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WWE Mae Young Classic Episode 6 highlights | 6th September 2017 | Mae Young Classic - Duration: 9:08.
For more infomation >> WWE Mae Young Classic Episode 6 highlights | 6th September 2017 | Mae Young Classic - Duration: 9:08. -------------------------------------------
Heavy RCTransport! Big 45t stone block transportation! Heavy Mercedes 3363 Classic Special! RC LIVE - Duration: 10:03.
45t Stone Load!
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Mercedes-Benz C-Klasse Combi 220 CDI CLASSIC - Duration: 0:59.
For more infomation >> Mercedes-Benz C-Klasse Combi 220 CDI CLASSIC - Duration: 0:59. -------------------------------------------
Fiat Punto 1.2 CLASSIC - Duration: 0:57.
For more infomation >> Fiat Punto 1.2 CLASSIC - Duration: 0:57. -------------------------------------------
Classic Albums: The Who - Who's Next | September 13th on AXS TV - Duration: 0:31.
I was in a very strange place.
I had to write something for me.
He knew back then that it was gonna still survive today.
The songs reflect
this striving to try to sort of like make more of that song
That in itself is a great idea.
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Mercedes-Benz A-Klasse A170 5DRS AUTOMAAT CLASSIC - Duration: 0:59.
For more infomation >> Mercedes-Benz A-Klasse A170 5DRS AUTOMAAT CLASSIC - Duration: 0:59. -------------------------------------------
See Tyrus Wong's work in classic Warner Bros. movies - Duration: 1:18.
This is a sketch for the picture "Harper" with Paul Newman. You know, I had
to make this here to show the director, you know, so they can go in and build the set.
This is the astrology bit, but obviously without much success. Any astrologist in
particular? This one is from "Wild Bunch." Sam Peckinpah was the director.
For the most part, you really had to work on everything. We didn't question
what they gave us, we just did it. He's got some incredibly beautiful drawings
for an unrealized Warner Brothers motion picture that was meant to be a musical
it was influenced by Salvador Dali - very surreal, very unusual colors he was
trained to be able to do anything, and he could do anything. And he followed his
assignments, and his assignments were to be flexible, innovative and work to the
service of that screenplay.
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Best Sad Rock Songs Of All Time - Most Depressing Songs Of Classic Rock Live Collection - Duration: 2:39:43.
Hello friends ! If you like this channel music please like & share, subscribe channel. Thanks you very much !!
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Jaguar Classic | E-Type Zero - Duration: 2:05.
For more infomation >> Jaguar Classic | E-Type Zero - Duration: 2:05. -------------------------------------------
How to Tie a Tie: The Nicky Knot - Symmetric Classic Necktie Knot - Duration: 3:25.
Thanks for watching Tied Up in Sydney. I've been sharing with you the
easy-to-follow steps to help you remember how to tie the classic necktie
knots. Thirteen of the aesthetic knots from the 85 ways to tie a tie. I've shown
you the asymmetric necktie knots: the Oriental, the Four in Hand, the Kelvin, the
Victoria, and the Grantchester. The rest of the knots are all symmetric,
meaning they have that equilateral triangular shape that many of you
associate with the Windsor Knot. I'll come a little closer. This is not a
Windsor Knot. This is known as the Nicky Knot. It's also called a self-releasing
Pratt Knot and I'll show you why in just a moment. The key difference between this
and a Windsor is that it's much more slender. It's less bulbous than a Windsor
necktie knot and also your starting position is different. So I'll take it
down and I'll show you what I mean when I say self-releasing. You can simply pull
the tail out from the Knot. From there it just comes right apart.
