#bagnall

• She's originally from the east end of London and has a thick Cockney accent. However, after the end of WW2, she was purchased by a railway company in Lomo (a fictional country in my AU) and has stayed there ever since, occasionally being loaned to the NWR on Sodor to cover for their engines.

• She used to be a Bagnall Bean class, but was extensively rebuilt in the 1940s as the prototype of the Lomonian Railways '80' Class

• She's technically the same age as Edward (Edward was built at some point between 1896-1900, Turboe was originally built around 1898). Unfortunately, although she's just as wise as Edward, she doesn't usually share her wisdom with anyone as nobody ever bothers asking her (Edward is the railway's go-to wisdom and advice giver)

• She has a brakevan called Rudolph. He's from Yorkshire and is called Rudolph because has a red lamp for a nose. Rudolph is the polar opposite of Turboe (He's chipper, lively and always has something to chat about)

• She's basically a grumpy middle aged woman lol

• She has anger management issues (She was once loaned to the clay pits and ripped a truck in half after being teased by Bill and Ben)

• Her name is a portmanteau of her real name (Monroe) and the word 'Turbo'. She was nicknamed Turbo as she was (and still is) a very fast shunter, and eventually it gained the 'E' from the end of her real name.

• She never gets enough sleep

• She (and several of her siblings) worked at a coal mine during WW2 (A tragic event happened there that Turboe would rather forget about)

• Turboe once took a wrong turn while returning back to Lomo from Sodor and ended up in Chuggington for a few days.

• She has two different whistles. A Bagnall hooter (from when she was first built) and a Lomonian Railways Goods Hooter (From her rebuild)

• She has an annoying posh sister called Marilyn who works on the opposite side of Lomo. They almost never see eachother, but they're fine with that.

• She sometimes wishes engines could drink coffee so she'd be more awake.

these are the engines of the kensal green gasworks

the kensal green gasworks was established in 1845 and worked until 1890 when a modernization created a small, 60cm line at the plant. the first engine was a decauville 5 ton 0-4-0T. it was numbered 2 (the number 1 being a standard gauge neilson 0-4-0T). then, in 1894 a bagnall inverted saddle tank 'iris' would be delivered. it presumably would not be numbered, as a second decauville would be delivered and numbered 3, named 'western' after the gasworks' original owner. In 1909, the gasworks line would be expanded and six years later a borsig 0-4-0t built in 1910 named 'nelson' after its original owner's company, Nelson Corporation. (the engine was purchased for construction of a reservoir). In 1916, the first decauville would be sold off to the ministry of munitions. After the first world war would end, the gasworks would purchase a Barclay 'E' class. In 1925, the gasworks would purchase a Sentinel 'BE' class and would later purchase another Sentinel in 1933 after the last decauville was scrapped, this one however being a 'convertible' class. it can also be presumed the bagnall was scrapped sometime between the purchase of nelson and the scrapping of the decauville.

the gasworks

O’Brien Coin Guide: Irish Evasion Halfpennies (1897-1805)

Introduction

These coins are contemporary counterfeits and most of them were produced between 1782-1799, although some ‘dates’ are significantly earlier (and there is a good reason for this). They are easily spotted due to their unusual legends – a deliberate ploy in order to “evade” the counterfeiting laws of the time.

In 1742, an Act of Parliament was passed that made the manufacturing and…

New Post has been published on http://www.narrowgaugerail.com/railway/hornby-railroad-00-gauge-bagnall-diesel-shunter-locomotive/

Hornby Railroad 00 Gauge Bagnall Diesel Shunter Locomotive

Hornby Railroad 00 Gauge Bagnall Diesel Shunter Locomotive

This item is intended for modelling use and is NOT a toy

Scale - 1:76

List Price: £29.99 Price: £29.99

David Remnick on NPR's Fresh Air

The power of 'reply'

David Remnick has been long serving in his role as Editor-in-Chief for the New Yorker Magazine. Terry Gross recently interviewed him on NPR's 'Fresh Air', to which he brought a huge amount of engaging wisdom and considered discussion.

