby.”

The first meeting had Simon holding the baby in his arms and stooping down to Riley’s level, Riley nosing at the baby’s sock-covered feet hanging from Simon’s arms, sniffing excitedly. You stood above Simon, wringing your hands together, ready to jump in between the two at a moment's notice.

“This is your baby sister, Riley,” Simon instructed the dog whose ears moved, listening to his master’s voice, “She’s your new assignment, boy.”

“Bloodthirsty, isn’ he?” Simon asked you with a grin as the dog yawned and stayed calmly seated, beginning to lick at the baby's booties.

“Shut it, Si.”

Riley is the baby’s shadow. If she so much as sniffles he’s darting across the house trying to find out what’s wrong. It’s like Simon’s watching over her even when on missions 

Simon hates that the dog is named Riley because he thinks it’s stupid and is constantly begging to rename the dog. You refuse because you like the constant reminder of your husband. It doesn't matter that he shares the family name.

When you first bring the baby home from the hospital Simon is in constant awe at how tiny she is. Like a little doll he keeps telling you to the point he sounds like a broken record

Simon constantly worried about baby being cold 2k24 and always has a blankie in the diaper bag or draped over the baby carrier.

After missions he would look for you first when he came home before stripping off the dirt and grime of missions and now it’s the baby. He used to think you were his reason to keep trying to save the world and now it’s her. It only stings a little but that is soothed when you see the awe in his face when she coos at him from her crib

It isn’t long before Simon is trying to get you to agree to try for another “Jus’ one more love,” he'll mutter into your neck after the baby is put down for the night and you two have retired to your bedroom only to be batted away weakly

“Oh no, Si! No more babies and no more sex! Not if you’re going to talk like that!”

“But yer such a good mum. We should have a houseful.”

Simon would petition you to quit your job because it’s bad enough the baby has to deal with him being gone on missions they shouldn’t have their mum gone too

“I make more ‘an enough for you to stay home with her!”

“The money isn’t the point, Si,” You coo at the baby on your lap, “I don’t need to be a housewife and I like working!”

You giggle whenever the other 141 men are over because they will carry the diaper bag slung over their shoulder and completely at odds with their uniforms.

It heats your cheeks to watch your burley husband in full military uniform when you greet him on base, bouncing your baby on his hips, playfully pulling her hands away when she gets too close to a switch or something she shouldn't touch, particularly when other women notice him too

It would swell your chest with pride when you and Si were out with the baby and he’d get longing looks from women when he was doing dadly things like pushing the stroller or rifling through the diaper bag for her bottle or burp cloth. 

“You have to have seen the way women look at you when you’re carrying the baby.”

“Whaddya mean?”

“You’re practically tormenting them, Si! And me too! You’re all big and tough! You’re in uniform or in a compression shirt and then you’re holding onto her in just your arm while she can’t even wrap a hand around one of your fingers!”

Simon doesn’t understand your point, “I’m tormenting you?”

Heat flushes your cheeks, “I like watching you be a dad to our daughter.”

The baby has essentially four dads as all of 141 takes care of the baby when they come to visit on leave

You worry about them spoiling her, “She’ll get too used to being held Si!”

“Then damn well let ‘er!”

“What about when they leave!”

“You think they’re leaving?! Soaps brought a bloody duffel!”

Because when you have the baby Captain Price, Soap, and Gaz are all going to visit. Moving into your cramped guest room for easily the first month after the baby’s born, Gaz and Soap fighting over who gets the futon and who has to share the bed with the Captain.

They need to see the baby!

They never thought Si would settle down but that was before you and your endless patience with the grumpy military man set in his ways.

You didn’t miss when Price clapped him on the shoulder after Simon showed off the baby for the first time, “You did well, Son.”

“Thank god she got the missus’ looks!” Soap crowed, “I was worried she’d get L.t.’s ugly mug!”

“I was hoping she would Johnny,” you peer down at the baby in Simon’s arms and trace a finger down her cheek, “She did get his eyes though. You know those were the first thing I noticed when we started talking, Si? How sad your eyes were.”

“Don’ have “sad eyes”.”

“I thought you did. And you were wearing that silly skull balaclava too, so I couldn’t very well fall in love with your chiseled jaw or the cute scar on your lip,” Soap and Gaz howled in laughter, missing the dirty looks from Ghost (You did too, eyes entirely on your daughter swaddled in a soft terry blanket in her father’s arms)

“Hey L.t. let me give you a few more scars for the missus to kiss!” Gaz ribbed

You never minded patching Simon up after missions. It gave you an excuse to ogle your husband in detail. Even before you were married, he’d tried to wave you off when you’d dab at the blood encrusted cuts and then flush when after taking care of the ones on his arms, much less when he stretched and took off his shirt for you to do the ones on his chest too. Thankfully he didn’t notice your brain shorting as you forgot how to breathe when you saw how heavily muscled and tattooed he was, culminating in an audible gasp as your eyes took in his happy trail and Adonis belt. 

“You ok?”

“Y-yeah just banged my foot on the tub.”

He’d later recount this to Soap who nearly banged his head on the wall at how dense Ghost was being

“An’ you wen’ home after that!”

“Yes Johnny, I had PT the next morning and had to ship out that night.”

He let out a string of curses, “The lass likes you and probably was hoping you’d stay the night wi’ her!”

“MacTavish,” Simon warned.

“She let you take off your clothes in her bathroom and then cleaned you up! Lasses don’t do that for cheeky cunts they don’ like!”

You miss him when he’s on missions of course, but it’s easier once you have Riley and then the baby. It’s like you have piece’s of him with you

Si is a beige mom but instead of beige it’s gray. You try and explain the importance of the bright colors in developing the baby’s eyesight but Si just mutters something about no baby of his is going to look like a muppet

Riley used to sleep at the foot of your bed but now he sleeps by the crib. You don’t know when he learned how to work door knobs but it happened somewhere between the third trimester and birth. Now you have to coax him into your room if you miss Si and want to cuddle Riley

You’ve given up on trying to keep Riley out of the nursery and instead just tut when you find dog hairs on the baby. 

Riley is the ever-patient soldier with the baby, letting her pull on his tail and ears, tugging on (and sometimes removing) his fur, all while happily wagging his tail at being used as a jungle gym

When the baby starts toddling and skins her knees, Si can’t help but scoop her up before the first tear leaves her eye “Si you’re spoiling her!” “She hurt herself, I can’ just let her cry” “She hadn't even cried yet!” “She was abou’ to”

Simon is an over attentive dad because he doesn’t want his baby to suffer the same way he did 

Si rolls his eyes whenever you  tell him not to throw the baby in the air because he’ll drop her but he knows his reflexes are superhuman and he’d catch her

SI doesn’t baby talk and will discuss the finer parts of gun mechanics and maintenance with your infant as she gums on a teether.

When she’s older, Si buys her a pellet gun for Christmas and hides it from you until unwrapped on Christmas morning

By the time it’s in her hands you know you’ve lost

He ignores your dirty glance that says “We’ll talk about this later”

As she grows up she starts talking about joining the SAS like her daddy and you’re filled with fear while Si encourages it. Starts taking her training with him much to your horror, first on short jogs around the neighborhood, then to the gym proper to teach her how to throw a punch. She quickly becomes the star of the base, with all the men calling her “Recruit”

“Nothing dangerous yet Si I mean it!”

“She asks for it!”

“She is a child and you are her father! You’re supposed to be the voice of reason!”

“The voice of reason says she might as well be trained right if she wants it!”

a/n: likes/reblogs/comments appreciated please talk to me about dad!ghost i cant contain myself

[wheelsgoroundincircles]

1987 Buick GNX

1987 Buick GNX: A Rare Muscle car That Showed How Awesome GM Could Still Be

Let's talk about one of the most iconic cars from the 1980s – the Buick GNX. This car wasn't just a vehicle; it was a statement, a powerhouse, and a collector's dream even when it was new.

Here's What Made It Special

Ultimate Performance: In 1987, the GNX stood at the pinnacle of Buick’s turbocharged lineup. Its 3.8L V6 engine, enhanced with a Garrett T3 turbocharger and a larger intercooler, produced a formidable 276 horsepower and 360 lb-ft of torque. Those were BIG numbers for the time.

Limited Edition: Buick produced only 547 GNX units, each transformed by ASC McLaren Performance Technologies.

It Wasn't Just a Hopped-Up Engine: The GNX included numerous performance upgrades like a reprogrammed engine management system, a performance suspension with a torque bar, and a unique GNX rear differential cover.

It Was Lightning Fast: This car could rocket from 0 to 60 MPH in under five seconds and complete a quarter-mile in just over 13 seconds, making it one of the fastest cars of its time, and capable of running with the Big Block Muscle cars of the late 60's.

It Looked Cool: The GNX had a menacing exterior with vented fenders, a lack of hood and fender emblems, and 16-inch aluminum mesh wheels with blacked-out faces and GNX center caps.

The Car Pictured Here is an Unrestored Gem: GNX number 155 of the 547 built remains unrestored with an incredibly low 12 miles on its odometer, showcasing its pristine condition. Still, too bad nobody has ever really got to enjoy driving it.

Luxurious Interior: This GNX featured a six-way power adjustable driver's seat, GNX-badged front carpet savers, and a special instrumentation package, making the interior as impressive as its performance.

