text: www.dusantynek.org (DT)2 For press information contact: William Murray, (212) 254-1357 or email@example.com Dušan Týnek Dance Theatre Choreography by Dušan Týnek Fifth Annual New York Season Two Works Including the World Premiere of Apian Way Brooklyn Lyceum 227 Fourth Avenue (between Union and President Streets) Brooklyn, NY June 12, 17, 19, 24, 26 at 7:30pm Tickets: $20 and $10 (senior/student/child) Purchase tickets online at www.brooklynlyceum.com "Týnek's choreographic flights of fancy [are] alluring ... fascinating ... powerful" The New York Times "luminous with imagination ... filled with vision, charm and wit ... art that preserves uncorrupted the poetic fantasies of childhood" The Village Voice (New York, NY) -- Dušan Týnek Dance Theatre presents their fifth annual New York season with a world premiere and the return of an audience and critics" favorite. The world premiere of Apian Way is set to Bach"s Sonatas and Partitas for Solo Violin and is inspired by the social interaction of bees and the mystery of their modern day disappearance. Apian Way will be paired with Fleur-de-lis, a work for three couples set to violin sonatas by Biber and described by the New York Times as "a beautiful work, full of poetry and surprise." The works will be presented at the Brooklyn Lyceum theater, a former 100-year-old bath house which will be converted to a dance space for this presentation, located at 227 Fourth Avenue (between Union and President Streets), Brooklyn, NY, June 12, 17, 19, 24, 26 at 7:30pm. Tickets are $20 and $10 (senior/student/child) and can be purchased online at www.brooklynlyceum.com. The New York Times critic Jennifer Dunning selected Dušan Týnek Dance Theatre"s 2006 season as one of the top five dance events that year. Additionally, The New Yor k Times critic Roslyn Sulcas wrote in 2007 of Fleur-de-lis: "…a cascade of haunting moments that seem perfectly in accord with the music ... Mr. Tynek has a gift for creating movement that looks physically impossible; men cantilever off the women"s bodies; a woman floats away from a man, her legs flying out behind her. He also makes beautifully architectural dance, often weaving a diagonal line of dancers through a vertical one, and he has an acute musical sensibility evinced in a strangely effective stop-and-start section to the surging violin in "Resurrection."" Costumes for Fleur-de-lis are by Karen Young and costumes for Apian Way are by Oana Botez-Ban. Lighting is by Roderick Murray. DUŠAN TÝNEK - ARTISTIC DIRECTOR/CHOREOGRAPHER/PERFORMER DUŠAN TÝNEK was born in Czechoslovakia and came to the U.S. in 1992. He received his B.A. from Bard College, with a concentration in dance performance and composition as well as studies in the natural sciences. Known for his striking blend of theatricality, musicality, and humanism in formally structured modern dance, Týnek owes much of his training and inspiration to the Judson Church luminary Aileen Passloff as well as Merce Cunningham who personally tutored him for several years while Týnek served as an understudy for the Merce Cunningham Dance Company. As a member of the Merce Cunningham Repertory Understudy Group, he performed throughout the Northeastern U.S., including Lincoln Center. Týnek went on to perform and tour with a number of New York City- based modern dance companies and choreographers including Douglas Dunn, Michael Mao, and Molissa Fenley 2 among many others. In 2000, Týnek joined the Lucinda Childs Dance Company for its 25th Anniversary Season, touring throughout Europe including performances in Lisbon, Palermo, the Montpellier Dance Festival, the Vienna Tanz Festival, and seasons at both the Theatre de la Ville in Paris, and the Brooklyn Academy of Music. From 2001- 2002, Týnek toured extensively throughout the Netherlands and Switzerland as a member of Dance Works Rotterdam (Netherlands), and collaborated with the Leine en Roebana Company in Amsterdam. In 2002, Týnek returned to New York to found Dušan Týnek Dance Theatre (DT) 2 and has since created over a dozen major dances and held four critically-acclaimed seasons in NYC at The Kitchen, Joyce SoHo, Ailey Citigroup Theater, and Dance Theater Workshop (which Jennifer Dunning of The New York Times named one of New York City"s top 5 dance performances of 2006). In addition to New York, Týnek has also presented his work in Massachusetts, Florida, the Netherlands, Poland and Russia. He has also taught modern dance and ballet in New York, Massachusetts, North Carolina, the Czech Republic, Poland and Russia. PERFORMERS ALEXANDRA BERGER came to New York in 1999 to purs ue her B.F.A. in Dance, which she rec eived from The Joffrey Ballet School/New School University in 2003. In the Fall of that year she joined Dušan Tý nek Dance Theatre as a founding member. 2 While dancing for (DT) she has worked as a freelance artist for several other New York -bas ed choreographers, including Tricia Brouk, Matthew Westerby, and Alice White. From 2005-2007 she studied on scholarship at the Merce Cunningham Danc e Foundation and in 2007 danced as a member of the Repertory Understudy Group (RUG) of the Merce Cunningham Dance Company under the direction of Merce Cunningham and Robert Swinston. Alexandra has taught modern dance in Gloucester, MA; Bytom, Poland; and St.Petersburg, Russia. You can also finding her teaching Gyrot onic(R) at Fluid Fitness in NYC, and pouring wine at Stonehome Wine Bar in Fort Greene, Brooklyn. ANN CHIAV ERINI, originally from Pittsburgh, Pennsylvania, joined Duš an Týnek Dance Theat re in 2006. She has performed with 2 (DT) in New York City, as well as on tours throughout the Northeast U.S. and internationally in Poland and Russia. She has also had the pleas ure of performing with Edisa Weeks/Delirious Danc e Company, Nancy Meehan Dance Company, and choreographers Stephan Koplowitz and Larry Keigwin in New York City, as well as Eisenhower Dance Ensemble and Michigan Opera Theatre in Detroit, MI. Ann has taught ballet, modern dance, and arts-in-education programs for several organizations which include American Ballet Theatre, Ballet Tech, and guest ins truction/choreography at Oakland University (Auburn Hills, MI). 2 Ann has particularly enjoyed teaching festival master classes in St. Petersburg, Russia, and Bytom, Poland as part of (DT) 's 2007 East European tour. Ann holds a B.F.A. in Dance from the Joffrey Ballet School/New School University. MATTHEW DAILEY is a graduat e of George Brown College's Classical Acting Program and holds his Honours B.F.A. in Dance from Ryerson University in Toronto. In New York, Matthew has danced for Rindfleische Dance, Tricia Brouk, Palissimo and Stephanie Dixon and can be seen in several Bravo Canada Dance films choreographed by Jenn Goodwinn. Choreography credits include the children's musical " The Beautiful Land of Tiki" (Toronto Fringe) and "Kreskinned" (San Francis co Fringe). Matthew has taught Jazz and Modern danc e in the Toront o Public School System, The Open Look Festival in St. Petersburg Russia and Windhover Cent er for the Performing Arts. Matthew has been dancing for Duš an Týnek Dance Theat re since 2005. EDEN MAZER was born in Gloucester, MA, and studied dance with Ina Hahn, Mimi Ferrell and at St. Paul"s School and Barnard College. She has performed wit h Jonathon Appels, Sue Hogan, Stephanie Lazzara, Spela Sterle, and, for many years, with bopi"s black sheep/dances by Kraig Patterson, and Gina Gibney Dance. She was also active with Gibney"s Women at Work Domestic Violence Project. Eden"s own choreography has been shown at St. Mark"s Church, Joyce SoHo, Brooklyn Arts Exchange, Windhover Center for the Performing Arts, and Cleveland State University. Eden joined Dušan Týnek Dance Theatre in 2003 as a founding member. ELISA OS BORNE is from Venezuela and has danced with the Mark Morris Dance Group, Connecticut Ballet, New Jersey Ballet, Lexington Ballet, Ian Spencer Bell Dance Circle and has collaborated with musician and husband B rian Osborne. Osborne attended La Escuela de Ballet Teresa Carreno in Caracas, Venez uela prior to training at the North Carolina School of the Arts where she received her High School Diploma and B.F.A. She currently teaches dance and Pilates at Dancewave and Pilates at Hunt er College. Elisa joined Dušan Týnek Dance Theatre in 2003 as a founding member. AARON WALTER received his B.F.A. in Dance Performance from The Ohio State University in 2003. He began his training at the High School for the Performing and Visual Arts in Houston, Texas. While there, he worked with Paula Sloan and the Texas Tap Ensemble. In New York, he is currently working with the Brian Brooks Moving Company, Nicholas Andre Danc e Theater, and the Sean Curran Company. He has also work ed with the Mark Morris Dance Group, Keigwin + Company, the Julian Barnett Project, robbinschilds, and Scott Cohen/Lisa Race. Aaron joined Dušan Týnek Dance Theatre in 2006. 415 Ninth St., #54 • Brooklyn, New York 11215• (718) 249-7708 tel • email@example.com Dusan Tynek Dance Theatre Foundation Inc. is a tax -exempt 501(c)(3) publicly-supported nonprofit organization. All contributions are tax -deductible to the extent allowed by law. 3 DESIGNE RS RODERI CK MURRAY' s lighting designs have been seen nationally and internationally since 1992 on the works of Kimberly Bartosik, Paul Simon, Benjamin Millepied, Ralph Lemon,Wally Cardona, American Ballet Theater, Ballet du Grand Theat re de Geneve, Susan Marshall, Yanira Castro, Luca Veggetti, Sekou Sundiata, Andonis Fiondakis, Paradigm Danc e, Scotty Heron, Pepatian, Hot Mout h, Donna Uchizono, Ricochet Dance, Risa Jaroslow and Dancers, Bill Young and Dancers, Kriot a Willburg, among many others. He received a 2001 Bessie Award for his work for Wally Cardona's Trance Territory. Rick has lit all five NY C seasons of Dušan Týnek Dance Theatre. Upcoming productions include Iannis Xenakis' Oresteia at the Miller Theater, Benjamin Millepied at Paris Opera and Kimberly Bart osik at Danspace in New York. Prior to dedicating himself full time to des ign, he performed for 9 years with the award winning Circus Amok. ELEANOR RABINOWITZ' s (Lighting/ Tec hnical Director) is the resident lighting designer for the Borough of Manhat tan Community College, Ronald Edmond"s Learning Center, and the Mighty Theater Company. Additional designs include the New York premier of Whiteout and Margo Lee Sherman"s What do I Know About War? as well as House of Bernarda Alba and Croc odile E yes with Columbia University at Premio DAMS, Bologna, Italy. She is excited to announce that this fall she will begin her M.F.A. in lighting at CalArts. See what else she"s up to at www. ellieilluminate.com. KAREN YOUNG (Costume Designer), Karen Young has designed costumes for numerous dance, theater, and video art projects in New York. Costume design credits for video art include: David Michalek"s "Slow Dancing" recently on view at Linc oln Center , E ve Sussman & the Rufus Corporation"s "89 Seconds at Alcazar" and " The Rape of the Sabine Women", Toni Dove's "Spectropia" and Matthew Barney's "Cremaster 5" and "Cremaster 1".Costume design for dance includes recent projects with: the Martha Graham Dance Company (where she has been a costumer for many years), Andrea Haenggi/AMDaT, Pasc al Rioult Danc e Theatre, Keely Garfield, Elisa Mont e Dance, Karole Armitage, Philadanco, and Noémie Lafrance's "Agora", among many others. Theater credits include: " The Trojan Women" with Allegra Kent and Maria Tucci at Toni Morrison 's Princeton Atelier and "El Retablo Embrujado" in Mexico City. www.karenyoungcostume.com OANA BOTEZ-BAN (Costume Designer), a native of Romania, has designed for major theat er and dance companies including The National Theater of Bucharest and was involved in different international theater festivals such as the Quadrennial Scenography Show in Prague. Oana is part of the first Romanian theater design catalogue, Scenografica. Since 1999, her New York costume collaborations in theater and dance include Rich ard Foreman, Richard Schechner, Brian Kulick, Zelda Fichlander, Karin Coonrod, Jay Scheib, Eduardo Machado, Gus Solomon Jr.