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EMBRYOPSIDA Pirani & Prado
Gametophyte dominant, independent, multicellular, thalloid, with single-celled apical meristem, showing gravitropism; rhizoids +, unicellular; acquisition of phenylalanine lysase [PAL], phenylpropanoid metabolism [lignans +, flavonoids + (absorbtion of UV radiation)], xyloglucans +; plant [protoplasm dessication tolerant], ectohydrous [free water outside plant physiologically important]; cuticle +; cell wall also with (1->3),(1->4)-ß-D-MLGs [Mixed-Linkage Glucans]; chloroplasts per cell, lacking pyrenoids; glycolate metabolism in leaf peroxisomes [glyoxysomes]; centrioles in vegetative cells 0, metaphase spindle anastral, predictive preprophase band of microtubules, phragmoplast + [cell wall deposition spreading from around the spindle fibres], plasmodesmata +; antheridia and archegonia jacketed, stalked; spermatogenous cells monoplastidic; blepharoplast, bicentriole pair develops de novo in spermatogenous cell, associated with basal bodies of cilia [= flagellum], multilayered structure [4 layers: L1, L4, tubules; L2, L3, short vertical lamellae] + spline [tubules from L1 encircling spermatid], basal body 200-250 nm long, associated with amorphous electron-dense material, microtubules in basal end lacking symmetry, stellate array of filaments in transition zone extended, axonemal cap 0 [microtubules disorganized at apex of cilium]; male gametes [spermatozoids] with a left-handed coil, cilia 2, lateral; oogamy; sporophyte dependent on gametophyte, embryo initially surrounded by haploid gametophytic tissue, plane of first division horizontal [with respect to long axis of archegonium/embryo sac], suspensor/foot +, cell walls with nacreous thickenings; sporophyte multicellular, with at least transient apical cell [?level], sporangium +, single, dehiscence longitudinal; meiosis sporic, monoplastidic, microtubule organizing centre associated with plastid, cytokinesis simultaneous, preceding nuclear division, sporocytes 4-lobed, with a quadripolar microtubule system; spores in tetrads, sporopollenin in the spore wall, initially laid down in association with several trilamellar layers [white-line centred layers, i.e. walls multilamellate]; nuclear genome size <1.4 pg, LEAFY and KNOX1 and KNOX2 genes present, ethylene involved in cell elongation; chloroplast genome with close association between trnLUAA and trnFGAA genes.
Many of the bolded characters in the characterization above are apomorphies of subsets of streptophytes along the lineage leading to the embryophytes, not apomorphies of crown-group embryophytes per se.
All groups below are crown groups, nearly all are extant. Characters mentioned are those of the immediate common ancestor of the group, [] contains explanatory material, () features common in clade, exact status unclear.
Abscisic acid, ?D-methionine +; sporangium - tapetum +, columella + [developing from endothecial cells], seta developing from basal meristem [between epibasal and hypobasal cells]; stomata +, anomocytic, cell lineage that produces them with symmetric divisions [perigenous]; underlying similarities in the development of conducting tissue and in rhizoids/root hairs; spores trilete; polar transport of auxins and class 1 KNOX genes expressed in the sporangium alone; shoot meristem patterning gene families expressed; MIKC, MI*K*C* and class 1 and 2 KNOX genes, post-transcriptional editing of chloroplast genes; gain of three group II mitochondrial introns.
[Anthocerophyta + Polysporangiophyta]: archegonia embedded/sunken in the gametophyte; sporophyte long-lived, chlorophyllous; sporophyte-gametophyte junction interdigitate, sporophyte cells showing rhizoid-like behaviour.
Sporophyte branched, branching apical, dichotomous; sporangia several, each opening independently; spore walls not multilamellate [?here].
Photosynthetic red light response; plant homoiohydrous [water content of protoplasm relatively stable]; control of leaf hydration passive; (condensed or nonhydrolyzable tannins/proanthocyanidins +); sporophyte soon independent, dominant, with basipetal polar auxin transport; lignins +; vascular tissue +, G- and S-type tracheids, sieve cells + [nucleus degenerating], tracheids +, in both protoxylem and metaxylem, plant endohydrous [physiologically important free water inside plant]; endodermis +; leaves spirally arranged, blades with mean venation density 1.8 mm/mm2 [to 5 mm/mm2]; sporangia adaxial on the sporophyll, derived from periclinal divisions of several epidermal cells, wall multilayered [eusporangium]; columella 0; tapetum glandular; gametophytes exosporic, green, photosynthetic; basal body 350-550 nm long, stellate array in transition region initially joining microtubule triplets; placenta with single layer of transfer cells in both sporophytic and gametophytic generations, root lateral with respect to the longitudinal axis of the embryo [plant homorhizic].[MONILOPHYTA + LIGNOPHYTA]
Sporophyte branching ± indeterminate; root apex multicellular, root cap +, lateral roots +, endogenous; endomycorrhizal associations + [with Glomeromycota]; G-type tracheids +, with scalariform-bordered pits; leaves with apical/marginal growth, venation development basipetal, growth determinate; sporangia borne in pairs and grouped in terminal trusses, dehiscence longitudinal, a single slit; cells polyplastidic, microtubule organizing centres not associated with plastids, diffuse, perinuclear; blepharoplasts +, paired, with electron-dense material, centrioles on periphery, male gametes multiciliate; chloroplast long single copy ca 30kb inversion [from psbM to ycf2]; LITTLE ZIPPER proteins.
Sporophyte woody; lateral root origin from the pericycle; branching lateral, meristems axillary; cork cambium + [producing cork abaxially], vascular cambium bifacial [producing phloem abaxially and xylem adaxially].
Plants heterosporous; megasporangium surrounded by cupule [i.e. = unitegmic ovule, cupule = integument]; pollen lands on ovule; megaspore germination endosporic [female gametophyte initially retained on the plant].
Plant evergreen; nicotinic acid metabolised to trigonelline, (cyanogenesis via tyrosine pathway); primary cell walls rich in xyloglucans and/or glucomannans, 25-30% pectin [Type I walls]; lignins particularly with guaiacyl and p-hydroxyphenyl [G + H] units [sinapyl units uncommon, no Maüle reaction]; root stele with xylem and phloem originating on alternate radii, cork cambium deep seated; mitochondrial density in whole SAM 1.6-6.2[mean]/μm2 [interface-specific mitochondrial network]; stem with vascular cylinder around central pith [eustele], phloem abaxial [ectophloic], endodermis 0, xylem endarch [development centrifugal]; wood homoxylous, tracheids and rays alone, tracheid/tracheid pits circular, bordered; mature sieve tube/cell lacking functioning nucleus, sieve tube plastids with starch grains; phloem fibres +; cork cambium superficial; leaves with single trace from vascular sympodium [nodes 1:1]; stomatal pore with active opening in response to leaf hydration, control by abscisic acid, metabolic regulation of water use efficiency, etc.; axillary buds exogenous, (none; not associated with all leaves); prophylls two, lateral; leaves with petiole and lamina, development basipetal, blade simple; plant heterosporous, sporangia borne on sporophylls, sporophylls spiral; microsporophylls aggregated in indeterminate cones/strobili; grains monosulcate, aperture in ana- position [distal], primexine + [involved in exine pattern formation with deposition of sporopollenin from tapetum there], exine and intine homogeneous; megasporangium indehiscent; ovules with parietal tissue 2+ cells across, megaspore tetrad linear, functional megaspore single, chalazal, sporopollenin 0; gametophyte development initially endosporic, dependent on sporophyte, apical cell 0, rhizoids 0, development continuing outside the spore; male gametophyte with tube developing from distal end of grain, male gametes two, developing after pollination, with cell walls; female gametophyte initially syncytial, walls then surrounding individual nuclei; embryo cellular ab initio, endoscopic, plane of first cleavage of zygote transverse, suspensor +, short-minute, embryonic axis straight [shoot and root at opposite ends; plant allorhizic], cotyledons 2; plastid transmission maternal; ycf2 gene in inverted repeat, whole nuclear genome duplication [ζ - zeta - duplication], two copies of LEAFY gene, PHY gene duplications [three - [BP [A/N + C/O]] - copies], nrDNA with 5.8S and 5S rDNA in separate clusters; mitochondrial trans- nad2i542g2 and coxIIi3 introns present.