Rare Documentation: It includes the ASC McLaren GNX window sticker, listing all the unique features that made it a Grand National Experimental.

It's a Sought-After Collector Car: With its unmatched performance, limited production, and unique features, the GNX has become a highly sought-after collectible in the classic car world.

The Buick GNX wasn't just another car; it was a high-performance marvel that left a lasting legacy in automotive history.

When it comes to the grand national the GNX is the holy grail

[drugsorgasmsandcheese]

to kiss and to die | l. howlett

old man!logan howlett x fem!grim reaper!reader

description: in which death has never been so peaceful

warnings: logan’s death, angst, fluff, not beta read, pics used are not mine and were found on pinterest, the use of one latin word so if it’s badly translated i do apologise.

word count: 2084

he was used to people on the richer side of town booking his limousine service. it was a limousine service, after all. so logan didn't think much of anything when he pulls up outside of a penthouse building and a young woman steps into the car, giving her name to confirm she ordered the service.

when logan confirms, she smiles and closes the door behind her. she screams money, but old money. there's class about her and the way she holds herself. back straight as she sits, one leg crossed over the other and her head held up high. he can't help but take her in. he's never been one to care about the likeness of a lady a woman could be, but there is beauty that radiates off her, that is her, that logan can't seem to shake.

her head is turned to look out to the window, gazing upon the lights of the city that never sleeps. she seems observant in the way she looks, like not a single detail could be missed by her and she wouldn't allow it if it slipped by. logan's eyes slip down to the outfit she wears: a short black dress with a slit in its side, a pair of sheer black tights, black leather heeled boots that hugged her calves, and a black leather trench coat. she's slick, she's elegant, she holds herself high and with might.

as he drives, he approaches a red light. the woman takes the time to pull out a compact mirror, reapplying her lip liner followed by a clear gloss. when she's done, she smacks her lips and places the items away. "you're a hard man to find, logan howlett."

logan's eyes snap up into the rear-view mirror as he starts the limousine up again. his name on her lips is like honeyed venom, he can't quite decipher the emotion that lingers in him when she speaks of him like she knows him. his hands clench on the wheel as he drove, keeping the ride smooth as he turns a corner.

"who are you?" he asks, his voice gravelly and gruff just like his appearance, eyes flicking between hers and the road.

the woman smiles softly, an odd reassurance about it as she does so. "a mutant, just like you." she speaks, honeyed tone never dropping.

teeth snarl at her response. "that's not an answer." he's lived what feels like a thousand lifetimes, and he knows that even people like him aren't to be trusted.

"'the reaper.'" there's a knowing look on her face as she, the reaper, confirms her identity.

mutants knew her, the stories and legends that were a tale as old as time itself. a mutant that dealt the card of death, one who escorted mutants into the afterlife, who resurrected those she believed were not quite done with living. she was all four horsemen of the apocalypse, a woman that wielded so much power the world was her sandbox. nothing more to play with. to see her was like to see a ghost - blink and she's gone.

his jaw clenches tightly. "and what do you want from me?" logan all but growls out.

"you seek me out. why?" she questions with such poise in her character that it's hard for logan to differentiate between talking to death and indulging in his own delusions.

her questions hangs in the air for a moment or two, it's not like either one are keeping count. he can't find the words, he's never been good with them. he's harsh, he's a brute, a killing machine. when is there time to talk when you're killing yourself by killing another?

but there's a security in her presence. she's reassuring, it's peculiar. he's face to face with death and logan's never felt so settled. "i'm old, and i'm tired. there's nothing left for me here."

the way she smiles at him was a comfort in his own as he pulls up to her destination, the limousine coming to a stop. "there's plenty left for you, logan." she sits forward, and logan only notices how she never wore her seatbelt. he supposed she didn't have to. "just because you are at war, doesn't mean you can't find peace."

there's always the discussion of god being all-knowing, but what of death? what of the reaper who knows your story, who escorts you to the place you shall forever remain. death knows, she knows.

the woman pulls out a slick, black business card that's tucked between her pointer and middle finger, handing it to logan. he takes it so gently that he scares himself. he's a brute and yet he's gentle when the time comes. it appears to just be a simple black card, but even with his weakened vision, he can feel the indents in it. 'THE REAPER.'

"no one understands pain better than death." she says and logan's eyes are still fixated on the card.

death, such a simple term given the complexity and intensity of the situation. of him, of her. the words ring out in his head, no one understands pain better than death.

his gaze snaps up, his expression stoic but calm, like he's accepting whatever fate she'll grant him. he watches as she leans forward and places her hand on his cheek. he never expected death to be so warm.

"don't be what they made you." she whispers, and he lets out a sigh in content, in relief. the weight of his regrets and his lost humanity have hung on him heavily, his shoulders finally being lifted.

it's been a long time since logan's been touched. he doesn't even know if he's ever been held like this, cradled almost. to be looked at in such understanding. solitude and loneliness have kept him a shell. he chased it out, leaning into her touch, and it's like she can see him. the guilt, the regret, the pain.

"that's all i am. that's all i know." logan replies. his voice is strained, like the battle he's fought against himself, in his mind, has finally come to light.

her thumb runs across his cheek slowly, brushing against his grey beard. "if death is what you wish, logan, don't let it be a slow one. you've been tortured long enough." her eyes lock onto his. "good men don't deserve to be tortured, and you are a good man. you are a man, not the soldier, or the monster, or the weapon they forced you into being."

logan's expressions softens at her words. and, for the first time in his life, he's being given a choice. the choice to die. not as a weapon, a monster, a soldier, but as a man.

his hand reaches up, brushing over her own cheek. death is warm. there's an intimacy behind it that he's craved for so long that logan feels like he's falling apart from the inside out, and it's different from how he's felt before.

"you have my card, use it. death is everywhere, logan, and so am i."

the feeling of human connection. he craves it. being secluded and a shell of himself has made him overwhelmed as their skin touches. "death," he murmurs, his voice hoarse and gruff like it always is "and you."

she nods, her lips twitching. "take care of yourself, superstes, it's not your time just yet." she finishes and pulls away, stepping out of the limousine and leaving logan entrapped within his mind. not at war, but at peace.

—

the next time logan sees the reaper is at the funeral. it’s expected, mutant reaper or not she’s bound to turn up when one dies. but he also knows it’s because his fingers had subconsciously stroked the sleek business card in his pocket.

she lingers by his side and he feels himself reaching out, grasping onto her hand and she returns to the touch. death is warm. their fingers interlock, and it’s a reassurance that she gives him like she did last time. like she can read his thoughts.

it’s not your time just yet.

the thought makes him reach into his pocket, fingers itching to grace the adamantium bullet he’s carried like his guilt for years but he can’t find it. it’s then that he realises the weight that settles in between their hands and he looks at her.

she still wears that leather trench coat, and a part of logan wonders if that’s her very own black cloak. it suits her, if it is. the air of sophistication, of elegance still surrounds the reaper, and another part of logan wonders if she’s always been like this, or if there was a time when she succumbed to her powers and became a beast like he had.

the reaper’s gaze meets logan’s, that same soft smile gracing her lips. “not just yet.” she speaks and logan nods, hand squeezing hers. human connection.

she stays with logan when gabriela lopez approaches him, and a part of her seems to physically soften at the sight of the woman. when he questions her about it later, she only responds with a question of her own. “what did i tell you?”

it takes a few seconds to recall. he can’t tell if it’s from the old age so his brain has wore down, or if he was so focused on being touched and looked at like he was understood that he forgot her words, until it clicks. “death is everywhere, and so are you.”

and all the reaper does is nod, not another word spoken. but she was the one who pushed for logan to accept the job of escorting laura, and he didn’t know why. but there is something so alluring about death that he couldn’t say no.

the reaper stays by logan’s side awhile longer, her scythe hanging over him like a thread. there’s a time when her fingers trace the scars over his skin that his weakened healing has failed to take care of of, and the word is uttered from her lips again: “superstes.”

he’s not quite sure what it means, what language it is, but she looks into his eyes as she says it. not at the scars, but at him. and it touches his soul.

there’s another time in the kitchen. the couple who had graced them into their homes after the accident, where it’s just them. there’s the slow music in the kitchen, and if his old self remembers correctly, it’s ‘dream a little dream of me.’

logan’s leant against the counter as the reaper approaches, taking his hand in hers; an offer. he’s reluctant at first, he’s not really one for dancing, but death is so tempting. the weight of the adamantium bullet in his pocket, the way she follows him everywhere.

his calloused hand slips into hers, and it’s not really dancing. they sway on their feet, her clutched close to his chest and his chin rests on top of her head. death is warm, and this is the human connection he has longed for for so long. he wants it to linger, to last longer, he needs it like a beggar, and logan is willing to get on his knees if he has to.

but when x-24 arrives, she’s as good as gone.