&Paradigm, Carmen deLavallade, Adrian Giurgea, Gisela Cardenas, Pavol Liska, Matthew Neenan, Molissa Fenley, Veniamin Smekhov, Zishan Ugurlu, Doris Mirescu, Erin Mee, Alva Rogers, Saviana Stanescu, Naomi Goldberg, Judit h Ren-Lay, Michael Sexton, Pig Iron Company, Play Company, Charles Moulton, Loy Arcenas, Ripe Time. MFA in Design from NYU/ Tisch School of the Arts. She was a Princess Gr ac e Recipient for 2007. Funding and promotional assistance for these performanc es was provided by the New York City Department of Cultural A ffairs and the Czech Center New York. Special thanks to the Kaatsbaan International Dance Center for providing a r esidency during which Apian Way was partially developed. Dušan Týnek Dance Theatre to Perform as Part of Brooklyn Bridge Celebration th This year is the 125 anniversary of the Brooklyn Bridge and the city and Brooklyn will be celebrating it over a period of five days th over the Memorial Day weekend. On S unday, May 25 , there will be a dance stage in Brooklyn Bridge Park (Empire-Fult on Ferry State Park section in DUMB O, Brooklyn) from 1 – 4 p.m. where Brooklyn-based dance companies will be showcased. Dušan Týnek Dance Theatre will have the 2:30 - 2:50pm time slot that afternoon. More information about the company can be found at www.dusantynek.org. ### 2008seasonpressreleasefinal1.doc 415 Ninth St., #54 • Brooklyn, New York 11215• (718) 249-7708 tel • firstname.lastname@example.com Dusan Tynek Dance Theatre Foundation Inc. is a tax -exempt 501(c)(3) publicly-supported nonprofit organization. All contributions are tax -deductible to the extent allowed by law.


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18 Ways to Prep a Home's Exterior for the Spring Market
The busy spring market will be upon us before you know it, so here are some tips for getting the exterior shipshape.
Mortgage Counseling Pays Off, Study Shows
A new study finds after prepurchase counseling, borrowers were nearly a third less likely to fall behind on their mortgage payments.
Strict Zoning May Increase Foreclosure Risk
A study finds communities that zoned too strictly for the development of large, single-family homes are at greater risk for foreclosure than areas that accommodate a wider range of housing options.
Is the 'Great Senior Sell-Off' Coming?
One researcher predicts 1.5 to 2 million homes belonging to seniors will come on the market by the end of this decade.
Trump Sues Critic for 'Cybersquatting'
Real estate mogul Donald Trump is accusing a Brooklyn man of operating four web sites that bear Trump's name and real estate brand.
Millennials Embrace Unique, High-Tech Spaces
Homebuilders have recently conducted surveys revealing the Millennial generation's top home preferences, which differ greatly from previous generations.
'Zombie' Foreclosures Haunt Housing Market
A new study finds that 301,874 "zombie" homes—properties where home owners receive foreclosure notices and move out, leaving the home vacant and deteriorating—exist in the U.S.
Prospecting: Persistence, Consistency Win Out
Agents must expect to hear "no," knowing they'll soon hear a "yes."
New Database Allows Americans to Post Mortgage Gripes
The Consumer Financial Protection Bureau debuted this week the nation's largest public database for consumer financial complaints, and mortgage gripes are dominating the list of complaints.
FHA Premiums to Rise April 1
Starting Monday, borrowers will be charged higher mortgage insurance premiums on most new Federal Housing Administration loans.

subset: commoncrawl


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Every year, the Kardashians release a Christmas card, and this year's is a thing of beauty. That is, if your idea of beauty is Coney Island on crack.
In a photo shot by David LaChapelle, the Kardashians pose in what appears to be a ransacked carnival filled with dollar bills, mannequins and even an Illuminati symbol.
It will be the best of times and the worst of times on the upcoming new season of Keeping Up with the Kardashians.
In the Season 9 trailer, which debuted Sunday after the family's Christmas special, Kim Kardashian is seen showing off her beau Kanye West's fancy new recording studio and getting engaged. However, not everyone in the famous family is all smiles, as Khloe Kardashian is seen struggling with...read more
Bruce Jenner is rocking a new 'do in the wake of his split from Kris Jenner. The former Olympian received an award from his estranged wife at the closing ceremony of the All Sports Film Festival last week -- and wore a ponytail for the occasion.
Kourtney prank calls a sex hotline
TV mom crosses over as daytime host
Hear Mama Jenner's touching toast at Kim's surprise shower. Plus, Kim reveals how many babies she and Kanye plan to have.
Hey Everyone I am Diana Madison for Hollyscoop.
It s only been 72 days and Kim Kardashian is headed to splitsville from her husband Kris Humphries.
According to reports, Kim is set to file for divorce today and she will not seek an annulment. Kim is set to cite irreconcilable differences.'
We're told the date of separation is listed as today, Oct. 31, 2011.
As we first reported, the couple has a prenuptial agreement ... pretty sure Kris Jenner made sure of that.
Rumors of a split had been
More Clips & Interviews
Kim and Kourtney are tired of learning about Khloe's new friends through Instagram, but their sister isn't ready to spill the beans. When Kim tries to force the issue by surprising Khloe at a French Montana event, she's not the only one to crash the party. See what happens when Lamar shows up! Meanwhile, Kris feels hurt that Kim has locked her out of planning the wedding. Can they reach an understanding before the fight goes too far?
Also Available On Xfinity
Khloe and Kourtney have a copy of Kim's Vogue cover blown up and framed to show they care about their sister's big accomplishment. Then, Khloe and Kourtney shop 'till they drop to fill Khloe's new home, but will Kourtney's surprise decorating bill ruin the vibe--and their Miami mini va-cay? Plus, see Bruce Jenner's reaction when he catches Kris and her mom testing out M.J's magical gummy bears. Heads will roll!
Also Available On Xfinity and Amazon Instant Video
Can the Kardashians learn to get along on the last leg of their trip to Thailand? Plus, will Khloe head back to the States to be with Rob? Then, a trip to visit an orphanage changes their lives forever. Aside from donating toys and clothes, Kim is eager to do more. But when she falls in love with a young girl will her family approve of her idea for adoption? Could North West be getting an older sister? Then, Brody and Brandon are determined to find Khloe a vacation fling! See the final days of their family va-cay.
Also Available On Amazon Instant Video
Where are Kendall and Kylie? The family organizes a search party to track the girls down. Will Kris and Bruce appreciate their little game? Then, while on a canoeing cruise, Khloe starts to feel guilty about leaving Rob behind. She announces her plans to go home early and gets into a serious cat fight with Kim. Can they convince Khloe to stay? Plus, after Kim joins in on the teasing for his "half-chub" comment, Brody turns the tables with a sexy prank of his own!
Also Available On Xfinity and Amazon Instant Video
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More Credits (108)
Kim Kardashian is gearing up for the biggest wedding of the century — again.
Third time's the charm, right?
Kim Kardashian is engaged to Kanye West after the rapper popped the question on her 33rd birthday, E! News reports.
The rapper rented out AT&T Park in San Francisco Monday night, where he asked Kardashian to marry him in front of their friends and family. According to Us Weekly, the ever-subtle Yeezy even projected, "PLEEEASE MARRY MEE!!!" on the stadium screen.
What separation?
Days after confirming that they are separated and living apart, Kris and Bruce Jenner proved there's no bad blood between them.
Mama Jenner posted not one, but two photos of her smiling alongside Bruce and his two sons from...
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One day after Kris Jenner and husband Bruce Jenner announced that they have split after 22 years of marriage, Rob Kardashian is opening up about their decision to separate.
"[Bruce has] been...
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Kris Jenner and husband Bruce Jenner have separated after 22 years of marriage, Us Weekly reports.
"We are living apart," Kris told the magazine. "But there is no...
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Aug 28, 2014
Large molecular motors consisting of up to a dozen different proteins regulate access to the genome, which is essential for the transcription of genes and for the repair of DNA damage. Susan Gasser and her team now reveal a new twist in the activity of such remodelers in the nucleus. In a recent paper in Molecular Cell they show that two related chromatin remodelers help transport broken DNA strands to specific sites in the nucleus for repair. Given the loss of genomic integrity that accompanies cancer and aging, it is not surprising to find that related remodelers are mutated early in the progression of human cancer. Read more
Aug 14, 2014
Jul 29, 2014
Jul 17, 2014
Sep 04, 2014. Time: 11.00 FMI Room 539
Molecular links between nutrition, reproduction and fat metabolism in Caenorhabditis elegans
Hugo Aguilaniu, ENS Ecole Normale Supérieure de Lyon, France
Sep 08, 2014. Time: 16:00 FMI Room 530
Probing stem cell transcription mechanisms by single-cell single-molecule biochemistry
Robert Tjian, University of California, Berkeley, CA, USA
More information
Sep 11, 2014. Time: 11.30 FMI Room 530
Generating and selecting action repertoire
Rui Costa, Champalimaud Center for the Unknown, Lisbon, Portugal
Sep 23, 2014. Time: 12.15 FMI Room 530
Title t.b.a.
