Monday, October 12, 2026

Margaret Horton was in the Women's Auxiliary Air Force (WAAF) during World War II. Her duties included sitting on the tail of Spitfires to prevent them from tipping over in rough weather when they taxied. (not making that up)



On a blustery February 14, 1945, Leading Aircraftwoman Margaret Horton found herself on the cusp of an extraordinary adventure. She was a WAAF (Women's Auxiliary Air Force) assigned to an RAF squadron, and her task that day was one she knew well: perching on the horizontal stabilizer of a Spitfire to keep the tail steady while it taxied in the wind. But little did she know, her routine assignment was about to take an unexpected turn. Flight Lt. Neill Cox, the pilot of the Spitfire, was blissfully unaware that Horton would be jumping aboard. As Horton later admitted, "the squadron was run in a slap-happy way." Normally, the tail-sitter would grab the aircraft's elevator and give it a wiggle before the pilot turned onto the runway, signaling that they were hopping off. But on this fateful day, Cox made a casual gesture from the cockpit that Horton interpreted as, "Hang on, don't go yet."

...and hang on she did—a decision that would lead to one of the most thrilling rides of her life. As the Spitfire roared down the runway, Horton quickly realized the gravity of the situation. She flopped across the tail cone, demonstrating quick thinking and agility, held in place by the vertical fin. Her legs dangled to the right, while her torso clung to the left. Meanwhile, another WAAF, who had witnessed the unfolding drama, dashed off to alert a flight sergeant, who in turn sprinted to the control tower. Orders were given for Cox to make a quick circuit and land, though he was not informed of the reason. Between Horton's death grip on the elevator with her left hand and the Spitfire's tail-heaviness, Cox could tell something was off, but he couldn't see as far back as his airplane's empennage. The Spitfire soared through the sky with Horton hanging on for dear life, the wind whipping past her as she clung to the tail cone.

The world below became a blur, and the adrenaline coursing through her veins made her feel more alive than ever. It was a wild ride she would never forget. After what felt like an eternity, the Spitfire finally touched down. Horton, relieved to be back on solid ground, announced with a cheeky grin that after a change of panties and a cigarette, she'd be ready to return to work. Her daring escapade quickly became the stuff of legends within the squadron.

However, her adventurous spirit did not go entirely unpunished. Horton was later fined for losing her uniform beret during the short, thrilling trip around the pattern. But the story of her wild ride on the Spitfire would live on, a testament to her bravery and quick thinking in the face of unexpected challenges.



At Hibaldstowe, where I was working as a WAAF flight mechanic in 1945, it was a flight order for one of the ground staff to sit on the tail of each Spitfire as it taxied from the dispersal to the distant runway in rough weather, to prevent the wind from tipping the machine over on its nose.

On this occasion my pilot did not receive the order ‘Rough Weather Procedure,’ which was issued from flying control, and, not having seen me jump on the tailplane while the other mechanics were removing the chocks, he took straight off instead of waiting for me to descend upon reaching the runway.

The violently increased rate at which we were taxiing first told me that something was wrong, and I flung myself across the fuselage and grasped the elevator in an attempt to attract the pilot’s attention. I was unable to move it.

Events move fast with a Spitfire, and there seemed only a panic-stricken moment before the cessation of the rushing sensation of travelling along the runway told me that we were airborne.

All hope gone

Newbolt knew what he was writing about when he described the traveller, doomed to certain death from the brigands into whose hands he had fallen, as spending his last hours “in a dream untroubled of hope.” At that moment I was not merely in great danger. I was, to all practical purposes, already dead.

I had no hold other than that of three fingers which I had managed to get round the cut­away portion of the tailplane, there was no possibility of attracting the attention of either the pilot or anyone on the ground, and it seemed so certain that I must roll off the fuselage the first time the aircraft banked that I did not even trouble to wriggle farther across it to balance the weight of my heavy boots.

It was at this moment of realization that fear left me. My first coherent thought was, “I’ve muffed it for the last time – better me than most people, but I wish it hadn’t happened!”

Nothing much stronger than that. The grimness of any sudden severance from a normal routine, a passing regret – you may laugh if you like, but it’s true – that my NAAFI cigarettes and chocolate rations would be wasted, and a deeper regret that I could not leave a message to tell my mother how easy death had been.

Strangely, although I realized that my family would feel my loss, there was no feeling that I was leaving them. Of anxiety for what was to come there was none, though I was never any braver than the next person, and am in a funk when it comes to climbing ladders or riding bicycles.

Black-out sensation

The force of the slipstream must have been terrific, for there was nothing but that and the precarious hold of my finger-tips to prevent me rolling forward, though the fin made it impossible to slip over the tail of my mount. Before many minutes there was a sensation of blood rushing to my head, a feeling of something pressing me down, and a blackness before my eyes, and I thought with a mild sense of gratitude that death was coming in the easy form of a ‘black-out’.

There was never any sensation of the mist clearing. My next recollection is of a perfectly clear head and an entirely fresh line of thought. The doctrine that good is the source of all power, and evil a figment of our imagination, had long appealed to my reason – now, my own voice seemed to be saying in my ear, was the chance for me to prove it.

