#1975 FIAT 126

[autodeluxe]

1975 FIAT 126

#1975 FIAT 126 #FIAT #FIAT 126 #FIAT BERLINA #FIAT 126 BERLINA #CITY CAR #CLASSIC CAR #CLASSIC ITALIAN CARS #CARSPOTTING #VETERANBIL #CLASSIC CARS

[diabolus1exmachina]

Lancia A 112 Abarth 

As the first-generation Mini forged ahead with its early sales success, Italian carmaker Autobianchi must have been looking on with envious eyes. Its attempt to grab a slice of the pie was launched in 1969 as the A112, a three-door hatchback that used the same (back then) relatively unusual transverse engine/front-wheel drive layout in a marginally larger package.Bertone’s Marcello Gandini, the man behind the Lamborghini Miura, Countach and Diablo, was drafted in to do the design, which to contemporary eyes looks like a very agreeable mash-up between the Fiat 126 and the British Mini. Speaking of Fiat (which had bought the brand a year earlier), under the skin was a shortened 128 Platform, while power came from a 903cc inline-four taken from the 850.The Mini Cooper and Cooper S had proven years before the A112 that tiny cars have performance potential, and it didn’t take Autobianchi long to go down the same route with its creation. It turned to Fiat motorsport arm Abarth for the work, which involved dropping in a 982cc engine with a twin-choke carburettor and a ruder exhaust.In 1975 the capacity was bumped up to 1050cc, with the power climbing to about 70bhp. Doesn’t sound like much, be we are talking about a car that weighed less than 700kg. Continuing the Mini parallels further, the A112 turned out to make a pretty sweet rally car, leading to the creation of the one-make Campionato A112 Abarth series. A112 production lasted all the way up until 1986, by which time Autobianchi had made about 1.2 million of the things. Today, though, survivors are relatively scarce, even back in the A112’s native Italy. You’ve even less chance of finding on in the UK or USA where they weren’t ever sold officially, but there are a few kicking around in both countries.

#Lancia A 112 Abarth #Mini #Lamborghini Miura #Countach #Diablo #Marcello Gandini #Bertone #Autobianchi

[personal-reporter]

Le grandi auto: Fiat 500

Il simbolo delle auto e del boom economico italiano… Nel 1954, quando Dante Giacosa alle Fiat iniziò a progettare la 500, l'Italia stava attraversando un periodo di ottimismo legato al concetto semplicità, proprio come faceva  anche Alec Issigonis in Inghilterra presso la Morris Company con la Mini. La 500 doveva essere un’auto poco costosa, funzionale ed economica, fu la prima city car progettata con un fine specifico e Giacosa creò uno stile di vita per gli italiani che sarebbe rimasto popolare per oltre 60 anni. Lanciata come Nuova 500 nel 1959, la Cinquecento originale misurava poco più di 2,9 metri di lunghezza, con un nome che derivava dal suo motore, a due cilindri da 479 cc (500 cc nominali, da qui il nome), con una potenza di soli 13 CV e il particolare design ispirò in poco tempo spin-off e versioni modificate. A metà del 1958 nacque la Nuova 500 Sport, dove la potenza dei cavalli salì a 21,5 ma fu soprattutto il design color crema con la fascia da corsa rossa a conquistare le strade, poi seguono altre varianti, tra cui la station wagon 500 Giardiniera (1960), la Fiat 500 F (1965) con le portiere incernierate posteriormente e la 500 Furgoncino (1969). Mentre John Cooper sperimentava una versione da corsa della Mini in Inghilterra, Karl Abarth aveva iniziato ad interessarsi con la Fiat 500 già nel 1964, infatti decise di implementare una serie di migliorie meccaniche per portare la velocità massima della piccola auto a 140 km/h, migliorando al contempo la stabilità e il raffreddamento grazie alle arcate svasate. La Fiat Abarth 695 SS venne lanciata nel 1966 e si ritiene che oggi siano rimasti in circolazione solo 150 dei 1.000 esemplari prodotti. Infine la Fiat cessò la produzione della Fiat 500 nell'agosto 1975, dopo 18 anni e quasi quattro milioni di automobili costruite, l'ultima Cinquecento uscì dalla linea di produzione dello stabilimento SicilFiat di Palermo, in Sicilia, proprio in quell'anno e le succedete la Fiat 126, lanciata due anni dopo, che però non conquistò mai veramente il cuore degli italiani. La Fiat 500 non era solo un'auto dal design straordinario ma fu anche un vero fenomeno culturale, cementando negli anni il suo status di icona, sia in Italia che all'estero. Per festeggiare i 50 anni del suo modello di auto più iconico, nel 2007 il Gruppo Fiat presentò una reinterpretazione moderna della 500, dove il motore posteriore fu sostituito da quello anteriore ormai standard e vennero introdotte diverse caratteristiche tipiche della Fiat Panda. La nuova 500 divenne un successo immediato e fino al 2012 la Fiat ne produsse  più di un milione oltre a diverse varianti , tra cui la Fiat 500X adventurer. La Fiat 500 completamente elettrica, presentata a Milano nel marzo 2020, è alimentata da un motore elettrico da 87 kW (116 CV) e una batteria agli ioni di litio da 42 kWh, con lo scopo di preservare il design tanto amato dell'originale ma portandolo nell'era delle automobili elettriche e, con la variante a 3+1 porte, sono tornate le portiere incernierate posteriormente e l'eredità dei look della Fiat 500 è destinata a durare. Read the full article

[carsthatnevermadeitetc]

Fiat 126 MiniMaxi, 1975, by Moretti. A small utility car based on the rear engined Fiat 126 by the Turin-based coachbuilder.

#Fiat #Fiat 126 MiniMaxi #Fiat 126 #rear engine #twin cylinder #utility car #Moretti #Carrozzeria Moretti #coachbuilt #1970s

[cardest]

Italy & Rome playlist

Pizza. Fiat. Centurions. Fulci. Argento. Morricone. It’s all here in this Roma - Italia playlist. If you love ancient Roman history and horror film soundtracks, this is the playlist for you! Hit play right here: https://www.youtube.com/playlist?list=PL-iHPcxymC18JtHohAYmD7g1FGA8S-D2B

Nero would enjoy this playlist! But, if there is a song or band I forgot or even a horror film soundtrack, or Italian prog record I mighta missed, let me know! This is one of my favorite playlists. Grazie!