—

he meets the reaper again, and it’s like a setback in time the way her hand is outstretched in front of her, and the words escape from her lips in a promised whisper: “it’s your time, superstes.”

logan looks down at her hand and he smiles. it’s genuine, just like the one in his final moments, and he takes the reaper’s hand without a single moment of hesitation.

even in death, she is a warm embrace.

he holds her close to his chest, and logan can’t help but sway like the lyrics are behind them, and the reaper chuckles, following his movements. his head dips down, nose brushing against hers and logan lets out a sob. peace, all he’s ever wanted, has finally settled down upon him. in his death as he held laura’s hand, he knew what it felt like. to be at peace, to be loved, to die.

now, as he places a gentle kiss on the reaper’s lips, he knew what it was like to be loved by death, to find peace with death, to be kissed by death.

death is warm. death is beautiful. death is peace. death is…all a man like logan has ever wanted.

[carsthatnevermadeitetc]

Subaru Impreza WRX STi WR1, 2004, by Prodrive. Prodrive Advanced Technology are best know for their work with Subaru's WRC team. The WR1 was a special edition of 500 cars to celebrate Petter Solberg winning the Driver’s Title in the 2003 World Rally Championship. It was modified by Prodrive to produce 320hp and was equipped with a driver’s control centre-differential (DCCD) that allowed torque distribution between front and rear wheels to be manually selected. 

[literaryvein-reblogs]

Writing Notes: Fashion History

for your next poem/story (pt. 1/2)

1850-1879

The Civil War began in 1861 and ended in 1865, heavily impacting the lives of those living during the time period. In fashion, the rise of the sewing machine allowed more decorative effects to be used in dress, and new aniline dyes paved the way for brighter shades of dress.

This time is known as the Crinoline Period because cage crinoline made of whalebone or steel hoops replaced heavy layers of petticoats, and were commonly worn under dresses by women of the time.

One trend that hit its peak in the 1870s was the bustle, an item women secured under the back portion of their skirts to add volume.

In terms of silhouette, a narrow waist with a fitted bodice and full skirts was the recurrent style. Popular sleeve styles included pagoda sleeves, gathered bishop sleeves, and the coat sleeve.

During the day, high necklines were appropriate, but women often wore lower necklines in the evening.

Wraps and shawls were commonly worn, and accessories such as parasols, gloves, snoods, and bonnets were highly desired.

1870-1900

The years 1870-1900 include what is known as the Bustle period, in which the popular silhouette shifted from full skirts to a more fitted look characterized by fullness in the back.

Throughout the Bustle period of the 1870s and 1880s, a variety of padded devices were utilized to create back fullness, as��the bustle took on different forms.

The bustle of the first stage (1870-1878) was achieved through manipulation of drapery and the use of decorative details such as flounces and bows at the back.

From (1878-1883) fullness dropped to below the hips and decorative effects of the skirt became focused low as a result.

Long trains and heavy fabrics also helped to emphasize the focus on the rear.

The latter part of the decade (1884-1890) saw the bustle at its largest. Often referred to as the shelf bustle, it was rigid and took on the appearance of an almost horizontal projection. At this time, skirts shortened to several inches above the floor and rarely had trains, with the exception of some evening dresses.

Additionally, they include the 1890's, which are often referred to as the Gay Nineties or La Belle Epoque. Times were good, Paris was the center of high fashion, and for those who could afford it, dress was lavish and highly decorative.

The corset continued to be worn, aligning with the fashionable silhouette of a full bust and hips with a narrow waist.

Dress ensembles typically consisted of two pieces -- a bodice and matching skirt.

The one-piece princess dress, worn by some during the latter part of the period, was an exception. Bodices were often fitted, with the cuirass bodice style emerging from around 1878-1883.

Sleeves were close-fitting and ended at either three quarters or at the wrist.

Evening dresses were differentiated by their lavish trimmings, level of ornamentation, trained skirts, and short sleeves. Weighted silk offered greater body and was a popular choice for dresses beginning in the 1870s.

Full sleeves were at their largest in 1895, before they gradually decreased in size towards the turn of the century.

By the 1890s, sleeve with fullness were only seen with small puffs at the shoulders.

Tailor-made costumes consisted of wool or serge skirts worn with a shirtwaist blouse. and were considered ideal for traveling.

Shirtwaist blouses were often accessorized by cravats and jabots. The variety of outerwear for women increased during the late nineteenth century and was dominated by coats, jackets, and wraps.

Accessories of the period included small hats, gloves, muffs, decorative fans, and parasols.

1900s

The first decade of the twentieth century is often referred to as “La Belle Époque” - French for "the beautiful age." During this time, Paris reigned as the capital of art and fashion, extravagance and opulence was in, and French couture became all the rage.

Edward VII became King of England with the death of Queen Victoria in 1901, ushering in the “Edwardian Era.”

Additionally, Henry Ford's Model-T was introduced in 1908.

Art Nouveau influenced fashion and ornamentation with the popularity of curvy shapes, floral prints, and ornamentation.

And with the introduction of Ford's Model-T, "motoring garments", such as duster coats and goggles, became essential for automobile riding.

The dominant silhouette of the period was the S-bend hourglass shape, which was achieved through the use of long bell or trumpet skirts that swept the ground, and the “monobosom” fullness of the front bodice.

Voluminous sleeves were another popular feature of turn-of-the-century fashion. Women still wore tightly-boned corsets, along with layers of petticoats. Two-piece ensembles were introduced, consisting of a skirt and a shirtwaist blouse. Garments often featured necklines with high standing collars for daytime and exceptionally low décolleté necklines for evening wear.

Lingerie dresses — flowing white gowns with lace detailing — were a popular choice for outdoor hot weather. Pale colors and un-patterned fabrics adorned with lace or embroidery were favored in this style. Shoes and boots exhibited pointed toes, and parasols were a must-have accessory for outdoors. Elaborate, often large hats decorated with bird feathers enjoyed heightened popularity.

1910s

The War Years (1914-1918) resulted in simpler styles, with moderation in fabric usage as well as the use of darker hues. As a result, garments of this period often have a more utilitarian and masculine appearence.

The “teens,” as the 1910s are often referred to, saw sweeping changes in fashion due to the work of French designer Paul Poiret, who was largely inspired by both the exoticism and color of the Far East and the Ballet Russes. “Orientalism” in fashion became all the rage and was seen in kimono-shaped coats, capes, saturated colors, and exotic embellishments.

Popular trends included the “peg-top” silhouette with hip fullness, Paul Poiret’s narrow-at-ankle “hobble skirt”, and Mariano Fortuny’s “Delphos gown” which featured his secret pleating technique.

Tunic dresses were also introduced, and featured a short skirt layered over a longer one. Necessitated by the new shapes in fashion, the hourglass S-bend silhouette transitioned into a more column-like, tubular form with a higher waistline. Brassieres replaced tight corsets and accommodated the soft, unfitted tea gown, a popular choice for afternoon hosting. The wide-brim hat continued to be a fashionable accessory and shoes began to replace boots.

1920s

The year 1920 marked the beginning of Prohibition, as well as the end of the Suffrage Movement, with women gaining the right to vote.

King Tutankhamen’s tomb was discovered in 1922, further fueling the taste for the exotic, and creating an obsession with all things Egyptian.

The Harlem Renaissance ushered in the Jazz Age; sleeveless dresses with shorter hemlines and sequin, bead, and fringe embellishment enhanced and enabled the fast-paced dance movements of the Charleston and Fox Trot.

The "Roaring Twenties" were years of major change for both fashion and society.

Besides major cultural events inspiring change, fashion was also influenced by Art Deco through the use of straight lines and geometric forms in both silhouette and decoration. The twenties silhouette was straight and tubular, and dresses deemphasized female curves, breasts, and hips.

Chemise dresses hung straight from the body and helped created this fashionable linear silhouette. The “flapper,” with her bobbed-hair and boyish silhouette, became the epitome of the fashionable look of the period. Hemlines rose, revealing more of the female leg for the first time in dress history, and shifting the focus to shoes for the first time.

During the period, Gabrielle “Coco” Chanel popularized costume jewelry — as well as wool jersey suits.

The cloche, a bell-shaped hat, was “the” hat to have.

Small beaded purses and long beaded necklaces were popular accessories.

1930s

The defining event of the 1930s was the Great Depression.

The stock market crash of 1929 and the ensuing depression created a need for less expensive garments without elaborate ornamentation. Designers of the period therefore relied on seam lines and darts as major forms of embellishment. Clothing that was cheaper and diversified was critical, thus creating the need for ready-to-wear fashion.

The overwhelming popularity of the movies in the 1930s helped perpetuate the ideals of “Hollywood glamour.” Women began looking to screen stars for inspiration in fashion, hairstyles, makeup, and even demeanor. The movies, and the glamorous lifestyle they portrayed, were a way for the public to escape the harsh realities of the Depression.

Designers such as Elsa Schiaparelli incorporated concepts of Surrealist Art into fashion designs, offering fantastical creations that also provided a flight from reality.

The 1930s also saw the birth of American sportswear and two-piece bathing suits for women. The decade saw a continuation of the linear shape of the 1920s, but with a leaner, longer, more feminine silhouette. The waistline returned to its natural position and hemlines dropped. Evening fabrics tended to be pale or white solids of silk or satin, and the backless evening gown was introduced at this time.

French designer Madeleine Vionnet created the “Bias Cut”, which produced a “liquid” clinging effect on the body. Hats of all varieties were widely worn, and a right-angle tilt was a common way hats were styled. Shoes featured low heels and rounded toes. Costume jewelry and fur added the final touch of fashionable glamor.