Lignans, O-methyl flavonols, dihydroflavonols, triterpenoid oleanane, apigenin and/or luteolin scattered, [cyanogenesis in ANITA grade?], lignin also with syringyl units common [G + S lignin, positive Maüle reaction - syringyl:guaiacyl ratio more than 2-2.5:1], hemicelluloses as xyloglucans; root apical meristem intermediate-open; root vascular tissue oligarch [di- to pentarch], lateral roots arise opposite or immediately to the side of [when diarch] xylem poles; origin of epidermis with no clear pattern [probably from inner layer of root cap], trichoblasts [differentiated root hair-forming cells] 0, hypodermis suberised and with Casparian strip [= exodermis +]; shoot apex with tunica-corpus construction, tunica 2-layered; reaction wood ?, associated gelatinous fibres [g-fibres] with innermost layer of secondary cell wall rich in cellulose and poor in lignin; starch grains simple; primary cell wall mostly with pectic polysaccharides, poor in mannans; tracheid:tracheid [end wall] plates with scalariform pitting, wood parenchyma +; sieve tubes enucleate, sieve plate with pores (0.1-)0.5-10< µm across, cytoplasm with P-proteins, cytoplasm not occluding pores of sieve plate, companion cell and sieve tube from same mother cell; sugar transport in phloem passive; nodes 1:?; stomata brachyparacytic [ends of subsidiary cells level with ends of pore], outer stomatal ledges producing vestibule, reduction in stomatal conductance to increasing CO2 concentration; lamina formed from the primordial leaf apex, margins toothed, development of venation acropetal, overall growth ± diffuse, venation hierarchical-reticulate, secondary veins pinnate, veins (1.7-)4.1(-5.7) mm/mm2, endings free; most/all leaves with axillary buds; flowers perfect, pedicellate, ± haplomorphic; protogynous; parts spiral [esp. the A], free, numbers unstable, development in general centripetal; P +, members each with a single trace, outer members not sharply differentiated from the others, not enclosing the floral bud; A many, filament not sharply distinguished from anther, stout, broad, with a single trace, anther introrse, tetrasporangiate, sporangia in two groups of two [dithecal], sporangium pairs dehiscing longitudinally by a common slit, ± embedded in the filament, walls with at least outer secondary parietal cells dividing, endothecium +, endothecial cells elongated at right angles to long axis of anther; (tapetum glandular), cells binucleate; microspore mother cells in a block, microsporogenesis successive, walls developing by centripetal furrowing; pollen subspherical, tectum continuous or microperforate, ektexine columellate, endexine lamellate only in the apertural regions, thin, compact; nectary 0; carpels present, superior, free, several, ascidiate, with postgenital occlusion by secretion, stylulus at most short [shorter than ovary], hollow, cavity not lined by distinct epidermal layer, stigma ± decurrent, carinal, stigma wet, extragynoecial compitum +; ovules few [?1]/carpel, marginal, anatropous, bitegmic, micropyle endostomal, outer integument 2-3 cells across, often largely subdermal in origin, inner integument 2-3 cells across, often dermal in origin, parietal tissue 1-3 cells across [crassinucellate], nucellar cap?; megasporocyte single, hypodermal, functional megaspore chalazal, lacking cuticle; female gametophyte lacking chlorophyll, not photsynthesising, four-celled [one module, nucleus of egg cell sister to one of the polar nuclei]; ovule not increasing in size between pollination and fertilization; pollen grains land on stigma, bicellular at dispersal, mature male gametophyte tricellular, germinating in less than 3 hours, pollen tube elongated, unbranched, growing between cells, growth rate (20-)80-20,000 µm/hour, apex of pectins, wall with callose, lumen with callose plugs, penetration of ovules via micropyle [porogamous], whole process takes ca 18 hours, distance to first ovule 1.1-2.1 mm; male gametes lacking cell walls, cilia 0, siphonogamy; double fertilization +, ovules aborting unless fertilized; P deciduous in fruit; mature seed much larger than ovule when fertilized, small [], dry [no sarcotesta], exotestal; endosperm diploid, cellular, heteropolar [micropylar and chalazal domains develop differently, first division oblique, micropylar end initially with a single large cell, divisions uniseriate, chalazal cell smaller, divisions in several planes], copious, oily and/or proteinaceous; dark reversal Pfr → Pr; Arabidopsis-type telomeres [(TTTAGGG)n]; nuclear genome size <1.4 pg [1 pg = 109 base pairs], whole nuclear genome duplication [ε - epsilon - duplication]; protoplasm dessication tolerant [plant poikilohydric]; ndhB gene 21 codons enlarged at the 5' end, single copy of LEAFY and RPB2 gene, knox genes extensively duplicated [A1-A4], AP1/FUL gene, paleo AP3 and PI genes [paralogous B-class genes] +, with "DEAER" motif, SEP3/LOFSEP and three copies of the PHY gene, [PHYB [PHYA + PHYC]].
[NYMPHAEALES [AUSTROBAILEYALES [[CHLORANTHALES + MAGNOLIIDS] [MONOCOTS [CERATOPHYLLALES + EUDICOTS]]]]]: wood fibres +; axial parenchyma diffuse or diffuse-in-aggregates; pollen monosulcate [anasulcate], tectum reticulate-perforate [here?]; ?genome duplication; "DEAER" motif in AP3 and PI genes lost, gaps in these genes.
[AUSTROBAILEYALES [[CHLORANTHALES + MAGNOLIIDS] [MONOCOTS [CERATOPHYLLALES + EUDICOTS]]]]: vessel elements with scalariform perforation plates in primary xylem; essential oils in specialized cells [lamina and P ± pellucid-punctate]; tension wood +; tectum reticulate; anther wall with outer secondary parietal cell layer dividing; carpels plicate; nucellar cap + [character lost where in eudicots?]; 12BP [4 amino acids] deletion in P1 gene.
[[CHLORANTHALES + MAGNOLIIDS] [MONOCOTS [CERATOPHYLLALES + EUDICOTS]]] / MESANGIOSPERMAE: benzylisoquinoline alkaloids +; sesquiterpene synthase subfamily a [TPS-a] [?level], polyacetate derived anthraquinones + [?level]; outer epidermal walls of root elongation zone with cellulose fibrils oriented transverse to root axis; P more or less whorled, 3-merous [possible position]; pollen tube growth intra-gynoecial [extragynoecial compitum 0]; embryo sac bipolar, 8 nucleate, antipodal cells persisting; endosperm triploid.
