#speed six

[carsthatnevermadeitetc]

TVR T350 C 4.0-Litre, 2003. A one-off TVR show car is for sale by auction in the UK. It is fitted with a 4.0 litre version of the Speed Six engine that was used in 3.5 lire form in other T350 C models, of which 390 were made.

auction listing

[crownedstoat]

Bentley Speed Six continuation.

[dragon-flightclub]

TVR Tuscan Speed Six Mk 1

[bogdreamz]

we’re just normal men. we’re just innocent men

[phoenixcatch7]

Okay so there's this idea for a fic I've been thinking of.

The jl are combating something that can only be touched with magic, jl dark is unresponsive (they got stuck in another dimension again), and cap - their only other magic user - is too injured.

But when they start stressing cap just slams a sheaf of papers of the table like 'pick between yourselves what powers you want, it's one each. Ig I'll sponsor you for today'.

Everyone: what?

Cap, spreading the papers to show each has a letter... Spelling out a magic word?: I'm serious. Do you want a cool new power? Consequence free? For as long as you need?

Batman:... Are you saying... You can... Give out powers?

Cap: my powers, yes. Flash, put Mercury back. That's pointless.

It'd be a great chance to have him explain his powers as a sort of reveal, including why he doesn't do it (it divides his power equally and thus severely weakens him). Also it would be very funny, I think, to see the jl in colour coded marvel suits being basically patroned by Billy. Batman has a blindingly white cowl. Flash has a cape. There's so much 'wait this chill childlike guy from some random city is actually insanely powerful' potential.

But also:

Batman, slowly pinwheeling through the air: how do I steer.

[blueberrymuffin674]

IMMA KILL YALL WITH THIS IDEA

What if after Odysseus literally stabbed Poseidon in rage in the Vengeance Saga he then actually process the fact that Poseidon BEGGED for mercy, then Odysseus remembers Polities and Open Arms and has a breakdown from what he was become. They both then have to comfort each other. would be more impacting if Odysseus stabbed Poseidon more than in the musical actually making Poseidon cry...

[riding-with-the-wild-hunt]

"[Tulkas'] spouse is Nessa, the sister of Oromë, and she also is lithe and fleetfooted. Deer she loves, and they follow her train whenever she goes in the wild; but she can outrun them, swift as an arrow with the wind in her hair. In dancing she delights, and she dances in Valimar on lawns of never-fading green." - J.R.R. Tolkien, The Silmarillion, "Valaquenta"

@ainurweek day 7 ⇢ NESSA

[ID: an edit comprised of six posters in shades of red, black, and brown, with some white and gold accents.

1: Sheerah Ravindren, a tamil model with brown skin and long black hair, some of which is braided. They are looking over their shoulder at the viewer with a neutral expression, surrounded by gold foliage on a red background. The image is framed by a white rectangle which cuts off in the upper left corner, where white cursive text reads "Nessa." White serif text in the bottom right corner reads "the dancer" in all caps / 2: A red-handled knife with a dangling tassel beside its matching red sheath on a black background. White text, some in cursive and some in the serif font, reads "And it is sung that in that feast of the Spring of Arda / 3: A deer's face emerging from dark shadows. Text in the same format as Image 2 reads "Tulkas espoused Nessa the sister of Oromë, and she danced" / 4: Sheerah Ravindren, this time facing the viewer with their hands resting on either side of their head. They wear no shirt, and their hair hangs over their chest, as well as several gold necklaces. Same text as Image 1, but the text has switched to the bottom left and top right corners / 5: Sheerah Ravindren facing the viewer and crossing their arms above their head as if dancing. Same text and format as Image 1 / 6: An indian classical dancer. The image shows multiple exposures, making the figure look like they are in several poses at once. Text in the same format as Images 2 and 3 reads "before the Valar upon the green grass of Almaren." //End ID]

[mensfactory]

1930 Bentley Speed Six Continuation Series prototype

[th3b33skn33s]

"Take it from an older woman- we're all doomed to repeat our mistakes. So why even worry about it?"

[niko-sasaki-dbd]

Honestly I thought I was being a bit cheesy with my song choices for my dbda playlists, but I finally listened to Jayden's playlist for Charles, and I was wrong. I didn't even know what cheesy was before listening to that playlist.

[aheathen-conceivably]

Don’t mind me just sitting here thinking about how long I’ve been in the 1930s and how it’s still only 1935.

[po1sonous-l0ve]

READING SIX OF CROWS YALL WISH ME LUCK

[lunarthecorvus]

Just read a brilliant 27.5k word Kanej regency au fic in an hour... It was amazing

[franklyimissparis]

who’s who in “let ‘em in” by wings (1976)

and some other thoughts on the song

prefacing this by saying that paul himself has changed his own interpretations and offered many explanations up for each name mentioned in the song! i don't necessarily think there's one right answer about what's about who - paul is known for writing about multiple things at once and having many layers of inspiration behind his lyrics. i will mostly be focusing on the names paul lists off within the song, in the order they appear, starting with:

- sister suzy: suzy was linda mccartney's alter ego within her own band, suzy and the red stripes which was active at the time this song was written. paul has stated on many occasions, including in “the lyrics”, that sister suzy is a reference to linda.