1940s

World War II began in 1939, ushering in a new conservatism in fashion. Fashion designers were forced to close their houses in Paris, and “practicality” became the new buzzword in fashion, with a focus on producing sensible styles and “utility garments” which required a minimum quantity of fabric.

In the United States, the L-85 Limiting Order aimed to freeze the war-time silhouette and stop rapid seasonal changes in styles in order to conserve fabric use. Tailored suits and military-influenced styles were seen in items such as belts, breast pockets, high necklines, and small collars. Both clothing and hair were influenced by the war.

For women who worked in factories, superfluous decoration and long hair posed safety threats. Hairstyles and makeup became an integral way to achieve personal style, since clothing and accessories were rationed.

Hollywood stars such as Veronica Lake, Rita Hayworth, and Bette Davis were significant influencers of fashion. American designers began developing sportswear collections, spurred by the necessity of the war-time focus on the ideals of simplicity and utility.

Casual separates, shirtwaist dresses, slim skirts with patch pockets, and halter and square necklines became popular. Women could also be seen wearing trousers, although it was mainly for utilitarian purposes, not everyday wear. 

The 1940s silhouette was tailored and narrow, with a nipped-in waistline and squared shoulders achieved through the use of shoulder pads. Hemlines rose to just below the knee. In light of rationed fashion, hats allowed an individual fashion statement, and small styles such as veiled pillboxes and berets, often worn at a right angle, were most popular. Shoes were usually chunky with rounded toes and featured either low-heeled or wedge soles.

Leg makeup was also introduced and offered women a remedy to the rationing of nylon stockings.

More Notes: On Fashion ⚜ Writing Notes & References

[sadgi]

compiling information about the kineema, because I'm normal

hi. you may remember me from this post talking about how the kineema doesn't have a hood. I've decided to compile all the *other* info I can get on the kineema and comment on it. hopefully this is okay to read

---

let's start with what I could find on fayde

INTERFACING - With its air-cooled, rear-mounted twelve cylinder compression ignition engine driving the rear wheels through a four-speed manual gearbox, the Kineema is able to reach 100 kilometres per hour in 13.5 seconds. And go on to a top speed of 180 kilometres an hour. YOU - Won't it roll over in the first sharp corner? INTERFACING - The high centre of balance is offset by a large battery bank mounted at the bottom of the cabin, feeding all the auxiliary systems and making the Kineema effectively a mobile power plant.

air-cooled: no radiator. I assume this is what those big heat-sink looking things on sides of the engine are for

compression ignition engine: diesel, no spark plugs (diesel engines are named after a guy, rudolph diesel, so I guess in elysium they didn't do that)

rear wheel drive: this is pretty obvious just looking at the thing

100 kilometres per hour in 13.5 seconds: not very fast acceleration compared to modern cars, but the history of cars in elysium is obviously very different to irl

battery bank: this is the only thing keeping the kineema from tipping backwards onto its ass as soon as you accelerate

YOU - "What's it packing there?" (Point to the engine.) KIM KITSURAGI - "Hundred-and-thirty." INTERFACING - I reckon that's a seven-litre V12 there. ENCYCLOPEDIA - Man, that's got to be a major advancement over the KR18GU engine on the old Coupris 40. YOU - "Wait, hundred-and-thirty what?" KIM KITSURAGI - "Kilowatts," the lieutenant replies laconically.

130 kilowatts: ~174 horsepower

YOU - "That's what..." (Rub your chin.) "... a seven-litre V12?" KIM KITSURAGI - "Seven-point-two. Supercharged." The lieutenant is trying to suppress a smug smile. Unsuccessfully. EMPATHY - Saying these words brings him immense joy.

7.2 litre engine: space inside the cylinders. 7.2L/12 = 600cc per cylinder

supercharged: has a supercharger. forces more air into the engine, powered by the crankshaft (as opposed to turbochargers which are powered by the exhaust)

YOU - Run your fingers over one of the steering levers. COUPRIS KINEEMA - The white suede feels luxurious under the touch and the metal clutch handle so very familiar in your palm... INTERFACING - Your fingers waste no time closing around the handle. Clutch disengaged. Release the handle -- clutch drops -- right foot yearns for the familiar touch of the accelerator pedal. You have synced with the machine's mechanical circulation.

YOU - "A *driver* would wear down their right shoe before the left -- the accelerator is on the right. And remember that abandoned lorry cabin we found?"

steering levers: instead of a steering wheel. not exactly sure how they'd work. I *really* don't want it to have differential steering like a zero-turn mower looking at this video of kim driving it looks like the front wheels are the ones steering

clutch handle: instead of a pedal, the clutch is a handle on one of the levers. seems that accelerator and (probably) brake are still pedals

accelerator is on the right: does everyone left-foot brake??? I guess if the clutch handle is standard then that would make sense

ABANDONED LORRY - The glass on the side windows is tinted and covered with dust. You can barely make out the shape of a seat and two steering levers. [...] YOU - Check the pedals. ABANDONED LORRY - You wedge yourself under the steering-wheel to get a better look. Seems like the few tools lying around here -- a hammer, a pair of pliers, a rusty wrench -- have been casually thrown there by the disorganized driver. ABANDONED LORRY - But one odd detail does catch your eye: A piece of sandpaper has been glued to the throttle.

STEERING WHEEL TYPO

---

alright, let's actually take a look at this thing

two door: the kineema has a single driver's seat and two seats in the back. looks like you'd need to move the front seat forward to let anyone else in

suspension: the back wheels look like they have some sort of spring (the axle is connected to it, so how are the wheels being driven??? same with the coupris 40). I assume the front arms also act as a spring

rear view mirror: looks like there's no rear view mirror, since you wouldn't see shit

aerodynamics: bad

seat belts:

¯\_(ツ)_/¯

[bethanythebogwitch]

Wet Beast Wednesday: American lobster

This series takes us all over the world, but today we're going back to the good-ol' burger-drinking, beer-eating, eagle-worshiping U-S-of-A! The American lobster may be the world's most famous crustacean as they have become a major source of overpriced seafood. There's a lot to learn about this critter, so let's go check out the crustacean sensation that's sweeping the nation.

(Image: an American lobster seen from the side. It is a crustacean with 8 legs, a pair of large pincers, and a pointed head that has two long antennae and small eyes. The abdomen in elongated and segmented and ends with a fan-shaped tail. It is a greenish-brown color. End ID)

Homarus americanus is the largest lobster and largest crustacean, reaching a maximum recorded length of 64 cm (25 in) and weight of 20.1 kg (44.4 lbs). The average size is between 20 and 61 cm (8-24 in) and 680 to 910 grams (1.5-2 lbs). Lobsters are members of the family Nephropidae and despite the common names, they are not closely related to squat lobsters, slipper lobsters, or spiny lobsters. They are, however, closely related to crayfish. Lobsters are decapods, crustaceans with 10 limbs. Of the 5 pairs of limbs, the rear 8 are used for walking and the front two have become enlarged into a pair of powerful pincers used for defense and offense. The claws are asymmetrical and each serves different purposes. One claw is large and stout, with rounded, molar-like growths on the cutting edge. This claw is called the crusher claw and it is used to crush through hard-shelled food. The other claw is more slender and has a sharper cutting edge. This is the scissor claw and it is used to cut soft food into small enough pieces to eat. The crusher and scissor claws can be on either side of an individual lobster and very rarely a lobster will grow two crushers or two scissors instead of one of each. While the pincers can close with incredible force, they can't open with much force. This allows them to be held shut with rubber bands. The front two pairs of walking legs also have pincers, but they are much smaller. Lobsters can regrow missing legs. It can take up to 5 years for a missing pincer to regrow to the size of the original.

(Image: a lobster seen from the front, with the pincers in prominent view. One claw is bulkier than the other. The bulky claw has rough nodules on the cutting edge. The skinnier claw has serrated spines on the cutting edge. end ID)

Lobster anatomy is divided between two major segments: the cephalothorax and the abdomen. The cephalothorax contains the mouthparts, brain, legs, and many sensory organs. While they have eyes, they are weak due to lobsters spending most of their time on murky seafloors. Taste, smell,and touch are their primary senses. Antennae are used to examine the world and both the antennae and legs have sensory hairs called antennules on them that can detect the presence of chemicals in the water. Lobsters can both detect the smell of food and determine which direction it is coming from. The antennules also detect the motion of the water. Lobsters also urinate from a pair of bladders on the sides of the head. They can adjust the scent of the urine to communicate with each other. That's right, lobsters communicate by peeing on each other from their faces. The mouthparts consist of leg-like structures called maxillipeds that grab food and mandibles that help rip food up. Lobsters can't chew their food, but they have a structure in the esophagus called a gastric mill that grinds food down as it is swallowed. The abdomen is long and consists of multiple segments, allowing for flexibility. On the underside of the abdomen are feathery appendages called pleopods or swimmerettes. The first pair of swimmerettes is modified into sex organs called gonopods which can be used to differentiate males from females. The remaining pairs are used to circulate water around the lobster, helping keep fresh water over the internal gills. At the tip of the abdomen is a large, fan-shaped tail. By quickly curling the abdomen under their bodies, lobsters can generate thrust and send themselves shooting backwards. This is done to escape perceived threats.

