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My Way On The Highway ...Davos! THIS IS NOTHING LIKE GM'S VOLT! OR ANY OTHER SYSTEM ...
Greetings to the respectable panel (More) THIS IS NOTHING LIKE GM'S VOLT! OR ANY OTHER SYSTEM ...
Greetings to the respectable panel at Davos,
This is an amazing opportunity for all of us in the world to bring about change. As a designer and a creative person change is what I do for a living, it is what I am about. Change is the easy part for me, convincing others it is necessary is the difficult part
All of my life I have designed stores and environments for customers as large as Sears and as prestigious as Elizabeth Arden and Borghese and everything in between. While the Masters of the industry always embraced me for my lateral thinking, the establishment did not embrace change readily. That being said I am poised to change the world literally and figuratively, obviously with your help.
This change comes in the concept of an electric car. This one is different. It is not a car that runs 40 or 50 miles on a charge or is designed to fill a certain niche such as a moped in a vacation spot. Nor was this car designed to save a single tree, stop the ozone hole from expanding nor is it a remedy for global warming.
This idea came to me in 1986 as a way to solve traffic congestion in and around New York and LA and the parking problem in Chicago land. Today it has evolved into a transportation system which is ready to take over the world. It has to be all electrical once deployed it will render the entire internal combustion engine transport system obsolete almost immediately across the world. Not by enforcing it on the public at large or by using government subsidies that could be taken away or the need of lawyers and marketing agents like for hybrid technology. This vehicle is all electric, runs around the clock, replenishes its energy in less time then it requires to put gas in a gasoline car, requires no new technology, and does not run the oil companies out of business since they still provide the general power in a more efficient and centralized way.
Is this to good to be true? Yes I am living in the western world and in order to achieve this goal it has to be proven on the public roads. Unfortunately regulations make it virtually impossible in the US at least. Regulations are based on what was and what is never on what could be. That might make sense to many people but as a designer and a creative person I have a single task to do what is not. That being said instead of banging my head against the bureaucratic wall I would like to try this in Afghanistan where pretty much everything has been destroyed by years of war. When Mr. Karzai and his team were in the US a few years ago when they wanted investment of the latest technology. I think this is an amazing opportunity for all parties to use this to both solve the traffic problem in NY and LA as well as parking problem in Chicago, and help Afghanistan get positive press and residuals from this. Hey you never know instead of trying to make Afghanistan the Switzerland of Asia, Switzerland may want to be the Afghanistan of Europe.
How does this work? All I can tell you at this time is it uses two things... available and affordable technology and my knowledge of how to bring different elements together. The point of this correspondence is to get President Karzai to allow us to race these electric cars against themselves and also against gasoline cars
I envision a race from Torkham to Mazar-e- Sharif which will be symbolic of connecting the North and the South. Please note that all cars will be driven by local drivers and all power generation will be provided by both local and international sources. Please contact me for more information. All these graphics you are looking at are from my archives which will be released in a legible format to all the talented people here on youtube.com so they can compete in this race.
What I am working on is an every day car for anybody living anywhere. It has to be achieved without any direct help from politicians or environmentalists and will not offend current industry suppliers and big oil.
I am not going to waste your time on the roles of this race but what I would like to say is it's an open source exercise and there is enough for all the industries to participate in this change.
This will start a new renaissance, I am sure of it. Just imagine a car that will feel at home in Queens New York, Hammersmith, London or Kabul, Afghanistan.