[MONOCOTS [CERATOPHYLLALES + EUDICOTS]]: (extra-floral nectaries +); (veins in lamina often 7-17 mm/mm2 or more [mean for eudicots 8.0]); (stamens opposite [two whorls of] P); (pollen tube growth fast).
[CERATOPHYLLALES + EUDICOTS]: ethereal oils 0.
EUDICOTS: (Myricetin, delphinidin +), asarone 0 [unknown in some groups, + in some asterids]; root epidermis derived from root cap [?Buxaceae, etc.]; (vessel elements with simple perforation plates in primary xylem); nodes 3:3; stomata anomocytic; flowers (dimerous), cyclic; protandry common; K/outer P members with three traces, ("C" +, with a single trace); A few, (polyandry widespread, initial primordia 5, 10, or ring, ± centrifugal), filaments fairly slender, anthers basifixed; microsporogenesis simultaneous, pollen tricolpate, apertures in pairs at six points of the young tetrad [Fischer's rule], cleavage centripetal, wall with endexine; G with complete postgenital fusion, stylulus/style solid [?here]; seed coat?
[PROTEALES, SABIACEAE [TROCHODENDRALES [BUXALES + CORE EUDICOTS]]]: (axial/receptacular nectary +).
[TROCHODENDRALES [BUXALES + CORE EUDICOTS]]: benzylisoquinoline alkaloids 0; euAP3 + TM6 genes [duplication of paleoAP3 gene: B class], mitochondrial rps2 gene lost.
CORE EUDICOTS / GUNNERIDAE: (ellagic and gallic acids +); leaf margins serrate; compitum + [one place]; micropyle?; whole nuclear genome duplication [palaeohexaploidy, gamma triplication], PI-dB motif +, small deletion in the 18S ribosomal DNA common.
[ROSIDS ET AL. + ASTERIDS ET AL.] / PENTAPETALAE: root apical meristem closed; (cyanogenesis also via [iso]leucine, valine and phenylalanine pathways); flowers rather stereotyped: 5-merous, parts whorled; P = calyx + corolla, the calyx enclosing the flower in bud, sepals with three or more traces, petals with a single trace; stamens = 2x K/C, in two whorls, internal/adaxial to the corolla whorl, alternating, (numerous, but then usually fasciculate and/or centrifugal); pollen tricolporate; G [5], G [3] also common, when [G 2], carpels superposed, compitum +, placentation axile, style +, stigma not decurrent; endosperm nuclear; fruit dry, dehiscent, loculicidal [when a capsule]; RNase-based gametophytic incompatibility system present; floral nectaries with CRABSCLAW expression; (monosymmetric flowers with adaxial/dorsal CYC expression).
Age. The age of this clade has been estimated at some 113 m.y. (Leebens-Mack et al. 2005, but sampling); Anderson et al. (2005) suggest a similar figure (stem group to 116 m.y. old, crown group diversification by ca 109 m.y.); Chaw et al. (2004: 61 chloroplast genes, sampling poor) date the crown group to 115-110 m.y.a., and Magallón and Castillo (2009) to around 114.5 m. years. Moore et al. (2010: 95% highest posterior density, see also N. Zhang et al. 2012) suggest crown-group ages of (113-)109(-104) m.y., Bell et al. (2010) ages of (124-)121, 117(-97) m.y., and Magallón et al. (2013, 2015: note topology) ages of (115.9-)110.5-109(-103) m.y. and ca 123.7 m.y. respectively. Xue et al. (2012: Dilleniaceae not included) suggest the youngest age - 104.7-101.6 m.y.a., while at ca 166 m.y., the estimate in Z. Wu et al. (2014) is the oldest.
The oldest known core eudicot macrofossil, unfortunately not attributed to any extant group, is the Rose Creek fossil from the Cretaceous-Cenomanian, only 96-94 m.y.a. (Basinger & Dilcher 1984). The flower is relatively large compared to the tiny flowers so common in early Cretaceous angiosperms. The five stamens are opposite the petals and there is a well developed nectary, the earliest recorded in the fossil record (Friis et al. 2011).
Note: (....) denotes a feature common in the clade, exact status uncertain, [....] includes explanatory material. Possible apomorphies are in bold. However, the actual level at which many of these features, particularly the more cryptic ones, should be assigned is unclear. This is partly because many characters show considerable homoplasy, in addition, basic information for all too many is very incomplete, frequently coming from taxa well embedded in the clade of interest and so making the position of any putative apomorphy uncertain. Then there are the not-so-trivial issues of how character states are delimited and ancestral states are reconstructed (see above).
Evolution. Divergence & Distribution. It is worth repeating that the positions in the tree of possible many apomorphies/key innovations, much discussed in the context of the Pentapetalae node, are unclear. Information for all too many critical taxa is incomplete, and understanding the morphology of Proteales may be of particular importance in this context. There is also some uncertainty about relationships in the tree between Ranunculales and Gunnerales.
Endress (2011a) suggested that the presence of compitum in rosids and the extended clade including asterids might be key innovations for each; Dilleniaceae do not have a compitum. It seems preferable to peg the character at this node; Dilleniaceae would then have lost a compitum, although if Dilleniaceae turn out to be sister to the combined clades, things will be simpler. However, Gunneraceae, at least, also have a compitum, and so one can argue that presence of compitum could be placed one node more basally... Five-merous flowers and the distinction between sepals and petals are other potential key innovations, whatever the position of Dilleniaceae (Endress 2011a).
The flowers of Pentapetalae are very distinctive, as indicated by the characterisation above. Five-merous flowers preponderate (hence the name "pentapetalae"), and they are uncommon in more basal clades (González & Mello 2009). Compared to many eudicots in more basal clades, the two perianth whorls are distinctive in that members of each encircle the floral axis, all members of the androecial whorls being adaxial/interior to the petals. Sepals usually have three traces and petals have one, while three-trace petals are sometimes to be found in other eudicots, magnoliids, etc. There has been much discussion as to the distinction between and evolution of sepals and petals. Petals here may generally be derived from tepals, perhaps ultimately from bracts, not from stamens (perhaps with some exceptions, as in Caryophyllaceae, etc.: Ronse de Craene 2007, 2008). The duplication of a number of genes important in determining the identity of the parts of pentapetalous flowers (AP3, AP1, SEP, AG) may be connected with the γ genome triplication event that is an apomorphy for the core eudicots (Jiao et al. 2012; Vekemans et al. 2012). For monosymmetry and the patterns of CYC gene expression, see Hileman (2014); denser sampling is much needed!
Taxa that have flowers with many stamens are scattered throughout the core eudicots. The stamens usually develop on common primordia, whether a ring primordium or five or ten separate primordia, when five, the primordia are often opposite the petals, rather than alternating with them. Numerous individual stamens then develop from these few initial primordia, and development is often centrifugal (c.f. esp. magnoliids and the ANITA grade). At maturity, the stamens themselves may be more or less connate or in fascicles (especially Corner 1946b; Weberling 1989; Leins 2000 and references; Prenner et al. 2008). There can be considerable variation in staminal development between closely related multistaminate taxa (e.g. Hufford 1990; Ge et al. 2007). Polyandry is decidedly less common in the euasterid clade (q.v. for discussion) and it appears to be linked with increases of numbers of petals and/or carpels, just one of the ways in which polyandry occurs here.