(Image: a lobster standing on sand with its abdomen curled under its body. End ID)

Like other crustaceans, lobsters periodically outgrow their exoskeletons and must molt. After molting, the lobster will have a new, soft exoskeleton that takes time to harden. This period of softness leaves lobsters much more vulnerable to predators, so they will usually hide until their new shell hardens. They also eat the old shell to regain the nutrients and minerals it holds. The period after molting is also when females become fertile. A molted female will release pheromones that attract males. The male performs a courtship dance and if the female approves, he will use his gonopods to transfer a packet of sperm into her shell. The female can store this packet for over a year before using it. She lays thousands of eggs at once eggs and fertilizes them with the sperm as they come out. The eggs stick to her swimmerettes and she will work to keep them clean and keep air circulated over them. The clusters of eggs allegedly look similar to raspberries and a female with eggs is said to be "in berry". I personally don't see it. The eggs develop for 10 to 11 months before hatching, wherupon the female shakes her tail to dislodge the larvae. The larvae start out as a tiny, planktonic form called a metanapulus that drifts near the surface of the water and eats plankton. After their 4th molt, the larvae takes on a sub-adult form more similar to an adult, though they are still small enough to swim with their swimmerettes. Approximately 1 in 1,000 larvae will live long enough to reach this stage. After another molt, the sub-adult takes on its final form and sinks to the bottom, where they will gradually grow into an adult. Lobsters molt up to 10 times in their first year, then may one molt once every few years. By the time a lobster is large enough for anglers to legally keep, they will have undergone around 25-27 molts. There isn't really a maximum age for lobsters. They don't go through the same aging process as most animals. Lobsters have the ability to repair the damage to DNA that causes aging. While they will not age to death, you are unlikely to find thousand year old lobsters roaming about. Each molt takes more energy than the previous one and a lobster that doesn't die of predation, disease, or injury will eventually become unable to complete a molt and will die as a result. Most estimates place the maximum age for lobsters at about 100 years, but there are unconfirmed reports of lobsters reaching 140 years.

(Image: somebody holding a lobster so the underside of the abdomen is visible. This lobster is a female with masses of small, black eggs on her abdomen. End ID)

(Image: A lobster larva shown in the first four molts. The first three stages look more like transparent shrimp than lobsters. The final stage looks that a miniature lobster and is orange. End ID)

You would be hard-pressed to find a fictional depiction of a lobster that isn't bright red, but wild lobsters aren't that color. Most range from greenish-blue to greenish-brown, good colors for hiding amongst rocks and seaweed. That being said, American lobsters are famous for their wide range of color variants. Lots of people have herd of blue lobsters, but there are actually quite a few color options caused by genetic traits that overproduce certain pigments. Because of the rareness of these traits and the colorful lobsters being more at rick of predation, they are quite rare. Still, many color variants have been seen including blue ( 1 in 10 million lobsters), red (though not as bright as cooked lobsters. 1 in 30 million), bright yellow (1 in 30 million), calico (yellow and blue spots, 1 in 25 million), split down the middle (1 in 50 million), and white (albino or leucistic, 1 in 100 million). Many lobster anglers seem to agree that if they catch colored lobsters they should either be released or donated to aquariums or scientific organizations as opposed to being eaten. Reports of color variants have increased in the last 20ish years. This may be due to overfishing of their predators, but it may also be that social media allows sightings to be reported more easily.

(Images: 6 pictures of lobster color varaints. Let to right, top to bottom: blue, red, yellow, calico, split, white. End ID)

American lobsters are found in cold, coastal waters of the Atlantic Ocean from the USA to northern Canada. They are famously highly abundant around the state of Maine, which has the world's largest lobster fishery. They prefer rocky bottoms with plenty of places to hide. Despite those big claws, lobsters are rather timid. They spend a lot of their time hiding and are quick to use their tails to flee. If pressed, they will use their powerful claws to fight. While occasionally active in the day, lobsters are mostly nocturnal, coming out at night to find food. Speaking from personal experience, I did a night SCUBA dive in Maine and there were so many lobsters I could barely see the seafloor. American lobsters are territorial and will fight over food, shelter, and mates. When they live in close quarters, lobster will establish a dominance hierarchy based largely on size. They use chemical signatures to identify themselves and communicate. The diet of an American lobster mostly consists of small invertebrates such as worms, slugs, clams, and crabs, but they also eat carrion and algae and seagrass. Lobsters in captivity have been known to engage in cannibalism, but this has never been seen in the wild.

(Image: a lobster molting. The carapace on the back of the cephalothorax has come off and the soft-bodied lobster is emerging through the gap created. End ID)

The American lobster is a popular food source and so is fished heavily in the northern USA and Canada, with the state of Maine and Atlantic province having the largest industries. The vast majority of lobster fishing is done with special lobster traps, sometimes called pots. These are cages baited with dead fish that have funnel-shaped entrances. The idea is that the shape of the entrance lets lobsters in, but makes it hard for them to get out. Humorously, lobster traps have been found to be incredibly inefficient, all but the largest lobsters can enter and leave freely. The lobsters that get caught tend to be the ones unlucky enough to be in the trap when it's pulled up. Bait has been found to comprise a large portion of the diet of lobsters in Maine and individual lobsters have been known to claim traps as their territory and fight off others trying to enter them. Modern traps are also required to have holes allowing lobsters below the size limit to leave easily. The inefficiency of lobster traps has allowed the population to remain stable despite the incredibly heavy fishing. in addition, there are many regulations to protect the species, including requirements to release small lobsters and egg-bearing females. There is no lobster aquaculture doe to how long it takes them to reach a usable size. Commercial lobster fishing started with poor laborers who could get them cheap due to how abundant the lobsters were in the area. As with so many other things, the rich came, took an idea created by the poor, and drove up prices so much the original people could no longer afford their own invention. Lobsters are traditionally cooked by boiling, usually with the lobster still alive at the time. The ethics of live cooking lobsters is debated. Some insist their brains do not have the regions responsible for feeling pain while others point out they still respond negatively to stimuli and therefore can still feel some kind of distress even if it isn't the same as human pain. Some jurisdictions have made live boiling illegal and require the lobster to be dead first. Freezing the lobster or a stab through the cephalothorax are offered as more humane than boiling. The American lobster is classified as least concern by the IUCN, meaning they are not at risk of extinction.

(Image: a modern lobster trap. It is a rectangular wire cage painted yellow. There are two chambers inside. The first chamber has two openings to the outside and is where bait is placed. The second chamber has another funnel-shaped opening to the first chamber and is intended to trap the lobsters within. An opening on the side of the second chamber allows small lobsters to escape. A brick is used to weigh the cage down. End ID)

[boxboxblog]

How Do F1 Cars Work?: Setup pt 1

Alright, so I wanted to explore car setups and how they effect F1 cars. Enjoy!

So, setting up an F1 car is a very complex process, They have to balance numerous elements in the car to suit things like weather, track type, driving styles, etc. But what do they actually alter on the car? And how does it effect the driving?

Altered Components:

Aerodynamics - The easiest and most obvious adjustments are to the aerodynamics, like the rear wings or front wings. These are usually the ones chosen for change in aerodynamics, but they might also change the side pods or diffusers to effect the downforce of the car. They most often change aerodynamics for circuit styles. A tight street circuit will require higher downforce set up, as it gives them more control around the corners. A classic circuit will often switch to a low downforce set up, which gives them speed on the straights. Most teams try to have a good balance, however.

Suspension - Suspension settings control how the car responds to bumps and turns. Whenever they discuss a car porpoising too much, it is usually because the suspension set up is wrong. They change variables including ride height (distance between lowest point of car and track surface), camber (angle of wheels relative to the vertical axel from the front), toe (angle of front wheel when viewed from above), stiffness of springs, and anti-roll bars (parts that connect left and right suspension systems, which help control body roll). For example, cars can have negative or positive camber, which really effect things like grip, tire wear, etc. These aspects of setup are usually altered to suit a drivers style and preferences.

Tire Setup - This essentially envelopes tire pressure and starting temperature, which impact grip and wear rates. For example, lower tire pressure increases the grip, but leads to faster degradation. Higher does the opposite. This is usually altered depending on track temperature and style, or even ti make up for their weak areas. If they do not have good tire management, for example, they may alter the tire setup to degrade slower.

Differential - This controls the relative speed of the rear wheels, a big part of traction control. It is adjusted to either open or lock more. An open differential allows the rear wheels to rotate at different speeds, helping with corner entry but leading to oversteer a lot of the time. A locked differential keeps the wheels rotating together, offering stability on exits but leading to a lot of understeer. This is an aspect that is often changed to suit driver preference. Some can handle the oversteer very well, but other find understeer easier to deal with.

Brake Balance - This is the balance between the front and rear brakes, and is used to prevent lockup (when too much force is applied to the brakes, causing the disc to stop or rotate slower than the car's motion) and improve stability. This is altered by changing the bias, or distribution of braking force, and is often discussed in terms of percentages. More rear brake bias improves rotation in corners, but increases chance of rear lockup. More front brake bias stabilized braking, but can make turn-in more challenging.

