The sunlight really helped in this instance. The car shone out. Modern vehicles mostly don’t come in colours like this. So even from 800 metres I could tell this was very likely worth a closer inspection.
The Audi is parked so close to the wall that you can’t see the badges – or, you couldn’t if they were there. By the time I got back with my camera the light had changed so I could not snap the car from the best view with the best light. However, art is often about rules and what are rules but limitations. It makes things interesting when you have requirements to satisfy. Such binding of the hands actually really helps one Continue reading “After The Middle The Pace Speeds Up”
“A good many dramatic situations begin with screaming”. Rounding out the Waltz for 2018.
Tempting as it might be to dwell on the negatives, of which there were many; Vietnam, politically motivated assassinations, student riots, the polarisation of race relations, but 1968 wasn’t entirely the unremitting grimfest it might appear in retrospect.
Directed by Frenchman, Roger Vadim with a knowing screenplay by Terry Southern (Dr Strangelove, Easy Rider), and based on Jean-Claude Forest’s cult comic strip, 1968’s Barberella provided some light relief, melding science fiction, titillation, comedy and high camp on a scale perhaps never previously committed to celluloid. (Although 1980’s fevered Flash Gordon remake potentially runs it close). Continue reading “Anniversary Waltz 1968 – 41 Century Girl”
It’s a typical Audi, graced by a purity of design which somehow destroys any chances of passionate engagement**. Guten Tag, Herr Hundert.
The Audi 100 affirmed its maker’s commitment to design which tightly fused the requirements of engineering and the stringencies of high aesthetic standards. Despite all that focused effort expended on visual refinement, nobody loves these cars, do they? You can say the same about Renault’s equally well-considered 25 of 1983. The 1982 Opel Rekord got caught in the middle of the aero-rationalist phase and so shows traces of its 1977 sharp edges intermixed with a smoother frontal aspect. Unloved also. We are forced to Continue reading “Your Gaze Was Like A Solstice Beam Reaching My Darkened Heart”