Posts tagged ‘history’


April 2021 gallery

05.04.2021

Here are April 2021’s images. I append to this gallery through the month.

 
Sources
Tania Dawson promotes Somèrfield Hair Care, sourced from Instagram.
   Austrian model Katharina Mazepa for Dreamstate Muse magazine, shared on her Instagram. This was an image that was removed from a PG blog at NewTumbl last year—apparently this was considered ‘nudity’ and rated M.
   AMC promotes the Gremlin, the US’s first subcompact car. More on the Gremlin at Autocade; 1970 advertisement via Twitter.
   Volkswagen 1302S photographed in June 2018, one of the images I’ve submitted to Unsplash for downloading. I did have the owner’s permission to shoot his car.
   St Gerard’s Church and Monastery atop Mt Victoria in Wellington, New Zealand, photographed by me and also submitted to Unsplash.
   Facebook group bots: someone else was so used to seeing bot activity on Facebook, they made a meme about it.
   Holden Commodore Evoke Ute, an example of ‘base model brilliance’. More at Autocade.
   Morris Marina ad via the Car Factoids on Twitter.
   Innocenti Mini 90 and 120 via the Car Factoids on Twitter.
   The aerial shot of Rongotai in 1943 is from the Air New Zealand collection. This is a scan of a photostat Dad made for me in the 1980s. The piece of paper was getting a bit old so I thought it was time to make it digital-only. The ‘1929’ marks the site of the original Rongotai Aerodrome, I believe.
   Instafraud, from Bob Hoffman’s The Ad Contrarian newsletter.
   Alisia Ludwig, from her Instagram, photographer unnamed.
   Fiat X1/9 brochure, from the Car Factoids on Twitter.
   More on the Peugeot 508 (R23) at Autocade.
   Model Skyler Simpson at Seminole Hard Rock Hotel & Casino, Tampa, photographer unknown, via Instagram.

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There goes the neighbourhood

05.03.2021

Demolition has commenced on 1–4 Māmari Street, across the road from where I lived for over three decades.
   I’m not against change and my feelings toward the development have already been recorded here.
   It was with a tinge of sadness that I saw the demolition crews there and the only wall left standing was part of the north side to no. 4.
   Right now the sections, littered with debris, are letting in plenty of summer sunlight.
   But not for long.
   I’ll remember Gus and Lyna Bourke’s place at no. 2 which I understand they bought after the war. Lyna was widowed by the time we met her in 1983, and she had an incredibly low-mileage silver Hillman Hunter in the garage. As her eyesight failed, the car stayed in there, and it was in incredibly good nick by the time she passed in the 1990s. We always had good chats and Lyna was our “neighbourhood watch” as she kept an eye on the street from her living room.
   Frank and Carol Reading and their family at no. 3 were probably there for a decent half-century, and they were incredibly good neighbours. Frank passed only a few years ago but they had wisely bought the Bourke residence as well in the 1990s, plus no. 4 decades before, so I imagine that made life easy for the developers who only had to purchase from two sellers to build on the site.
   We visited the Reading house many times over the years to help each other out, and that was the great community we had in the cul-de-sac back then. On our side of the street there were frequent chats over the fences with nos. 12 and 14.
   The old street changed a lot when both nos. 10 and 11 went on the market in 2018, then it was our turn in 2019. And now it has had its biggest change in probably a century as those old weatherboard bungalows from the early 20th century were demolished.
   I realize same-again McHouses aren’t everyone’s cup of tea but as one famous architect recently told me: it’s hard to get creativity consented. And the demand is there, so this was inevitable. I already felt that the old street was a memory, but one that could be refreshed on a revisit; but now it really is a memory. Contrast this with the other neighbourhoods I’ve lived in Wellington, which have remained largely the same, or were subject to far slower developments after our departure.
   Just as well I got the neighbours together in 2011 to stop the council taking away the right turn into the street. With 24 dwellings there in the near future, they’re going to need it more than ever.

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A post shared by Jack Yan 甄爵恩 (@jack.yan)

And yes, the above video was on Instagram, which is going the way of Myspace and Facebook, I believe. I haven’t been on there for nearly a fortnight and the feed held little interest to me. Near-daily ’Gramming from 2012 to 2019 was enough.

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Brand, sub-brand or model? China’s getting into a confusing phase

16.02.2021


The Dongfeng Aeolus AX7. But just where does Aeolus sit when it comes to indexing in Autocade?