ITALIA & ROMA

001 Goblin - La caccia 002 High On Fire -  Romulus And Remus 003 Braens Machine - Flying 004 Piero Umiliani - Produzione 005 Fantomas - Page 1 [6 Frames] 006 Lucio Fulci's Zombie Theme(1979) 007 Tullio De Piscopo drum pattern - Samba Carnival 008 Quella Vecchia Locanda - Il Tempo Della Gioia 009 Sandro Brugnolini - Amofen 010 Ufomammut - Mars 011 Gerardo Iacoucci - Tradimento 012 Procol Harum - Conquistador   013 LA TERZA MADRE  - Main Theme by Claudio Simonetti 014 Fantomas -  The Godfather 015 Toto Cutugno - L'Italiano 016 CHILDREN OF TECHNOLOGY - Fear the mohawk reaper 017 Ennio Morricone -  Non Rimane Piu Nessuno 018 Mina - Non credere 019 Bölzer - Roman Acupuncture 020 Jerry Goldsmith The Omen OST - Ave Satani 021 Lou Monte - roman guitar 022 Tony Di Marti - L'Uccellino Della Comare   023 Paul Chain Violet Theatre - 17 day 024 Satyricon -  The Ghost of Rome 025 Ghost - Con Clavi Con Dio 026 Charles Aznavour - Com'a Triste Venezia 027 Jula de Palma - Tua (1959) versione originale 028 Dean Martin - That's Amore   029 FORGOTTEN TOMB - We Owe You Nothing 030 Mike Patton - Ti Offro Da Bere 031 Death SS - Heavy Demons 032 The Lord Weird Slough Feg - Sword of Machiavelli 033 Afterhours - Milano Circonvallazione Esterna 034 Fantomas -  Page 17 [14 Frames] 035 Gluttony -  The Rise Of Pompey 036 Sherpa - Kim (((o))) Tigris & Euphrates 037 Umberto Tozzi Gloria - Italian Version 038 Franco Bracardi & Giorgio Bracardi -  Lo Strangolatore Di Boston 039 Black Hole - Bells of Death 040 Tarantella Pugliese - La Rondinella 041 Pino Villa- A Mucca Pazza 042 Opera IX - Bela Lugosi's Dead 043 MARIO MOLINO - TRAFFICO CAOTICO 044 Lucio Battisti - La Collina Dei Ciliegi 045 Tenebre (Main Title) by Goblin 046 SYK - FONG 047 FUOCO FATUO - Sulphureous Hazes 048 Primordial -  As Rome Burns 049 Abysmal Grief - Crypt of Horror 050 Mike Patton/Mondo Cane - re D'Amore 051 The Man from U. N. C. L. E. Soundtrack - Jimmy Renda Se 052 Stelvio Cipriani - Papaya 053 Fantomas - Page 28 [20 Frames] 054 Carlo Maria Cordio - Rosso Sangue (Absurd) 055 Emma De Angelis - Trip 056 BRUNO NICOLAI-Red Cats (1975) 057 Duncan Dhu - La barra de este hotel 058 FROZEN CROWN - Neverending 059 Pavor na Cidade dos Zumbis (City of the Living Dead, 1980) Theme 060 Jarboe & Father Murphy - The Ferryman 061 Mudhoney - When In Rome 062 Fantomas - Page 21 [11 Frames] 063  Ancient Roman Music - Synaulia I 064 Behemoth - Rome 64 C.E. / Slaying the Prophets ov Isa 065 Clutch - Nero's Fiddle 066 Gluttony -  The Rise Of Sulla 067 Goblin - L'alba dei morti viventi 068 Elvis Presley - Heart Of Rome 069 Bulldozer - Insurrection Of The Living Damned 070 Peggy Lee - When In Rome (I Do as the Romans Do) 071 Osanna - Variazione I (To Plinius) 072 GIULIANO SORGINI - Ultima Caccia 073 Ennio Morricone - Metti una sera a cena 074 Sepultura -  The Vatican 075 Rome Soundtrack 02 The Forum 076 Fantomas -  Page 4 [11 Frames] 077 Gladiator - Theme Song 078 Avantasia - The Glory of Rome 079 Caligula (1979)-Opening Credits 080 Umberto -  Temple Room 081 SODOM - Caligula 082 Lacuna Coil -  Survive 083 Gigliola Cinquetti - Non ho leta 084 Lucio Battisti - Emozioni 085 Goblin -  Markos 086 MIke Patton -  Urlo Negro 087 Sandro Brugnolini -  Megattera 088 Fantomas -  Page 25 [34 Frames] 089 The Italian Job Soundtrack- Opening Titles 090 Fabio Frizzi - Un Gatto Nel Cervello 091 Heidevolk - Het verbond met Rome 092 Messiah - Nero 093 Julio Iglesias - Todo el amor que te hace falta 094 Calabria - Luna Calabrisi 095 Various Artists -  Iena Sequence 096 Fantomas -  Page 5 [7 Frames] 097 Perry Como Mandolins In The Moonlight 098 The Beyond Soundtrack - main theme 099 Mercyful Fate - Gypsy 100 Goblin -  Suspiria 101 Ufomammut - Empireum 102 Diaframma - Neogrigio 103 Umberto -  The Psychic 104 NecroDeath - Master Of Morphine 105 The Dirtiest - Cento shot 106 Fantomas -  Page 29 [39 Frames] 107 La Morte Viene Dallo Spazio - Ashes 108 Achille Togliani Fontana Di Trevi 109 MV & EE - Much obliged 110 Isis Synaulia - Musica dell'antica Roma 111 Sandro Brugnolini - Marsuino 112 Giobia - far behind 113 Darvaza - silver chalice   114 Fantomas -  Investigation Of A Citizen Above suspicion 115 Rome Soundtrack - Main Title Theme 116 Nebulae - Carbon 117 Beat Fuga - Shake 118 Gruppo folk naxos - Tarantella siciliana 119 Russian Circles - Milano 120 Kalidia - Circe's spell 121 Harlan Williams, Beneath the Iron Heel of Pagan Rome 122 Exhorder - Slaughter in the Vatican 123 Vatican - the 5th of metal 124 Extrema - Deep Infection 125 Rod Stewart - Italian Girls 126 Louis Prima - Buona Sera 127 Mike Patton/Mondo Cane - Che Notte! 128 Sinoath -  Saturnalia 129 Piero Piccioni - L'Italia Vista dal Cielo (Lombardia) 130 PIERO UMILIANI - Topless Party 131 Dean Martin - Arrivederci Roma 132 Fantomas -  Page 30 [2 Frames] 133 Sadist - Nadir 134 Hour of Penance - Rise and Oppress 135  Virgin Steele - The Burning of Rome (Cry for Pompeii) 136 FROZEN CROWN - Battles In The Night 137 The Monolith Deathcult - Demigod 138 PIG DESTROYER -  Machiavellian 139 Raw Power  - State oppresion 140 La luna ammenzu o mari - Folk Sicilia 141 Angels and Demons Soundtrack - Main Theme (Hans Zimmer) 142 Lou Monte - Bella notte 143 Fantomas - Page 7 [6 Frames] 144 Danger Mouse and Daniele Luppi - Theme of ''Rome'' 145 INFERNO OST Dario Argento - MAIN THEME 146 Hombres G - Venezia 147 Rome Soundtracks - The Battle has began (Caesar's Theme) 148 NORA ORLANDI- Ossessione 149 Stelvio Cipriani - Orgasmo Nero 150 Goblin -  Profondo Rosso - Mad Puppet 151 Duatha - Maximinus Thrax 152 Sodom - City of God 153 Caronte - Invocation to Paimon 154 Demoni (Demons) Soundtrack by Claudio Simonetti  - Killing 155 PSYCHEDELIC WITCHCRAFT - Rising On The Edge 156 James Reyne - Fall Of Rome 157 Fantomas -  Vendetta 158  Rome Soundtrack - 16Th Death of Pompey 159 Alessandro Alessandroni & Sorgini Giuliano - Overcraft 160 The Man from U. N. C. L. E. OST - Che Vuole Questa Musica Stasera (Profumo Di Donna) 161 Clutch - Circus Maximus 162 Candlemass - Demons Gate 163 ROME - Uropia O Morte 164 Siouxsie And The Banshees - Cities In Dust (Extended 12 Version) 165 Tony Mottola - You And Only You 166 Musica dell'Antica Roma - Pavor 167 Fantomas - Page 6 [26 Frames] 168 Aborym -  II 169 Scorpions - The Sails Of Charon 170 Blind Guardian -  Lionheart 171 Septicflesh -  Dante's Inferno 172 MESSA - Leah 173 Mike Patton -  Senza Fine 174 Gary Numan - My Centurion 175 Frank Black and the Catholics - Back to Rome 176 Tonino Cavallo - Tarantella Siciliana 177 THE MELVINS - The Bloated Pope 178 Gluttony -  Lucullus In The East 179 Toto - Spanish Steps Of Rome 180 Fantomas -  Page 8 [9 Frames] 181 Mark Lanegan Band - Playing Nero 182 METRALLETA STEIN OST - Telemark 183 Luciano Pavarotti - Sole Mio 184 Jorja Chalmers - red light 185 Blood Ceremony -  Faunus 186 EKPYROSIS - Profound Death 187 Corleone  - Tutto diventerà rosso (feat. Mike Patton) 188 Primus -  The Storm 189 Museo Rosenbach - Superuomo 190 IVANO FOSSATI - MILANO 191 Lucio Dalla - Milano 192 Fantomas -  Page 9 [11 Frames] 193 Alessandro Allesendroni - Remember 194 Le Orme - Felona & Sorona - Return To Naught 195 Rome - The Spanish Drummer 196 Epitaph  -  Beyond the Mirror 197 Ephel Duath - The Passage 198 Three of You - New Life 199 Walter Rizzati I remember (Quella villa accanto al cimitero) 200 Lacuna Coil -  Heaven's A Lie 201 Judas Priest - Nostradamus 202 Triumvirat - Vesuvius 79 A.D. 203 Amedeo Tommasi - Exploration 204 Nero Kane † Lord Won't Come 205 FULCI - Eye Full Of Maggots 206 ULVER - Nemoralia 207 Voltumna  - Roma Delenda Est 208 Adorable - Sistine Chapel Ceiling 209 I Gres - Restless 210 Rita Pavone - Il Geghegè 211 Jahbulong - Under the influence of the fool 212 Theatres des Vampires -  Sangue 213 Antonio - High Voltage! 214 Fantomas -  Page 23 [17 Frames] 215 Sadist - Enslaver of Lies 216 Bunker 66 - (She's Got) Demon Eyes 217 GIULIANO SORGINI - Mad town 218 Zu -  Ostia 219 Moonraker - Miss Goodhead Meets Bond in Venice 220 Franco Micalizzi - I Due Volti Della Paura 221 John Zorn Naked City - The Sicilian Clan 222 Piero Umiliani - Nel Villaggio 223 Mike Patton/Mondo Cane - Cielo In Una Stanza 224 UFOMAMMUT - Warsheep 225 Fleshgod Apocalypse -  Elegy 226 SLASHER DAVE - Fulzzi 227 Panna Fredda - La Paura 228 Meads Of Asphodel - God Is Rome 229 Nora Orlandi - I Robot Original Version (Il dolce corpo di Deborah) 230 Caronte - Exctasy of Hecate 231 White Skull - Will of the Strong 232 Wotan - Thermopiles 233 Chromatics - Faded Now 234 Fantomas -  Page 2 [7 Frames] 235 Schizo - the main frame collapse 236 Ghost B.C. -  Per Aspera Ad Inferi 237 Dream Theater - The Count Of Tuscany 238 Satyricon -  Commando 239 Psico Galera - La Prima Volta 240 Scolopendra - Priest's blood soup 241 Theatres Des Vampires - 'Til the Last Drop of Blood 242 Victrola - Game of Despair 243 Blue Phantom - Diodo 244 Mortuary Drape - My Soul/primordial 245 Fantomas -  Page 11 [10 Frames] 246 Gianni Ferrio - Un dollaro bucato 247 Ataraxia - Canzona 248 Hexvessel - Phaedra 249 Lee Hazlewood and Nancy Sinatra - Some Velvet Morning 250 Mike Patton -  L'Uomo Che Non Sapeva Amare 251 Idiota Civilizzato - Uno E Nessuno 252 Ennio Morricone - Main Theme for Dario Argento's THE CAT O'NINE TAILS 253 Rhapsody - Ascending to Infinity 254 Monumentum - Battesimo: Nero Opaco 255 Opera IX - 1313 (Eradicate the False Idols) 256 Piedone lo sbirro OST - The Baron's death 257 Goblin - Deep red OST main theme 258 EKPYROSIS - Immolate the Denied 259 L'Impero delle Ombre - II Sabba 260 Monte Kristo - The Girl of Lucifer 261 Ghost - Lady Nite 262 Hallowed - Wake Up In The Night 263 Fantomas -  Page 27 [15 Frames] 264 Giuliano Sorgini - Lavoro cerebrale 265 Death SS - Vampire 266 VOLTURIAN - Broken 267 Cradle Of Filth - The 13th Caesar 268 Fulci - tropical sun 269 Alessandro Cortini - Perdere 270 Francesco Guccini - Bologna 271 Abysmal Grief  - Celebrate what they fear 272 Goblin - book of skulls 273 Tom Waits - In The Colosseum 274 Peggy Lee - Autumn In Rome 275 Ruins - Petit Portrait 276 Urna - Omnis Inifinita Mens Est Gremium Et Sepolcrum Universi 277 Nicolas Gaunin - Noa Noa Noa 278 Lacuna Coil - No Need to Explain 279 Theatres Des Vampires - Morgana Effect 280 Sepultura - City of Dis 281 Opera IX - The Oak 282 Rhapsody - Il cigno nero 283 Cripple Bastards  - Variante Alla Morte 284 Goblin - Witch (Susperia OST) 285 Death SS - revived 286 Henning Christiansen - L'essere Umano Errabando La Voca Errabando 287 Rolling Blackouts - The Second Of The First 288 Giuda - Overdrive 289 Hierophant  - Son of the new faith 290 Giorgio Faletti - Nati a Milano 291 Fabio Frizzi - A Cat in the Brain, Sequence 2 292 Dean Martin - On An Evening In Roma (Sott'er Celo De Roma) 293 FLESHGOD APOCALYPSE - Monnalisa 294 Valgrind - The Endless Circle 295 Oceana - Atlantidea Suite Part 1 296 Soda Stereo - Paseando Por Roma 297 Blasphemer - The Sixth Hour 298 Raw Power - Dreamer 299 Mike Patton/Mondo Cane - Deep down 300 Lacuna Coil - Swamped 301 Slalom OST by Ennio Morricone - Main theme 302 Stefano Marcucci - INFERNO 303 Lou Monte - Shaddap Ya Face 304 The Case of the Bloody Iris OST by Bruno Nicolai - Main theme 305 Mortuary Drape - Dreadful discovery 306 Antonio Riccardo Luciani - Cinque sottozero 307 Plateau Sigma -  Ouija and the Qvantvm 308 Piero Piccioni - Colpo rovente OST - main titles 309 Riz Ortolani - sette orchidee macchiate di rosso 310 Ad Nauseam - Imperative Imperceptible Impulse 311 Oliver Onions - Italian Girl 312 Bauhaus - Bela Lugosi's Dead 313 Metamorfosi - Spacciatore di Droga - Terremoto - Limbo 314 Body Count OST by Claudio Simonetti  - main theme 315 Symphony X - Underworld 316 Carlo Savina - Titoli di testa 317 Orchestra King Zerand - Night Song 318 Piero Umiliani - La schiava 319 CLAUDIO SIMONETTI'S GOBLIN - The Devil is back 320 Roman Holiday OST - Main title 666 Fabio Frizzi - Voci Dal Nulla