Tentatively, then, and based entirely on gross morphology, there seem to have been major changes in floral organisation at the angiosperm node, the monocot node, the commelinid node, the Pentapetalae node, the asterid node, and perhaps the euasterid node. As noted above, the floral morphology of extant Gunnerales is very different from that of Pentapetale and is more similar to that of the eudicots immediately basal to them.
For the floral development of Berberidopsis corallina and Aextoxicon (Berberidopsidales), possible "links" in the evolution of the flower of core eudicots, see Ronse De Craene (2004, 2007, 2010). The link is at best thought of as an analogy, since several elements of this floral morphology are probably parallelisms within core eudicots and others may even be reversals; there is also considerable variation in floral morphology in this small clade. Berberidospidales are part of the pectination immediately basal to asterids, relationships perhaps being [Santalales [Berberidopsidales [Caryophyllales + asterids]]] (see below). Chase (2005) noted that in Santalales some floral parts, particularly stamens, might have several whorls, and this perhaps suggested that canalisation of floral development there was less than in some other core eudicots; whether Santalales really are different in this respect from other core eudicot groups remains to be established. Clarification of the phylogenetic position of Dilleniales, etc. (see below), will undoubtedly help in our understanding of floral evolution.
Chemistry, Morphology, etc. The distribution of ellagic acid is similar to that of common primordium-type polyandry in the eudicots. Sampling of variation in the root apical meristem is poor, and possible reversals (for which, see Groot et al. 2004) have not been placed on the tree.
Lee et al. (2004) suggest that the CRABS CLAW gene is expressed in core eudicot nectaries (including extrafloral nectaries), or at least in the rosids and asterids that they sampled; it was not expressed in nectaries of Ranunculaceae; what happens in Proteaceae, which has axial nectaries, like rosids (e.g. Smets 1988) and Sabiaceae is unfortunately unknown. This gene is not expressed in the extrafloral nectaries of Passifloraceae (Krosnick et al. 2008a). Sucrose synthesis and secretion is similar in the nectaries of Brassicaceae and Solanaceae, extrastaminal and gynoecial nectaries respectively (Lin et al. 2014).
Phylogeny. This clade is strongly supported, e.g. Chase et al. (1993), D. Soltis et al. (1997, 1999, 2003a), Hoot et al. (1998), and Nandi et al. (1998), and just about all subsequent studies; support is rather weaker in Zhu et al. (2007). Within this large clade, although the rosid and asterid clades are well supported, other relationships have long been unclear, being represented by a hexatomy (see the sixth and earlier versions of this site) involving Crossosomatales, Berberidopsidales, Caryophyllales, Santalales, rosids and asterids; Dilleniales and Saxifragales were also of uncertain positions. D. Soltis et al. (2003a: four-gene analysis) suggested that Berberidopsidales were sister to the rest of the non-rosid core eudicots, but they had only 54% jacknife support. Santalales were associated with asterids, while Saxifragales and Vitales linked with [Dilleniales + Caryophyllales], but with still less support (D. Soltis et al. 2003a). In some studies Dilleniaceae were sister to Caryophyllales, but with only very moderate support; D. Soltis et al. (2003a) provided rather stronger (83% jacknife) support for this position (see also Soltis et al. 2007a: 1.0 p.p.). It also seemed possible that [Caryophyllales + Dilleniales] and Santalales formed a clade (D. Soltis et al. 2000); Carlquist (2006) suggested that non-bordered perforation plates was a possible similarity between Santalales and Caryophyllales. Caryophyllales were linked with with asterids in a large 18S ribosomal DNA analysis (Soltis et al. 1997), albeit with only weak support (see also Hilu et al. 2003).
In studies using whole chloroplast genomes (Jansen et al. 2006a, esp. 2006b; Hansen et al. 2007; Cai et al. 2007; Ruhlman et al. 2006; Jansen et al. 2007; Moore et al. 2007; Logacheva et al. 2008) support for a [Caryophyllales + asterids] clade was stronger, however, Berberidospidales, Dilleniales, Santalales and Saxifragales were not included. [Caryophyllales + Santalales] were sister to asterids in some analyses in a study that focused on the position of Cynomoriaceae and Balanophoraceae (Nickrent et al. 2005: again, see sampling). In a study using the mitochondrial gene matR, Caryophyllales repeated as sister to asterids, but with very little support; in other analyses including a reduced sampling and two chloroplast genes Santalales and Dilleniales were also in this area, but again with little support (Zhu et al. 2007). In the combined morphological and molecular study of Nandi et al. (1998) the position of Caryophyllales was uncertain, but this was perhaps partly because the ovules of Rhabdodendraceae, there sister to all other Caryophyllales, were interpreted as being unitegmic; however, subsequent work suggested that Rhabdodendraceae are not sister to all other Caryophyllales, but are embedded in the order (see Caryophyllales page).
In any event, it was becoming increasingly likely that Caryophyllales, whether or not accompanied by a number of other taxa, were sister to asterids (but c.f. Goloboff et al. 2009). There was support for placing Crossosomatales as sister to the core malvid group (Huerteales, Sapindales, etc.: see Zhu et al. 2007; Soltis et al. 2011; Magallón et al. 2015, etc.). In a two-gene study focussing of early-diverging eudicots, Dilleniales, Berberidopsidales, Santalales and Caryophyllales grouped in a pectinate fashion with the asterids, although support was low (Hilu et al. 2008). Wang et al. (2009: 12-gene plus plastid inverted repeat) in a study of the rosids found that Berberidopsidales was sister to a clade made up of the few Caryophyllales and asterids they had included. Moore et al. (2008) in a preliminary analysis of whole-chloroplast genome data, suggested that most members of the basal polytomy of the core eudicots could be placed as a series of pectinate branches immediately basal to the asterids; Moore et al. (2010, see also 2011) suggested the relationships [Santalales [Berberidopsidales [Caryophyllales + Asterids]]], the position of Caryophyllales having the least support (see also Arakaki et al. 2011; Ruhfel et al. 2014; Magallón et al. 2015: [Berb. + Cary.], Dilleniales sister to all these). Relationships in Bell et al. (2010) were [Berberidopsidales [Caryophyllales, Santalales, asterids]], in Soltis et al. (2011: little bootstrap support), [Santalales [[Berberidopsidales + Caryophyllales] + asterids]], i.e. their superasteridae. The transcriptome analyses of Wickett et al. (2014) also placed Caryophyllales in this area. All this is consistent with many of the earlier, more tentatively suggested relationships. However, a recent concatenated analysis of 110 single-copy protein sequences suggested that Beta vulgaris (Caryophyllales) was sister to a [rosid + asterid] clade (Dohm et al. 2013), but there may be methodological (see Xi et al. 2013b) and sampling issues at work here. Moreover, mitochondrial and nuclear genes placed Caryophyllales within rosids s.l., although support for this position was underwhelming (Sun et al. 2014).
Some morphological evidence, including seed coat anatomy, might suggest a specific relationship between Dilleniales and Vitales. However, Horne (2006) listed a number of features linking Dilleniaceae and Rhabdodendraceae (then thought to be sister to the rest of Caryophyllales), some of which could be features of [Dilleniales + Caryophyllales], and the status of the others depended on an improved resolution of relationships. These features include absence of tension wood; successive cambia present; vessel elements with simple perforation plates; wood with SiO2 bodies; nodes 3 or more:3 or more; leaves spiral; K persistent in fruit. Other work suggests that Rhabdodendraceae are sister to the core Caryophyllales and immediately associated families rather than sister to all Caryophyllales (e.g. Drysdale et al. 2007; Brockington et al. 2007), so the significance of these morphological similarities is unclear.