This is something that might have to come out in the wash, and it might take years.
   I think we can all agree that Ssangyong is a marque or a make, and Korando is a model. Never mind that there’s currently a basic Korando, the Korando Sports (a pick-up truck) and a Korando Turismo (a people mover), none of which really have much connection with the other, name aside. We are as comfortable with this as we once were with the Chevrolet Lumina and Lumina APV, the Ford Taurus and Taurus X, and the Toyota Mark X and Mark X Zio. So far so good.
   But when do these drift into being sub-brands? BMW calls i a sub-brand, but as far as cataloguing in Autocade goes, it doesn’t matter, as the model names are i3 or i8 (or a number of ix models now coming out). Audi’s E-Tron is its parallel at Ingolstadt, and here we do have a problem, with a number of E-Tron models unrelated technically. It’s not like Quattro, where there was the (ur-) Quattro, then Quattro as a designation, and everyone accepted that.
   Similarly, the Chinese situation can be far from clear.
   Many years ago, GAC launched a single model based on the Alfa Romeo 166 called the Trumpchi. So far so good: we have a marque and model. But it then decided to launch a whole bunch of other cars also called Trumpchi (the original became the Trumpchi GA5, to distinguish it from at least eight others). Some sources say Trumpchi is a sub-brand, others a brand in its own right, but we continue to reference it as a model, since the cars have a GAC logo on the grille, just as the GAC Aion EVs have a GAC logo on the grille. (The latter is also not helped with Chinese indices tending to separate out EVs into ‘New Energy Vehicle’ listings, even when their manufacturers don’t.)
   I feel that we only need to make the shift into calling a previous model or sub-brand a brand when it’s obvious on the cars themselves. That’s the case with Haval, when it was very clear when it departed from Changcheng (Great Wall). Senia is another marque that spun off from FAW: it began life with the FAW symbol on the grille, before Senia’s own script appeared on the cars.
   The one that confounds me is Dongfeng Aeolus, which was make-and-model for a long time, but recently Aeolus has displaced the Dongfeng whirlwind on the grille of several models. We have them currently listed in Autocade with Dongfeng Aeolus as a new marque, since there’s still a small badge resembling the whirlwind on the bonnet. The Dongfeng Aeolus AX7 retains the whirlwind, but has the Aeolus letters prominently across the back, but to muddle it up, the AX7 Pro has the new Aeolus script up front. These can’t be two different marques but the visual cues say they are.
   Maybe we’ll just have to relegate Aeolus back to model status, and do what Ssangyong does with the Korando (or Changcheng with the Tengyi). These are the things that make life interesting, but also a little confusing when it comes to indexing an encyclopædia.

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More TV Dregs, please

12.02.2021

I was looking through the old JY&A links’ section, which dates back to the beginning of the site in the 1990s (indeed, back to Windows 3·1, as we couldn’t use a file name with more than three letters in the suffix). The last revamp of its look was over 15 years ago, judging by its appearance, and, although I attempted to update it to the current template, I decided the result was duller. It’s not an area where too many images were used, and the old look was probably more representative of what it is: a relic of the original dot-com era. As I explain on the introductory page (which has been facelifted), one reason for keeping it is to honour link exchanges that I made with other webmasters at the time, but I doubt it’s examined particularly often. The main text column is wide on a modern screen, but it would have looked fine at 1,024 by 768 pixels 15 years ago.
   One site that I linked, at its last update (which was probably around 2003 or 2004), was the humorous TV Dregs, which is written in a documentary style, about the lesser known TV shows that aired in the UK. The catch: every entry is fictional. It got me thinking about what it could have had if it were updated, and while I’ve done these jokes before (the Game of Thrones one I have cracked ad nauseam on social media), this was an attempt to write the entries in a TV Dregs style. They’re not as good as theirs but then I’m not a professional humorist. I might have to send them a note to let them know that 18 years after their founding, they’re still getting visits from me and eliciting some laughs.

Game of Thrones (HBO, 2011)
With Changing Rooms, Restoration Home, DIY SOS, and Love Your Garden each dealing with different aspects of home renovation, HBO responded with Game of Thrones, where seven teams competed to fix toilets, to win the coveted prize of the Iron Throne. Hosted by Channel 4’s Jon Snow, it featured celebrity appearances, notably from Sean Bean in the first series. Given the locations, participants often got wet and the show became known more for the nudity as clothes had to be dried; but the ideas in the show got particularly extreme with on-set weddings, and in series 4, poisoned wine, to force players to finish their toilets in record time so they could relieve themselves. Host Snow even appeared to have died on the show, though fans knew he was all right since he appeared on Channel 4 News the next day.