So self-releasing Pratt Knot. I'll show you how to tie it. With your short hand,
it's going to start with "left out of the diagram" so that means you're starting
with the seam side out. You're not using a ton of fabric either so for me the
tail is a little bit past my rib cage and you need to obviously test that one
out for yourself get the length right. It's going to start left out of the
diagram then Center in. Notice here that I don't change my hands. Okay, right out
of the diagram, left into the diagram, Center out, and you're going to come
through that loop you've just created. Those are the simple steps for your
Nicky knot. Now for me, before I tighten this up, I like to get my dimple in. So I
reach right up inside and I fold that fabric in half and then from the top I
just start to pull this fabric back. That's going to tighten my knot around
my dimple. Pull that fabric through, cinch up, collar comes down,
and you've got your Nicky Knot. Thanks again for watching guys give me a thumbs
up. Love to see your comments down below, and please subscribe
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We Drive The GM Heritage Center's Classic Suburban Collection - Duration: 12:45.
We Drive The GM Heritage Center's Classic Suburban Collection
The mission of Chevrolet's Suburban has always seemed obvious to us: bolt a big wagon body on a tough truck chassis, and the result is better at a lot of jobs than either a traditional pickup or a station wagon.
As a truck, it can do most of what trucks do, including towing and toting a lot of stuff. But as a closed-body wagon, that stuff is stowed more securely inside, out of the weather.
It's not for hauling dirt or big cargo that needs to be loaded into and out of an open bed, but it can carry a work crew, a hockey team, or a large family and a lot of their stuff in car-like comfort and quiet.
Evolution Of The Suburban. Photo 2/143 | Evolution Of The Suburban. This author's first Suburban encounter came during college senior year after spotting an early '50s example on a dealer's lot.
Yours truly was driving a very uncool old Ford wagon at the time, and the idea of a big, truck-based wagon was appealing, because it would swallow a motorcycle and lots of other stuff for the trip home after graduation.
That one looked good and was in surprisingly good shape. But it was slow, noisy and clunky to drive.
It was an old truck, after all, not ideal for flogging over mountain roads that even the wagon handled fairly well. Ultimately, keeping the Ford was the most sensible decision.
But the Suburban idea was planted, and over the years, we would own a used '69, then a new '73, for towing a race car and toting all the related stuff.
Since the Suburban offered plenty of covered storage for race parts, as well as cabin seating for a lady friend and as many volunteer crewmembers as possible to help at each event, the Suburban was the obvious choice.
It was the world's greatest tow vehicle. Evolution Of The Suburban 1966. Photo 3/143 | Evolution Of The Suburban 1966.
Did you know the Suburban dates all the way back to the 1935 debut of Chevy's two-door Suburban Carryyall? Rolling on a 112-inch wheelbase and powered by a 60hp, 207ci (3.4L) "Stovebolt" inline-six, it could seat up to eight or carry 137.4 cubic feet of stuff with the second row folded and the third row removed.
GM—and most everyone—saw it back then as a strictly commercial vehicle, good for hauling work crews and cargo. It wasn't until after World War II that private customers began to see its versatile appeal.
So when Chevrolet offered Truck Trend an exclusive opportunity to drive the GM Heritage Center's collection of historic Suburbans, we jumped at it.
No matter that we would drive them around Gingerman Raceway in Western Michigan, not on public roads, since they were old, unlicensed, and in varying states of running condition.
We started with the oldest example, a '36. Upgrades from the '35 included 19 more horses and 140 lb-ft of torque to move its 3,300 pounds, along with new hydraulic brakes to better slow them.
A radio, clock, dual wipers, and even a heater were optional, as were the two spare whitewalls mounted on its front fenders.
The central speedometer was flanked by fuel, water temperature, oil pressure, and amp gauges inside the big-three-spoke steering wheel, the side windows rolled down, and the driver seat (like the rest) was fixed in place with no adjustment.
Evolution Of The Suburban 1936. Photo 4/143 | Evolution Of The Suburban 1936.
We started the Stovebolt six with a step-on button, crunched the three-speed floor shifter left and back into First, eased out the old clutch, and rumbled away.
Not surprisingly, acceleration was modest, shifting was a chore, the steering had a ton of free play, and the brakes seemed barely there.