Perhaps not enough Morricone and needs more Goblin. The next update will have more, I am sure. Play it here:  https://www.youtube.com/playlist?list=PL-iHPcxymC18JtHohAYmD7g1FGA8S-D2B

#Italy #Italy playlist #rome #romans #ancient rome #roman playlist #rome playlist #fulci #dario argento #goblin #lacuna coil #Fabio Frizzi #nero #mortuary drape #mike patton #ennio morricone #italian prog #italian horror

[boneshake25]

Recenzja Książki - Historia Sztuki, Stephen Farthing , Arkady 2020

Książka zawiera pełny zakres artykułu z biologii dotyczący problemów anatomii i fizjologii człowieka, który należy uzyskać w nauce średniej, aby odpowiednio zrobić się do egzaminu maturalnego, zaś tymże jedynym by przyjąć się na wyśnione studia. Poziom podstawowy obejmuje zakres informacji dotyczących budowy oraz funkcji organizmu człowieka. 4.Absolwent, w terminie 3 dni roboczych z dnia otrzymania wiedzy o sukcesie rozstrzygnięcia, może złożyć do starego Generalnej Komisji Egzaminacyjnej, za pośrednictwem dyrektora OKE, zastrzeżenia do rozwiązania dyrektora okręgowej komisji egzaminacyjnej. Ponadto interpretuje wnioski oraz uzasadnia uwagi na zasadzie analizy informacji. Laureat i finalista olimpiady przedmiotowej wymienionej w wykazie olimpiad są zwolnieni z egzaminu maturalnego z określonego tematu na podstawie zaświadczenia stwierdzającego uzyskanie tytułu odpowiednio laureata lub finalisty. W określonych przypadkach, gdy lekcje te są pierwszymi lub tymi stanowiskami w poszczególnym dniu, uczeń może stanowić wycofany z tego ciężarze na platformie pisemnego oświadczenia rodziców, którzy biorą odpowiedzialność za własne dziecko. Uczeń może ponadto rozpocząć w poszczególnym roku do egzaminu maturalnego z nie więcej niż pięciu kolejnych przedmiotów dodatkowych wybranych spośród pozostałych przedmiotów dodatkowych.

Egzamin jest prowadzony z problemów potrzebnych na pokładzie podstawowym i przedmiotów dodatkowych na okresie rozszerzonym. Po czasie złożenia deklaracji ostatecznej nie posiada obecnie możliwości działania w umów zmian dotyczących wyboru tematów i stylu egzaminów (z elementem laureatów i finalistów olimpiad przedmiotowych). Termin składania ostatecznej deklaracji to 7 lutego 2020 r. W sukcesie niezłożenia deklaracji ostatecznej w dobrym czasie deklaracja wstępna staje się deklaracją ostateczną. 1.Absolwent może, w terminie 2 dni roboczych od dnia przeprowadzenia egzaminu maturalnego z określonego tematu w strony ustnej lub pisemnej, zgłosić zastrzeżenia wraz z świadectwem do starego okręgowej komisji egzaminacyjnej, jeżeli uzna, że w trakcie egzaminu zostały naruszone przepisy dotyczące jego zrealizowania. 3.Dyrektor OKE rozpatruje ograniczenia w tytule 7 dni od ich uzyskania i wprowadza pisemnie absolwenta o produktu rozstrzygnięcia. 2.W przypadku zgłoszenia zastrzeżeń, dyrektor OKE zatrzymuje si�� do zarządzającego zespoły egzaminacyjnego o dzieło wyjaśnień dotyczących wniesionego zastrzeżenia. Dokumenty upoważniające do dostosowania warunków i jakości egzaminu zdający przedkłada dyrektorowi szkoły lub dyrektorowi OKE łącznie z deklaracją do 30 września 2019 r. Uczeń przystępując do egzaminu na tym stopniu ma cel znać związki między strukturą i lokatą w organizmie człowieka, oraz relacje między środowiskiem a organizmem.

Gospodarczy „cud na kredyt” - Polska pozyskała kredyty z banków zachodnich na zakup licencji i formę fabryk; nowe inwestycje - np. Huta Katowice, Port Północny w Gdańsku, droga szybkiego ruchu Warszawa-Katowice; symbolem dekady Gierka był Fiat 126 p („maluch”) oraz bloki mieszkaniowe z bogatej płyty, sklepy rynkowe i „Pewexy”; masowa migracja ludności ze wsi do miast; od 1975 r. Zdający egzamin maturalny z biologi na okresie rozszerzonym opisuje sylwetkę i pozycje na dalekich poziomach organizacji jedzenia oraz u rożnych organizmów. Egzamin maturalny z biologi jest egzaminem pisemnym, który sprawdza dane oraz sztuce znane w Modelach wymagań egzaminacyjnych oraz liczy na rozwiązywaniu zadań egzaminacyjnych w arkuszach egzaminacyjnych. Test na pokładzie podstawowym trwa 120 minut i liczy na rozwiązywaniu zadań egzaminacyjnych, jakie stanowią wesprzeć w sprawdzeniu informacji oraz umiejętności kupionych w trakcie nauki biologii w grupie średniej. Test na pokładzie rozszerzonym trwa 150 minut i polega na praktycznym sprawdzeniu zdobytej wiedzy, a także umiejętności zastosowania poznanych dróg do rozwiązywania problemów dotyczących biologii. W treningach często zajmowane są utwory powszechnie znane, wyciągnięte z wielkiej puli latino, a i popu. Zapewniamy także psychoedukację z elementami socjoterapii i ochrony uzależnień, indywidualne poradnictwo psychologiczno - pedagogiczne dla niemowlęta i rodziców, treningi autoprezentacji, budowanie prawidłowej samooceny, treningi asertywności.