The position of Dilleniales has remained uncertain. Bell et al. (2010) placed it sister to Caryophyllales and Soltis et al. (2011) in a broadly similar position as sister their superasteridae, and with 87% ML bootstrap support; this position was also found by Arakaki et al. 2011), who included a larger sample of caryophyllalean chloroplast genomes. Similarly Qiu et al. (2010) found a weakly supported [Dilleniales + Berberidopsidales] clade sister to an [asterid [Santalales + Caryophyllales]] clade, but also with very weak support. Moore et al. (2008) and Ruhfel et al. (2014: not amino acid analyses - sister to asterids) suggested that Dilleniales were sister to rosids, although support could be stronger, while Moore et al. (2011) found a weakly supported [Dilleniales [rosids s.l. + asterids s.l.]] clade. Finally, in an analysis of 18S/26S nuclear ribosomal data the clades [Dilleniales + Celastrales] and [Caryopyllales + Zygophyllales] were recovered embedded in the rosids, but with vanishingly little support, while there was some support for the position of Santalales as sister to all other Pentapetalae, and little support for Berberidopsidales as sister to the remaining Pentapetalae (Maia et al. 2014). Dilleniaceae are near basal somewhere in Pentapetalae, but are best left unplaced for now.
For further discussion, see asterids, and Saxifragales.
Classification. In Versions 8 and earlier of this site this was called the the core eudicot clade, largely because the evolution of the "typical" core eudicot flower can be pegged to this node; the current delimitation of core eudicots refers to a clade that is molecularly well supported but that is perhaps morphologically less interesting.
[DILLENIALES [SAXIFRAGALES [VITALES + ROSIDS s. str.]]]: stipules + [usually apparently inserted on the stem].
Evolution. Moore et al. (2010) suggest ages of (112-)108(-103) m.y. for the crown group; ca 164 m.y. is the estimate in Z. Wu et al. (2014).
DILLENIALES Berchtold & J. Presl Main Tree.
A many, often centrifugal; G separate, compitum 0; ?micropyle; fruit a follicle; endotesta ± palisade, massively lignified, exotegmen usu. tracheidal. - 1 family, 10 genera, 300 species.
Note: (....) denotes a feature common in the clade, exact status uncertain, [....] includes explanatory material. Possible apomorphies are in bold. However, the actual level at which many of these features, particularly the more cryptic ones, should be assigned is unclear. This is partly because many characters show considerable homoplasy, in addition, basic information for all too many is very incomplete, frequently coming from taxa well embedded in the clade of interest and so making the position of any putative apomorphy uncertain. Then there are the not-so-trivial issues of how character states are delimited and ancestral states are reconstructed (see above).
Includes Dilleniaceae.
Synonymy: Dillenianae Takhtajan - Dilleniidae Reveal & Takhtajan
DILLENIACEAE Salisbury Back to Dilleniales
Trees and shrubs (lianes, perennial herbs); distinctive flavonols, myricetin, ellagic acid +; hairs ± stellate [esp. Hibbertia] and sclerified; primary stem with continuous vascular cylinder; (successive cambia +); cork cambium deep-seated; vessel elements also with simple perforation plates; true tracheids +; raphides +, also common in wood; rays often broad; ?nodes; petiole bundle annular; epidermis silicified; branching from previous flush; hairs unicellular; leaves spiral, lamina vernation conduplicate, surface often scabrid, margins toothed, secondary veins parallel, proceeding straight to the teeth [percurrent], tertiary venation ± scalariform, fine veins areolate, teeth with clear glandular expanded apex, base broad to & sheathing stem, stipules 0, long petiolar flanges + (0); inflorescence?; pedicels articulated; flowers often yellow; K (3-)5(-20), (with 1 trace), large, C (2-)5, crumpled in bud (not); androecium often asymmetric, A (2-)many, from a ring primordium or fasciculate, fascicles opposite K, supplied by trunk bundles, (staminodes +), connective often well-developed, anthers basifixed, (dehiscing by pores), exodermis well developed; (pollen colpate); nectary 0; G (1-3)4-8[-20], (opposite petals, or odd member adaxial), styluli long, stigmas capitate to punctate, wet [1 record]; ovules 1-many/carpel, apotropous, often campylotropous (straight), micropyle zigzag or exostomal, outer integument 2(-3) cells across, inner integument 2-6 cells across, parietal tissue 6-14 cells across, nucellar cap ca 2 cells across, chalazal area massive; (megaspore mother cells several); (fruit a nut; berry), K persistent in fruit (accrescent, enclosing fruit, ± fleshy); aril +, funicular, often laciniate, exotesta often fleshy, exotegmen with spiral or annular thickenings, endotegmen tanniniferous; zygote with distinctive wall and protrusions into the endosperm ["mantle"]; n = 4, 5, 8-10, 12, 13; germination phanerocotylar.
11[list]/300-410 - four groups below. Tropical and warm temperate (map: from van Steenis & van Balgooy 1966; van Balgooy 1975; Heywood 1978; Trop. Afr. Fl. Pl. Ecol. Distr. 1. 2003; Horn 2009). [Photos - Collection.]
Age. The stem age may be ca 114.75 m.y. and the crown age only ca 52.5 m.y. (Magallón & Castillo 2009).
1. Delimoideae Burnett
Lianes; nodes 3:3; (petiole bundle strongly arcuate and with adaxial bundles); stomata paracytic; G = C; endotesta poorly differentiated.
1/44 (Tetracera). Pantropical.
[Doliocarpoideae [Hibbertioideae + Dillenioideae]]: ?
2. Doliocarpoideae J. W. Horn
Vessel elements with scalariform perforation plates only; nodes 5:5 (3:3, 7:7); (petiole with medullary bundles); G > C, (compitum +), stigma infundibular; ovules 2/carpel, collateral, one epitropous, the other apotropous.
5/65: Doliocarpus (40). Neotropical.
[Hibbertioideae + Dillenioideae]: ?
3. Hibbertioideae J. W. Horn
Nodes 3:3, 1:1; petiole bundles various; (hairs stellate); (lamina margin entire), tertiary venation not scalariform, (areoles weakly developed), base not sheathing; (flowers [horizontally] monosymmetric); A 1-200+ (outer staminodes +; obdiplostemonous, the outer A basally connate).
1/115-225. Madagascar to Fiji, but nearly all endemic to Australia.
4. Dillenioideae Burnett
(Plant rhizomatous - Acrotrema); cork cambium superficial; nodes 5<:5< (1:1); (petiole with medullary bundles); leaf base surrounding stem; (flowers [horizontally] monosymmetric); A very numerous [200+]; (G many), (compitum +); (exotestal cells large, tanniniferous, becoming flattened - Dillenia).
4/75. Dillenia (60). Madagascar to Fiji, most Indo-Malesian, few Australia.
Evolution. Divergence & Distribution. Horne (2009) provides phylogenetic optimisations for a number of characters in the family, and Dickison et al. (1978) look at vascular evolution in the large genus Hibbertia, albeit not in a phylogenetic context.p>
Pollination Biology & Seed Dispersal. Buzz pollination is likely to be common in Dilleniaceae (Endress 1997b).
The dispersal unit is generally the seed, which may be arillate and then endozoochorous (Dillenia), or myrmecochorous, as in most of the rest of the family (Lengyel et al. 2009, 2010).