Engine Mapping- This refers to the software settings in the car that controls how the engine delivers power. Things like throttle response, fuel injection, ignition timing, and turbo settings are all altered. All of it changes how a car accelerates, responds to stimuli, and consumes fuel. The different types of maps include qualifying maps (max power for short time), race maps (balanced and conservative), fuel-saving maps (usually end of race), and wet maps (softer throttle response, less sensitive car). ERS Deployment is a big part of this, and refers to the management of the kinetic and heat generators. They choose different ERS deployment depending on what they plan to do. For example, if they are planning on trying to overtake they will charge their battery and then use a lot of power to give the car a boost.

Gear Ratios - These ratios determine the relationship between the RPM (engine speed) and the speed of the wheels. There are eight forward gears in F1, and each one changes this ratio to some degree. The ratios dictate how much the engine must rev for the wheels to turn at a certain speed. The two major types of gear ratios are long ratios and short ratios. Long ratios reduce the torque but allow for higher top speeds, suited for tracks with long straights. Short ratios provide more torque which allows for faster acceleration, better for twisty tracks.

Setup Types:

While there are so many different aspects to set up, there are a few main types that most teams follow. Between them, a variety of factors change, but the core of them remains the same.

High-Downforce - One of the most basic set ups, it prioritizes grip on corners by increased downforce. Usually used for twisty, slow-medium circuits like Monaco or Singapore.

Low-Downforce - The other more basic setup, it lowers generated downforce to minimize drag and optimize for straight-line speed. It does sacrifice corner grip, so is best suited for classic circuits like Silverstone or Monza.

Wet - In wet races DRS is disabled, and drag is at an all time high. So teams usually focus on getting a huge amount of downforce, making car less sensitive, and making sure their tire set up is as grippy as possible. The differential is also changed, as drivers should be able to keep traction, ride height is raised, and suspension is softened. This is kind of a subsection of the high-downforce set up, though for different reasons.

High/Low Temp - Both hot and cold temperatures have massive impacts on F1 cars. So if they know they will have a race with an extreme on either side, the set up must be altered to reflect that. In hot Singapore, for example, they must lower tire pressure, change the camber, and boost the cooling systems to avoid overheating engine and degrading tires fast. In cold Montreal, tire pressures are raised, brakes are placed in different settings to keep warm, and the camber is also changed.

Alright, I will continue my discussion on setups in next post, as this one is getting quite long.

Cheers,

-B

[alphynix]

Soft-bodied annelid worms only very rarely fossilize, so the group's origins during the Cambrian Period are still rather poorly understood. So far about thirteen different species have been found in sites of exceptional preservation, showing that even very early on in their evolution these worms had already diversified into a wide range of ecologies including bottom-feeders, carnivores, swimmers, tube-builders, and even symbiotes sharing living space with early acorn worms.

Ursactis comosa here adds a fourteenth species to the list. Found in a newly-discovered outcrop of the 508-million-year-old Burgess Shale fossil deposits in western Canada, it's known from nearly 600 specimens clustered together in several large groups, making it the current best-known and most numerous of all Cambrian annelids.

Up to about 1.5cm long (~0.6"), it was a polychaete-like worm bearing bundles of long bristles. There was a pair of large sensory palps on its head, and its body was made up of an unusually small number of segments – just 10, with larger individuals just increasing the size of their segments instead of adding on additional ones like most modern annelids.

Unlike other Cambrian annelids it also shows some evidence of basic tagmatization, differentiating some of the rear segments of its body with much longer bristles.

The large numbers of Ursactis found preserved in one place suggests these worms were exhibiting some sort of swarming behavior. Since ages from juveniles to fully-grown adults are represented together, and their anatomy indicates they were crawling detritivores, they were probably all taking advantage of a particularly nutrient-rich patch of seafloor at the time they were abruptly buried in a mudslide.

———

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[linghxr]

10 traditional characters that I didn't know existed

In 2023 I started learning to write traditional characters by hand, so I've been paying extra attention to differences between traditional and simplified forms. In some cases, I didn't even realize the traditional and simplified forms were different!

Here are 10 sets of simplified and traditional characters with subtle differences, 8 of which I only discovered recently. Definitions are adapted from MDBG.

（1��抛 | 拋 pāo

The difference is SO subtle with this one. I have to hold the screen 3 inches from my face to see it. The simplified version has 7 strokes, but the traditional version has 8.

抛 | 拋 pāo - to throw / to toss / to fling / to cast / to abandon

抛弃 | 拋棄 pāoqì - to abandon / to discard / to renounce / to dump (sb) 抛开 | 拋開 pāokāi - to throw out / to get rid of 抛物线 | 拋物線 pāowùxiàn - parabola

（2）滚 | 滾 gǔn

I actually prefer the traditional version, particularly when I'm writing by hand. When I write the simplified version, the 衣 strokes on the bottom always looks awkward under 公 to me.

滚 | 滾 gǔn - to boil / to roll / to take a hike / get lost!

摇滚 | 搖滾 yáogǔn - rock 'n' roll (music) / to rock / to fall off 滚开 | 滾開 gǔnkāi - to boil (of liquid) / boiling hot / Get out! / Go away! 滚烫 | 滾燙 gǔntàng - boiling / scalding 打滚 | 打滾 dǎgǔn - to roll about

（3）匀 | 勻 yún

I think these look pretty much the same when handwritten, but on the computer they are distinct. I definitely prefer how the simplified one looks.

匀 | 勻 yún - even / well-distributed / uniform / to distribute evenly / to share

均匀 | 均勻 jūnyún - even / well-distributed / homogeneous / well-proportioned (figure, body etc)

（4）叙 | 敘 xù

叙 | 敘 xù - to narrate / to chat

叙述 | 敘述 xùshù - to relate (a story or information) / to tell or talk about / to recount / narration / telling / narrative / account 叙事 | 敘事 xùshì - narrative

（5）奥 | 奧 ào

奥 | 奧 ào - obscure / mysterious

It really bugs me that 奥 has a different traditional form, but 澳 (as in 澳门 Macao) does not!

深奥 | 深奧 shēn'ào - profound / abstruse / recondite / profoundly 奥运会 | 奧運會 Àoyùnhuì - Olympic Games; the Olympics (abbr. for 奥林匹克运动会 | 奧林匹克運動會) 奥利给 | 奧利給 àolìgěi - come on, you can do it!

（6）厨 | 廚 chú

厨 | 廚 chú - kitchen

厨房 | 廚房 chúfáng - kitchen 厨师 | 廚師 chúshī - cook / chef 厨艺 | 廚藝 chúyì - cooking skills / culinary talent

Other similar cases: 厮 | 廝 sī - (bound form) together; each other / (bound form) male servant / (bound form) dude; so-and-so 厢 | 廂 xiāng - box (in theater) / side room / side 厦 | 廈 shà - tall building / mansion / rear annex / lean-to / also pr. xià

（7）刹 | 剎 chà/shā

Whether the bottom looks like 朩 or 木 seems to be somewhat stylistic and can vary by font. But the little 点 is a consistent difference.

刹 | 剎 chà - used to transcribe several words originally from Sanskrit

刹那 | 剎那 chànà - an instant (Sanskrit: ksana); split second; the twinkling of an eye

刹 | 剎 shā - to brake

刹车 | 剎車 shāchē - to brake (when driving) / to stop / to switch off / to check (bad habits) / a brake

（8）侣 | 侶 lǚ

侣 | 侶 lǚ - companion

伴侣 | 伴侶 bànlǚ - companion / mate / partner 情侣 | 情侶 qínglǚ - sweethearts / lovers

Other similar cases: 宫 | 宮 gōng - palace / temple / castration (as corporal punishment) / first note in pentatonic scale 吕 | 呂 lǚ - pitchpipe, pitch standard, one of the twelve semitones in the traditional tone system / surname Lǚ

（9）别 | 別 bié

I've known about the traditional form of this character for a while now, but to be honest, it still looks like 别 written incorrectly to me...sorry.

别 | 別 bié - to leave; to part (from) / (literary) to differentiate; to distinguish / (bound form) other; another; different / don't …! / to fasten with a pin or clip / to stick in; to insert (in order to hinder movement) / (noun suffix) category

差别 | 差別 chābié - difference; distinction; disparity 分别 | 分別 fēnbié - to part; to leave each other / to distinguish; to tell apart / difference; distinction / in different ways; differently / separately; individually 区别 | 區別 qūbié - difference / to distinguish / to discriminate / to make a distinction 性别 | 性別 xìngbié - gender / sex 个别 | 個別 gèbié - individually; one by one / just one or two; exceptional; rare

（10）丢 | 丟 diū

OK, I literally just realized there are separate simplified and traditional forms for this character while working on this post 😭 I feel utterly betrayed.

丢 | 丟 diū - to lose / to put aside / to throw

丢脸 | 丟臉 diūliǎn - to lose face / humiliation 丢人 | 丟人 diūrén - to lose face 丢掉 | 丟掉 diūdiào - to lose / to throw away / to discard / to cast away 丢失 | 丟失 diūshī - to lose; to misplace 跟丢 | 跟丟 gēndiū - to lose track of

See similar posts: Characters I used to write incorrectly Characters that look TOO similar Traditional characters that haunt me

[literary-illuminati]

2024 Book Review #55 – The Vanished Birds by Simon Jimenez

Introduction

The Spear Cuts Through Water was one of my favorite reads of last year, and I’ve been meaning to get around to Jimenez’ other work basically since I finished it. Months and months later, my TBR pile and the library’s hold queue cooperated and I finally got around to it. Of the two, you can definitely tell Birds is the debut novel, but despite the roughness I can’t help feeling like it's also the one I prefer. I do have complaints (of which, more below), and the story certainly has issues with structure and allocation of wordcount, but this really is the rare book where I feel no compunctions whatsoever giving five stars.