Język niemiecki istnieje też prawnym i roboczym językiem Unii Europejskiej, co świadczy, iż jest on drinkiem z głównych środków komunikacji w unijnych instytucjach. 9 czerwca uczniowie będą polecać matematykę, a 10 czerwca - język angielski. Paszport maturzysty. Język polski. Od 2 kwietnia Centralna Komisja Egzaminacyjna publikuje arkusze próbnych egzaminów maturalnych. Wniosek w kwestii wprowadzenia tych zmian kieruje do dyrektora nauki nie później niż do 20 kwietnia 2020 r. 2. Komunikat dyrektora Centralnej Komisji Egzaminacyjnej z 6 sierpnia 2019 r. 5. Komunikat dyrektora Generalnej Komisji Egzaminacyjnej z 6 sierpnia 2019 r. 4. Komunikat dyrektora Generalnej Komisji Egzaminacyjnej z 6 sierpnia 2019 r. Zdający wybiera preferowany poziom egzaminu poprzez deklarację kierowaną do starego szkoły. wypracowanie sukcesu gdy zdający uzyskał tytuł laureata lub finalisty z nowego problemu niż pomocny w umowie, może dokonać zmiany wyboru przedmiotu, w ostatnim stylu obcego nowożytnego, lub zmienić poziom egzaminu z języka obcego nowożytnego. W sukcesu egzaminu z języka obcego nowożytnego, bezpośrednio po zapisaniu czasu trwa odtworzenie płyty CD, na której oprócz tekstów w języku obcym nagrane są informacje w stylu polskim dotyczące rozwiązywania zadań, przerwy na nauczenie się z treścią zadań oraz przerwy dane na rozwiązywanie poszczególnych zadań. W aktualnym roku maturę będzie oddawać w bliskiej szkole 120 uczniów - mówi Anna Kowalczyk, dyrektor LO nr 14. - Oprócz tegorocznych maturzystów, posiadamy więcej ubiegłorocznych, którzy chcą poprawić ocenę z problemu zwracanego na maturze.

#sprawdzian #kartkowka #rozprawka #wypracowanie #szkola

[dermontag]

Pop-Art für alle 50 Jahre Renault 5 18.01.2022, 14:39 Uhr Vor 50 Jahren revolutionierte der Renault 5 die Kleinwagenwelt, mit knalliger Lackierung. Dazu gab es Plastik-Stoßfänger, die seine kecke Front sowie die praktische Heckklappe vor Parkremplern schützen sollte. Aber nicht nur alltagstaugliche Pop-Art, sondern auch dicke Turbo-Backen machten den R 5 begehrenswert. Knallbunte Plastik war vor 50 Jahren Pop-Art, und Medien, die diesen Kunststoff-Kult feierten, reisten entweder nach New York, wo das Museum of Modern Art fast alle Protagonisten der Plastik-Kunst für eine Vernissage vereinte - oder nach Paris, wo Renault am 28. Januar 1972 die Geheimnisse seines sensationellen Cityflitzers R 5 preisgab. Der vom Nachwuchsdesigner Michel Boué gezeichnete Renault 5 präsentierte sich als erstes Automobil mit Polyesterschutzschilden statt Chromstoßstangen gegen Parkrempler, dazu poppigen Lackierungen á la Giftgrün und Schock-Orange und ebenso schrillen Interieurfarben. Vor allem zeigte der Franzose aber ein geniales Kleinwagenkonzept, das viele zu kopieren versuchten, ohne die Originalität des Renault 5 zu erreichen. Einem R 5-Fahrer verzieh die Polizei sogar kleine Vergehen. Jedenfalls, wenn man der Renault-Werbung Glauben schenken will. (Foto: Renault) Sprengte der 3,51 Meter kurze und nur knapp über 700 Kilogramm wiegende Renault 5 doch traditionelle Fahrzeugkategorien. So startete er als Zweitürer mit großer Heckklappe, obwohl die Grande Nation ihre kleinen Volkshelden damals ausschließlich viertürig kaufte, wie Simca 1000, Citroën 2 CV und der neue Peugeot 104 zeigten. Sogar der als Hochdachkombi gezeichnete R 4 hatte vier Türen, mit ihm teilte sich der kostspieligere dreitürige R 5 aber manche technische Komponente. Allerdings reichte das Typenportfolio für "la Cinq" vom Sparkönig mit frugalen 34 PS über furiose Alpine-Hot-Hatches bis zum exklusiven Mittelmotor-Renner R 5 Turbo mit 160 PS. So viel Kreativität und Diversität machten aus Nummer 5 eine Erfolgsstory, die es in zwei Generationen und 22 Jahren auf neun Millionen verkaufte Einheiten brachte. Die Fortsetzung soll nun folgen, denn Renault hat unlängst ein elektrisches R-5-Concept gezeigt, das Hoffnungen für das E-Auto-Zeitalter weckt. R 5 sprengt das Statusverhalten In der statusorientierten Welt der 1970er Jahre sprengte der Renault R 5 die Grenzen. (Foto: Renault) Wenn in den statusorientierten 1970ern erfolgreiche Menschen plötzlich anstelle eines stattlichen Mittelklassemodells einen Kleinwagen fuhren, so lag dies auch an dem prägenden Einfluss der Stilikone Renault 5. Als erstes, ebenso praktisches wie pfiffig gestyltes dreitüriges Stadtauto befreite sich der R 5 vom eher negativen Kleinwagenimage, wie es besonders die vielen konservativen Heckmotor-Typen kennzeichnete. So bahnte der moderne französische Fronttriebler den Weg für viele modisch schicke Nachahmer wie Audi 50, VW Polo oder Ford Fiesta. Sogar der von Journalisten zum "Auto des Jahres 1972" gekürte Fiat 127 folgte später dem Vorbild des Renault 5 und war mit Heckklappe verfügbar. Auch in der Couture fuhr der von Fachleuten als "Geschenk der Musen" gepriesene Trendsetter aus Paris dem Turiner Bestseller voraus. Galten doch die Kunststoffstoßfänger des Renault 5, ab 1975 als GTL-Ausstattung auch an den Karosserieflanken, als kühner Futurismus zu einer Zeit, als sich die modebewusste Dame in bonbonfarbene Lackstiefel gewandete. Mit kecker Polyester-Front sowie großen Scheinwerfern blinzelte der kleine Franzose 1972 in eine Welt, die sich an Mini- und Maxiröcke oder Hot Pants rasch gewöhnt hatte, aber Plastik-geschmückte Autos noch eine halbe Dekade als Avantgarde empfand. Deshalb wirkte der Renault 5 zehn Jahre nach seinem Debüt immer noch frisch, wozu beitrug, dass erst jetzt endlich die letzten Wettbewerber auf den Trend der Plastikplanken aufsprangen - aber auch die staatstragende Mercedes S-Klasse (W 126) diesen Schmuck anlegte. Werbung im Comic-Stil Mit dem Spruch "Lebe wohl, grausame Welt!", verabschiedete sich der R 5, bevor er von Marcello Gandini neu designt wurde. (Foto: Renault) Entsprechend der sozio-ökonomischen Positionierung des Renault 5 wurde die Werbung für das Massenmodell emotional aufgeladen und erstmals im Comic-Stil gestaltet. Schon Designer Michel Boué sah sein neues Citycar "als Auto, das soziale Grenzen überschreitet, und in dem die Frau von Welt, der Arzt und der Arbeiter sich vor einer roten Ampel treffen können und jeder sich gleichermaßen wohl fühlt". Dabei plauderte der orangefarbene "Fünfer" munter mit seinem Publikum, boxte sich aus engen Parklücken heraus und schlängelte sich frech durch den Verkehr. Der Renault 5 präsentierte sich als gefühlsbetontes Wesen und vorlauter Superstar: "Nie auf den Mund, außer mit ganz Bestimmten!" stellte er in einer Anzeige klar - und knutscht den Kühlergrill eines Rolls-Royce ab. Dagegen raste der heißblütige Sportler Renault 5 Alpine Turbo ab 1982 auf Plakaten als schnelle "Hexe mit Düsenantrieb" auf einer Art Überschall-Staubsauger durch die Lüfte. Emotional verlief 1984 auch der Wechsel zum Renault 5 der zweiten Generation: "Adieu monde cruel! (Lebe wohl, grausame Welt!)", verabschiedete sich der Flitzer im Boué-Design, um seinem vom legendären Lamborghini- und Maserati-Designer Marcello Gandini in Form gebrachten Nachfolger das Feld zu überlassen. Schließlich hatten die Erzrivalen nachgelegt, Fiat mit dem Uno und Peugeot mit dem 205, der plötzlich den Dauerbestseller Renault 5 in den französischen Zulassungscharts überholte. Renault wusste sich 1984 zu wehren. Der Renault 5 Alpine Turbo präsentierte sich 1982 in der Werbung als "Hexe mit Düsenantrieb". (Foto: Renault) Mit einem neuen Renault 5, dessen Äußeres charmant wie bisher blieb, unter dem die Technik aber dem Zeitgeist folgte. Erstmals nagelten nun Dieselmotoren unter der Motorhaube der laut Marketing "frechsten dreieinhalb Meter der Welt". Auch Sport konnte der Neue, wie muskulöse 115 PS im Renault 5 GT zeigten. Für umweltbewusste Aktivisten gab es außerdem den Renault 5 GTL als ersten Kleinwagen mit Katalysator im Kampf gegen das Waldsterben, damals noch ein politisches Tagesthema. Nebenbei sanierte der Kleine die mittlerweile maladen Finanzen seines Herstellers. Und blieb so "Der kleine Freund" für alle Fälle des Lebens, wie Renault seine Nummer Fünf nannte. Also alles wie am Anfang, vor 50 Jahren. Ein echtes Weltauto Damals, als in Deutschland noch der VW Käfer die Verkaufscharts bestimmte und Hersteller hierzulande meinten, mit Kleinwagen ließe sich kein Profit erwirtschaften, punktete der Renault 5 durch frühe Gleichteilestrategie mit den bewährten Modellen R 4 und R 6. Zum Gewinner machten den R 5 immer neue Varianten wie sportliche LS/TS mit kräftigen 64 PS oder eine optionale Getriebeautomatik, die den Komfort luxuriöser Straßenkreuzer bot. Der Renault 5 konnte aber als Turbo auch richtig dicke Backen machen. (Foto: Renault) Tatsächlich sorgte der R 5 als "Renault Le Car" zwischen New York und Los Angeles für Aufsehen, und die Franzosen feierten dies in Europa mit Le-Car-Sondermodellen. Überhaupt war der avantgardistische Kleinwagen ein Weltauto, passte er sich doch leicht an die Vorlieben anderer Kulturen an. So lief er in Spanien als Renault Siete (7) mit Stufenheck und vier Türen vom Band, die es im restlichen Europa inklusive längeren Radstands erst 1979 in Verbindung mit Heckklappe gab. Bei Sportfans unvergessen sind bis heute die ab 1974 ausgetragenen Markenpokalserien, eine Talentschmiede, die andere Hersteller adaptierten. Und dann die Rallye-Siege, die der 1980 eingeführte Mittelmotor-Renner Renault 5 Turbo mit Hinterradantrieb und bis zu 408 PS einfuhr. Im Alltagsverkehr reichten dem Turbo-Pionier 160 PS, um sich in Sprint-Derbys mit einem Porsche 911 SC zu messen. So viel Feuer ist vom für 2024 angekündigten vollelektrischen Renault 5 nicht zu erwarten, aber die faszinierende Couture des Kleinen wird der bereits als Concept gezeigte Stromer in die Zukunft tragen.