Christian Wolfrum, Laboratory of Translational Nutrition Biology, ETH Zürich
Tocchini C, Keusch JJ, Miller SB, Finger S, Gut H, Stadler MB, Ciosk R
The TRIM-NHL Protein LIN-41 Controls the Onset of Developmental Plasticity in Caenorhabditis elegans
PLoS Genet. 2014 Aug; 10(8):e1004533
Horigome C, Oma Y, Konishi T, Schmid R, Marcomini I, Hauer MH, Dion V, Harata M, Gasser SM
SWR1 and INO80 Chromatin Remodelers Contribute to DNA Double-Strand Break Perinuclear Anchorage Site Choice
Mol Cell. 2014 Aug; 55(4):626-39
Jermann P, Hoerner L, Burger L, Schübeler D
Short sequences can efficiently recruit histone H3 lysine 27 trimethylation in the absence of enhancer activity and DNA methylation
Proc Natl Acad Sci U S A. 2014 Aug; 111(33):E3415-21
Lingaraju GM, Bunker RD, Cavadini S, Hess D, Hassiepen U, Renatus M, Fischer ES, Thomä NH
Crystal structure of the human COP9 signalosome
Nature. 2014 Aug; 512(7513):161-5


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How many books can you stuff in a bag?
The Friends of the Kenton County Public Library are selling used books by the bag.
For $5, readers can take home a bag of used books from the Erlanger Branch Library. Nearly new and used books, movies and music will be on sale to the public today through January 26 at the library.
All proceeds from the sale will go toward the Erlanger Branch Library.
The Friends of the Kenton County Public Library is a volunteer organization that raises funds for the library through membership and book sales.
The library is open on Sunday from 1-5 p.m., Monday through Friday 9 a.m. to 9 p.m. and Saturday 10 a.m. to 6 p.m. The sale closes 30 minutes prior to closing each day.
The Erlanger Branch Library is located at 401 Kenton Lands Road off Dixie Highway.
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The Snake Guy: A love for animals
"Snakes in a quad" became a regular phrase while Cole Harken, a sophomore wildlife ecology and management major of Conway, lived on-campus with his beloved reptiles.
Building Three on NorthPark Quads had no idea what would be moving in alongside one of their newest residents last fall.
"I knew I could keep them in our herpetology range in the lab science building," Harken said. "I preferred to keep them in my place, though, so they would be easier to access and take care of."
Harken housed 10 snakes in his room and said he used them for educational shows.
"Otherwise, I would just let them all go," he said.
Word spread about the snakes throughout the semester, and Harken's RA became aware of the situation. His neighbors, however, also were very aware.
"One night, people started beating on my wall at one in the morning," Harken said. "They wanted me to come out and talk about the snakes, but I just stayed in my room and never answered the door."
The next day Harken e-mailed his RA telling him about the snakes and promised to relocate them to the herpetology range, where they are now safely homed.
Harken is no amateur when it comes to caring for nature, though. Harken grew up on Lake Conway where he was able to spend most of his time fishing or exploring nature.
"I have always loved to fish, and there is a lot of biodiversity on the lake," Harken said. "When I wasn't on the lake, I would be in the field busting through rotten logs, digging in the dirt and flipping over rocks to see what critters I might find."
He spent the rest of his time indoors watching National Geographic and other television shows about nature and wildlife. He also enjoyed reading books and magazines on the same topic.
"I had this one book with a ton of different animals in it, and my goal was to know every one of them and something about their natural history," Harken said. "I wore the cover off of that book."
Harken also loves art and enjoys drawing and painting animals and nature. His favorite animal that he has worked with is an alligator snapping turtle.
"They are the most interesting animal to work with around here," Harken said. "They are a species of special concern, and I am on a permit to handle and possess them."
His girlfriend, sophomore communication disorders major Olivia Peek of Pine Bluff, is well acquainted with his passion for animals.
"He's crazy about them," Peek said. She also learned to enjoy his critter friends, even having a favorite snake among his room's occupants. "You know the old saying, red and black, friend of Jack? It was one of those. It was about 8 inches long, and it was my favorite."
Peek said she was never a big fan of the reptile world before meeting Cole. "At that time, he also had three leopard geckos and a three-foot lizard," she said. "I still don't have a problem with scaly things, so that's a good thing."
Harken's passion may derive from his family, whom are also animal loves.
"My family has operated a non-profit animal rescue since 2008," Harken said. "It is primarily a dog rescue. We take in abandoned, abused, and washed up dogs and puppies, and we rehome them."
Harken is now involved in clubs on campus to satisfy his passion for wildlife in a way that is less invasive to his quad-mates. He is a member of The Natural History Collections Curation Club (NHC3), The Wildlife and Fisheries Club, and the Marine Biology Club.
"We do local outreach events and participate in community service for each club," he said. "Most of the same people are in these clubs, so we have a lot of good times together."
Participating in these clubs has allowed Harken and members to learn and experience wildlife while in college. They take care of preserved animal collections, have created an emu skeleton and compete at the Wildlife Conclave. They also make display pieces for the lab science building.
He has other interests besides wildlife, though. Harken was very involved in sports and was in a bowling league for 10 years, and played baseball until he graduated high school.
He plans to have a career in a wildlife management practice and continue following his passion for nature.
"My dream job is to have a television show," Harken said. "I would drop the whole wildlife thing and call, play-by-play, major league baseball games, though."
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For the past decade, the artist Bryan Nash Gill has been capturing imprints made by the cross-sections of trees. His handiwork is now featured in a new book, "Woodcut" (Princeton Architectural Press).
Mr. Gill, who is based in New Hartford, Conn., starts with pieces of dead or damaged wood salvaged from his area. He cuts through the wood until he finds an engaging section—perhaps where the tree divides or branches intersect.
Then he sands the block as smooth as possible (so that the paper won't crease when placed on the wood) and burns and brushes the block (to reduce the areas of soft wood between the growth rings, making them more distinct).
Once the block is shellacked, it is ready to make prints. Some species make better imprints than others; ash, for instance, produces clear, separate rings, while maple's rings are much denser.
Here is a look at a few of Mr. Gill's woodcuts, including some background on each tree.
HONEY LOCUST, 31 YEARS OLD Bryan Nash Gil/Princeton Architectural Press
HONEY LOCUST, 31 YEARS OLD | The white 'T' form on the bottom left began as a pocket of bark. Moisture in the pocket attracted carpenter ants, which excavated the inner deadwood. The annual growth rings are distinct: Good growth conditions produce looser rings—harsh conditions, erratic or tight rings.
EASTERN RED CEDAR Bryan Nash Gil/Princeton Architectural Press
EASTERN RED CEDAR, 77 YEARS OLD | Red cedar is often used for fence posts; its high oil content and density make the wood resistant to rot. This piece had a vine of poison ivy growing up its bark.
HEMLOCK Bryan Nash Gil/Princeton Architectural Press
HEMLOCK, 82 YEARS OLD | Mr. Gill was drawn to this trunk, from a pig farm in Connecticut, for its strong pattern of wavy rings—the result of irregularities in the tree's growth. An old cut branch extends from the center toward the right edge, and insect holes can be seen in the lower perimeter.
CEDAR BURL Bryan Nash Gil/Princeton Architectural Press
CEDAR BURL, AGE UNKNOWN | Burls, often prized by artists and woodworkers for their swirling forms, are actually outgrowths that result from a fungus, virus, injury or other stress to the tree. In this cross section, the deterioration of the annual rings can be seen as the burl spreads.


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There is more than one Joshua Hinckley listed in the Hinckley Cemetery. We have these stones Row 22-- 2. Hinckley- "Grandmother"; 3. Hinckley- "Grandfather" Hinckley, Joshua, d. 15 Mar 1838 age 69y Hannah, his wife, d. 3 Apr 1853 age 84y Hinckley, Benjamin H. d. 1 Mar 1894 age 83y Maria, his wife, d. 20 Jan 1896 age 85y Children of H. & M. Hinckley: Mary, d. 29 Aug 1838 age 5y Joshua, d. 3 Oct 1844 age 2y;;; There are no listings for any Gere/ Gear in the cemetery book. There are several listings for Geer. None in the Hinckly Cemetery. There are 2 Geer in the Hester Cemetery, Bronson Twp., Mary Geer b. 1762 Groton CT; d. 2 Jan 1857 age 95y 1m 22d; Abagail (Geer) Smith, w/o Nehemiah Smith, b. 1766 Groton CT, d. 2 Dec 1856 age 90 y 3m 4d; These two are buried next to each other;;; Grove Street Cemetery, New London Twp., Geer, June G. 1848-1936 Father; Geer, Adah, 1859-1932 Mother; Geer, James A., 1893-1962, Hazel F., 1911-(1992 -found death date on SS index); In the Woodlawn Cemetery, Norwalk Twp., Geer, Louisa (Jones) 27 May 1830-11 Feb 1859; The other 3 listed were b. in/or after 1900. Shirley
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Archive for the 'drag racing' tag
Want to improve your action car photos? Here's how.
Shutter speed 1/200, aperture F/14, focal length 200mm. A little fire from the exhaust can certainly add interest. This race car provided it at the same point—entering the Andretti hairpin at Laguna Seca—on each lap, so there was time to realize that and wait for the right moment to get a shot featuring the burst of flame. All photos by author.
Has this happened to you? Seizing the opportunity to attend a race, you had the time of your life watching the action, walking the paddock or the pits and shooting photos to capture some memories. Once you got home, however, you realized that few really conveyed the excitement you experienced or the scope of the event—and many were just blurry or boring.
Shutter speed 1/100, aperture F18, focal length 200mm. As the laps passed at Laguna Seca, I reduced the shutter speed in increments to see how low I could go and still get good photos. Note the sharpness of the car and the blur of the wheels and the Michelin signage in the background.
Hopefully, this article will offer some insight to improving your photography skills for future races, along with finding vantage points at the track that can provide more dynamic photos, but don't require special passes or permission to access.
Shutter speed 1/320, aperture F9, focal length 97mm. A vantage point close to the starting line, like turn 1 at Laguna Seca, provides opportunities to get a group of cars in the same photo, before they spread out. I was shooting from an area outside the fence at the entrance of the Andretti hairpin (same as photos 1 and 2)—no credentials needed. Just inside the fence about 30 feet away were two photographers with proper credentials and a vantage point that seemed to be no better than mine.
Put aside your cellphone, iPad and wide-angle-to-long-zoom compact. Though you may be able to get by with using them in the pits or paddock area, they will not be conducive to high-quality track action shots.
