Ayrton Senna(G P Mexico 1987)

Author: 1958misterLotus1994
Keywords: Ayrton Senna(G Mexico 1987)formule F1
Added: January 3, 2009

Team Lotus out of F1(1958-1994)

Author: 1958misterLotus1994
Keywords: team Lotus formule F1 Colin Chapman
Added: January 3, 2009

British Touring Car Championship Category: Touring cars Country or region: United Kingdom Inaugural season: 1958 Drivers: 26 (2008) Teams: 14 (2008) Constructors: 6 (2008) Drivers' champion: Fabrizio Giovanardi (Italy) Teams' champion: VX Racing (UK) The British Touring Car Championship is a touring car racing series held each year in the United Kingdom. The Championship was established in 1958 as the British Saloon Car Championship and has run to various rules over the years "production cars", then FIA Group 1 or 2 in the late 1960s and 1970s, and then Group A in the 1980s, when in 1987, the series took on its current name. (A lower-key Group N series for production cars ran for most of the 1990s). The championship was initially run with a mix of classes, divided according to engine capacity, racing simultaneously. This often meant that a driver who chose the right class could win the overall championship without any chance of overall race wins, thereby devaluing the title for the spectators for example, in the 1980s Chris Hodgetts won two overall titles in a small Toyota Corolla prepared by Hughes Of Beaconsfield, at that time a Mercedes-Benz/Toyota main dealer when most of the race wins were going to much larger cars; and while the Ford Sierra Cosworth RS500s were playing at the front of the field, Frank Sytner took a title in a Class B BMW M3 and John Cleland's first title was won in a small Class C Vauxhall Astra. After the domination (and expense) of the Ford Sierra Cosworth in the late 1980s, the BTCC was the first to introduce a 2.0 L formula, in 1990, which later became the template for the Supertouring class that exploded throughout Europe. The BTCC continued to race with Supertouring until 2000 and for 2001 adopted its own BTC Touring rules. However the Super 2000 rules have now been observed for the overall championship since the 2007 season. The 2000s have seen cheaper cars than the later Supertouring era, with fewer factory teams and fewer international drivers.

Author: KastaRules
Keywords: Top Gears tribute BTCC Compilation Clips British Touring Car Championship
Added: December 17, 2008

Le circuit de Charade est situé au coeur des volcans d'Auvergne, à 10 minutes de Clermont-Ferrand, dans le Puy-de-Dôme (63) en Auvergne. Il est intégré dans un environnement naturel protégé. Le circuit de Charade, souvent qualifié de circuit le plus difficile au monde, fait son jubilé. Parcouru par des grands pilotes automobiles comme Jackie Stewart, Jim Clark ou de moto comme Giacomo Agostini, Charade d'inscrit en bonne place dans l'Histoire des sports mécaniques. Ce qu'ils en pensent "Je ne connais pas de plus beau circuit que celui de Charade". Stirling Moss "Avec le circuit d'Auvergne, nous avons enfin en France, une école de pilotage style Nurburgring". Maurice Trintignant "Aux deux extrêmes, je situerai Spa Royaume de la vitesse et le Nurburgring celui des virages. Entre les deux, je place maintenant le circuit d'Auvergne". Olivier Gendebien Charade en chiffres : mai 1957 : Début des travaux juillet 1958 : Fin des travaux 108 ,5 millions : Coût 80 000 m3 de déblais 60 000 m2 de chaussée 400 m d'ouvrages d'art 15 000 m3 de matériaux pour les fondations Circuit de montagne d'une longueur de 4 Km (3,975), 22 virages, d'une largeur de 9 à 12 mètres, il a été créé en 1958 et a connu la Formule 1 de 1965 à 1970 avec des pilotes de renom tels que Jackie STEWART, Jean Pierre BELTOISE, Jacky ICKX et le local Patrick DEPAILLER. Le circuit a été entièrement rénové en 1990 et les nouvelles installations (stands, salle de réception, salle vidéo...) inaugurées en 2001. L'enrobé a été refait à neuf en 2003.