[remofella]

Production of the 500 ended in 1975, although its replacement, the Fiat 126, was launched two years earlier. The 126 was not as successful as its predecessor in Italy, but sold well in the Eastern Bloc countries, being assembled and manufactured in Poland as a Polski Fiat, Rome 1989. Buy Artwork: Society6.com/remofella Photography © Copyright by @remofella #remofella #rome #italy #popart #colorful #oldtimer #filmphotography #compassodoro #pink #photooftheday #streetphotography #blackandwhitephotography #vintagecars #vintagerome #fiat500 #vintagephotography #italia #500 #fiat #streetsofrome #vintage #cinquecento #blackandwhite #streets #small #car #smallcar #love #pinkcar #citycar (hier: ROMA - città eterna) https://www.instagram.com/p/CW06WdoqvxK/?utm_medium=tumblr

#remofella #rome #italy #popart #colorful #oldtimer #filmphotography #compassodoro #pink #photooftheday #streetphotography #blackandwhitephotography #vintagecars #vintagerome #fiat500 #vintagephotography #italia #500 #fiat #streetsofrome #vintage #cinquecento #blackandwhite #streets #small #car #smallcar #love #pinkcar #citycar

[bixentef]

🚘 #bixentef #tourisme #automobile #meteocar #vintage #legendcar #italycar 🇮🇹 #france 🇫🇷 #carspotters #2019 #instagram ☀ #licence #fiat126 #occitanie #legrauduroi #gard #mer La Fiat 126 est une voiture micro-citadine du constructeur automobile italien Fiat, lancée au Salon de l'automobile de Turin en novembre 1972, aux côtés de la dernière version de la 500, la 500R, elle sera produite jusqu'en 2000. Destinée à remplacer progressivement la Fiat 500, dont elle reprend la plateforme et le moteur bicylindre refroidi par air, elle a connu une carrière extraordinairement longue, certainement une des plus importantes de l'histoire de l'automobile : 28 ans et 4,7 millions d'exemplaires vendus. Sa commercialisation sur les marchés européens se termine en 1991, mais restera au catalogue des pays de l'Est jusqu'en 2000. Elle a été fabriquée en Pologne à partir de 1975 sous la marque Fiat Polski 126P puis, à partir de 1992, sous la marque Fiat Poland. C'est la dernière voiture produite par une marque du groupe Fiat équipée d'un moteur placé à l'arrière. @wikipedia (à Café & Playa Miramar) https://www.instagram.com/p/B-8Eeb2jq3k/?igshid=vuybd3svr27p

#bixentef #tourisme #automobile #meteocar #vintage #legendcar #italycar #france #carspotters #2019 #instagram #licence #fiat126 #occitanie #legrauduroi #gard #mer

[itcars]

Ferrari Celebrates 70th Anniversary 

On March 12 1947, Enzo Ferrari fired up the 125 S, the first car to bear his name. That test-drive on the streets of Maranello marked the start of modern Ferrari history. The then-modest factory quickly grew into one of the great internationally-renowned ‘Made in Italy’ icons. Now, 70 years later, on March 12 2017, Ferrari launches its official celebrations for this milestone anniversary.

To coincide with the official start of the celebrations and to commemorate the events of 70 years ago, Ferrari has released a video featuring a re-enactment of the first 12-cylinder to sport the Cavallino Rampante on its bonnet, the 125 S, driving through the factory gates on Via Abetone Inferiore and, in doing so, symbolically passing the baton of the Ferrari legacy to the LaFerrari Aperta.

125 S, the first Ferrari 

This was the first car to sport the Ferrari badge. Its 12-cylinder engine, vital to powerful performance, was designed by Gioacchino Colombo with Giuseppe Busso and Luigi Bazzi also contributing to the project. On March 12 1947, the 125 S, still an unbodied steel rolling chassis, roared to life for the first time and the great Ferrari adventure began. Two months later, on May 11 1947, the car made its track debut at the Piacenza Circuit. At the wheel of the 125 S (the S referring to its sports car-type bodywork) was Franco Cortese. Enzo Ferrari dubbed this maiden outing as “a promising failure” after the car was forced to pull up with a fuel pump problem whilst leading the race. However, that moment of failure was short-lived as just nine days later on May 20, Franco Cortese drove the 125 S to victory in the Rome Grand Prix, completing the 40 laps of the circuit and the 137 kilometers of the race at an average speed of 88.5 km/h. This was the first of six victories the 125 S delivered in 1947, the most notable of which was the Parma Grand Prix with Tazio Nuvolari doing the driving.

LaFerrari Aperta, 70th anniversary icon

Technological excellence, performance, style, exclusivity. Ferrari’s unique core values are brilliantly represented by the car launched to mark the 70th anniversary of the foundation of the company. The LaFerrari Aperta is the new limited-edition special series model dedicated to our most loyal clients and also the spider version of the acclaimed LaFerrari supercar.

Maranello’s latest supercar effortlessly combines extraordinary performance with the unique exhilaration of open-top driving. It is equipped with the same hybrid power unit as the coupé: an 800 cv 6,262cc V12 engine (specific power output of 128 cv/l, compression ratio 13.5:1) coupled with a 120 kW electric motor for a total power output of a 963 cv.

Some of the highlights in Ferrari history

1947 – Ferrari is founded

1950 – Ferrari makes F1 debut

1958 – Mike Hawthorn becomes F1 World Champion in a Ferrari 246 F1

1962 – Unveiling of the 250 GTO, winner of the International Championship for GT Manufacturers in 1962, 1963 and 1964

1964 – John Surtees becomes F1 World Champion in the 158 F1

1967 – Three Ferraris – two 330 P4s and a 412 P –deliver a spectacular 1-2-3 parade finish in the 24 Hours of Daytona

1968 – The 365 GTB4 (Daytona) is unveiled at the Paris Motor Show

1969 – Fiat becomes a Ferrari shareholder

1972 – The Fiorano Circuit, Ferrari’s test track, is officially opened

1975 – Niki Lauda takes the F1 World Champion title in the 312 T

1981 – Gilles Villeneuve delivers first ever victory in a turbocharged F1 car in the 126 K at Monaco

1984 – The Ferrari Testarossa is unveiled at the Paris Motor Show

1987 – The F40 debuts at the Frankfurt Motor Show

1988 – 14 August: Enzo Ferrari passes away at the age of 90

1993 – The marque’s first single-make championship, the Ferrari Challenge, is launched

1998 – The new Renzo Piano-designed GES Wind Tunnel opens

2004 – Ferrari sets a new F1 record of 6 Constructors’ and 5 Drivers’ World titles in a row

2006 – The exclusive XX programme, designed to deliver extreme performance to top clients, debuts

2007 – Kimi Räikkönen and the Scuderia Ferrari are World Champions

2013 – The Cavallino Rampante’s first hybrid model, the LaFerrari, goes into production

2015 – Ferrari is listed on the New York stock exchange

2016 – The LaFerrari Aperta, an iconic model celebrating the marque’s 70th anniversary, is launched at the Paris Motor Show

2017 – The latest addition to the Ferrari family, the 812 Superfast, debuts at Geneva.