Shutter speed 1/250, aperture F7.1, Focal length 70mm. Quickly running up into the stands, when this session was starting, I was able to get a few semi-artsy shots with the retaining wall obscuring the lower portions of the cars. Since you can see more on the Sam Posey #77 Challenger and it's leading, that's one I focused on. At 1/250 I was afforded acceptable focus on the Challenger and good background blur.
You want to bring a DSLR. Any current name brand DSLR—Canon, Nikon, Pentax, Sony etc.—will work well. I use the 15-megapixel Canon 60D, which is not a pro camera, but has produced very good results. My backup is an older 10-megapixel Canon 40D, which can be purchased in great shape used for about $250.
Shutter speed 1/50, aperture F11, Focal length 70mm. Some behind-the-scenes photos can be interesting, too. Shot at just 1/50th of a second and panning with the Javelin that was entering the track, resulted in the number and most of the car being sharp, while all of the people are semi-blurred, so your eye is drawn to the car. Since you can still see the people, you can also see that they are all looking at the car, which again draws the viewer's eye toward the car.
I'm assuming for the purposes of this article that you know your way around a camera and are familiar with the various manual settings, what they mean and how they affect each other.
While Canon L-series or Nikon's pro equivalent lenses with a constant 2.8 aperture through the zoom range would be great, they are expensive. Though less costly lenses will generally provide somewhat lesser results, they can still work well for your intended purpose and many companies offer them. For instance, if your goal is to show the photos on your computer screen or TV, or have 8 x 10s printed, critical sharpness and other differences between the expensive and affordable lenses shouldn't be much if any issue. (Depending upon the lenses compared, you will likely see some variation in quality when viewed on the computer at 100 percent, however. Even the kit lenses that come in some of the name-brand DSLR kits will probably work.
Shutter speed 1/800, aperture F5.6, focal length 200mm. This photo was taken through a slot in the fence at turn 3. Though I liked the composition, the shutter speed is too fast, as evidenced by too little blur on the wheels. This was one of the first photos I took when we arrived, so let's chalk it up to nerves—I had decided that getting the cars sharp was most important, hence a safe 1/800th shutter speed. I then worked the shutter speed down from there as the day wore on.
Paddock areas at road race tracks and pit areas at drag strips can be tight, so you may want to use a wide angle lens when photographing individual and/or groups of cars there. I generally use a Canon 17-40mm F4 aperture L lens. Its quality is high and its price is less than the F2.8 aperture 16-35mm L lens.
For the convenience of the larger zoom range, I even sometimes use the much cheaper 18-135mm kit lens that came with the 60D DSLR kit for some static photos in the pits or paddock areas.
Since many cameras in the non-pro price ranges use APS-C sized sensors, which are smaller than the full-frame sensors that are equal in size to the 35mm film cameras and used in pro cameras, there is a focal length multiplication factor (aka crop factor) to be considered when choosing lenses. For instance, on the 60D the ratio is 1.6:1. Since the sensor is smaller than full frame, when an 18mm lens is attached it actually provides the field of view equal to a 28mm lens on a full-frame sensor DSLR or 35mm film camera.
Shutter speed 1/320, aperture F8, Focal length 200mm. Desiring a higher vantage point, Matt Litwin, Kurt Ernst and I walked up the outside stairs of the tower and shot from there for a while; again, no photo pass needed. This is turn 3 again from on high. Those guys at the fence are just to the left of where we were standing for the previous photo.
Because most of you will be using APS-C sized sensor-equipped DSLRs, your wide angle zoom lens should at least begin as wide as 18mm. It can be an 18-55mm or 18-70mm, 18-80mm, 18-135mm or even 18-200mm or 18-250mm. Keep in mind, however, that quality varies. Generally, the larger the zoom range, the more compromises had to be made to get there, so image quality may suffer at some or all focal lengths and apertures when compared to shorter zooms.
While the ratio is usually viewed as detriment to wide angle zooms, it can be viewed as a benefit for the telephoto zoom lenses. For instance, thanks the 1.6:1 ratio, a 70-200mm lens now has the field of view of 112-320mm. (Though the actual focal length is not increased, the reduced field of view gives the impression that it was). I currently use a 70-200mm Canon F4 L lens, again less expensive and considerably lighter in weight than the F2.8 L series Canon of the same focal range It's very sharp, yet still a substantial investment.
Shutter speed 1/1000, aperture F5, Focal length 200mm. The Trans-Am cars negotiate Rainey Curve (turn 9). This was also shot from the tower, and I was pleased to get the cars in a group going through some corners. If you zoom in on this photo, you can see the heat waves making all the cars look rippled.
The more affordable zooms you will likely find will have variable maximum apertures. For instance, my 17-40mm and 70mm-200mm L lenses retain access to their widest aperture of F4 through their zoom ranges—I can set F4 at 17mm and 40mm or 70mm and 200mm. Many general-purpose lenses have a maximum aperture of around F3.5 at its widest angle that rises to about F5.6 at its telephoto end, which means substantially less light gets in at F5.6 than at F2.8 or F4 and that could be an issue on a dark day.
One way to compensate without having to use a lower shutter speed and running the risk of blurry images is to increase the ISO setting, but it will add some digital noise to the photos. Experiment to learn what works best for you.
Taking a few photos of the track and surroundings will help to convey the scope of the venue and can serve as sort of an establishing shot like you'd see in the beginning of a TV show or movie.
Another consideration is image stabilization, which is usually offered to thwart vertical camera movement when photographing stationary subjects. A second mode, which Canon offers as do others on some lenses, is for panning and can help to improve photos of moving subjects and allow you to use slower shutter speeds to blur the background more. The 70-200mm F4 L lens I have has two-mode image stabilization. However, image stabilization is not imperative for getting good track photos. Photographers were doing it for decades with manual-focus film cameras and no image stabilization, so you can do it, too with some panning practice.
To get the best photos of a moving subject, you need to pan with it as you shoot. If done correctly, the object will remain sharp, while the background and foreground are blurry. I stand with my feet shoulder-width apart facing the track. I hold the camera up to my eye with two hands, while keeping my elbows tucked into my body. I turn my upper body at my hips and focus on the car as it comes into view at a road race or focus on the car at the starting line at a drag race, and then pan with it by turning my upper body while keeping my feet planted as I shoot. The smoother I can do it, the more photos I'll have in focus.
If it's a pan blur from the stands at the drag strip, I fire off shots once the car is large enough in the viewfinder for a good front ¾ shot and then continue to shoot as it passes. If it's a road course, I shoot as the car enters the corner, travels through it and out the other side. If done well, I can get front ¾ shots, dead-on-side shots and rear ¾ shots that are in focus on a single pass at either venue. It's tricky to get all three sharp through multiple shots and it doesn't happen all the time. It's easier if I'm just going for one type of shot, because I can concentrate more on one area and net a higher success rate of sharp photos.
Shutter speed 1/500, aperture F6.3, focal length 97mm. Many of the same techniques discussed for the road race track carry over to the drag strip. In my opinion, this photo is stronger when taken from the stands at a higher vantage point (no line pass needed) than it would be from ground level at the line if the intent is to show fan interaction with Arnie Beswick and his race car. Note that just about everyone in the photo is looking at the car and reacting in their own way, which draws your attention to the car.
Set the focusing point in the viewfinder where it works best for you. It's important to leave some space around the car to show the blurred background and foreground. For me, the focus point is usually in the middle. When panning, if I'm taking front ¾ shots, I keep the focusing point on the grille emblem or headlight area that is closest to me as I shoot. For dead-on-side, I use the number on the door of a road race car or an emblem or decal on the front fender of a drag race car. If the car has no numbers or emblems, I use the A-pillar. (If you try to simply focus on the expanse monochromatic body paint of the side of the car, the autofocus will "hunt" for a focus point and you will probably get a blurry shot.) For the rear ¾ shots, I place the focus point on the taillight area closest to me.
You want avoid a front ¾ shot with a blurry nose and an in-focus tail, or a rear shot with blurry taillights and sharp front fender—yet it can happen often. In my experience, people judge the sharpness of a picture by checking the emblem, number, decal, or headlight that is closest to them in the photo, so that's what I focus on.
Camera Settings
I use a Class 10 high-speed memory card, as the faster write times ensure uninterrupted high-speed shooting. The settings I use at the track are:
ISO—100. It's the lowest setting on my Canon and provides the least amount of digital noise. However, I may have to increase it to ensure proper exposure while maintaining the same shutter speed if it's a dark day.
Shutter Priority—I determine the shutter speed and the camera chooses the aperture to get the correct exposure.
Shutter Speed—fast enough to get the car sharp while panning, slow enough to blur background and see spinning wheels. (Experiment with different speeds, as the requirement will differ with your skill level and the speed of the car.)
High Speed Continuous Shooting—to get as many shots as I want as quickly as possible on each pass by simply holding the shutter button down
Al Servo—automatically adjusts the focus continuously when holding the shutter button halfway down or while firing.
White Balance—Sunny, Cloudy or Auto as required by the available light.
Vantage Points
With the 70-200mm lens on an APS-C sensor camera, you can get great drag race shots from the stands. I go to the whichever side of the track offers the best light on the cars—sun at my back. I then go to the front of those stands closest to the starting line to zoom in on two-car or single car burnouts and/or launches.
When the stands fill up with people to see the exhibition cars, I may use a wider angle to include some spectators and the car(s) in the burnout box or at the starting line at the same time.
For pan blurs, I walk the stands to the 60-foot mark, half-track or further, climb high enough so that the cars aren't blocked by the retaining wall and fire away.
Shutter speed 1/320, aperture F/9.5, focal length 95mm. Pan blurs from the stands can look great and they don't require a line pass either. Blurred signs on the wall behind the cars add a splash of color and a sense of speed more-so than the plain cement retaining wall in the second photo.
Some tracks have fenced-in spectator crossovers back behind the burnout box. You can get some great smoky burnout shots through the fence from there. For safety, just don't stand directly behind the cars.
I also walk the pit area to take photos of the racers prepping their cars, as it adds human interest.
You now have five different places to get compelling drag race photos without having to ask for a line pass.
Road Race
At a road race, in my experience, the corners are the best. Corkscrew, hairpin, whatever—if the car has to brake, shift its weight, turn and/or accelerate, great photos opportunities are likely. Again, if possible try to find an area where the sun is at your back and you are photographing the sunlit side of the car. The starting line and just after it are good areas to capture the cars in a large group, because after a few laps they will most likely be spread out.
Shutter speed 1/250, aperture F/7.1, Focal length 75mm. At the Pittsburgh Grand Prix, spectators are allowed generous views of the track from behind chest-high fences. This vantage point on a tight corner provided some interesting photos that include multiple cars. The lead car is acceptably sharp, but its wheels are blurred and the other cars are out of focus, all of which convey motion.