Steadily, the idea that there was nothing to harm me took possession of my mind, helped by the clear serene sky, and I knew I was safe whether the flight was to last ten minutes or a couple of hours.

Shortly afterwards I felt the machine drop – so gently that I did not realise the cause until the returning sensation of speed proclaimed that we were back on the runway.

As we slowed down I slipped off the tailplane, ran back for my beret which had remained faithfully on my head until we reached the ground, and made my way back across the grass to the dispersal, while the pilot taxied home round the perimeter road, still unaware why his controls had refused to function.

How, in the circumstances, he achieved that perfect landing I have never understood, but he must have had a harrowing ten minutes in the air. On leaving the runway he had found his elevator almost unserviceable, and after struggling round the circuit at 600 feet had radioed for permission to land.

The flying control officer, who had only that moment been informed by the flight office of my predicament, judged it safest not to tell him of the presence of a passenger, so it was not until he walked indignantly into the flight office to report his aircraft unserviceable that he learnt he was the victim of an unusual case of ‘parasite drag’.

Whatever his feelings, he was off with the next detail, and I should have accompanied him – to the beginning of the run­way only – if he had not implored me, as I prepared to scramble up: “I know you don’t want to lose your nerve, but please don’t come on my tail again!”

Ever heard of the Jeep Cowboy? (thank you Steve! ) Just when you think history has been over processed, all revealed, and boring... then comes this!



 Powered by the AMC 258 cu. in. inline six and did NOT have four wheel drive.


And that was the precursor to the AMC Cowboy... with 4 wheel drive, which later went into the Eagle



a unique marketing display at the 1932 New York Automobile Salon, a luxury Lincoln was entirely wrapped in Kodapak, presenting the vehicle as a giant, transparently gift-wrapped package.

 

Kodapak was a brand of transparent cellulose acetate sheeting newly developed by the Eastman Kodak Company (specifically its Tennessee Eastman division). Similar to cellophane, it was marketed for its clarity, flexibility, and protective qualities, and it was used during this era for everything from product packaging to novelty applications like this eye-catching automotive showcase

Cellulose acetate, was much slower to burn, making it a safer "safety plastic" 


Kodapak was developed to compete directly with DuPont's ubiquitous, wood-derived transparent film brand, Cellophane

In the early 1930s, transparent sheeting was an industrial novelty. Automobile manufacturers, dealerships, and high-end garages experimented with early transparent protective covers made from cellulose acetate sheets to shield showroom or storage cars from moisture and dust while keeping the vehicle completely visible to buyers. However, because 1932 cellulose acetate formulations became brittle when exposed to prolonged outdoor UV sunlight and temperature changes, these early clear covers were strictly limited to temporary indoor storage or display use.

https://www.facebook.com/photo/?fbid=3996395273990739&set=gm.28625391280449523&idorvanity=712743252141034

https://mcnygenealogy.com/book/kodak/kodakery-v06-n09.pdf

an ol working van that kept the phone lines working in the 60s






https://www.facebook.com/photo?fbid=10229733710841930&set=gm.1843377910168005

a 1947 vintage Bell System 41A car telephone in a 54 Cadillac that some famous heiress/socialite owned





the Jalisco and Sinaloan Mexican cartels are increasingly renting thousands of U.S. trucks and cars each year, driving them across the border to keep top capos in the latest model BMWs and Cadillacs. (sure would be easy to stop each vehicle heading south, get an scan for rental car's trackers before allowing them out of the country, if Border Patrol gave a damn) thank you Don!

Each year, about 2,000 vehicles stolen from California end up in Mexico, according to the California Highway Patrol. LAPD Sgt. Juvey Mejia, a member of the Task Force for Regional Auto Theft Prevention, said the cartels love heavy-duty pickup trucks and Jeeps.

“Anything that can drive through tough terrain to get away from Border Patrol so they can move dope,” Mejia said.

Along with Chevy Suburbans, Ford Raptors and Toyota pickups, the vehicles of choice include Cadillac Escalades and BMW SUVs, according to people whose job is to recover them. To battle rival cartels or authorities, criminal groups sometimes convert the trucks into mutant tanks, adding heavy ballistic-proof steel plating, firing ports and gun mounts.

The thefts don’t require much stealth: vehicles are rented in the U.S. by cartel operatives and then driven across the border.

Unlike other states, California requires that rental agencies wait to turn on GPS tracking until the vehicle return deadline has passed and the renter has been contacted by the company. By then, most stolen vehicles are deep in Mexican territory.

“California allows criminals to take advantage of the fact that we are not allowed to see where the vehicle is until it’s too late,” Laguana said. The American Car Rental Assn., a trade group, said in a statement that California laws make it harder to recover vehicles.

this year, thieves stole six 2026 model Jeep Wranglers from Oakland and Las Vegas. Four have been recovered so far. Private investigators believe the vehicles were destined for the Sinaloa Cartel.

The same investigators received requests last week to recover a dozen Ram trucks tracked to Sinaloa and seven more in Durango state.