Plant-Animal Interactions. Caterpillars of the tortricid Phricanthini moths are known only from Dilleniaceae (Powell et al. 1999).
Chemistry, Morphology, etc. There are often sclereids in the pith. Hibbertia is very variable vegetatively. Some species have very much reduced leaves and winged, photosynthetic stems; Rury and Dickison (1977) describe the diversity of leaf venation patterns in the genus.
Hibbertia is also variable florally: floral symmetry varies, and stamen number varies from one to well over 150. The monosymmetric flowers of Didesmandra aspera have two bundles of stamens on the functionally upper side of the flower, in each there is a single fertile stamen longer than the rest; the flower is drawn as if the plane of symmetry in horizontal (Stapf 1900); the monosymmetric flowers of Schumacheria have only a single staminal bundle in which all stamens are about the same lengths.
See Kubitzki (1971), Horn (2006, 2009) and Dickison (1971b and references) for general information, Dickison (1969) for nodal anatomy, which is diverse, Paetow (1931), Sastri (1958) and Swamy and Periasamy (1955) for floral morphology, embryology, etc., and Tucker and Bernhardt (2000) for floral development in Hibbertia.
Phylogeny. For relationships, I follow Horn (2002, 2009); support for major relationships in the family is strong, Hibbertia is paraphyletic, Pachynema being embedded in it, while the status of Acrotrema (Dillenioideae) is unclear.
Classification. See Horn (2009).
Synonymy: Delimaceae Martius, Hibbertiaceae J. Agardh, Soramiaceae Martynov


text:
I recently cooked spare ribs by poaching/boiling them first, then roasting them in the oven. As such, I'm left with a couple of liters of very savory pork stock. The stock is good, but also way too savory to use in risotto or soup.
Should I simply throw it away or is there some recipe that I could use it in?

subset: commoncrawl


text:
Arthur Christmas
"Arthur Christmas" at last reveals the incredible, never-before seen answer to every child's question: 'So how does Santa deliver all those presents in one night?' The answer: Santa's exhilarating, ultra-high-tech operation hidden beneath the North Pole. But at the heart of the film is a story with the ingredients of a Christmas classic - a family in a state of comic dysfunction and an unlikely hero, Arthur, with an urgent mission that must be completed before Christmas morning dawns.
Cast: James McAvoy, Bill Nighy, Jim Broadbent
Produced by: Carla Shelley
Directed by: Barry Cook, Sarah Smith
Written by: Peter Baynham, Sarah Smith
Running time: 1hr 37min
Opens: Nov 23, 2011 Nationwide
|Theaters for Today
Pick a day
on this day.


text:
Grand Ole Opry star Josh Turner is among the artists set to play the 3rd annual "Stars Go Blue" colon cancer benefit show on Wednesday, March 16 at 7 p.m. at the Country Music Hall of Fame and Museum's Ford Theater.
The theme for this year's show is couples in country music, thus Turner will appear with his wife and band member, Jennifer Turner, along with Grammy-winning singer Linda Davis and her singing, songwriting husband, Lang Scott. "Stars Go Blue" creator Charlie Kelley, a Grammy-nominated musician and a colon cancer survivor, will appear with his wife, GAC personality Nan Kelley.
Tickets for the show are $100 per person, and include the concert, a VIP cocktail reception and an auction.
Over the past two years, musicians including Vince Gill, Amy Grant, Hal Ketchum, Jamie O'Neal, Rodney Crowell, Mike Snider and Wade Hayes have performed at the event, raising more than $30,000.
For tickets or other information, visit www.thestarsgoblue.com.


text:
29 CFR 22.6 - Prerequisites for issuing a complaint.
(a) The reviewing official may issue a complaint under § 22.7 only if—
(1) The Department of Justice approves the issuance of a complaint in a written statement described in 31 U.S.C. 3803(b)(1), and
(2) In the case of allegations of liability under § 22.3(a) with respect to a claim, the reviewing official determines that, with respect to such claim or a group of related claims submitted at the same time such claim is submitted (as defined in paragraph (b) of this section), the amount of money or the value of property or services demanded or requested in violation of § 22.3(a) does not exceed $150,000.
(b) For the purposes of this section, a related group of claims submitted at the same time shall include only those claims arising from the same transaction (e.g., grant, loan, application, or contract) that are submitted simultaneously as part of a single request, demand, or submission.
Title 29 published on 2013-07-01.
No entries appear in the Federal Register after this date, for 29 CFR Part 22.


text:
Historic Centre of Guimarães
Historic Centre of Guimarães
The historic town of Guimarães is associated with the emergence of the Portuguese national identity in the 12th century. An exceptionally well-preserved and authentic example of the evolution of a medieval settlement into a modern town, its rich building typology exemplifies the specific development of Portuguese architecture from the 15th to 19th century through the consistent use of traditional building materials and techniques.
Centre historique de Guimarães
La ville historique de Guimarães est associée à la formation de l'identité nationale portugaise au XIIe siècle. Exemple extrêmement bien préservé et authentique de la transformation d'une ville médiévale en ville moderne, elle a conservé une riche typologie de bâtiments qui témoigne de l'évolution spécifique portugaise, du XVe siècle au XIXe siècle, en continuant d'employer des matériaux et des techniques de construction traditionnels.
وسط غيماراييس التاريخي
ترتبط مدينة غيماراييس التاريخية بتبلور الهوية الوطنية البرتغالية في القرن الثاني عشر وتشكل مثالاً سليماً وحقيقياً على تحول مدينة من القرون الوسطى الى مدينة حديثة. وقد أبقت على تشكيلة غنية من الأبنية المختلفة الأنماط الشاهدة على تطور البرتغال من القرن الخامس عشر ولغاية القرن التاسع عشر، مع مواصلة استعمالها مواد البناء والتقنيات التقليدية.
source: UNESCO/ERI
source: UNESCO/ERI
Исторический центр города Гимарайнш
Исторический город Гимарайнш ассоциируется со становлением в XII в. португальского национального самосознания. Это исключительно хорошо сохранившийся подлинный пример эволюции средневекового поселения в современный город. Разнообразие типов его зданий раскрывает специфику развития португальской архитектуры в период XV-XIX вв., когда использовались традиционные строительные материалы и методы.
source: UNESCO/ERI
Centro histórico de Guimaraes
Vinculada al nacimiento de la identidad nacional portuguesa en el siglo XII, Guimaraes es un ejemplo excepcional de transformación de una población medieval en ciudad moderna. Esta ciudad ha conservado con autenticidad y en buen estado una serie muy variada de edificios ilustrativos de la evolución específica de la arquitectura portuguesa entre los siglos XV y XIX, caracterizada por el uso sistemático de materiales y técnicas de construcción tradicionales.
source: UNESCO/ERI
source: NFUAJ
Historisch centrum van Guimarães
Guimarães ligt aan de belangrijkste middeleeuwse verbindingsroute die Monçao en Braga met Viseu en Caminha verbindt. De stad domineert de vruchtbare vlakte die zich uitstrekt in de richting van de zee. De historische binnenstad is gerelateerd aan de opkomst van de Portugese nationale identiteit in de 12e eeuw. Het is een uitzonderlijk goed bewaard gebleven en authentiek voorbeeld van de ontwikkeling van een middeleeuwse nederzetting tot een moderne stad. De grote hoeveelheid bouwtypes in Guimarães toont de specifieke ontwikkeling van de Portugese architectuur tussen de 15e en de 19e eeuw, mogelijk gemaakt door het consequente gebruik van traditionele bouwmaterialen en technieken.