All events are different, but usually there are multiple places near enough to the track where spectators can stand in a safe area and still get dynamic photos without needing a special pass.
At the strip and at a road race, always be mindful and respectful of the track personnel and do exactly as you are told.
The photos presented here are jpegs straight out of the camera. Though all of them could be improved upon with some Photoshop tweaking and cropping, none were altered. This way, you will have a better idea of what to expect. The road race photos at Laguna Seca and the Pittsburgh GP were shot with my Canon 60D and the 70-200mm F4 L-lens with image stabilization. The drag race photos were taken with a Canon 50D and 70-200 F2.8 L-lens without image stabilization. All photos were shot at ISO 100 to minimize digital noise.
Shutter speed 1/200, aperture F/7.1, focal length 135mm. When you can see the expression on the driver's face, the shot is probably sharp pretty sharp. Yes, I know the crop could be better. There should be more open area in front of the car to reveal more of where it's going than where it has been. This was one of a group of shots taken at the same time, and the one with the best crop happened to be blurry. (That's why I take multiple photos of each pass.)
Keep in mind, presented here are simply the ways I approach this type of photography, and I'm not saying that it's the only way or the best way, it's just my way. Talk to other photographers and their methods may differ. Regardless, you now know my techniques, have some photographic results and the shooting information for each photo so you can see what the settings were. Hopefully, they will help you get the photos you desire at your next race.
Don Garlits inducted into British Drag Racing Hall of Fame
Photo courtesy Don Garlits.
If Don Garlits keeps going, he's going to run out of space to store all of his trophies and awards. The man who has seemingly done it all can add one more recognition to his long list of accolades: Don "Big Daddy" Garlits is now officially a member of the British Drag Racing Hall of Fame. This latest success is a boost to what can only be described as an up-and-down year for the man who is considered the greatest drag racer of all time.
The year started off poorly for Big Daddy when he lost his wife, Pat, of 61 years on February 2. Pat Garlits was known to be a staple at all of her husband's races, earning herself the title of the "first lady of drag racing." After that catastrophic beginning, however, Garlits's year has been on the upswing. On April 30, Garlits came out of retirement at the tender age of 82 to break the electric drag-racing record. Ever a pioneer and always on the cutting edge, Garlits covered the 1,000-foot distance of Bradenton Motorsports Park in 7.26 seconds at 184.01 MPH in his custom built Swamp Rat 37.
Now Big Daddy is also a member of the British Drag Racing Hall of Fame. An owner of countless records and titles in American drag racing, Garlits was also surprisingly influential on drag racing on the other side of the pond. In 1964, Garlits took part in the First British International Drag Festival, where he won The People's Challenge trophy by registering the best aggregate performance during the series of races across the United Kingdom. Big Daddy then returned to race in Britain twice in the 1970s: First he took part in the 10th anniversary races at Santa Pod in 1976 and then returned a year later to win the July Internationals. Don's successful visits to Britain were key in encouraging other American racers to compete in the U.K., spurring on the boom in British drag racing in the late 1970s.
As of today, Don Garlits is the first drag racer to officially surpass 170, 180, 200, 240, 250, and 270 MPH quarter miles; the winner of 10 AHRA championships, four IHRA championships, and three NHRA championships with a total of 144 national event victories; the innovator behind the modern Top-Fuel dragster design; the owner of the EV dragster record; and a member of the Automotive Hall of Fame, the International Motorsports Hall of Fame, the Motorsports Hall of Fame of America, and now the British Drag Racing Hall of Fame.
Along with Garlits, the British Drag Racing Hall of Fame recently inducted organizer and racer Gerry Belton, builder and driver Russ Carpenter, motorcycle racer Dennis Norman, and builder/racer John Whitmore. For more information, visit BritishDragRacingHOF.co.uk/
NHRA Museum revamps to tell hot rodding's story to new audiences with Gallery of Speed
Photos courtesy NHRA Museum.
Much like the pantheon of Greek gods, hot rodding history is full of characters both major and minor and their various deeds and exploits. And much like any Hellenistic temple, the Wally Parks NHRA Motorsports Museum offers a way for the hot rod faithful to pay their respects to the legends of hot rodding while those who never subscribed to the faith could often be put off by the museum's former approach. A recent remodel of the museum, however, aims to correct that with a new focus on the roots and evolution of hot rodding.
According to the museum's executive director, Larry Fisher, the museum's new Gallery of Speed, which opened this week, came about because museum officials wanted to refocus the museum's efforts on the museum's original theme while at the same time bring in new audiences. "A few years ago, we went through a strategic planning session, and we found that for enthusiasts already into hot rodding, we were doing great, but for people without that knowledge of hot rodding, they'd come in the door and ask 'Now what?'" Fisher said. "So we took the whole center section of the museum and gutted it."
Work on the remodel began about a year ago and only affected about 20 percent of the museum's 30,000 total square feet, but Fisher said it's the most extensive change the museum has seen since it opened in 1998.
The new Gallery of Speed focuses on four main areas – the origins of hot rodding, land-speed racing, the early days of the NHRA, and the influence of custom car design – using a combination of hand-painted murals, life-sized sculptures, interactive touchscreens, and cars like the McMullen roadster, Art Chrisman's famed No. 25 dragster, Chet Herbert's Beast III streamliner, and an unmodified and unrestored 1932 Ford three-window coupe nose-to-nose with a 1950s-era three-window coupe hot rod. According to a museum press release, visitors can also "customize their own hot rod, learn the 'language of hot rodding,' and listen to candid stories from NHRA Founder Wally Parks and other motorsports legends."
"We've changed exhibitions on a fairly regular basis in the past, but this is a dramatic change in not just what we have on display, but in the method of interpretation as well," Fisher said. "I think we have more interactive technology in the museum now than we've had in the whole history of the museum."
Fisher said that the total cost of the renovation came to about half a million dollars, largely because museum officials called in a lot of favors with its supporters. "We're fortunate to have folks who really believed in what we were doing, so we were able to do it for less than we'd expected."
While the Gallery of Speed is now open, Fisher said that the museum plans to dedicate it to "one of racing's legends" in November during the NHRA Finals at Pomona.
For more information on the NHRA Museum, visit NHRAMuseum.org.
Racing Heroes – Bill "Grumpy" Jenkins
Bill "Grumpy" Jenkins. Photos courtesy Jenkins Competition.
Bill Jenkins only won 13 NHRA national events as a driver, yet it would be difficult to name someone who had a more lasting influence on Super Stock and Pro Stock drag racing. The man who embraced the nickname of "Grumpy," given to him by a summer intern for his all-work-and-no-play attitude, was voted the eighth-best driver in the NHRA's Top 50 list, because in the organization's words, "no other individual has contributed more to the advancement of normally aspirated engines for quarter-mile competition."
Born in Philadelphia, Pennsylvania, in December 1930, Jenkins got his start turning wrenches on a neighbor's tractor after the family had relocated to the more bucolic environment of Downingtown, Pennsylvania. By his high school years, Jenkins was running the occasional drag race at the local strip, but the sport was more pastime than passion. After graduating from high school, Jenkins attended college at Cornell University, where he studied mechanical engineering. By his own admission, Jenkins wasn't much of a student, and when his father died, Jenkins dropped out after completing three years of a four-year program.
Though Jenkins may have lacked an aptitude for taking tests, it was clear that he'd learned quite a bit during his time at Cornell. When the small-block Chevy V-8 debuted in 1955, it didn't take Jenkins long to realize that the engine had serious potential for drag racing, and by the early 1960s, he'd developed something of a cult following among East Coast racers, who knew that a Jenkins-built car and a Jenkins-built engine significantly increased one's odds of winning races.
Grumpy's Toy XI.
His talents weren't unnoticed by General Motors, either, and in 1963, Jenkins and partner Dave Strickler received the first factory lightweight Z-11 427-cu.in. Chevrolet Impala. Carrying the same Old Reliable nickname worn by the team's earlier Ammon Smith Auto Company-sponsored Chevrolets, the Jenkins-tuned Impala helped to deliver a victory in Little Eliminator at the 1963 Nationals. The team's relationship with GM likely would have resulted in more race wins for Chevrolet, but the 1963 corporate ban on motorsports ended what had promised to be a very bright future for all parties involved.
With GM out of the picture for 1964, Jenkins and Strickler turned to Dodge, delivering the brand a win at the 1964 National in the A/FX class. Jenkins backed this up with an S/SA win of his own at the 1965 Winternationals behind the wheel of the Black Arrow, a 1965 Dodge that marked Jenkins's transition from tuner to driver. When Jenkins approached Chrysler to put together a deal for the 1966 season, the two parties couldn't come to terms, so Jenkins returned to racing a Chevrolet (specifically, a Chevy II) for the 1966 season.
GM still wasn't sanctioning motorsports, so Jenkins funded much of the effort on his own, via whatever sponsorships he could arrange. The car was the first to carry the Grumpy's Toy moniker, and it wasn't long before Jenkins's efforts came to the attention of Chevrolet's Vince Piggins, then the head of Chevrolet's performance efforts. Racing was forbidden, but nothing in the corporate rulebook prohibited Piggens from assisting Jenkins financially in the name of "Product Promotions Engineering."
The Chevy II was a four-speed car, forcing Jenkins to turn his engineering skill to improving shifts and getting the power to the ground. As he explained in his NHRA Top 50 induction, "We applied a lot of slick-shift technology to the transmissions and made good use of the slapper bar style of traction device originally used by Stahl and Frank Sanders. By the end of the year, I could dump the clutch at 6,000 RPM when most of the other guys had to feather the throttle on the seven-inch tires that we were restricted to."
Such innovation became a hallmark of Jenkins-built cars and engines, and it was often said that he was happier winning races as a constructor and tuner than he was as a driver. By the late 1960s Jenkins was active on both fronts, fielding as many as four team cars while driving a car of his own (usually a Camaro), and heads-up match races against drivers like Ronnie Sox and Don Nicholson proved so popular with spectators that the NHRA created the Pro Stock category for the 1970 season. Out of the gate, Jenkins posted wins over Sox at the Winternationals and Gatornationals, but Chrysler quickly closed the performance gap and became the brand to beat in the quarter-mile.
When rule changes for the 1972 season allowed cars with small-block wedge engines to run at lower weights than before, Jenkins built his first Pro Stock Chevrolet Vega, which quickly proved the car to beat. By the end of the season, Jenkins had won six of eight NHRA national events. Factoring in race winnings and sponsorships, Jenkins grossed $250,000 in income that season, then rivaled in the sporting world only by basketball superstar Wilt Chamberlain. The feat was good enough to earn Jenkins coverage in Time magazine, and suddenly the sport of drag racing had gone mainstream.