Knowing myself, this isn’t entirely unrelated to how fucking heartbreaking it is at points.

Synopsis

To brutally over-summarize, the book follows Nia, a starship captain hauling crops on a freight route from a ‘resource world’ to Pelican Station, one of the great centers of human civilization and Allied Space. Due to the peculiarities of faster than light travel, the round trip that is for her and her crew experienced as a span of months is for the people at both endpoints an absence of fifteen years – a convenient way for her to keep making the same mistakes as far as personal connections and relationships go. On the last loop of the route before her contract is completed, she finds herself taking care of a mute, deeply traumatized young boy discovered miraculously unharmed by the locals in what seemed like a fiery wreck. The boy – at first nonverbal, inexplicably a musical savant, deeply traumatized and mysterious in a hundred different ways – finds his way into her heart to the point that even after they return to Pelican and he’s been turned over to the security services, she can’t stop trying to find out what happened to him and making sure he’s alright.

It’s at this point that the two of them come to the attention of Fumiko Nakajima, the Millennium Woman – designer of the five great stations at the heart of Allied Space, and (thanks to the magic of cryo-sleep and FTL time differentials) one of the last survivors of long-dead Earth. She sees in the boy the possibility of something miraculous – truly instant interstellar travel – and so hires Nia and a few reliable agents to take him into Fringe Space, safely out of view of any of her ‘friends and colleagues’ who might take a similar interest in him. For fifteen years. The story then reveals itself to be one of, basically, child-rearing and coming of age – at least until the moment where the child’s miraculous abilities really do reveal themselves, and all at once things get much, much deadlier.

Structure

The book is – not quite incoherent (the thesis is very clear), but certainly unfocused. At first I thought that was rather the point – the first three chapters are each incredibly effective, melancholic short stories in their own rights'; each leapfrogging into the perspective of a character whose actions or legacy shaped the previous, but with dramatically different casts, setting and plots. These are almost certainly the most aesthetically successful and artistically disciplined sections of the book, and as I read them I assumed it would continue in the same vein for the entire book.

It does not – the book settles very firmly into being the story of Nia and the boy who is later named Ahro. The middle of the book is an almost light-hearted coming of age story, spread across the years Ahro spends growing up in the Galactic fringe with his ragtag accidental family. The final act then dramatically shifts tone again, becoming largely about recovering from betrayal and the destruction of your life, and of striving in defiance of all sense and reason to reconnect with someone you love.

There are, then, three very different vibes here, and I can’t say the shifts between them are handled with the most grace in the world. The book absolutely never stops experimenting with style either, shifting voice, perspective, level of detail, and even format (several chapters are relayed as diary entries) basically whenever the mood strikes it. It absolutely feels like an incredibly talented author showing off a bit beyond their limits – you can see the seams, the allocation of effort between the parts is...questionable, and there are a couple vital characters/subplots who just needed another chapter or two of focus – but it’s the sort of messiness that leaves me incredibly endeared.

Love, and its Discontents

Those first three chapters are essentially short stories connected by setting and a character or two – but most of all they’re connected by theme. Each is, one way or another, the story of the protagonist falling in love – the sort of love that defines a life, that cuts you to the core whenever you remember it – and then having that love fail, leaving the lover damaged or lessened in a way that never quite heals.

Things do not stay quite so melancholic, but for a story whose whole climax is centered around the quite literally metaphysical and reality-shaking power of pure love this book has a bracingly tragic sensibility of it. Love is hopelessly one-sided, or turns rancid with resentment for just long enough to make sure it can never be restored again. Romances end in betrayal and murder, bonds both sororial and paternal in half-thoughtless abandonment, soul-deep friendships in vicious arguments and a severing of ties. Love, the book says, is deeply contingent and often more transitory than it seems – and if it isn’t, that can do far more harm than good.

Nia as a protagonist has plenty of baggage about this. She’s introduced as a woman with deep abandonment issues – that is, she keeps abandoning people and then feeling bad about it (her ship is the Debby, after the kid sister who lived and died seeing her for a few days every fifteen years due to the time lag of interstellar shipping). She latches onto protecting and caring for Ahro almost more as an attempt at redemption for herself as anything about the boy himself, it’s only over time she really grows to love him as more than a talisman.

I can’t say it was particularly well-spent time, but the book does something I love at least the idea of. Nia’s crew is introduced in the second chapter with a fair amount of detail and personality, each of them having little idiosyncrasies and distinguishing habits and virtues; one is a best friend she found stranded on a wrecked hulk and nursed back to health. The whole dynamic is that of the grumbling and bickering but affectionate found family crew you’ve seen in a thousand other stories. So when she commits to spend up to fifteen years of her life taking care of Ahro on the galactic fringe in exchange for truly unbelievable amounts of money, she sits down with them, tells them the score, and asks them if they trust her enough to come with her.

And all but one of them say no, and never show up in the story again. Which is possibly the first time I have ever seen that kind of scene not end with re-commitment and affirmations of trust from at least most of the real characters that were asked.

This makes the whole found family situation with Nia, Ahro and (most of) the second crew that do spend years in the outskirts of ‘civilized’ space with them works for me far, far better than these things usually do. Because, unlike functionally every piece of fiction I can think of that’s ever been promoted as being about found families, this one really does sell it as something precious and exceptional, rare and worth fighting to preserve.

It also gets all but three of the people involved killed, of course, and of those three one’s permanently crippled and death would probably have been kinder for the second. The book’s really big on stretching ‘better to have loved and lost than never to have loved at all’ to the absolute breaking point – right up to someone choosing not to die despite an existence of nothing but torture and pain just for the infinitesimal bit of hope and connection of a loved one singing through the prison bars.

The Banality of Evil

The villain of the piece is, without question, the monolithic and monopolistic Umbai Corporation, something between a neocolonialist conglomerate and a sovereign, expansionist empire in the classic sense with a few affectations from its earthborn roots (the specifics of the politics of Allied Space are vague and in any case more impressionistic than anything like a detailed speculative political economy). Which is kind of fascinating, in that it is specifically the Corporation as a corporate body that is the villain – agency and responsibility are spread across whole bodies of Allied nobility and corporate Judiciary officials, armored Yellowjacket thugs and career-minded techs and surgeons. There’s no CEO or President, no Board of Directors who set the agenda and bear ultimate responsibility – there’s no face to it at all, really. I’m fairly sure no agent of the company ever even appears twice. Which is just interesting on its own terms, given Umbai as an entity defines both the setting and the plot to dramatic degrees.

The world of the Vanished Birds is a horrifying dystopia in a hundred different ways, but until the very end of the book this just isn’t really something any of the characters particularly care about. It’s in the incidental details and the little asides in the exposition – that there is a great apparatus of censorship on every Allied world dedicated to controlling and slowing the rate of linguistic drift to ease the flow of time-shifted commerce, that the culture and economy of Umbai ‘Resource Worlds’ are societies deliberately starved of information and culturally engineered to be easily managed and quiescent single-commodity resource exporters. Even in the distant past, Umbai and institutions like it used their control over the Ark Ships escaping earth to filter the species – denying berths to (among a great many other things) anyone of ‘problematic’ politics or who seemed likely to be an economic burden.

It’s a universe where this system seems to spread inevitably and irresistibly, everything valuable bought up and parceled out for the benefit of the system’s functionaries diligent enough to save for occasional vacations, and the nobles and officials in the vaunted heights of far-off stations and City-Planets (the allegorical applicability is left as an exercise for the reader, a bit of restraint I did appreciate).

It is, again, not a system that’s worth analyzing as a speculative political economy or technical exploration of neocolonialism either present or future – but it’s not trying to be, either. And it works very well at seeming like a real, functioning world that the characters are just trying to live in.

The Anthropocene

Going off where most of its wordcount is spent, I’m not sure you could really call Birds climate fiction. But if someone was making that argument, I’m not sure you have too much ground to stand on arguing you shouldn’t either.

Fumiko’s first chapter, read as a stand-alone short story, absolutely is – the story of a love affair between genius savant designing the great orbital habitats which will sustain a lucky slice of humanity in the stars, and a talented but less world-shaping scientist doing what she can to lighten the burden of the remaining four fifths of the species being left behind upon the increasingly uninhabitable earth. This is where the book’s title comes from – the gradual disappearance of the birds Fumiko loved as a child, even from the sanctuary trying so ferociously to preserve them.

The world presented in that chapter feels just barely familiar enough to be unsettling, a scarred and fortified world that’s still on a clear and irreversible decline – which might be either chicken or egg to the fact that the commanding heights of government and industry have given up trying to save it entirely to focus on an escape to the stars.

For the rest of the book, environmental collapse isn’t really a topic that much comes up – though the human shaping of and impact on the environment certainly does. It’s just largely a matter of deliberate engineering.