- brother john: a lot of articles reference brother john as being john eastman, linda's brother, while others reference john lennon. paul himself said it could be either. but if we're being honest, the first person paul's gonna think of when someone says “john” is lennon, hands down.

it's worth noting the use of sister when describing linda, paul's wife. while it could make sense in the context of the line brother john being john eastman (john and linda being actual brother and sister to one another), i think it's valid to examine the other potential meanings as well, particularly if we think of brother john as john lennon. it places paul's relation to them both as, firstly, familial and implies an equality in the roles they've served within paul's life. starting the list of people with linda (placing her as the most important as the lot) and then john second is interesting as well. we've seen countless examples of paul and john both comparing their relationships with their wives to their relationships with each other and i think it's striking that paul does this here, whether consciously or not.

(nowadays, paul's brother and sister in law via his wife nancy are actually named jon and susie, coincidentally enough.)

- martin luther: paul writes in "the lyrics" that this is about MLK which i'm sure it partially is but also there is an account of the other three beatles jokingly calling john "john martin luther lennon" in the early days though i couldn't find a solid source for this. there is the infamous 1985 hunter davies quote from paul's off the record phone call with him where he called john “martin luther lennon" but that was obviously years after let 'em in and in a massively different context (though potentially this could suggest that it’s a comparison he’s mentally made before but that’s a bit of a stretch, evidence wise lol). i’ve also heard people say martin luther could potentially be a reference to george martin as well, which is possible. others have speculated that this is a reference specifically to martin luther and the 95 theses (“knocking on the door" i.e. nailing the theses to the door) which paul says may have been true on an unconscious level but wasn't purposeful.

- phil and don: the everly brothers, one of paul and john's earliest and biggest influences as young lads. they were heavily inspired by the everly brothers when they performed as their duo, the nerk twins. they also referred to themselves as the foreverly brothers on other occasions.

- brother michael: paul's brother mike, unsurprisingly. though paul also states in “the lyrics” that this might have been a reference to michael jackson as the timing works with paul and linda meeting the jackson 5 around the same time as well but i think realistically he probably mostly had mike mccartney in mind with this one.

- auntie jin: paul’s real and favourite auntie from liverpool. saw one very rogue take that it’s meant to sound like ‘antigen’ but, quite frankly, i think that’s a bit horseshite.

- uncle ernie: in “the lyrics”, paul mentions that he has a cousin called ian who was sometimes referred to as "ern". but also states that at this point he was just playing with words and sounds and this probably wasn't his intention. previously, paul has attributed the line as a reference to keith moon, who was close to the mccartneys in the 70s prior to his death and played the character of uncle ernie in the film tommy (1975). it also could refer to ringo starr as well, as he voiced uncle ernie in the LSO's recording of tommy. ringo himself referenced let 'em in ("someone's knocking on the door/someone's ringing my bell") in 2003 in the song "english garden" which suggests that, at the very least, he felt as though there was some connection to him there.

- uncle ian: like previously stated, paul has mentioned his cousin ian as potentially inspiring this line but personally i think uncle ian could be a reference to paul himself. "ian iachimoe" (meant to phonetically sound out "paul mccartney" backwards) is one of paul's many pseudonyms, thought to have been created around 1966. he signed the lyrics of paperback writer with "yours sincerely, ian iachimoe" and it is also said that in order to distinguish themselves from the rest of his mail, paul would tell his close friends and family to address letters to ian iachimoe so he would know to read them.

paul referred to "let 'em in" as the musical equivalent of a "stocking stuffer" in “the lyrics” which i'm sure it was in his mind but me and my tin hat will be reading deeper into it as usual! this song reminds me quite a lot of “call me back again" in the sense that i think (subconsciously) it may be a bit of a poke at john to get in contact with him.

it's important to note that the album was written/recorded/released around the time of the infamous “it isn't 1956 anymore” incident where, according to john, paul kept showing up at the dakota with his guitar after sean was born without calling ahead. john would let him in but would be a bit put off about it until one day he gave paul a bit of shite for it and paul took it quite personally. while the actual incident is noted as happening in april of 1976 (according to the beatles bible) if it's true that, as john says, this happened a few times there could have also been some tension with paul appearing at john's in the prior months before paul recorded the song in february of 1976.

paul has spoken of the song as reminiscent of a typical party in liverpool where there's sort of a constant stream of family and friends coming through the door - this could be something paul is nudging john to remember (especially with the references to their teenage musical influences and acquaintances and paul's family members that john himself once knew personally.) something along the lines of "oh come on, john, you've gotta just let people into your life, you can't shut out the people who love and miss you. this is how it used to be with us, don't you remember those days?" ... but that's just my interpretation. anyway sorry this was so long but i just thought i'd share in case some of you hadn't heard all the possible interpretations of the lines :))

[corporalicent]

you and me, we got big reputation

[puppyeared]

Fool’s Gold