Jenkins's 1974 car, another Vega, dubbed Grumpy's Toy XI, wouldn't enjoy the same success as his 1972 Vega, but would go on to have a far more lasting impression on the sport. Featuring Pro Stock innovations like a full tube chassis, a dry sump oiling system, rack and pinion steering and a MacPherson-strut front suspension that aided weight transfer to the rear tires, the Vega became the template for Pro Stock cars to follow.
Accepting that he gained greater satisfaction as a constructor than as a driver, Jenkins hung up his Nomex in 1976 to focus on research and development. He remained a team owner through the 1983 season, but then shifted his attention to his Jenkins Competition business full-time, where he and his crew built engines for motorsports ranging from drag racing through stock car racing. Even into his mid-70s, Jenkins was said to be active building engines, undoubtedly running younger employees ragged with his focus and determination to address every detail, no matter how small. Eventually, even Jenkins's tank ran dry, and he died of heart failure in March 2012 at the age of 81.
Four-Links – Serge and the Sno-Cats, first Kenyan car, L.A. crackdown, Friedman at the drags
* In the 1960s, Belgium used a couple Tucker Sno-Cats – emblazoned with logos designed by Tin Tin artist Hergé – to explore Antarctica. The Sno-Cats were relegated to a quiet abandonment up until recently, when some thief cut out just the logos from the sides of the Sno-Cat bodies, causing an uproar in the urban exploration community. PetaPixel has more on the story.
* Torchinsky this week had a story on Jalopnik about the Nyayo Pioneer, the first car developed in Kenya, which, despite all sorts of promises, never reached production.
* As Michael Satterfield wrote this week on TheGentlemanRacer, an L.A. task force descended on a popular Wednesday night tuner car get-together, ostensibly looking for stolen cars and evidence of street racing, but effectively harassing everybody in attendance about their car's modifications. "It seems California law enforcement is cracking down on So Cal Car Culture like they did in the early 2000′s," he wrote.
* The Henry Ford this week added more David Friedman photos to its online collections, this time focusing on Ford at the big-time drags in the 1960s.
* Finally, Scooter McRad this week gathered a bunch of remarkable photos of Porsche's 904, just because.
Don Prudhomme and Jim Nicoll to discuss famed 1970 U.S. Nationals matchup
Jim Nicoll's wrecked dragster slides down the track at the 1970 U.S. Nationals. Still image from video.
Finishes don't get any more dramatic than the 1970 NHRA U.S. Nationals, which saw Don "The Snake" Prudhomme beat Jim Nicoll by 0.03 seconds, followed by an explosion in Nicoll's car that caused Prudhomme to consider quitting on national television. Now, 44 years after Prudhomme's victory (which earned him his second Top Fuel title), The Snake and Jim "Superman" Nicoll will relive their 1970 U.S. National battle in a presentation to be given at this year's U.S. Nationals.
Nicoll beat Pruhomme off the line on that Monday afternoon in Indianapolis, and the two ran virtually side-by-side throughout the quarter mile. As Prudhomme crossed the line, running a 6.45 to Nicoll's 6.48, the clutch in Nicoll's car let go. The violent explosion tore the car in half, scattering parts across the track, and Prudhomme watched in disbelief as the engine and front wheels from his competitor's car slid past, decelerating from 225 MPH with only the friction between pavement and steel to slow it down.
Nicoll sensed that something was wrong with the clutch at the starting line, but the launch seemed normal and the first part of the run proved uneventful. Three-quarters of the way down the track, Nicoll felt his clutch begin to slip; preparing for the worst, he placed his hand on the parachute handle. Whether he deployed it prior to the clutch letting go is a moot point, as releasing the chute undoubtedly saved Nicoll's life by carrying him up and over the concrete barrier and into the soft grass beside the track.
Though the accident looked like a certain fatality, Nicoll escaped with a concussion and a severely bruised foot, and proved healthy enough to attend the season-ending banquet on the day after the race. Though the story is often told that Nicoll earned his "Superman" nickname in the crash, the truth is it came from NHRA vice president Steve Gibbs, who once witnessed the larger-than-life Texan take on three men in a bar fight and emerge victorious.
In the immediate aftermath of the race, before he learned that Nicoll's injuries were relatively minor, Prudhomme contemplated quitting the sport. Visibly shaken from the incident, his reaction was to be expected, and no one had the answer to his question of "How bad is he?" Later stating that, "Things are getting too tough, and I just don't know what's going to happen," Prudhomme soon had a change of heart, influenced, perhaps, by car owner Roland Leong, who told his driver, "If the shoe was on the opposite foot, you'd want him to keep racing."
And keep racing Don Prudhomme did, remaining in the driver's seat through the 1994 season before transitioning into the role of team owner. Jim Nicoll's career lasted until 1976, when the sponsorship needed to compete at the sport's highest levels became too difficult to find.
Their 1970 duel in Indianapolis serves as one of the most memorable events in the history of the U.S. Nationals and, along with five other key moments from the "Big Go," will serve as the basis for a between-race presentation in the track's Hot Rod Junction.
Other events to be recognized at the 60th running of the Indianapolis race include Don Garlits's shaving of his beard for breaking into the sixes during the 1967 U.S. Nationals, and Kenny Bernstein's 1983 double victory in the Big Bud Shootout and the U.S. Nationals.
For more information on the 60th running of the Chevrolet Performance U.S. Nationals, which will take place the weekend of August 29, visit NHRA.com.
Big Willie Robinson's "Duke and Duchess" Daytona rides again
The Duke and Duchess Daytona, now fully restored. Photos courtesy Corey Owens.
When auto restorer and Mopar specialist Corey Owens acquired the 1969 Dodge Daytona once owned by legendary street racer Big Willie Robinson, the car was a sun-bleached, rust-eaten shell of its former self. Now, roughly $30,000 in parts and 1,900 man-hours later, Robinson's Duke and Duchess Daytona has been restored to its former glory, a fitting tribute to the larger-than-life character that founded the International Brotherhood of Street Racers and once piloted the Daytona to quarter-mile glory.
Robinson was a well-known figure in the Southern California drag racing scene, and his time spent with the Special Forces in Vietnam gave him leadership qualities that would help preserve the peace during the racially-charged days of the late 1960s. Using racing as an avenue to vent frustration made sense to Robinson, and his efforts to take racing off the street and onto the track led to the creation of Brotherhood Raceway Park on Terminal Island in Long Beach, California. Robinson was a Mopar guy, and the car most closely associated with him was a red 1969 Dodge Daytona; his wife Tomiko, also a drag racer, ran a green 1969 Dodge Daytona.
Drag racing is notoriously hard on equipment, and one too many dips in the acid tank eventually weakened the body of Robinson's red Daytona. Tomiko's green Daytona was totaled in a racing accident, so at one point in his career, Robinson turned to a third Daytona car for his trips through the quarter mile. Said to have come from his brother, who could no longer afford the car, this Daytona had started life painted R4 Charger Red, but Robinson had it sprayed in a cream color before lettering it up as the Duke and Duchess Daytona, a nod to the respect he had for his wife. Its doors carried the lettering of Street Racers Inc., National and International Brotherhood, an organization that Robinson saw as transcending cultural barriers.
That's where the story gets a bit hazy. When Mopar collector Gary French purchased the car from Robinson, it was Big Willie himself who said the car had never been raced, but subsequent inspection revealed otherwise. Not only were the rear wheel wells radiused to allow the fitment of oversize drag slicks, but the floor pan above the pinion snubber had been punched upward and later reinforced with a 3/8-inch steel plate, proof positive of hard dragstrip launches. Some said that the Duke and Duchess car had been used as a tow vehicle, but there was no evidence of a hitch having ever been mounted to the car.
French eventually sold the car to entrepreneur and clothing designer Donwan Harrell, who intended to restore the car to its in-period, as-raced condition. Needing money to launch a new clothing line, Harrell sold the car to Owens, who posted it for sale on his website with an asking price of $250,000, a reflection of the car's historical significance, if not its worn condition. When he received no offers (though in fairness, his marketing attempts weren't all that serious), Owens was faced with the difficult decision of whether to preserve the car or restore it to as-raced condition. A teardown of the Daytona made the decision for him; preserving the car still meant replacing the sheetmetal surrounding the rear window, along with the dangerously thin fiberglass hood. The thin fiberglass rear deck lid would also need to be recreated, and as the project evolved, Owens realized that a restoration would be the best way to save the car for posterity.
Nine months later, in May 2014, the car was completed in time for its public debut at Midwest Mopars in the Park, held at the Dakota County Fairgrounds in Farmington, Minnesota. The color mismatch in the engine bay was deliberate because that's how Robinson had the car painted to save money. As a competition car, it only had to look good from a distance, and money spent painting the inner fenders and firewall was money that wasn't spent on making the car go faster. Aside from that period-correct detail, the rest of the car was as obsessively correct as Owens could make it, down to the gray primer and cosmoline used on the car's undercarriage. The seats and steering wheel were original to the car, though Owens preserved the skinny steering wheel and later-model seats installed in the car when he took possession. Even the car's 440-cu.in. Magnum V-8 and TorqueFlite transmission were original to the car, through Owens admits to dropping in a mild camshaft to boost performance during the engine's rebuild. He gave thought to leaving the car with an open exhaust, but doing so would have made the car essentially undriveable on the street, and Owens said he doesn't see the car as a trailer queen.
Critics will point out that the car is neither as delivered nor as raced, and Owens readily admits the car was restored as a "day two" race car. Restoring it to "as delivered," or "day one" form would erase much of the car's historical significance, while returning it to "as raced" form is virtually impossible. Only Big Willie Robinson knew what engine and transmission were in the car, and although Owens has had correspondence with a man who claims to own the car's original Keith Black Hemi V-8, there's virtually no way to prove the engine was the one installed in the car.
Owens plans to show the car at upcoming Mopar events, including The Mopar Nationals at National Trail Raceway in Columbus, Ohio, and the 45th Aero Warrior Reunion at Talladega Superspeedway in Talladega, Alabama. He'd like to make it to the Carlisle Chrysler Nationals as well, but Owens admits that's a lot of shows to attend and a lot of miles to travel. When asked if the car was again for sale, Owens was realistic; he'd rather not part with it, but 1,900 man hours and $30,000 worth of parts is a lot for a relatively small shop to absorb. While he's not actively pursuing the car's sale, if the right offer came along, the businessman in Owens would likely overrule the collector in Owens.