The Master (BBC, 2006)
With Doctor Who revived, the BBC were keen to capitalize on its success with a spin-off centring around its recurring villain, the Master, this time played by John Simm. Who alumna Billie Piper kicked off the series with the unforgettable voiceover, ‘My name is Rose Tyler. I had an accident and woke up in 1973.’ Set in the 1970s, with the Third Doctor exiled to Earth while the Master ran rampant with his weekly schemes, it was highly acclaimed, though certain fans were up in arms with the regeneration scene at the end of series two, when the Master turns into a woman (Keeley Hawes). The show was eventually merged back into Doctor Who, placating fans who were glad that the Doctor would not suddenly change gender.


The Master even dons the Ninth Doctor’s jacket

Colombo (ITV, 2003)
With the cancellation of Columbo in the US, after a final episode with Billy Connolly, producers were keen to continue the concept but, with interest in foreign-location police dramas (Wallander, Zen), it was retooled from the US setting to one in Sri Lanka, guaranteeing support from Asian diaspora. Still starring Peter Falk in a humorous fish-out-of-water tale, the gamble didn’t really work, since, as was pointed out at the time, only the supporting characters were played by Asians while the star remained white. It was also very predictable as Patrick McGoohan played the villain, albeit with different disguises, each week.

The Unger Games (ITV, 2012)
This remake of The Odd Couple takes place in a dystopian future, with Donald Sutherland as Oscar and Stanley Tucci as Felix, taking over the lead roles. Look out for a young Jennifer Lawrence as police cadet Marie Greshler, in the role that propelled her to fame. The principal change each week from the Neil Simon original was that Oscar was always finding ways to kill Felix, albeit unsuccessfully, though the shocking and dark finalé sees now-Officer Greshler plan to kill Felix, but turns on Oscar instead. A grim ending to an otherwise humorous sitcom.

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Branding ourselves in the 2020s: a revamp for JY&A Consulting’s website, jya.co

05.02.2021

Last night, I uploaded a revised website for JY&A Consulting (jya.co), which I wrote and coded. Amanda came up with a lot of the good ideas for it—it was important to get her feedback precisely because she isn’t in the industry, and I could then include people who might be looking to start a new venture while working from home among potential clients.
   Publishing and fonts aside, it was branding that I’m formally trained in, other than law, and since we started, I’ve worked with a number of wonderful colleagues from around the world as my “A team” in this sector. When I started redoing the site, and getting a few logos for the home page, I remembered a few of the old clients whose brands I had worked on. There are a select few, too, that I’m never allowed to mention, or even hint at. C’est la vie.
   There are still areas to play with (such as mobile optimization)—no new website is a fait accompli on day one—and things I need to check with colleagues, but by and large what appears there is the look I want for 2021. And here’s the most compelling reason for doing the update: the old site dated from 2012.
   It was just one of those things: if work’s ticking along, then do you need to redo the site? But as we started a new decade, the old site looked like a relic. Twenty twelve was a long time ago: it was the year we were worried that the Mayans were right and their calendar ran out (the biggest doomsday prediction since Y2K?); that some Americans thought that Mitt Romney would be too right-wing for their country as he went up against Barack Obama—who said same-sex marriage should be legal that year—in their presidential election; and Prince Harry, the party animal version, was stripping in Las Vegas.
   It was designed when we still didn’t want to scroll down a web page, when cellphones weren’t the main tool to browse web pages with, and we filled it up with smart information, because we figured the people who’d hire us wanted as much depth as we could reasonably show off on a site. We even had a Javascript slider animation on the home page, images fading into others, showing the work we had done.
   Times have changed. A lot of what we can offer, we could express more succinctly. People seem to want greater simplicity on websites. We can have taller pages because scrolling is normal. As a trend, websites seem to have bigger type to accommodate browsing on smaller devices (having said that, every time we look at doing mobile versions of sites, as we did in the early 2000s, new technology came along to render them obsolete)—all while print magazines seem to have shrunk their body type! And we may as well show off, like so many others, that we’ve appeared in The New York Times and CNN—places where I’ve been quoted as a brand guy and not the publisher of Lucire.
   But, most importantly, we took a market orientation to the website: it wasn’t developed to show off what we thought was important, but what a customer might think is important.
   The old headings—‘Humanistic branding and CSR’, ‘Branding and the law’ (the pages are still there, but unlinked from the main site)—might show why we’re different, but they’re not necessarily the reasons people might come to hire us. They still can—but we do heaps of other stuff, too.
   I might love that photo of me with the Medinge Group at la Sorbonne–CELSA, but I’m betting the majority of customers will ask, ‘Who cares?’ or ‘How does this impact on my work?’
   As consumer requirements change, I’m sure we’ll have pages from today that seem irrelevant, in which case we’ll have to get on to changing them as soon as possible, rather than wait nine years.
   Looking back over the years, the brand consulting site has had quite a few iterations on the web. While I still have all these files offline, it was quicker to look at the Internet Archive, discovering an early incarnation in 1997 that was, looking back now, lacking. But some of our lessons in print were adopted—people once thought our ability to bring in a print æsthetic was one of our skills—and that helped it look reasonably smart in a late 1990s context, especially with some of the limited software we had.