A car that can be accepted in these environments will sell like hotcakes around the world. I can go for hours on but first things first... that's where you come in Mr. Karzai. A public invitation will, jumpstart this whole process
Gaus
http://gaus-usa.com/
http://themodulator.blogspot.com/ (Less)
AL JOLSON: "When the Red Red Robin Comes Bob-Bob Bobbin' Along": A PLANTATION ACT (1926) A Plantation Act (1926) (performer: "When the Red Red Robin Comes Bob-Bob Bobbin' (More) A Plantation Act (1926) (performer: "When the Red Red Robin Comes Bob-Bob Bobbin' Along"This film was believed lost for many years. In the 1990s the film element was found in the Library of Congress, having been mislabeled as a trailer for The Jazz Singer (1927). Several months later the Vitaphone disk surfaced from a collector in Maryland, who had retained it despite it having been broken into five pieces. Through extraordinary restoration efforts, the print of the film is in excellent condition with wonderful sound (and no trace of the broken disk).A Plantation Act was one of the first Vitaphone short films made in 1926 starring Al Jolson. This was the first film that Jolson starred in. Jolson (in blackface) sings three of his hit songs: "April Showers", "Rock-a-Bye Your Baby With a Dixie Melody", and "When the Red Red Robin Comes Bob-Bob-Bobbin' Along". Historians think that this might be the first positive sound short ever filmed. This film was thought to be lost, in tune with the misconception that The Jazz Singer was the first commercial sound film made. A copy of the film was found in the National Archives, mis-labelled as a preview for The Jazz Singer. The Vitaphone disk was also found around this time, thus completing one of the first sound films.YOU AIN'T HEARD NATHAN'... YET! Another "Lost" soundtrack has been found, but it's not just another soundtrack. It's the soundtrack to the legion of Al Jolson fans who, for more than six decades, have been unable to see and hear Jolson's first sound film. This film, an early one-reel Videophone short titled "Al Jolson in A Plantation Act", was made while Jolson was at the peak of his Broadway career. It promises to give a rare glimpse of the stage Jolson, a form that has been lost except for fleeting memories. the film was made during a break in rehearsals for the 1926-27 tour of his Broadway hit "Big Boy". Jolson had agreed to make the one-reel short and signed a Videophone contract on August 25, 1926. His salary for the proposed ten-minute film was an astonishing $25,000. The actual filming took place at the Manhattan Opera House on Tuesday, September 7, 1926, and premiered exactly one month later. The premiere took place on October 7, 1926 at the Colony Theatre, New York, as part of Warner Brothers' second major Videophone presentation, and the Jolson short was singled out by critics as the highlight of the program. Interestingly enough, the film element and the separate sound record were both considered lost until only a few years ago when a copy of the mute film was rediscovered at the Library of Congress. The short was already considered to be a lost film as early as August 1933, as clearly indicated by a Warner Brothers Studio letter, now in the Warner archives at USC. The 1933 correspondence stated that "As this short was made in 1926, there are no records or films available. We do not believe there is a print of this picture anywhere in the country..." And, while Jolson fans and collectors had been seeking the sound disc for all these decades, the search was renewed with vigor upon the news of the rediscovery of the now silent film footage. So, naturally, when The Videophone Project was founded, the "Plantation Act" disc became one of several priorities. John Newton, one of the founding members of the Project and a long-time Jolson collector, made this particular disc his personal Holy Grail. John's quest of many years was begun anew and Videophone Project detectives were on the trail. Over the years, rumors persisted that a cracked copy of the Jolson disc had survived and belonged to a collector in the Baltimore area. The collector died in the early 1980's, but further rumors led to a belief that the record had found its way into the holdings of the Library of Congress. John Newton and David Oldenburg, another founding member of The Videophone Project, had made a joint research trip to the Library a few years ago and had explored this possibility, only to find another dead end. Help was later sought from Bill Carpool, an energetic researcher who has helped project members in tracking down relatives of performers and studio personnel. Carpool took what information the project members had and focused on relatives of the long deceased collector who supposedly owned the rumored cracked disc. With potential addresses, Newton began letter writing, ending months later with a telephone call from the former owner's daughter. Arrangements were made for a trip to the Baltimore area and the disc was "ransomed" from the family. The sixteen inch diameter shellac soundtrack disc was severely cracked in several places. In fact, it had been broken into four separate pieces and had been "repaired" with epoxy years earlier. When the disc was now played for the first time in many years, the opening strains of "Red, Red Robin" came forth bold and clear. Again, and again, and again. The disc would not track. The decades-old attempt to reassemble the pieces had put the grooves out of alignment. Another member of the project team, Sherwin Dunner, suggested a California collector who was known to be able to work wonders with damaged or broken shellac records. A call went out to Jim Copywriter, a veritable wizard at working with such problems. The record was carefully packed and shipped to the west coast, where Copywriter spent months painstakingly removing the epoxy and refitting the disassembled pieces of the record. One piece, however had to remain as it was, since there were further potential cracks in that area of the disc. The re-assembled record, now back on the east coast in John Newton's collection, still has problems to be addressed. But, thanks to Copywriter, most of the tracking problems have been overcome. Plans are now in the works to proceed with attempts to record the sound at Panache Entertainment's facilities, and further attempt to resolve the remaining alignment issues. Following this step a digital recording will be made to piece together the sound, or at least allow a computer to do so. De-clicking will follow, and ultimately the sound will be re-married with the mute film held at the Library of Congress. UCLA's Bob Gift and officials at the Library have expressed excitement over the discovery and have been in communication with Ron Hutchinson for details as the restoration continues. And so, you ain't heard Nathan' YET, but very well may in the not too distant future. Further progress toward full restoration of this film will be reported in the next issue of Videophone News. (Less)
oxford handbook of commercial correspondence 
2009-05-13 - extension: pdf - size: 19 MB
oxford handbook of commercial correspondence
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