One likely buyer is Donwan Harrell, the car's former owner, who's already reached out to Owens in regards to repurchasing the car. An avid car guy with an affinity for Mopars, Harrell would certainly honor the car and the memory of the man that built it, perhaps easing the pain of a sale in Owens's mind.
Amped-up ponies – electric Mustang converters promise 750 hp in classic package
Photo by Steve Berry.
Traditionally, muscle car enthusiasts and electric vehicle enthusiasts rarely set up camp anywhere near one another. The Venn diagram between the two just doesn't have that much overlap. One set tends to search for outright horsepower, while the other yearns for environmentally responsible transportation. But a couple of hot rodders hope to bring both groups together under the same roof, starting with an electric Ford Mustang that they predict will run 10-second quarter miles.
"We want it to look like it came off the showroom, but still do 0 to 60 in three seconds," said John "Plasmaboy" Wayland, an EV evangelist who has done his part to spread the word about the performance potential of electric cars for the last 20 years with his White Zombie drag racer. Perhaps the best-known four-wheeled electric drag racer thanks to John's incessant tinkering with it, plenty of exposure on YouTube trouncing gas-powered cars, and his tireless campaigning with it both on and off the track, the White Zombie – a 1972 Datsun 1200 coupe that John has repowered with siamesed 9-inch electric motors fed by a bank of lithium-ion batteries good for 355 volts – has managed a best of 10.258 seconds at 123.79 MPH in the quarter mile with a 0-to-60 MPH time of 1.8 seconds.
And he can drive it both to and from the track. "Some racing electrics have gone quicker and faster than I have, but they're all track only," he said.
All the expertise and technology that John has developed with the White Zombie, he now intends to put to use first converting a 1968 Ford Mustang to electric power, and then building a business converting classic muscle cars into electric cars good for the street or the strip, with as much as three times the horsepower as stock.
For all of John's enthusiasm for electric vehicles, however, he admitted that the business idea wasn't his. Instead, it came about nine months ago from Mitch Medford, an Austin, Texas-based tech CEO and muscle car enthusiast with plenty of Texas can-do attitude and entrepreneurial chops who said he sees a market for electric muscle cars. "It's for the guy who might want to buy or already owns a Tesla but misses his big bad muscle car," Mitch said. "Through my business, I've met plenty of wealthy people through venture funds, and they often tell me that they'd like to have a classic muscle car, but something they can drive without getting messy. What typically breaks on old muscle cars isn't the suspension or brakes, it's the carbs and the fuel lines, which we're eliminating."
Mitch said that while researching his idea, he kept coming across John and the White Zombie, so he eventually reached out to John, who lives in Portland, Oregon, to share his idea. The two naturally hit it off, assembled a team – including fabricator Markco Mongillo, mechanic and restorer Allen Koester, and tech guy Jack Lapenta – and began working in earnest about six weeks ago to bring the idea to fruition. "What John's doing with electric cars reminds me of what Carroll Shelby did for Mustangs," Mitch said.
Photo courtesy Mitch Medford.
No surprise, then, that Mitch and John decided to base their prototype – a car they're calling the Black Zombie – on one of Ford's pony cars. Specifically, they chose a rust-free T-code 1968 Mustang fastback that Mitch found in Houston, since re-powered by a 289-cu.in. small-block. "The car was immaculate when we found it," Mitch said. "All my friends thought I was crazy for doing this to it." While the White Zombie uses dual 9-inch electric motors, a single Zilla controller, and a 22.7 kilowatt-hour Kokam battery pack, good for about 100 miles of range and 538 horsepower, John has re-engineered the Black Zombie to use dual 11-inch electric motors, dual Zilla controllers, a Gear Vendors overdrive unit, and a 40 kilowatt-hour Kokam battery pack, good for about 120 miles of range. He's calculated that the Black Zombie's drivetrain will produce about 750 horsepower and about 1,800 pound-feet of torque, add about 600 pounds to the car's total weight with the batteries installed, and endow it with the potential for 3-second 0-to-60 times in addition to the above-mentioned 10-second quarter-mile times.
To get that power to the ground, they'll use Street or Track-developed coilover shocks in the front and a Strange Ford nine-inch axle in the rear hanging from a Street or Track three-link system with Watts link, all set up for the shift in the car's weight balance. All four corners will run 13-inch brakes, and they're planning on fitting a rollbar for safety. They even plan to include air conditioning and power steering in the completed cars.
Photo courtesy Mitch Medford.
John said they chose that specific drivetrain as a compromise between performance and range, but could easily tip the scale in either direction. For instance, they've arranged to borrow a 1.5 megawatt battery pack from the electric dragster that Don "Big Daddy" Garlits has already used to set the EV quarter-mile world record and is currently using to try to become the first EV to top 200 MPH in the quarter mile. With that pack, which John and Mitch plan to use to power the Black Zombie on its debut Wednesday night at San Antonio Raceway, the Mustang should put down the equivalent of 1,500 horsepower.
"We know we're going to get tossed after one run, but the battery pack just fell in our laps, so we're going to try it anyway to see how fast we can go with it before we have to give it back," Mitch said.
After Wednesday night, Mitch said, they should be ready to start taking orders for converted muscle cars, selling them as the Zombie 222 under the business name Bloodshed Motors. "Right now we thought we'd start with Mustangs, keep them limited, and give them serial numbers; then later on we'll move to Camaros and maybe Challengers," he said, noting that he already has a pair of 1967 Mustangs – a fastback and a convertible – ready for conversion. "Initially, we'll supply the cars to convert, then later we'll convert cars that our customers supply. We don't want to start with rust buckets or reproduction bodies just because we don't want to spend the time fixing rust or piecing the car together."
Mitch estimated that if Bloodshed supplied the base car, a conversion would run anywhere from $200,000 to $250,000, depending on how much range the customer wanted. "If the customer brings in a car, we'll subtract from that price," he said. "We'd like to supply the cars, though, because we want to make sure we're starting with a good base of a car – preferably a six-cylinder or a small-block car, so we're not cutting up a big-block car or something rare."
Down the road, he envisions making the components for the EV conversion – including the motor mounts and rail system that the team has developed – available in kit form. "Our first goal is to build these awesome cars," he said. "But our second goal is to promote electric propulsion, and making a drop-in system available will help us meet that goal."
Photo courtesy Mitch Medford.
As for the White Zombie, the car that brought John and Mitch together, John is concurrently restoring it at Mitch's shop and should have it presentable in the near future. "I've been thinking of reintroducing it at a Wayland Invitational for just electric drag racers," he said.
If so, then maybe the White Zombie will get a fair fight for once.
UPDATE (17.June 2014): The Bloodshed Motors site is live now. Also, John and Mitch did take the Black Zombie to the track last Friday, where they got in a couple passes, including one wheels-up launch.
UPDATE (17.July 2014): The Indiegogo campaign for the Black Zombie has started, with a goal of raising $220,000 over the next two months.
UPDATE (15.August 2014): Over the weekend Medford took the Zombie back to the track and recorded a quarter-mile time of 12.1 seconds and a 0-60 time of 3.5 seconds. "Not bad for a 1/3 pack that is pretty worn out with some flaky cells," he said.
As seen in the staging lanes at Musclepalooza XIX
You can see a lot from the top of the timing tower at Lebanon Valley Dragway, especially if you were up there for Musclepalooza XIX this past Memorial Day weekend. Look one way, and you would have seen a sea of more than 600 show vehicles, muscle cars of every stripe; look the other way, and you'd have seen the staging lanes and the strip that launched more than 400 race cars over the course of the day.
Now, I love muscle, but I might love hot rods just a little bit more. Their wide variety of shapes and takes on building a car fascinates me; I appreciate the level of hands-on wrenching and personal creativity involved; and their history – stretching very nearly back to the advent of the automobile – I don't know, resonates with one of my past lives or something.
Anyway, from up on that timing tower, one car stood out to me in the staging lanes: Peter Dayotas's glossy black '35 Chevrolet four-door sedan with its chrome lake pipes angling out from the block, fat tires at the rear. Before introducing myself to Peter, I surreptitiously scoped out his car to see if it was as good up close as it was from afar, snapping a few shots along the way. Though I wish things weren't quite so tight down in those staging lanes – but hey, it's a race, not a photo shoot – I managed to get this picture of Peter bleeding the air out of his tires in preparation for his run. How many times has Peter stooped down at he tire of his rod and done this?
Apparently, a lot because when I met him he told me he'd been racing for "25 – no, 30… Make that close to 40 years." When you've been at it for that long, the years – the races and faces – blur together a little. He does seem to know a lot of people, and I enjoyed watching guys walk up to him and shake his hand. They'd ask how things have been, sometimes introduce him to a budding enthusiast they brought along with them to the track, clap Peter on the back and wish him good luck. Then he'd return to walking around his drive, inspecting it for its imminent run down the lane of asphalt and rubber.
And what a drive it is! Equipped with a 383 stroker with aluminum heads, sourced from a 2002 Chevy Tahoe; Powerglide and an 8-3/4-inch Chrysler rear, it dynoed at 500 horsepower and turns 11.40s at 116-118 MPH. With the exception of applying the single-stage, European black paint, Peter did all the work himself at his house in Northborough, Massachusetts, including hand forming the capacious rear fenders. Where did he find this beauty? Well, that may just be the best part. Peter grins: "I dragged it out of a swamp!"
Quad-engine Mustang Mach IV leads Mustang exhibit at Petersen Museum
Gary Weckesser's Mustang Mach IV. Photos courtesy Petersen Museum.
When it comes to horsepower, is there ever such a thing as too much? When Gary Weckesser was building an exhibition funny car in 1969, he likely asked himself that same question, arriving at an answer of "no." Not content to power his tube-frame, fiberglass-bodied Mustang with a single 351-cu.in. Windsor V-8, Weckesser opted to stuff four of them in front of the windshield, creating the appropriately named, four-wheel drive Mustang Mach IV. In honor of the Mustang's 50th anniversary, this car highlights a new Petersen Museum exhibit entitled Mustangs Forever: 50 Years of a Legend.
In fairness, Weckesser wasn't the first chef to test this particular recipe for speed. In 1961, "TV" Tommy Ivo created a dragster powered by four Buick nailhead V-8s, following his success with a twin engine dragster campaigned in 1960. Showboat, as Ivo's four-engine dragster was known, powered the rear differential via the right side engines (mounted in a conventional orientation) and powered the front differential via reverse-mounted engines on the left side. Later, under Tom McCourry's ownership, Showboat would wear a Buick station wagon body, running exhibition races as the WagonMaster. Mickey Thompson also famously experimented with a four-engine setup in his Challenger I land-speed racing streamliner, as did Jim Lytle in his Quad Al.