But at slow speeds, at least, the 81-year-old Suburban on its skinny, old Firestones handled Gingerman's curves reasonably well. Base price back then was $685. The decade-newer '46—essentially a rebooted '42, since U.S.
private vehicle production ceased during World War II—boasted 90 hp and a fairly hefty 165 lb-ft from its updated 216.5ci (3.8L) six, plus a new instrument panel and improved interior trim, but it was otherwise not much different from the '36, apart from more modern styling and a 3-inch wheelbase stretch to 115 inches.
Its clutch was stronger, and it ran a bit better, but it had the same three-speed floor shift, fixed seats, wonky steering and weak brakes.
The '51—same vintage we'd driven in college—wore new-for-'48 styling inside and out on a 116-inch wheelbase, a choice of side-opening "barn doors" or top-hinged tailgate out back, and double-acting shocks said to give "superb riding comfort." Renamed "Thriftmaster," the old six cranked out 92 ponies and 176 lb-ft to motivate its 3,640-pound base curb weight.
Its side windows slid open instead of rolling down, its three-speed shifter was column mounted, and (hooray!) its driver seat adjusted fore/aft.
This fine example had just 30 miles on its clock, so it drove surprisingly well apart from sloppy steering and weak brakes. Next was a high-riding four-wheel-drive '66 powered by a 175 hp, 275 lb-ft, 283ci (4.6L) small-block V-8.
In its last year before a '67 redo, it offered more comfort and amenities and new safety features including seatbelts, back-up lights, and two-speed wipers.
The standard 230ci (3.8L) six drove its rear wheels through a "three-on-the-tree" transmission, while the 283 V-8, a 220 hp 327 (5.4L) V-8 and a "four-on-the-floor" gearbox were optional.
It also drove more like a modern truck, though its rockcrawler driveline made First gear near useless on pavement and Fourth feel like Third at 35 mph. Some 13,000 '66 Suburbans were sold starting at $3,250. Evolution Of The Suburban 1973.
Photo 5/143 | Evolution Of The Suburban 1973. The '72—one year before an all-new '73—brought a new level of performance and dynamics with its 175 hp, 350 lb-ft, 350ci (5.7L) V-8.
Significantly longer on a 127-inch wheelbase, this generation had a unique three-door body (one for the driver, two on the passenger side) and much more cargo room behind its third row.
Standard front-disc brakes were offered beginning in '71, and engine choices ranged up to a 402ci (6.6L) big-block V-8.
This '72, with its 350 V-8 and four-speed manual (three-speed automatic was an option), drove well with good handling and much better steering and brakes. More than 27,000 '72s were sold with a base price of $2,930.
The much more refined '90 rode on the longer 129.5-inch wheelbase platform launched for '73 with more comfort and more carlike dynamics for the growing number of folks using Suburbans as personal vehicles capable of towing trailers on demand.
Gentrification continued for '87 with electronic fuel injection and a four-speed overdrive automatic transmission, and antilock brakes were offered in '88. By '90, a 5.7L V-8 was standard and a 7.4L big-block was available for those who needed more.
The very civilized 210 hp, 300 lb-ft, 5.7L V-8, four-speed automatic 4WD example we drove handled, rode, steered, and braked much like a modern truck, despite its 28-year age.
With a base curb weight of 4,500 pounds and a $15,165 base price, '90 Suburban sales approached 63,000. Evolution Of The Suburban 2017.
Photo 6/143 | Evolution Of The Suburban 2017. Finally, we had to try the fully loaded, $77,805, '17 Suburban that Chevy had on hand.
Wow, what a sweetheart this popular wagon has grown up to be! Even driven fairly aggressively around the 2.1-mile Gingerman road-racing course, its 5.3L Ecotec3 V-8 delivered plenty of power (with 18-mpg EPA combined economy), its highly developed suspension handled both slow and fast corners with aplomb, and its full-featured cabin offered luxury car-like comfort and quiet.