“For the cartel, it is the cheapest way for them to do business,” said Kevin Carter, owner of Collateral Consultants, a rental car recovery company in Texas. “There’s no sense in them buying a car when they could rent one for a few hundred bucks, and it’s theirs forever.”

Along with California, Texas and Arizona are the other top targets for Mexican criminal groups.

Many vehicles are never registered in the U.S. stolen car database. Carter, from Collateral Consultants, said that of the approximately 1 million cases he has seen in his 15 years recovering rental vehicles in the U.S. and elsewhere, fewer than half made it into the U.S. database.

In 2024, the Colorado attorney general’s office indicted 17 people associated with the Sinaloa Cartel, accusing them of stealing 190 new Ford F150s and luxury suburbans near the Denver airport. The cartel operatives drove the stolen vehicles, valued at nearly $10 million, to Mexico, according to court documents, and exchanged them for cocaine, fentanyl and methamphetamine.

In the Texas border city of Laredo, Deputy Police Chief Timothy Tubbs said he has seen a 50% increase in the theft of rental vehicles — about 10 a month.

Sunday, October 11, 2026

Calvin and Hobbes had so many fun and clever strips


from a certain perspective... I guess this is right

https://www.facebook.com/photo/?fbid=28250550644627755&set=a.486840984758761

seen in a antique store, a toy I've never seen it before... made from 1960 to 1966

 

the following I found online 



https://www.ebay.com/itm/204341519988



https://www.ebay.com/itm/324043511553

this looks a lot like a tire track


Spotted this in front of me in traffic last week... very odd looking mark through the dust on the back window

Jack in the Box made the best antenna balls... why hasn't someone make something that does the same thing for the shark fin XM antennas that are on new cars? This was named " Hot Mess Meat Riot "


Mutts comic strip by Patrick McDonnell (one of my favorites I've collected the annual collections of, for about 20 years)(was a student of Will Eisner) has just released the first of several Sunday annual collections, here are a couple of the car strips







"Tamara in a Green Bugatti" is a self-portrait by the Polish artist Tamara de Lempicka (nicknamed Baroness with a paintbrush) , which she made in Paris in 1929.


Commissioned in 1928 by the popular German fashion magazine Die Dame for the magazine cover, to celebrate the independence of women. 

The female editor of Die Dame, encountered De Lempicka in Monte Carlo while the almost-divorced baroness was on vacation and commissioned her to paint a self-portrait for an upcoming cover.

It is one of the best-known examples of Art Deco portrait painting.

The painting she produced showed her at the wheel of a Bugatti racing car, wearing a leather helmet and gloves and wrapped in a gray scarf. 

She portrayed herself as a personification of cold beauty, independence, wealth and inaccessibility.

 In fact she did not own a Bugatti automobile; her own car was a small yellow Renault, which was stolen one night when she and her friends were celebrating at Café de la Rotonde in Montparnasse.

Although De Lempicka's portrait shows the steering wheel on the left side of the car, the Bugatti models 23, 43 and 46 of that period actually had the steering wheel on the right side.

She flitted between the Ritz Hotel in Paris and the Grand Hotel in Monte Carlo, socializing with — and capturing on canvas — her era’s elite.

She counted Queen Elizabeth of Greece, King Alfonso XIII of Spain, and the Italian poet-prince Gabriele d’Annunzio among her sitters. As Jean Cocteau put it, Lempicka ‘loved art and high society in equal measure’.

She is renowned for an Art Deco style which oozed cool chic and elegant sensuality. Portraiture was her genre, featuring stylized subjects bedecked in seductive textures and bathed in flattering light. For some works, Lempicka used herself as model, which made sense given she wore clothes by Coco Chanel and was occasionally mistaken in public for Greta Garbo.

In the mid 1930s Lempicka married Raoul Kuffner, a wealthy Hungarian baron. Both he and Tamara had Jewish ancestry, and sensing the way the political wind was blowing in Europe, they decided to leave for the United States in 1939.

Removed from the Paris avant-garde, Lempicka never recaptured the highs of earlier in her career. Without dukes or counts to paint, she struggled for suitable subject matter and ended up moving into abstraction.

She spent the last few years of her life in Mexico, dying in 1980. Her final artistic gesture was asking her daughter Kizette to hire a helicopter, head up to Mount Popocateptl and scatter her ashes in its volcanic crater.

After her death, there came another wave of enthusiasm for her work. Barbara Streisand and Madonna were collectors. The latter was such a fan that she included a host of Lempicka pictures at the start of the video for her song Vogue.

Franco Scaglione designs. His work with Bertone for Fiat, Alfa Romeo, Jaguar, Porsche, Lamborghini, and many others has a lasting influence



Petrolicious made another wonderful simple video, this with a D type, and (pine tree) fractals, three of my favorite things



the 1967 Alfa Romeo Tipo 33 Stradale debuted At the 1967 Paris Motor Show, with Scaglione's curvaceous design on a Stradale chassis









https://petrolicious.com/blogs/articles/gallery-the-alfa-romeo-33-2-coupe-speciale-pininfarina-and-an-alternate-vision-of-the-1970s