Author: NARB57
Keywords: F1 Charade Matra JP-Beltoise 1958-2008
Added: December 11, 2008

To most listeners, the Silhouettes are another one of rock & roll's one-hit wonders, another of those R&B harmony vocal groups that scored big once (with "Get a Job") and never repeated that trip up the charts. And that is true -- they never scored a second nationally charting single. But they did carry on a lot longer than most people think, continuing to perform and even record right to the end of the 1960s, with at least two of the group's four original members present at any time. Additionally, the impact of "Get a Job," a song that was written by group member Rick Lewis (and credited to all four Silhouettes), is astonishing to contemplate as a popular culture flash point. It became, for many listeners, the quintessential doo wop song -- or, at least, one of a handful of songs thought of automatically when the musical term is mentioned (although some purists also loathed the song for its seeming burlesque of doo wop's attributes). More than that, it inspired good work and imitation in others; the Miracles were one of several groups that delivered "answer songs" to "Get a Job." In this case, their debut single "Got a Job" took up a positive message in contrast to "Get a Job"'s whiny tone. That positive message, in turn, helped to define and distinguish the Miracles and Motown Records from most of their competition for years to come. Some 11 years after that, in the midst of the Vietnam War and the Woodstock era, a group of young enthusiasts for old-time rock & roll, looking for a name to call their outfit, went back to an old song, "Get a Job," and its backing chorus, and ended up called themselves "Sha Na Na." I Am Lonely" b/w "Get a Job" came out on Junior Records in November of 1957. The song was picked up by Dick Clark for play, as an almost certain hit, on American Bandstand that same month, but with a caveat -- Junior Records was a tiny local label, and if the record broke on American Bandstand and got any kind of response, Williams was going to be in over his head fulfilling orders. He made a licensing deal with Al Silver's Herald-Ember Records, a much larger New York-based independent, with access to more working capital and plants with more pressing capacity. It proved a wise move. "Get a Job" was hard to resist, with strong singing, a great beat, and an array of a half-dozen memorable hooks (starting with the "yip-yip-yip" opening), and even a memorable tenor sax break by Ronnie McGill. The group and the record were featured on Bandstand more than once from late 1957 until mid-1958, and there were 200,000 orders for the single after its first play on the show. It eventually topped both the Hot 100 and the R&B charts in Billboard magazine, only the third doo wop single to reach number one in the pop listings. The Silhouettes' second single, "Headin' for the Poorhouse" b/w "Miss Thing," was far less successful, although it did generate some airplay in early 1958 -- both songs tried to recreate some aspect of "Get a Job"'s hooks and sound, to no avail. A third single, "Bing Bong," failed to chart nationally despite selling well in New York and Philadelphia (which, together, comprised a big chunk of the whole U.S. market), and its failure prompted Williams to end his licensing deal with Ember. The next two singles were issued nationally by Ace Records, and both sold respectably without ever charting nationally. The Silhouettes ceased recording after 1958, because of their unhappiness with Williams' decisions as their producer, and the fact that, according to subsequent interviews, the group saw precious little money for their having had a number one record. By the end of 1958, Horton and Edwards had left the group, while Lewis and Beal soldiered on with two new members, John "Bootsie" Williams on lead vocals and Cornelius "Brother" Brown as bass. Things began looking up when the reconstituted Silhouettes were signed by producer Jerry Ragovoy, who got three modestly successful records out from them. By 1963, they were back with Williams, who tried to repeat the "Get a Job" formula and sound with "Rent Man." It failed to chart, although it did sell locally when released through Junior Records. By 1966, the group, revamped yet again, was being billed as the New Silhouettes. In 1968, the first album ever issued of Silhouettes material, The Original and New Silhouettes '58/'68 Get a Job, showed up on the Goodway label -- it was made up of classic Silhouettes material and new songs cut by the current lineup. Ironically, the group called it quits at just the time when Sha Na Na became favorites of the rock & roll revival boom, using a name derived from the Silhouettes' signature song. The Silhouettes weren't even around to cash in on those revival shows, or the "oldies circuit" that grew up in its wake. ~ Bruce Eder, All Music Guide

Author: JBauder1948
Keywords: doo wop
Added: November 30, 2008