   The next version of the site is from the early 2000s, and at this point, the website’s design was based around our offline collateral, including our customer report documents, which used big blocks of colour. The Archive.org example I took was from 2003, but the look may have débuted in 2001. Note that the screen wouldn’t have been as wide as a modern computer’s, so the text wouldn’t have been in columns as wide as the ones in the illustration. Browsers also had margins built in.

   We really did keep this till 2012, with updates to the news items, as far as I can make out—it looks like 2021 wasn’t the first time I left things untouched for so long. But it got us work. In 2012, I thought I was so smart doing the table in the top menu, and you didn’t need to scroll. And this incarnation probably got us less work.

   There’s still a lot of satisfaction knowing that you’ve coded your own site, and not relied on Wordpress or Wix. Being your own client has its advantages in terms of evolving the site and figuring out where everything goes. It’s not perfect but there’s little errant code here; everything’s used to get that page appearing on the site, and hopefully you all enjoy the browsing experience. At least it’s no longer stuck in the early 2010s and hopefully makes it clearer about what we do. Your feedback, especially around the suitability of our offerings, is very welcome.

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Posted in business, design, internet, marketing, New Zealand, technology, Wellington | 1 Comment »


An unusual 4,400th model on Autocade

23.01.2021

This was an unusual car to have as the 4,400th on Autocade: the Rosengart Ariette.
   I did know the 4,400th was coming up since it wasn’t that long ago that Autocade passed 22 million page views, and I checked the stats. But I like to think this would still have been the motor that made it up even I was unaware of the number, since I had done plenty of Chinese vehicles of late and wanted a change.
   I suspect the December–January period is a big one for Autocade generally since there’s less news at Lucire coming in, and there’s a bit more time to work on hobbies—even if there’s also plenty of housework to keep me occupied.
   I’m grateful to Carfolio for checking up the Rosengarts for me, since they were quicker at getting models online, and it’s as trustworthy a source as you’ll find anywhere on the motoring web. Unlike Wikipedia in English, which has yet another inaccuracy with regard to these models.

Note: the above image is from Piston Collection, and not the one used in Autocade. It is a condition of reuse that I post the following, and it’s nice to give another motoring enthusiast a shout-out anyway: ‘Ceci est un article «presslib», c’est-à-dire libre de reproduction en tout ou en partie à condition que le présent alinéa soit reproduit à sa suite. Pistoncollection.com est le site sur lequel Sylvain Devaux s’exprime quotidiennement et livre une analyse pointue du monde de la collection automobile. Merci de visiter mon site. Vous pouvez vous abonner gratuitement à la lettre d’information quotidienne sur www.pistoncollection.com.’

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BMW, then and now

12.01.2021

This isn’t progress.

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Posted in cars, USA | 1 Comment »


From one émigré to the Lais, leaving Hong Kong for Scotland

31.12.2020

This final podcast of 2020 is an unusual one. First, it’s really directed a family I’ve never met: the Lais, who are leaving Hong Kong for Glasgow after the passing of the national security law in the Chinese city, as reported by Reuter. They may never even hear it. But it’s a from-the-heart piece recounting my experiences as a émigré myself, whose parents wanted to get out of Hong Kong because they feared what the communists would do after 1997. Imagine heading to a country with more COVID-19 infections and lockdowns and feeling that represented more freedom than what the Chinese Communist Party bestows on your home town.
   Secondly, it’s in Cantonese. The intro is in English but if you’re doing something from the heart to people from your own home town, it’s in your mother tongue. It seemed more genuine that way. Therefore, I don’t expect this podcast episode to have many listeners since I suspect the majority of you won’t know what I’m saying. They are themes I’ve tackled before, so you could probably guess and have a good chance of getting it right.
   If you know the Lais, feel free to share this link with them.