There is, however, a very easy allegorical reading of the fact that on discovery of a way to travel instantaneously between stars, Umbai ruthlessly exploits and monopolizes it to attain unprecedented degrees of power and wealth as they reshape the entire galactic economy – all of galactic civilization, really – around the new technology. All without the slightest thought or care that this new technology is based on harvesting a specific and finite resource and their brave new world will collapse entirely without it. Omelas-child instead of oil but still – not exactly subtle, but I do appreciate the book restraining itself from directly and explicitly pointing it out.

Fumiko

The ‘millennium woman’ is probably the most interesting single character in the book, and also almost certainly the biggest structural weakness in the whole thing. Which is annoying to me, personally. She simultaneously has some of the best chapters of the book and also ends up feeling like a ball being tossed around as the plot requires.

Her Methuselah existence is only vaguely justified and explained, and it’s entirely unclear just how exceptional she is (beyond the fact she isn’t unique, anyway) – the story never even gestures to the existence of any of her peers beyond vague mentions of the Umbai executive class or Allied nobility. She’s an oligarch-savant with nigh-infinite resources and cadres of loyalists installed in every institution worth owning – until a single mistake is made and the powers that be unite in a perfectly coordinated strike to kill them all and leave her stranded in the torn up ruins of her private research colonies among the corpses of two thousand executed minions.

A character being ruthlessly crushed without warning or chance of contesting it by the powers that be rings more true when the character isn’t one of them, I suppose? As it was, it felt like being dropped into the climax of a story without any of the rising action.

The effect is, I think, at least mostly intentional. The entire chapter is about Fumiko being so distracted with the failures of her memory and a complete preoccupation with her latest project (Ahro) that she cannot even pretend to remember or care about this whole vast infrastructure she has built up for her own advancement and curiosity, or the hundreds of followers who treat her as a living saint (to the point of not even remembering her friend, confidant and second in command until the moment before he’s executed for, in essence, her failing to consider the consequences of breaking a minion’s heart). The fact that there’s a battlecruiser en route to bury everything she’s built in napalm and she just forgot to do anything to prepare is actually very plausible. In which case, I just wish it had been ore dwelt upon and made a point of. Or just – it felt like she really needed another chapter or two from her POV before things go horribly wrong, I suppose?

Her chapters are very well-done and affecting, to be clear. And her mirrored character arc with Nia – both women who get a certain pleasure out of other people caring about and being more invested in them than they are in return, both dealing cosmically poorly with rejection, both forever decorating their life in half-conscious memory of someone they left behind – is both well done and compelling (Nia gets better, Fumiko’s story in an elaborate murder-suicide/terrorist attack).

Too Long; Didn’t Read

Beautiful, emotionally affecting book. Very much a debut work from a talented author – experimenting and showing off a bit more than be supported, some fundamental structural weaknesses – but nothing I found detracted from the experience. Actually one of the quite rare books where sitting down and writing out a review has made me like it more rather than less.

[wheelsgoroundincircles]

1962 Plymouth Savoy Max Wedge: Unleashing the Power of Muscle

1962 Plymouth Savoy Max Wedge

In 1962, a new era of muscle cars emerged, radiating brilliance and power. Chrysler led the way with their groundbreaking Max Wedge lineup, introducing the world to the fusion of unitized-body construction and the high-performance ram-tuned dual-carbureted 413 CI engine. Among these legends was the Plymouth Savoy Max Wedge, a remarkable vehicle that holds a significant place in automotive history.

1962 Plymouth Savoy Max Wedge

1962 Plymouth Savoy Max Wedge

The First Super Stock Max Wedge with Manual Transmission According to the esteemed Chrysler Registry and the meticulous documentation by Darrell Davis, this specific Plymouth Savoy Max Wedge holds a groundbreaking distinction—it was the first Super Stock model equipped with a manual transmission. The car’s odometer displays a mere 6,593 miles and has undergone a meticulous restoration process to return it to its original specifications. Notably, the engine has been upgraded, boasting a dyno-proven power output exceeding 500 HP.

1962 Plymouth Savoy Max Wedge

Unleashing the Power of the 413 CI V-8 Engine The 1962 Plymouth Savoy Max Wedge was powered by the formidable 413 CI V-8 engine. This was the first iteration of Chrysler’s renowned ram induction system, featuring a cross-ram intake manifold meticulously designed to optimize engine efficiency. The engine’s performance was further enhanced by the utilization of cast-iron header-style manifolds, which were rarely preserved but featured in this exceptional vehicle. Dale Reed of California refreshed the engine around 300 miles ago, ensuring its optimal performance. The correct Carter AFB carburetors reside beneath dual black air cleaners, accentuated by carefully placed decals.

1962 Plymouth Savoy Max Wedge

1962 Plymouth Savoy Max Wedge

A Unique Manual Transmission Experience One of the distinctive aspects of this Plymouth Savoy Max Wedge is its manual transmission. Unlike its automatic counterparts, this car delivers a unique driving experience through its floor-mounted shifter, allowing the driver to truly feel the power at their fingertips. Paired with a full aftermarket exhaust equipped with cutouts and the robust 8 ¾ Chrysler differential, this Max Wedge offers an exhilarating ride for those who crave the thrill of the open road.

1962 Plymouth Savoy Max Wedge

Captivating Style and Authenticity The exterior of this Plymouth Savoy Max Wedge embodies the spirit of the era. Finished in captivating light blue paint, it exudes a timeless charm. The interior features a complementary blue cloth-and-vinyl combination, while the white-and-blue two-tone trim adds an elegant touch. The front and rear bench seats provide comfort, and the radio delete plate pays homage to the car’s performance-focused nature. Notably, it features a knee-knocker S-W column-mounted tachometer and a beautifully presented trio of rubber pedals. The car’s attention to detail is evident throughout, with the inclusion of circa-1962 chrome fonts, single-lens tail lamps, and OEM steel wheels adorned with poverty-type hubcaps.

1962 Plymouth Savoy Max Wedge

1962 Plymouth Savoy Max Wedge

Provenance and Documentation Accompanying this Plymouth Savoy Max Wedge is a wealth of provenance and documentation that adds to its allure. It includes the original OEM IBM punch card and build sheet, which serve as a testament to its authenticity. Additionally, the window sticker provides insight into its original specifications, while the dyno sheet confirms its impressive horsepower rating. Vintage photos capture the car’s early years when it was part of a famous drag car collection, showcasing its illustrious past.

1962 Plymouth Savoy Max Wedge

1962 Plymouth Savoy Max Wedge

Conclusion The 1962 Plymouth Savoy Max Wedge stands as a testament to the golden age of muscle cars. With its groundbreaking manual transmission configuration, powerful 413 CI V-8 engine, and captivating style, it represents the pinnacle of Mopar’s storied performance heritage. Meticulously restored to its original glory, this Max Wedge allows enthusiasts to experience a bygone era’s raw power and timeless charm.

FAQs: How many miles does the 1962 Plymouth Savoy Max Wedge have? The odometer of the 1962 Plymouth Savoy Max Wedge reads 6,593 miles. Who documented the Chrysler Registry for this particular car? The meticulous documentation of the Chrysler Registry for this car was done by Darrell Davis. Has the engine of the 1962 Plymouth Savoy Max Wedge been upgraded? Yes, the engine of this Plymouth Savoy Max Wedge has been upgraded to a dyno-proven 500-plus HP. What is the significance of the 413 CI V-8 engine in this car? The 413 CI V-8 engine in this car was the first to receive Chrysler’s shortened version of ram induction, known as the cross-ram intake. It maximizes engine efficiency and pairs it with rarely preserved cast-iron header-style manifolds. What documentation and provenance come with this Plymouth Savoy Max Wedge? This Plymouth Savoy Max Wedge comes with various documentation, including the OEM IBM punch card, build sheet, window sticker, dyno sheet confirming horsepower rating, and vintage photos of its early years as part of a famous drag car collection.

[entei]

mutual aid requests from ryn on behalf of their friends! please support if you can

Image 1: "We are on a caravan to bring my brother's ashes from Louisiana up to Standing Rock, to bring that part of him to this home of his. (https://www.gofundme.com/f/ceremony-for-nashoba)

On the caravan (3 vehicles), our dear friend's truck rear differential started acting up (at 4:30pm of course right before the only mechanic in town closed), and we had to leave them (3 friends) in a random town in MO until it can get fixed on Monday. We need to keep going because of time constraints, but wanted to try to get them some funds for the motel, food, and the repairs. We would love to get towards $800ish at least.

Please donate and share!

Paypal: Fraugg(@)hotmail.com

#IndigenousGulf #Indigenous #IndigenousMutualAid #MutualAidRequest"

Image 2: "When we were out on the road releasing my friend's ashes, one of our comrade's partners got attacked for being a transfemme on her own and had to defend herself.

https://idavox.com/index.php/2023/08/14/free-epona-rose/

https://www.instagram.com/p/Cv55dRtuIzS/?igshid=MzRlODBiNWFlZA%3D%3D

Please share and donate as you are able. Epona is a comrade who is needed out on the frontlines, not in a jail cell due to straight up transphobia.

#IndigenousGulf #MutualAidRequest #MutualAid #TransRights #TransRightsAreHumanRights"