Other choices are on the market, but this is certainly the best Suburban yet and one of the best vehicles ever at combining towing prowess with rugged capability and passenger space.
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1975 Renault-Alpine A110 Berlinette Classic Drive - Duration: 13:24.
1975 Renault-Alpine A110 Berlinette Classic Drive
It's tough to get an appreciation for how tiny the Renault-Alpine A110 really is until you see it dwarfed by another small car — like a Ferrari Dino 246 GT.
That's exactly the view I have now, as the nondescript Jersey City garage door rolls up and the overhead lights click on above owner Phil Toledano's small, but impressive, collection of cars.
The A110 has been on my must-drive list for roughly two decades, after having been gifted my first "real" car book from my father sometime around the age of 10.
Back then, in the semi-glossy pages of "The World's Great Cars," the electric blue Alpine stood out with its semi-awkward styling, looking half insect and half spaceship. But the little bug-eyed rally car made a strong impression on me.
Twenty years later, flanked by several great cars in a small urban lockup, it still does. The story of the A110 starts in Dieppe, France, in the late 1940s, when 25-year-young Jean Redele took over his father's Renault dealership.
Though sales of the recently released, rear-engine 4CV were booming, Redele was more interested in racing and performance.
In 1952, he modified a 4CV in his workshop and drove it to a class win at the Mille Miglia, catching the attention of Renault's competition department.
The same year, Redele began marketing aftermarket performance parts for the 4CV, and purchased the rights to manufacture a five-speed conversion kit for the factory three-speed gearbox.
With backing from Renault, Redele took a dramatic leap: to produce a turn-key automobile based on production Renault running gear.
Using the Alpine name in celebration of his last 4CV victory in the 1953 Criterium des Alpes, Redele entered production with the A106, a rear-engine, two-door coupe based on the 4CV chassis that drew heavily from an earlier Michelotti-designed, Allemano-built prototype he had unsuccessfully tried to market in the U.S.
While the styling lost a little in translation from prototype to production, the A106 achieved some success in showrooms and motorsport.
Redele entered the A106 at the Mille Miglia, with his hired drivers earning a podium-class finish in 1956, which led to the availability of special competition suspension and engine parts.
In 1957, Redele introduced a new two-door, rear-engine coupe dubbed A108 that used the more modern mechanicals and suspension from the Renault Dauphine.
Returning to Michelotti for design work, Redele launched the car with two seats and essentially the same chassis as the A106.
But in 1960, a two-seat convertible and 2+2 coupe version were introduced with a new platform that was longer, with a steel backbone design that integrated the front suspension crossmember and the rear engine mounting cradle.
That basic assembly was bonded to the fiberglass body to create a relatively light, strong, and rigid unit-body structure. The new chassis would form the basis for all subsequent A110 models.
Styling remained similar to the A108, the most notable changes being the four-headlight front design and a wider rear end that would accommodate engines of larger capacity than even the 998cc offering in the A108.
The car's appearance was instantly more aggressive, foreshadowing the success it would bring in motorsport. Despite its similarities to the late A108, the A110 was blessed with a number of improvements over its predecessor.
Running gear came from the new R8, a rather boxy compact sedan that boasted a number of technological advancements for its class, including four-wheel disc brakes, a durable five-bearing engine, and a sealed-for-life cooling system.
The suspension used R8 double A-arms up front and swing axles at the rear, located with a trailing arm on each side. Early cars had either 956cc or 1108cc R8 units (A110 1000 and 1100), neither producing more than 50 hp.
By 1964, Renault tuning firm Gordini had developed a performance engine with hemispherical combustion chambers that produced roughly 89 hp from the larger engine, and in 1966 came a bored-out 1296cc engine that produced upward of 120 hp to create the A110 1300.
Four-speed transmissions were standard in all models, with an optional five-speed unit available.
With more power, Alpine realized it had a serious sports car on its hands. Starting in 1967, the 1470cc Renault R16 engine (also used in the Lotus Europa) found its way into the A110 1500.