A “Driven by Emotion” Anniversary

In the course of 2017, over 60 nations will host events crafted to treat clients and enthusiasts of the marque to a string of unique experiences as part of the “Driven by Emotion” concept, one of the cornerstones on which the Ferrari story was founded and has flourished. “Driven by Emotion” is a tribute to the importance placed by the Cavallino Rampante on emotion throughout the last 70 years: be it in terms of delivering the most riveting and rewarding driving experience possible, Ferrari’s universally lauded and acknowledged styling, or innovation via the astonishing pioneering technological solutions revealed by each new Maranello model.

Thus, March 12 marks the start of the anniversary events with Australasia opening the program. The LaFerrari Aperta will be present at each stage as the symbol of the 70th anniversary.

The anniversary celebrations culminate in Maranello on the weekend of September 9 and 10, but will also be flanked by other initiatives paying homage to Cavallino Rampante history, not least special exhibitions and the first “Cavalcade Classiche”.

A special website has been created to flank the celebrations as they unfold throughout the year as well as to introduce the pivotal moments and individuals in the company’s history. The www.ferrari70.com site goes online on March 12.

#ferrari #news #events #ferrari anniversary #history #enzo ferrari #LaFerrari Aperta #Cavallino Rampante #italian #italy #maranello #125 S #ferrari 125 S #featured

[transportlodz-blog]

Historia motoryzacji

Fabryka Samochodów Małolitrażowych (FSM) to przedsiębiorstwo państwowe działające w latach 1971-1993, obejmujące wytwórnie samochodów w Bielsku-Białej i Tychach. Poza samochodami w różnych filiach produkowano podzespoły samochodowe, a nawet rowery dziecięce i noże kos. Wytwórnia Sprzętu Mechanicznego "Polmo" w Bielsku-Białej zajmowała się produkcją silników do motopomp. Zmodernizowany silnik tego typu zastosowano do napędu samochodu Syrena. Pod koniec lat 60. WSM przejęła produkcję kompletnych silników oraz skrzyń biegów i przedniego zawieszenia do Syreny 104. Przejęcie władzy w Polsce przez Edwarda Gierka, który wcześniej był pierwszym sekretarzem KW PZPR na Górnym Śląsku, stworzyło sprzyjający klimat dla uruchomienia produkcji samochodów w tym regionie. FSM powstała w 1971 roku z przekształcenia WSM Bielsko, do której włączono wiele zakładów mechanicznych z regionu (np. kuźnie z Ustronia i Skoczowa, w marcu 1971 - Skoczowską Odlewnię Żeliwa, Zakłady Sprzętu Motoryzacyjnego "Polmo" w Sosnowcu produkujące osprzęt elektryczny, odlewnię aluminium w Zakładach Mechanicznych w Bielsku, Zakłady Metalowe w Bielsku, zakład "Romet" w Częstochowie). Dla produkcji licencyjnego Fiata 126p wybudowano nową fabrykę w Tychach (1975). Część opłat licencyjnych i należności za dostawy urządzeń technologicznych spłacano eksportem silników do produkowanego we Włoszech Fiata 126. Pierwszym produkowanym samochodem była Syrena 105, której produkcję przejęto z FSO. Oficjalnie produkcję przeniesiono 21 sierpnia 1972 roku. Równocześnie wprowadzono do produkcji zaprojektowane na miejscu jej odmiany towarowe (Syrena Bosto i Syrena R-20). Produkcja tego modelu trwała w Bielsku-Białej do 1983 roku, osiągając poziom maksymalnie w ciągu roku około 30-40 tys. sztuk. Po jej zakończeniu produkowano w tym mieście Fiata 126p, a w drugiej połowie lat 80. również przeznaczonego głównie na eksport Fiata 126p Bis.  Do Bielska-Białej przeniesiono wówczas produkcję Fiata 126p. 28 maja 1992 roku 90% akcji firmy przejął Fiat Auto, rok później zmieniając nazwę przedsiębiorstwa na Fiat Auto Poland. Część zakładów filialnych przejęły firmy należące do grupy Fiat Auto, tworząc swoje polskie oddziały, takie jak Teksid Poland (odlewy i odkuwki), Magneti Marelli Poland (osprzęt elektryczny). W 1993 r. zastąpiono używaną na niektórych rynkach markę "Polski Fiat" marką Fiat Dawniej, produkowane tam były samochody: Syrena 105, (1972-1983, Bielsko-Biała) i Polski Fiat 126p (1973-1993, Bielsko-Biała i Tychy), a także Cinquecento (1991-1998, Tychy). Produkcję dwóch ostatnich modeli przejęła firma Fiat Auto Poland. Markę pierwszego z nich skrócono w 1993 r. z "Polski Fiat" na Fiat 126p i produkcję kontynuowano do 2000 roku. Modele dostarczane od 1973 r. do sieci firmy Fiat były w niej najczęściej sprzedawane pod marką Fiat. W latach 1987-1991 w Bielsku-Białej powstawał Fiat 126p Bis.

[alvaromatias1000]

VW Brasília: a história de um dos maiores clássicos nacionais

O ano de 1973 foi marcante para os brasileiros apaixonados por carros. No mesmo período em que era lançado o VW Brasília, tínhamos a estreia do Chevrolet Chevette, do Ford Maverick e do Dodge 1800.

Desde 1970, a Volkswagen já estava trabalhando num modelo compacto. O projeto de criação do VW Brasília foi um pedido do então presidente da Volkswagen do Brasil, Rudolph Leiding.

O carro nasceu de um sonho. O lançamento do Brasília era um desejo de Leiding.

O executivo, que depois passou a gerenciar a empresa globalmente, havia pedido aos engenheiros da marca por um novo carro para suceder o Fusca. Leiding, então, solicitou um veículo com a mesma plataforma do Fusca, com estilo “premium” e mais espaçoso. Não à toa ele chegou para ser uma opção mais cara do Fusca.

Curiosamente, Rudolph Leiding acabou nem vendo seu projeto final nas ruas brasileiras, uma vez que passou a presidir a empresa globalmente.

Na época, o Fusca era o principal modelo da Volks, enquanto isso, as montadoras concorrentes começavam a trabalhar em novos modelos. Porém, tirar o fusquinha de linha claramente não era uma opção. Então, a montadora lançou a linha tipo 3, modelos quadrados e maiores.

A rivalidade entre VW Brasília e Chevrolet Chevette era nítida. “Ninguém sabe como nós trabalhamos para fazer coincidir seu lançamento com o do Chevette”, dizia um diretor da Volkswagen na época.

Em quase dez anos de vida, 950 mil unidades do VW Brasília foram vendidos no Brasil. O modelo chegou a ser exportado para países vizinhos do Brasil e para a África, porém não teve tanto sucesso.

O icônico Brasília deixou de ser produzido em 1982. O fim da produção gerou até uma “crise” interna. Um engenheiro da montadora reclamou que “mataram o carro errado”. Para ele, a Volkswagen deveria encerrar a produção do Fusca, visto que ele era bem mais antigo.

Logo, para o engenheiro, o Brasília deveria ficar como um modelo acessível da empresa.

Com o fim do Brasília, o Volkswagen Variant passou a ficar no lugar do modelo. O substituto é uma perua, com linhas semelhantes ao Brasília. Por isso, recebeu o apelido de “Brasilhão”. No entanto, também ficou conhecido como “Variantão”.

Conheça abaixo, em detalhes, toda a história e versões do VW Brasília de 1973 a 1982.

VW Brasília 1973

O Brasília foi lançado em 1973, quase junto do Chevette, da General Motors, seu concorrente direto. Se o bagageiro do Brasília decepcionava, por outro lado, o carro conquistava pela ampla área envidraçada. O motorista tinha bastante visão em diversos pontos do veículo.

Em campanhas publicitárias, a montadora chegou a destacar algumas avaliações de clientes. Uma delas: “O único problema é que eu sou tímida. No Brasília a área envidraçada é grande e todo mundo olha pra mim”, dizia.

O clássico era ágil no trânsito e manobrar não exigia tanto esforço. Sobre isso, outra resposta de um cliente “cobaia” dizia: “Cansei de fazer força no trânsito. O Brasília é ideal para escapar do trânsito, manobrar e estacionar fácil”.

Na dianteira, o VW Brasília tinha quatro faróis em formato circular, sendo dois para a esquerda e os outros dois à direita. No para-choque de lâmina cromada havia iluminação embutida alaranjada.