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Posted in China, culture, Hong Kong, New Zealand, Wellington | No Comments »


The Grundig parts’ cache time capsule

27.12.2020

When Dad was made redundant from Cory-Wright & Salmon, which had purchased his workplace, Turnbull & Jones, he bought all the Grundig equipment and accessories, thinking that he would find it useful. And for a while he did. The odd one he cannibalized, while the parts were used and adapted. Cory-Wright wound up contracting him for all the servicing of Grundig office equipment—principally dictating machines—and actually wound up hiring three people after they realized all the things Dad actually did there.
   He was quite happy to go to work for himself, as he picked up contracts with other firms as well. Some were companies who had gone to him at Turnbull & Jones anyway, and upon being told he had been let go, sought him out. But in the long run Grundig proved to be a fraction of what he wound up fixing, and it was the Japanese brands that I usually saw at home in his workshop, along with Philips (and no, the Japanese brands were not more reliable). Like many hard workers with a customer base, he did far better in self-employment than he did as an employee.
   Which brings me to this post. You could say this cache of Grundig parts is part of my inheritance, but what to do with it? The trouble with being in New Zealand is that there’s no Ebay—we’re told to use the Australian one if we wished to sell, except none of the postal options apply—and outside these shores no one’s heard of Trade Me.
   I’d like to sell the bits though I haven’t done an inventory yet. That was one of my favourite things when I visited Dad at Turnbull & Jones: he kept an inventory of all the items in his room and I used to make new ones as a fun activity. I marvelled at the new packaging that Grundig introduced, and this probably got me in to German graphic design.
   Here’s one item for starters: the wall box (die Wanddose) for the central dictation system (Central-Diktat-Anlage), Typ 593. I have at least five of them, boxed. This was opened for the first time when I took the photo, between 40 and 50 years after it was packaged. That’s the original rubber band as it left the factory in Germany. Some have already been opened. I’ve microphones, foot controls, complete machines. Suggestions are welcome, especially if someone might find it all useful. Those mics are going for €12 on Ebay in Germany, and mine are new. If anyone out there ever wondered, ‘Is there a lost cache of Grundig parts out there?’ then I have your answer.


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Searching for Murray Smith

09.12.2020

Earlier today Strangers, the 1978 TV series created by Murray Smith, came to mind. Smith created and wrote many episodes of one of my favourite TV series, The Paradise Club (which to this day has no DVD release due to the music rights), and penned an entertaining miniseries Frederick Forsyth Presents (the first time that I noticed one Elizabeth Hurley) and a novel I bought when I first spotted it, The Devil’s Juggler. He also wrote one of my favourite Dempsey and Makepeace episodes, ‘Wheel Man’, which had quite a few of the hallmarks of some of his other work, including fairly likeable underworld figures, which came into play with The Paradise Club.
   Yet there’s precious little about Smith online. His Wikipedia entry is essentially a version of his IMDB credits with some embellishments, for instance. It doesn’t even record his real name.
   Don’t worry, it’s not another dig at Wikipedia, but once again it’s a reflection of how things aren’t permanent on the web, a subject I’ve touched on before after reading a blog entry from my friend Richard MacManus. And that we humans do have to rely on our own memories over what’s on the ’net still: the World Wide Web is not the solution to storing all human knowledge, or, at least, not the solution to accessing it.
   It’s easy to refer to the disappearance of Geocities and the like, and the Internet Archive can only save so much. And in this case, I remember clearly searching for Murray Smith on Altavista in the 1990s, because I was interested in what he was up to. (He died in 2003.) I came across a legal prospectus of something he was proposing to do, and because it was a legal document, it gave his actual name.
   Murray Smith was his screen name, and I gather from an article in The Independent quoting Smith and his friend Frederick Forsyth, he went by Murray, but the family name was definitely Murray-Smith. Back in those days, there was a good chance that if it was online, it was real: it took too much effort to make a website for anyone to bother doing fake news. My gut says it was George David Murray-Smith or something along those lines, but there’s no record of that prospectus online any more, or of the company that he and Forsyth set up together to make Frederick Forsyth Presents, which I assume from some online entries was IFS Productions Ltd. Some websites’ claim that his name was Charles Maurice Smith is incorrect.
   Looking today, there are a couple of UK gazette entries for George David Murray Smith (no hyphen) in the armed forces, including the SAS in the 1970s, which suggest I am right.
   Even in the age of the web, the advantage still lies with those of us who have good memories who can recall facts that are lost. I’ve often suggested on this blog that we cannot fully trust technology, and that there’s no guarantee that even the official bodies, like the UK Companies’ Office, will have complete, accessible records. The computer is a leveller, but not a complete one.

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Posted in business, culture, interests, internet, TV, UK | No Comments »