Four Windsor V-8s are better than one.
There's no doubt that Ivo's Showboat served as an inspiration for Weckesser's Mustang Mach IV. Rather than following Ivo's exact formula, however, Weckesser oriented all four fuel-injected Windsor V-8s in a conventional manner, sending power to the rear and front differentials through a single transmission and single (particularly stout) clutch. Output was said to be in the range of 3,000 horsepower, and the car's documentation states that the Mach IV was capable of running E.T.s in the eight-second range, at a trap speed of just over 180 MPH, but at least one pass reportedly topped the 200 MPH mark back in the day.
The Mach IV apparently ran against the Showboat at Raceway Park in Englishtown, New Jersey, and later ran against the WagonMaster (driven by Tom McCourry) at California's Fremont Dragway. Active on the show and exhibition drag circuit from 1969 through 1975 (sponsored, in part, by Galpin Ford), Weckesser began spending less time behind the wheel as his family obligations evolved and as sponsorship became harder and harder to arrange in the fuel-conscious mid-seventies. By the early 1980s, the Mach IV was in storage in Weckesser's garage, temporarily sidelined by the demands of his career as an over-the-road trucker.
Given the growth in popularity of nostalgia drag racing, it was only a matter of time before the Mach IV came out of retirement. Restored in time for the 2013 SEMA show, Weckesser's Mach IV is now in Galpin Auto's collection.
1967 Malco Gasser Mustang.
Other Mustangs on display at the Petersen Museum's exhibit include the 1967 Malco Gasser Mustang, the first gasoline-powered car to run the quarter-mile in the eights; a 1965 Ford Mustang convertible used by Ronald Reagan during his 1966 campaign for governor of California; the George Barris-designed Zebra Mustang, as driven by Nanacy Sinatra in the 1965 film Marriage on the Rocks; a 1971 Ford Mustang fastback, nicknamed Eleanor, as driven in the 1974 version of Gone in 60 Seconds; a 1991 Ford Mustang LX convertible, owned by director Francis Ford Coppola; and a 2008 Ford Mustang FR500-C Bonneville racer driven by Mickey Thompson's son Danny to a recorded pass over 252 MPH, making it the world's fastest production-based Mustang. In addition to these cars, Mustangs of all generations are represented in the Petersen's exhibit, which is meant to appeal to fans of all Mustang variants.
Mustangs Forever: 50 Years of a Legend is scheduled to run through October. For more information, visit Petersen.org.


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NEENAH (WKOW)-- It may look like a labyrinth of stainless steel, but inside these pipes and tanks some of the best sweetened condensed milk in the nation is being made.
Tim Galloway, the CEO- Business Development of Galloway Company says, "Our family's been in the business since the early nineteen hundreds, and in the fifties we purchased this facility, and my dad and my uncles and now the third generation are proud to keep at it." Creating the highest quality dairy products is nothing new to the folks at Galloway Company. And neither is assuring their customers outstanding service.
Jerry Manderfield, the co-owner of Manderfield's Bakery says, "Ten Years ago my dad suggested that I give them a call to see if they sell sweetened condensed milk, because we were purchasing it in the cases where you get six number ten cans and we started out just shopping around for something more convenient. Galloway was happy to accommodate Manderfield's Bakery; supplying them with several five gallon pails of sweetened condensed milk every month for their baking needs.
Manderfield says, "And when I called them, they said we could pick it up, so we started picking up one pail at a time." Galloway Company ships sweetened condensed milk to some of the largest confectioners and bakeries in the country, yet they still manage to make small business owners like Vande Walle's Candy feel important.
Tom Vande Walle, Co-Owner of Vande Walle's Candy says, "It feels very special actually because if it weren't for them being willing to deal with some of the smaller companies around, it would be very difficult for us to get the products we need." Quality, freshness and customer service set Galloway Company apart and keep loyal customers coming back. He says, "They're very helpful; service is awesome; product is number one!"
Galloway says, "Over time if you're passionate, and you make the product well, the customers respond."


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Develop a positive attitude to generate a predictable
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Class starting on September 4th in West Allis.
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Classes Starting:
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This course is designed to give you the tools to build engagement and innovation by developing alignment.
Class starting on August 9th in West Allis.
This two day intensive seminar will build your skills to project confidence and enthusiasm while selling yourself and your ideas. Oct 9th & Oct 10th in West Allis.
Stay Connected with Dale Carnegie Training and look for upcoming events.
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Cooper Young District, MemphisThe Cooper Young Festival, hosted by the Cooper Young Business Association (CYBA), is Memphis' most unique outdoor celebration...
Memphis fairs festivals events
Cooper-Young Festival
Saturday, Sep 13 10:00a
Sessions in the Park Indie Music Showcase
Saturday, Sep 6 10:00a
Pepsi Pavilion, MemphisThe two day event will be hosted in the heart of historic Beale Street, at the Pepsi Pavillion@Handy Park...
Pink Palace Crafts Fair
Friday, Oct 10 10:00a
Audubon Park, MemphisCrafts fair with over 200 fine crafts: pottery, art & photo, furniture, fabric, glass, mx media, jewelry,leather, metal & wood. Over 38+ demonstrators, 20+ culinary crafts, and 30+ traditional...
International Blues Challenge
Tuesday, Jan 20 10:00a
Beale Street, Memphis200+ acts compete for $25,000 in cash and prizes and the title. The judges also present an award to the Best Guitarist. 13,000 attendees expected. ** Estimated start time Please confirm **
Germantown Festival
Saturday, Sep 6 10:00a
Germantown Civic Club Complex, GermantownVoted #1 People's Choice City-wide Event. Arts and crafts show with country fair atmosphere. Good buyer's show. Well established. Good attendance. 50,000 attendees expected...
Repticon Memphis Reptile & Exotic Animal Show
Saturday, Oct 11 10:00a
Landers Center, SouthavenRepticon Memphis is a reptile event featuring vendors offering reptile pets, supplies, feeders, cages, and merchandise as well as live animal seminars and frequent free raffles for coveted prizes...
Fayette County Cotton Festival
Saturday, Sep 13 10:00a
Somerville Square, SomervilleThe Fayette County Cotton Festival is in its 15th year. 3000 people returned to last years Festival to enjoy a great day of events on the Historic Somerville Square...
Hatchie Fall Fest
Saturday, Oct 18 10:00a
Brownsville's Historic Court Square, BrownsvilleA family-friendly event featuring children's activities, games, contest, arts and crafts, quilt show, car show, motorcycle card run, pet show, live all day entertainment, and more...
Abbeville Autumnfest 2014
Saturday, Oct 11 10:00a
Downtown Abbeville, AbbevilleArts and crafts vendors, live music, great food and fun for the whole family. Free kid's area. Abbeville's Got Talent Competition. 2,500 attendees expected. ** Estimated start time Please confirm **
Depot Days Festival
Saturday, Sep 27 10:00a
Downtown Newport, NewportNewport's only annual citywide festival is a musical tribute to the roadhouse rock-and-roll, which sprang from the nightclubs lining Highway 67 in Jackson County in the 1950s and 60s...
West Tennessee State Fair
Tuesday, Sep 9 10:00a
Jackson Fairgrounds Park, JacksonGames, rides, food 75,000 attendees expected. ** Estimated start time Please confirm **
Bodock Festival
Friday, Sep 26 10:00a
Downtown Pontotoc, PontotocThere will be children's games & rides, a 5k run, petting zoo, car show, motorcycle ride, bicycle ride, and musical entertainment. 4,500 attendees expected. ** Estimated start time Please confirm **
Fall Folklore Jamboree
Saturday, Oct 18 10:00a
Foothills Celebration
Saturday, Nov 1 10:00a
Downtown Black Rock, Black RockAnnual event held over the first weekend in November in the foothills of the Ozarks in Black Rock, Arkansas celebrating the incorporation of the town in October 1884...
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First Compact Day
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First Compact Day
Friday, August 22nd
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Registration will be online again through InfoSnap. You will receive a letter in the mail before the end of July with your login information.
All incoming 6th grade students that attended a school in our district will receive this information too.
All letters have been mailed and you should receive your information by Friday or Saturday 8-1 or 8-2.
Once you have completed the online process and submitted your information you can pick up your schedule, PE items and textbooks during the following assigned times:
8th Grade Monday, August 11th
A-E 8:30-9:15am F-L 9:15-10:00 M-Rh 10:00-10:45 Ri-Z 10:45-11:30
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A-E 12:30-1:15 F-L 1:15-2:00 M-Rh 2:00-2:45 Ri-Z 2:45-3:30
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Office hours are 8am - 3pm (Monday-Friday) beginning August 4th
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Latest Blog Post:
In this update about my What I Learned series I talk about my struggles to keep up with posting regularly. There's also some other things I ponder about the "safety practices" in the food industry and the importance of taking a basic cooking class.
Recently Updated Blog Posts:
Why don't we choose nutrition as a primary reason to eat? Of course it's awesome when foods taste amazing and fulfill a craving, but should that desire override or be more important than nutrition and health when choosing what to eat? I've been struggling with this lately as I've been trying to incorporate more foods into my diet that I would not choose to eat except for their insane nutritional benefits.
A Review - Salt Sugar Fat: How the Food Giants Hooked Us by Michael Moss


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Excuse me ladies, but do you have your tickets? Your tickets to this screening of 2 Guns *flexes both arms*
How do I know if I have enough on my Starbucks card to pay for this sex I'm having in their bathroom?
I say "See you in Hell" way too often. I should reserve it only for when I sign my coworkers' birthday cards.


text: So far today has gone okay...more training. I actually woke up on time today so ate my steak and eggs. It was good, though when is steak and eggs not good? Drank a cup of black coffee on break. Lunch will be...whatever I can find at the cafeteria that fits with primal. Thinking liver and onions for dinner. Man I love me some liver.


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Everybody's favorite college football couple — well, now NFL couple — is all grown up and getting married. Katherine Webb tweeted out a photo of her and AJ McCarron's wedding invitation on Tuesday, carefully covering up all the details, of course.
Getting excited http://t.co/0IHQYn4FBF—
Katherine Webb (@_KatherineWebb) July 08, 2014
Webb has been keeping fans informed of everything involving the couple's relationship from when McCarron popped the question to little hints about the wedding date.
Saturday, she tweeted out what appears to be a wedding countdown.
7 days 👰🎩💍 @10AJMcCarron—
Katherine Webb (@_KatherineWebb) July 05, 2014
And Tuesday, she tweeted an Instagram photo of the Duchess of Cambridge on her wedding day.
The Internet eagerly awaits wedding pictures.