Já na lateral, poderíamos ver as entradas de ar para refrigeração do motor traseiro (o porta-malas ficava na frente). Aliás, essas linhas geram harmonia no design do carro. Destaque também para os vidros laterais, ambos enormes, proporcionando mais facilidade na hora de manobrar.

Na traseira, as lanternas tinham piscas laranjas. O emblema “VW Brasília” também estava presente atrás, na lateral direita. E a cor alumínio foi empregada nas calotas centrais das rodas.

Quanto ao conjunto mecânico, o motor do VW Brasília fica onde geralmente é o porta-malas, o mesmo foi feito com o VW Fusca. O modelo batizado com o nome da capital do Brasil era equipado com motor refrigerado a ar, quatro cilindros opostos, 1,6 litros e potência de 60 cv.

Para chegar aos 100 km/h eram necessários 23 segundos. Enquanto a velocidade máxima ficava em torno de 132 km/h.

O motor junto às rodas motrizes fazia com que o Brasília não tivesse dificuldades em subidas escorregadias. Aderência e tração não eram prejudicadas devido a isso.

Na parte interna, o consumidor poderia levar o hatchback nas cores: preta com piso cinza ou todo bege.

Em 1974, a Volkswagen fez algumas atualizações, mas nada muito radical. A montadora alemã modificou o volante para um modelo de plástico, conhecido como “canoa”. Embora não houvesse tanta procura, dupla carburação passou a ser opcional. Detalhes como o nome do “VW Brasília” na traseira e lanternas com piscas na cor laranja foram mantidas sem alterações.

A mudança de produção foi uma grande novidade. O VW Brasília começou a ser fabricado em Puebla, no México.

Em 1975, no auge, o hatchback já estava agradando os brasileiros, em especial os jovens e as famílias. Nesse mesmo ano, o Brasília alcançou 126 mil unidades produzidas.

Novas alterações foram feitas em 75. Podemos destacar a nova grade do escapamento que ficou maior e até mais “chamativa”; na traseira, o emblema perdeu o “VW” e passou a ficar apenas com “Brasília” com letras grandes; as lanternas traseiras ganharam pisca na cor vermelha; atendendo a uma regulamentação do CONTRAN (Conselho Nacional de Trânsito), o pisca-alerta intermitente passou a ser item de série.

Em 1976, a história do VW Brasília começa a ficar mais agitada com modificações, como a opção de quatro portas e a chegada de um concorrente importante.

Com dois carburadores, o clássico passou a ter potência elevada para 65 cavalos. Além disso, houve melhorias na economia de combustível, na aceleração e na velocidade máxima.

Embora ganhasse em desempenho, o VW Brasília apresentava um problema com os dois carburadores. Assim como o Fusca, o carro fazia muito barulho, ou seja, conversar dentro do veículo era bem difícil. Em alguns modelos, a Volkswagen tentou resolver esse problema com o isolamento acústico, porém o resultado não foi tão satisfatório.

Vale lembrar que a opção com um carburador continuou à venda até determinado período. A montadora resolveu encerrar a produção devido à baixa demanda.

O Brasília de 76 ainda ganhou outras novidades. Havia uma opção rara de cor vermelha no interior do carro, como nos assentos e nas portas. Outra na cor marrom também foi apresentada, que antecipou as versões monocromáticas.

Versão quatro portas também foi fabricada nesse período, mas para exportação. Filipinas e Nigéria foram os primeiros países que receberam essa opção.

Ainda em 1976, mais especificamente no mês de novembro, outro modelo foi lançado no Brasil para “brigar” diretamente com o VW Brasília. A italiana Fiat anunciava o pequeno 147.

A chegada do Fiat 147 é um marco na história da Fiat em território nacional. Seu lançamento marcou a chegada da montadora italiana no Brasil. Inspirado no 127, o 147 foi produzido entre os anos de 1976 e 1986.

Foi o primeiro carro da marca produzido no Brasil e marcou o início das operações da fábrica de Betim, em Minas Gerais, no dia nove de julho de 1976.

Ele realmente era um minicarro. O modelo tinha 3,59 metros de comprimento, 1,53 metros de largura, 1,37 metros de altura e distância entre eixos de 2,3 metros.

VW Brasília 1977

O VW Brasília de 1977 ganhou mudanças importantes, com destaque para o acabamento, conforto e mecânica do veículo. Pequenas alterações no design dianteiro também foram feitas.

Nesse período, surgem as versões monocromáticas. No painel, os instrumentos ficaram mais limpos. Ainda internamente, o porta-luvas recebeu pela primeira vez uma tampa.

Na parte mecânica, o VW Brasília ganhou novos freios duplo independente nos eixos dianteiro e traseiro, além de coluna de direção retrátil, tubo de segurança contra impactos frontais no para-choque da frente e o cabeçote de chassis foi reforçado.

VW Brasília 1978

Ano após ano e o VW Brasília não sofreu mudanças radicais em suas versões. No entanto, em 1978 o hatchback recebeu algumas alterações consideráveis, em especial no design. Podemos considerar que em 78 ele recebeu a primeira e única reestilização em sua história.

O carro ganhou dois vincos (ressaltos) no capô, o para-choque ficou mais largo e ponteira de plástica na lateral.

Inspirado em modelos da Mercedes-Benz, o Brasília passou a adotar lanternas maiores além de frisadas. Pela primeira vez, a Volks resolveu oferecer, como opcional, desembaçador elétrico do vidro traseiro.

No interior, a montadora alemã modificou o design do acionador da buzina e passou a ser similar ao do VW Passat.

O volante no estilo “canoa” passou a ter outro desenho e o emblema “VW” ficou no canto direito. Antes acionado por botão, o acionamento do pisca-alerta foi modificado para ser feito via alavanca, localizada na coluna de direção.

Em agosto de 78 a Volkswagen chegou a lançar uma versão cinco portas do Brasília. Lembrando que essa configuração já era exportada para outros países. O modelo não caiu tanto no gosto das famílias, e os taxistas foram os que mais aprovaram o carro.

Na década de 70 o mundo se deparou com a crise do petróleo. Os preços do barril subiram muito, sofrendo um aumento de até 400% em apenas cinco meses. A crise afetou a economia da Europa e dos Estados Unidos e, consequentemente, atingiu a economia global.

Em detrimento disso, muitas montadoras tiveram que adotar estratégias para deixar seus veículos mais econômicos.

Com o Brasília, claro, não foi diferente. O clássico da Volkswagen passou a ter um acelerador de estágio duplo que propiciou mais economia de combustível, uma vez que o motorista não precisava pisar fundo.

Apesar disso, causava um certo incômodo em muitos proprietários do VW Brasília, pois gerava dor no pé de tão duro.

Nesse período, o Brasília ainda estava em seu pico de sucesso, com 157.700 unidades produzidas.

Versão LS 1979 / 1980 (o carro mais vendido no Brasil)

Entre os anos de 1979 e 1980, o VW Brasília ainda tinha como principais concorrentes o Fiat 147 e o Chevrolet Chevette em sua versão hatch. Ambos eram mais eficientes e modernos, deixando o modelo da VW para trás. De olho nisso, a Volkswagen resolveu dar uma resposta e lançou a versão Brasília LS.

O Brasília LS foi lançado para “brigar” com as versões mais premium da Fiat e da GM: o Fiat 147 GLS e o Chevrolet Chevette Super Luxo.

A montadora alemã não quis perder para os seus concorrentes. Logo, veio com mudanças radicais e temos aqui as principais alterações que carro sofreu antes de sair de linha em 1982.

A versão LS passou a ser a topo de linha do Brasília. Ele passou a oferecer de série: vidros verdes, mini console no túnel, acabamento mais sofisticado e os bancos dianteiros receberam encosto de cabeça integrado.

A identificação “Brasília” e “Brasília LS” na traseira foi feita em material plástico com fundo escurecido. O retrovisor também era em plástico preto diferentemente do formato “raquete” que estava presente na versão anterior (1978).

O Brasília LS 1979 era equipado com motorização longitudinal de 4 cilindros opostos, 1.584 cm³, 65 cv de potência a 4.600 rpm, 11,7 mkgf a 3.200 rpm. A transmissão era manual de quatro marchas e tração traseira.

Para diminuir o barulho, a Volkswagen trabalhou em novos elementos filtrantes nos carburadores.

Antes produzido apenas para exportação, o Brasil recebeu pela primeira vez a opção de quatro portas. No entanto, foi lançamento com acabamento empobrecido. Novamente, frotistas e taxistas foram os que mais compraram essa configuração.

Mesmo tendo que encarar seus concorrentes de peso, o Brasília conseguiu ser o carro mais vendido do Brasil em 79. Foram mais de 150 mil unidades comercializadas só naquele ano.

Em 1980, o hatchback tenta se aproximar do VW Passat. A Volkswagen lança o Brasília com novo painel de instrumentos, passando a ficar em apenas um quadro. Os assentos dianteiros receberam novos formatos e passaram a ter novos encostos de cabeça, podendo ser removidos pelo próprio ocupante.

Os compradores poderiam adquirir, como opcionais, lavador elétrico do para-brisa e temporizador do limpador. Vacuômetro também era um opcional.

Uma opção a álcool foi lançada; o modelo gerava 49 cv de potência. No entanto, foi um fracasso de vendas, já que pecava no desempenho e gerava alto consumo de combustível.