The 1600 model came in 1969 with a displacement increase to 1565 cc, and in 1970 a tuned version with twin Weber 45 DCOE carbs created a whopping 138 hp for a top speed of over 130 mph.
Motorsport-oriented options began to populate order sheets, including integrated rollcages, lighter bodywork, varying gear ratios, and a limited-slip differential.
While the A110's relatively small-displacement engines and short wheelbase weren't ideal for circuit racing, they were perfect for rally racing, where the Alpine's strong chassis and durable mechanicals excelled.
Alpines were regularly entered into a new European manufacturer-based rally championship series from 1970 to '72 and came away with several wins, including an overall victory at the 1971 Monte Carlo rally with driver Ove Andersson.
The height of the Alpine's rally success came in 1973, when factory-backed A110s dominated the season to win the first manufacturer's title in the newly created World Rally Championship series.
A110s were less competitive at road racing events such as Le Mans, where even special aerodynamic bodywork couldn't compensate for a relative lack of power.
The following year, the Lancia Stratos came to rule the WRC roost and even a new fuel-injected 1605cc engine and double A-arm independent rear suspension from the new A310 couldn't keep the little Alpine in winning form.
Still, privateers continued to enter cars, and road-car production continued in 1300 and 1600 form until 1977, when concentration went solely to the larger, more luxurious A310 road car. An era had ended at Alpine.
Back in the garage, while Toledano disconnects the trickle charger and attends to a few other odds and ends, I walk around the little Alpine.
I've never before been so close to one in person, and the advice Toledano gave me in an e-mail the previous week ("bring a shoehorn") seems less of a joke now. I'm invited for my first sit-in, and I hesitantly oblige.
There's no real elegant way to climb into a vehicle that stands just 44 inches tall, but I find the best thing is to slide my right leg in first and across the narrow space that separates seat from steering wheel.
Then, I shift the rest of my body in, sliding across the single-piece bucket seat for which I'm about 20 pounds too large.
Inside there's more space than you'd think; it's comfortable with my legs outstretched slightly to the right, and plenty of shoulder room.
Headroom is limited and, at just under 6 feet, I'm not convinced I'd fit with a helmet on — I barely fit without one.
The gorgeous Veglia Borletti Italian gauges seem out of place in a French car, but Alfa Romeo was partnered with Renault in the mid-century, and built many an R8 in Italy.
The car fires up immediately, and setting off, the steering is light and responsive and the pedals are much the same way.
The gear lever moves through its gates with precision, though the action is rather notchy and the throws from the tall lever are long. The power is certainly adequate, though it never quite pushes me back in the seat.
Really, the A110 wouldn't be too exhausting a car to drive on a long trip, save for the sheer din of that little R8 engine.
The engine in Toledano's car has been bored out to 1440 cc and fitted with twin sidedraft Dell'Orto carbs. Add some cam, and Phil says it's good for around 125 hp.
And this thing is loud. Earplugs are probably a good idea, but then all that glorious sound would be muffled.
The engine note is surprisingly rich for such a small engine, growling rather than rasping, and trying its best to sound larger than it actually is.
When the Alpine is stationary, its rear wheels seem to carry an obscene amount of rear camber, but on the road, it all works. The car feels lively and spirited, with a little hopping over road imperfections.
Tuck the car into a bend, though, and it hunkers down and feels remarkably stable.
One thing the Alpine isn't is daily transportation. It's too noisy and jouncy, too small and rare to be subjected to the morning commute on a regular basis.
But for those early morning weekend drives, when the air is crisp and most of the world is still asleep, there are few cars whose wheel I'd rather get behind.
I'm often afraid to meet childhood heroes, or drive cars I've put on a pedestal for so many years. I know enough to realize reality rarely meets expectations.
When it was time to put the A110 back in the garage and close the door, I had pangs of sadness. It wasn't that the A110 had left me underwhelmed; it was that I didn't own one.
I guess that means I wasn't disappointed.
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