Source: unesco.nl
Justification for Inscription
Criterion (ii): Guimarães is of considerable universal significance by virtue of the fact that specialized building techniques developed there in the Middle Ages were transmitted to Portuguese colonies in Africa and the New World, becoming their characteristic feature.
Criterion (iii): The early history of Guimarães is closely associated with the establishment of Portuguese national identity and the Portuguese language in the 12th century.
Criterion (iv): An exceptionally well preserved town, Guimarães illustrates the evolution of particular building types from the medieval settlement to the present-day city, and particularly in the 15th–19th centuries.
Long Description
The early history of Guimarães is closely associated with the establishment of Portuguese national identity and the Portuguese language in the 12th century. Guimarães is of considerable significance by virtue of the fact that specialized building techniques developed there in the Middle Ages were transmitted to Portuguese colonies in Africa and the New World, becoming their characteristic feature. It is an exceptionally well-preserved town illustrating the evolution of particular building types from the medieval settlement to the present-day city, and particularly in the 15th-19th centuries.
Guimarães dominates the fertile plain that extends towards the sea. It is situated on the most important medieval communication routes connecting Monçao and Braga with Viseu and Caminha, the seat of the Portuguese Counts from the 10th century. This urban settlement developed as a result of two forces, a monastery in the south valley, and a fort on the north hill, surrounded by two rivers, until they were brought together within a single enclosure.
The historic centre is formed by a large number of stone constructions (950-1498). The period from Renaissance to neoclassicism is characterized by noble houses and the development of civic facilities, city squares, etc. The eclectic and industrial periods and modern expansion (1926 until today) include some changes, although the town has maintained its medieval urban layout. The systems and building types have evolved over time. The residential buildings are characterized by the use of two construction techniques, one dating from before the 16th century (taipa de rodízio ), a half-timbered structure, which mixed granite with a structure in timber and a filling of sun-dried brick, using clay mortar. The other (taipa de fasquio ), which came into use in the 19th century and is still practised today, was entirely in timber. From here this technology was exported to other parts of the world.
The monuments include the medieval castle, built on the site of the first fort of the 10th century. The present construction was built from stone, begun at the time of Afonso I and continued with various modifications in the following centuries. The building is an austere crenellated structure with towers, designed for defence. Part of it was demolished in the 18th century and since then it has been subject to restorations. Close to the castle, there is a small Romanesque church, São Miguel do Castelo, ruined in the 19th century and restored in the 1920s. The church of Nossa Senhora da Oliveira was founded in the 12th century on the site where the first monastery had existed some three centuries earlier. It was completely renovated from 1387 to 1413, with three naves and a wooden roof structure, according to the Portuguese Gothic model. The cloister was added in the 16th century and the present sanctuary to the church in the 17th.
The Palace of the Dukes of Bragança is a large complex built from stone down the hill from the castle. The first construction dates from 1420-22, most probably under French influence. The building was conceived as a symbol of the pride of the Bragança family. The building underwent various vicissitudes, serving as a military headquarters in the late 19th century. The Town Hall, in the square in front of the church of Nossa Senhora, dates mainly from the 16th and 17th centuries. The palace, primarily in stone, has one main floor with large doors opening to a balcony along the main facade. The ground floor is characterized by open arcades. In the same square, in front of the church, there is also a 14th-century Gothic arch, a monument commemorating the victory of Dom Afonso IV in the battle of Padrão do Salado.
The bourgeois houses of the 16th century have a ground floor in granite and the upper floors are built using the half-timbered structure of taipa de rodízio . The houses of noble families have often been an modification of a previous structure, and generally have their elevations built from granite as a sign of distinction. The typical houses of the 17th century continued using the same construction technique (granite in the ground floor and half-timbered structure in the upper floors - usually three). Another type of house of the same century was built with a peristyle and arcaded ground floor, and is usually found in public squares.Source: UNESCO/CLT/WHC
Historical Description
Guimarães was situated on the most important early medieval route of communication connecting Monçao and Braga with Viseu and Caminha, the seat of the Portuguese (Portucalense) Counts from the 10th century. This urban settlement developed as a result of two forces, a monastery and a fort, one in the valley, the other on the hill, surrounded by two rivers. The town thus dominated the fertile plain that extended towards the sea. The two focal points continued growing in parallel until they were brought together within a single enclosure in the 13th and 14th centuries.
The early history of Guimarães is closely associated with the forming of the national identity and the language of Portugal, being associated with the early Portuguese sovereigns. The region was given as a feudal property to the family that created the country in the 12th century. In 1139 Count Dom Afonso Henriques declared the independence of Portugal from León and took the name of Afonso I as the first king of the new kingdom. Because of the association of the family with the region, the monastery of Guimarães was transformed into a royal college, thus obtaining a primary institutional role in the country. It also became a pilgrimage place on the route of Santiago de Compostela because of an image of the Madonna that was considered to be miraculous.
In the 15th and 16th centuries, the Bourg developed a variety of activities, including the manufacture of cutlery and jewellery, the treatment of leather, and marketing of the goods. The production reinforced the position of Guimarães on the route between the coast and the inland. The establishment of Dominican and Franciscan orders outside the walls of the Bourg contributed to the beginning of urbanization extra muros, including an area for the treatment of leather close to the river Couros. The economic and social status of the town was recognized in the new charter granted by Dom Manuel in 1517.
The 18th century was a period of intensive construction activity, particularly marked by noble residences. It was also the period of the first urban master plan, though most of the implementation took place in the first half of the 19th century. There were also new access roads, which came to modify the medieval situation, establishing the basis for the present-day layout in the region. The medieval defence walls and gates, which had already lost their function in the 16th century, were gradually demolished starting from the 17th to 19th centuries.
In the 20th century the town expanded at an increasing speed owing to industrial development. In the 1980s the municipality recognized the importance of the historic centre of the town, establishing a technical office responsible for the strategies of conservation and rehabilitation.Source: Advisory Body Evaluation
Activities (1)
News (3)
- Network of World Heritage Sites in Portugal created Friday, August 1, 2014
- Director-General visits four UNESCO World Heritage Sites in northern Portugal Friday, June 5, 2009
- World Heritage Committee Inscribes 31 New Sites on the World Heritage List Thursday, December 13, 2001


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Mick Flannery (born 28 November 1983) is an Irish singer-songwriter from Blarney, County Cork. His debut album Evening Train resulted from his time spent studying music and management at Coláiste Stiofáin Naofa in Cork. It featured tracks which had previously won Flannery two categories at the International Songwriting Competition in Nashville, Tennessee, as judged by his idol, Tom Waits. He was the first Irish musician to win in this event. Flannery's second studio album White Lies was released on 12 September 2008, achieving a top ten position on the Irish Albums Chart. It later went platinum and was nominated for the Choice Music Prize. The Irish Times placed him at number forty-six in a list of "The 50 Best Irish Acts Right Now" published in April 2009. Also that year Flannery won Best Irish Male at the 2009 Meteor Awards. Influences include Kurt Cobain, Leonard Cohen and Bob Dylan.
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text:
The Lotus Piccadily flagship store is at 52 Regent Street in the heart of London's Piccadilly. Lotus takes pride of place to showcase its iconic brand in a new and accessible way.