Ainda na década de 80, mais especificamente em maio de 1980, outro fato histórico, era lançado o Volkswagen Gol — modelo fabricado até hoje. O Gol é considerado um dos maiores sucessos da montadora alemã e coleciona momentos únicos, como o primeiro veículo nacional a ultrapassar a marca de cinco milhões de unidades produzidas.

Já próximo de seu fim, o VW Brasília não sofreu muitas alterações em 1981. Ele ganhou o volante do recém-lançado Gol, novos materiais para reduzir o barulho interno e novos piscas laranjas.

Em março de 1982, a Volkswagen anuncia o fim de um clássico, que chegou a ficar famoso até em música: “Brasília amarela”, do grupo Mamonas Assassinas. Só no Brasil, 940 mil unidades foram vendidas; 100 mil no exterior e mais 80 mil só no México.

Com esses números, pode-se dizer que o VW Brasília teve mais de um milhão de unidades fabricadas.

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VW Brasília: a história de um dos maiores clássicos nacionais publicado primeiro em https://www.noticiasautomotivas.com.br

[therunnelofdreams]

From The Cinematograph Act of 1918 to the present Central Bureau of Film Certification: The only visible mouthpiece of a moralistic society.

In 1895, for the first time a film was publicly screened. A nitrate fire at the Bazar de la Charité, Paris in 1897 killed 126, one caused due to the violently flammable nitrate films. Fast forward to 1909, after several similar cases of fires caused due to the films, world’s first Cinematograph legislation was passed in Britain. It was hoped that the legislation would ensure safety by curbing the issue of cinema licensing (without any expectations). Licenses were made mandatory for public screenings. Eventually, the authorities began to control not only the conditions in which the films would be screened but also the content of the screenings. The first full-length Indian feature, D.G. Phalke’s Raja Harishchandra, released in 1913. The Cinematograph Act was born in 1918 and with it film censorship in India. The 1918 Act gave the district magistrate or the commissioner of police the power to issue licences to exhibitors, and the government to appoint inspectors to examine and certify films as “suitable for public exhibition”. It wasn’t until 1920 that multiple Censor Boards were set up and rules were put into place to judge the appropriateness of films, both local and foreign, for release. “No generally and rigidly applicable rules of censorship can be laid down.” were the positive words that the general principles of the Bombay Board of Film Censors began with and then proceeded to lay out 43 objectionable subjects. Most of these objectionable subjects comprised of politically incorrect depictions from the perspective of the British authorities. The Indian cinematograph committee (ICC) of 1927-28, chaired by a former Madras high court judge, T. Rangachariar, was the first comprehensive inquiry into movie viewing, censoring and exhibiting habits in the country, and an acknowledgment by the British of cinema’s increasing popularity in India. It made several pragmatic suggestions regarding censorship and the Indian cinema but in vain like most of the painstakingly written reports that have followed since. Despite the earlier mentioned long list of objectionable subjects, Indian cinema wasn’t exactly prurient in the 1920s and 1930s. Hamarun Hindustan (1930) had an intimate scene with Sulochana and Jal Merchant. Film-maker J.B.H. Wadia recalled, years after the fact, Lalita Pawar kissing her co-star “without inhibition” in a film, and Jal Merchant and Zubeida “kissing each other quite often” in 1932’s Zarina (depending on which account you read, Zarina had a total of 34, 48 or 82 kisses). Actors kiss in the Franz Osten-directed Shiraz (1928) and A Throw Of Dice (1929). And there’s the famous kiss in Karma (1933), which has gone down in legend as being 4 minutes long, though it lasts only a minute and involves a snake and a tearful Devika Rani trying to bring a comatose Himanshu Rai to life. (July 14 2018, Livemint) Suresh Chabria writes in Light Of Asia: Indian Silent Cinema, 1912-1934, “Even mentioning British excesses, the Indian National Congress, self-governance, or even revolution in other countries was enough to earn your film a cut or a ban.” “It’s a strange phenomenon which we find in this country to see the Government-sponsored Indian News Parade claiming to give all the news to the Indian people while the Censors black-out the Nation’s beloved leaders who make the most news,” cine-journal Filmindia complained in 1945, noting that even framed photographs of national leaders were cut from films. Through the Film Inquiry Committee report submitted to the government in 1951, we get a picture of what censorship was like in the years leading up to, and just after, independence. Things were, to put it mildly, chaotic. The five censor boards examined films separately, and each had their own set of rules and local pressures. Often, a title passed by one would be rejected by another. In addition, the government—of India, or of a particular state—might deny a certificate to a film passed by the censors, a fate which could befall a noir or a war film as easily as it could a propaganda newsreel. In the same decade, it was made evident that film censorship in free India would depend not only on official sanction but on societal approval. It was then that the kiss disappeared from Indian cinema—a curtailment so long and stifling that it hasn’t fully returned yet. In film critic and historian B.D. Garga’s words, “Kissing disappeared from the Indian screen not because of a fiat of the censor but because of pressures brought on by social and religious groups.” Over the next few years, a Central Board of Film Censors (CBFC, renamed as Central Board of Film Certification in 1983) was set up, regional boards were abolished, and U and A were adopted as certification categories. “The Act of 1918 was repealed, but it was later replaced with a law not dissimilar in scope,” Arpan Banerjee notes in his essay Political Censorship And Indian Cinematographic Laws: A Functionalist-liberal Analysis. This was the Cinematograph Act of 1952, the cornerstone—and, in many ways, the millstone—of film censorship in India. The 1952 Cinematograph Act sets out the structure of censorship as it stands today: the chairperson at the top, then the board members, then the advisory panels (members of the initial examining committee and the revising committee, which do much of the actual examination of films, are drawn from these). Everyone, from the chairperson down to the advisory panel members, is a government appointee. And every government at the Centre has taken advantage of this, staffing the CBFC with party loyalists eager to make cuts and deny certificates to films critical of the establishment. The Emergency saw the most blatant use of this power, with Gulzar’s Aandhi (1975) and Amrit Nahata’s Kissa Kursi Ka (1977) banned, and Shyam Benegal’s Nishant (1975) stuck in a bureaucratic tangle, because they were perceived as critical of the Congress government. (July 14 2018, Livemint) What makes the Cinematograph Act such a problematic piece of legislation is the Section 5B of the Act, which states that any film that is against the “interests of [the sovereignty and integrity of India] the security of the State, friendly relations with foreign States, public order, decency or morality, or involves defamation or contempt of court or is likely to incite the commission of any offence” can be denied a certificate. Censors are tasked with ensuring that films provide “clean and healthy entertainment”; do not “deprave the morality of the audience”, endanger public order or “depict the modus operandi of criminals”, and so on. All these rules are not only vague but also convenient since no film can be released without a certificate from the CBFC, a government appointed body. In 1968, Abbas—already well-known as the screenwriter of Awara and Shree 420—made a 16-minute documentary, Char Shahar Ek Kahani, which had scenes showing prostitution in Mumbai. The CBFC’s examining committee handed the film an “A” certificate; after Abbas protested, the revising committee reached the same conclusion. After a fruitless appeal to the Central government, Abbas petitioned the Supreme Court, arguing that pre-censorship was antithetical to freedom of speech and expression. The court ruled against Abbas. “The censorship imposed on the making and exhibition of films is in the interests of society,” said the judgement, though it also asked Parliament and the government to do more to separate the objectionable from the socially valuable. Though Abbas’ suit was probably doomed from the start, it did have one useful fallout: the formation, in 1981, of the Film Certification Appellate Tribunal (FCAT), a quasi-judicial body headed by a retired high court judge, which one could approach if unhappy with the decision of the CBFC’s examining and revising committees. (July 14 2018, Livemint) There have only been some minor developments in the years since—films must now carry no-smoking advisories, and (thankfully) it’s almost impossible to shoot a scene with a live animal. In addition to the ever-arbitrary demands of the board—a blurred brassiere here, a bleeped “virgin” there—censorship by mob has emerged as a disturbing issue. Starting with Bal Thackeray demanding his own cuts in Mani Ratnam’s Bombay in 1995, the Shiv Sena’s protests against Deepa Mehta’s Fire in 1998, religious organizations and fanatics demanding cuts in movies like Ae Dil Hai Mushkil and Padmaavat in the present times to delaying releases if the demands aren’t met, censorship by mob has been normalised. Though everyone in the industry is affected by it, they refuse to unite and speak against it. “Bollywood does not care,” director Dibakar Banerjee says, “because it knows it will somehow navigate through the bureaucratic red tape to survive. It’s a vestige of the licence raj.” In an interview to The Hindu in January 2002, Vijay Anand, director of Guide and Jewel Thief and the CBFC chief at the time, was asked whether the media was right to pick on the board’s decisions. “Why not?”, he replied “We are the visible mouthpiece of a moralistic society.” This is an uncomfortably honest self-assessment, but there’s some truth to the idea that the board isn’t entirely to blame. Film censorship in India can only be fixed if the rules governing it are overhauled and if there’s a change in attitude that has persisted since the days of the British: the tendency to treat the viewer as incapable. Movie-watchers should finally be allowed to decide for themselves whether a particular film will offend their sensibilities or not.