At a time where I'm regularly cold-calling a lot of design agencies and companies about Graphic Design employment, it was encouraging to hear this at the end of the interview.

GROSS: I know you don't have a lot of time to socialize - I'm guessing that - between your family and the magazine, which both are so demanding in their own ways, but you know, when you're an editor, I would imagine it's sometimes hard to socialize because with The New Yorker, probably every writer would like to be in The New Yorker. And probably everybody who is especially accomplished at what they do would like to be profiled in The New Yorker, or they have an aunt, mother, child, grandparent...

(LAUGHTER)

GROSS: ...Parent who should be a writer or who should be profiled in The New Yorker. Or they have a suggestion for an article that you really should assign a reporter, or they're going to tell you about the best or the worst thing that you've recently published. And that might not be the way you really want to spend your spare time.

REMNICK: You know what? I am open to it. And the other night, I was up at Columbia and did a conversation with Victor Navasky, who ran The Nation for so many years and is now at the Columbia School of Journalism. And I cut off the discussion by saying, before you ask, here's my email address, and if you want to send me ideas or you want to send me manuscripts, bring it on.

GROSS: (Laughter).

REMNICK: Bring it on. The odds are tough. I remember when I was in my 20s, I sent William Shawn a query letter, and I got an answer. And I never forgot getting an answer.

GROSS: What was the answer?

REMNICK: The answer was no (laughter). But I never forgot the time that was taken to write a cogent, short note about why not. And I also remember when I submitted my first piece to The New Yorker, which was happily accepted by Gottlieb - by Bob Gottlieb - he answered that day - that night. And I'll never forget that. And I know in my heart that I'm falling short all the time in a million different ways, but I try to answer emails, letters, phone calls because I know not only is it the right human thing to do, I think, but also, once in a blue moon, it's going to pay off. Once in a blue moon, you are going to get a short story, a suggestion, an idea that's going to find its way into The New Yorker and be something or someone brilliant. And that's part of the job. And it's a delightful one.

Film: A Matter Of Life & Death

Director: Michael Powell, Emeric Pressburger | Year: 1946

The most straightforward way to describe the partnership of filmmakers Michael Powell and Emeric Pressburger, is as British forerunners to the Coen Brothers. Under the banner of their production company, ‘The Archers’, the pair commanded the golden age of British filmmaking, regularly sharing credits for writing, producing, editing, and directing.

A Matter of Life & Death (1946) is their eighth film together.

The premise: Squadron Leader Peter Carter, unwittingly escapes death after his plane is shot down and, in consequence, he falls deeply in love with a girl called June. But he begins experiencing visions of a messenger from the afterlife, the ‘Other World’, telling him that he should have died in the crash and that his time is up. Problematically, Peter is now in love when he previously was not, and with the help of June and the local Doctor he begins a cosmic appeal.

As the film plays out we become privy to scenes both on Earth and in the heavenly ‘Other World’.

The latter is presented in a pearly black and white as individuals enter up a grand stairway and receive a pressed garment bag containing a set of wings. Perfect circles and majestic beams of light frame many of the scenes. A Coke machine greets arriving American fighters fallen in battle. Despite the film’s age, this world has a depth more realised than many seen in today’s effects heavy work.

Our messenger does proclaim, however, ‘One is starved for Technicolour up there’. On Earth, Peter fears for his case. The scenes depict a comfort and closeness of home. Dialogue is personal and loving - ‘I love you, June. You’re life and I’m leaving you’ - reminiscent of a softer Aaron Sorkin. As viewers we find ourselves invested, and torn.

When released in the US the film was renamed ‘Stairway to Heaven’. It’s a title that perhaps says more about what you’ll see and less of what you’ll think. What makes ‘A Matter of Life & Death’ so watchable today is how its ideas and questions are are so timelessly human, and how playfully the filmmakers present them to us.

We may or may not have answers to the questions of law, love, and the things that call us to this Earth or whatever’s next - but Powell & Pressburger have made a film that give us the opportunity to at least ask.