LOTUS Piccadily arrived in the capital at a massively exciting time for the UK and everything British. The nation being in full-patriotic-swing during the year of both the Olympics and the Queen's Diamond Jubilee, this was the perfect time for Lotus to demonstrate how it's legendary British brand, one steeped in heritage and international reverence, deserved a place in the buzzing 2012 summer calendar.
Situated in London's Piccadilly, the Grade II listed 4,800 sq ft space, which was previously the 'Café Royal', is host to a diverse collection of luxury apparel, luggage, gifts, toys, and limited edition collectables - this is a store for the fashion conscious and style orientated, not purely a shrine for Lotus fans. Nevertheless, those with a passion for F1 will be able to lose themselves in the emporium, whilst those that are more concerned with quality fashion will be delighted with the beautiful lines that are perhaps more affordable than the dream sportscar!
The development of the LOTUS Piccadily retail concept has been rapid. Since its launch in September 2010 the offering has gone from online sales only to small shops in Monaco and China carrying small lines of key pieces to now a flagship store in the heart of London! The London store is the next step in a fully integrated, international approach for non-car Lotus products. The concept of the store embodies style and heritage in a 'Best of British' way that provides enthusiasts and fashionistas with a new Lotus experience.
How to find:
52 Regent Street
United Kingdom
Tel: +44 (0)207 0427342
|Monday - Wednesday
|10.00 am
|19.00 pm
|10.00 am
|20.00 pm
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- Red Bull USA - Sports & Entertainment News | Teams & Athletes
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Spring Breaks Starts Off with a Clash Mar 14, 2011
The Las Vegas strip along with 6,000 music fans were treated to a Red Bull Soundclash, featuring Cee Lo Green and The Ting Tings.
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Art vs daily responsibilities
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Topic: Art vs daily responsibilities (Read 5761 times)
Jr. Member
Posts: 87
1:1-8 / 19-84
Art vs daily responsibilities
December 12, 2012, 03:40:25 PM »
How do you guys manage the balance between dayjobs and daily chores, money, you know, the "race" versus creating art, being free in mind and relaxed to create.
I often find myself thinking about monatery side of things and I'm 99,9% it blocks my creative side. For instance - I know a great great place where I can shoot really nice vista (and who knows what else, I don't want to limit myself to shooting land...) but then I start thinking in math (trip will cost me X amount of $, I will lose entire afternoon) and then I do - nothing.
Anyone with good advice how to deal with these troubles?
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Jr. Member
Posts: 59
Re: Art vs daily responsibilities
Reply #1 on:
December 12, 2012, 04:28:04 PM »
All I would say is, would you like to look back on your life in 20 years time and realize all you have done is work?
personally I find that making the effort to go out for a day puts me in a much better mood when I'm back at work and makes it more bearable.
good luck.
Eric Myrvaagnes
Sr. Member
Posts: 9378
Re: Art vs daily responsibilities
Reply #2 on:
December 12, 2012, 11:21:27 PM »
I kept my "day job" (as a professor of math and computer science) for 35 years before retiring. For the past six years, since I retired, I've been able to pursue my artistic enterprises (photography and music -- flute in a klezmer band) wholeheartedly, and I'm having a great time. Enough people like my work so I get a fair number of exhibits, but not many people are actually willing to spend money buying prints. No matter. I photograph for myself and not for any client. My savings are likely to keep me going for quite some time (at a modest rate of expenditure).
For the 35 years that I was gainfully employed, it always felt as if I were stealing something when I took time out from my busy life to photograph. No more.
For those who have the choice (and I know it's mot everyone), I strongly recommend retirement!
Eric M.
-Eric Myrvaagnes
Visit my website. New images each season.
David Sutton
Sr. Member
Posts: 957
Re: Art vs daily responsibilities
Reply #3 on:
December 13, 2012, 12:45:54 AM »
Hello Tom.
Of course doing the math will block your creative side. That's inevitable, isn't it? I'm currently mulling over a rant on how we can either be in control of our workflow or we can do art, but not both. One variant of this is that as soon as you focus on the arithmetic your creative side walks out the door. Mind or heart. Taking risks or living in regret. Being in the outdoors or sitting on your bum.
If you don't like that approach, here's another way to think about it. Say you have spent $500 and several days on purchasing your camera gear. Are you then going to fret over $50 in petrol and an afternoon?
Half my life ago at age 30 I was in a sales job I didn't enjoy and decided to learn classical guitar. How to work all day and have time to practice? Well I identified the television as my biggest time waster based on the fact that I couldn't recall anything I'd seen the previous week. Once I'd put an axe through the appliance it became possible to work, get the chores done and study too. YMMV. It was quite revealing that once I started paying attention to my intuition doors started opening. After being a music teacher for over twenty-five years I don't regret a moment. Unlike Eric I have no retirement plans but I do recommend doing what you enjoy while you can.
If you would like some motivation have a look at this article from TOP:
Cheers, David
David Sutton
Jim Pascoe
Sr. Member
Posts: 905
Re: Art vs daily responsibilities
Reply #4 on:
December 13, 2012, 03:21:51 AM »
There is plenty of time for doing everything really, as long as you don't waste too much time doing nothing (like being on sites like this). Is it not true that a lot of 'art' is produced by the most troubled souls in the most trying of circumstances. For a young person there must be very few who can spend their time not having to think about money and survival - that is the nature of life. But then I combine my love of photography with work, and get paid for doing it. If I want to be creative I can usually mix that into whatever job I happen to be shooting. Shoot the standard stuff first, and then the more creative pictures to suit my mood.
For instance two days ago we were photographing a local choir, and then on the way home my wife suddenly noticed some interesting light as we were driving through the Forest. I swerved off into a lay-by and we then spent half an hour getting wet and cold photographing some trees. Then back home to download and edit the choir pictures. I have attached two pictures from the morning. In relation to your question though - remember I don't claim to be producing art - just pictures I enjoy shooting.
I would never presume that there are people out there that are prepared to pay me to take pictures just for my own pleasure. Do what you have to do for the money, then shoot the pictures you want for your own satisfaction.
Last Edit: December 13, 2012, 03:24:54 AM by Jim Pascoe
Jr. Member
Posts: 87
1:1-8 / 19-84
Re: Art vs daily responsibilities
Reply #5 on:
December 13, 2012, 07:49:11 AM »
Thanks for the insightful advices.
I didn't mean to use the word "art" in a pretentious way, just wanted to point to creativity and expressing one self...I believe one can create when his mind is clear......and I have a hard time clearing my mind while thinking how to make more $, how to make everything I want happen now instead of later, basically the typical crossroads on materialistic and spiritual ways
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Re: Art vs daily responsibilities
Reply #6 on:
December 13, 2012, 01:01:59 PM »
Tom - I have three different jobs to make ends meet (mostly self-employed) so I sympathise with your dilemma. I often feel stymied by lack of time to pursue my creative urges (pottery and photography). The pottery demands chunks of time and has to wait for the weekend or a rare free day. But I take 95% of my photos within a mile or five (often a walk) from my house - so that makes a quick foray possible.
It isn't always necessary to plan a grand trip to find opportunities; in fact, concentrating on the local can force you to be more creative with what you have - I have recently taken to exploring intentional camera movement as a way of making the ordinary special for instance. YMMV of course - but can you find inspiration outside you back yard perhaps?
Sr. Member
Posts: 1377
Re: Art vs daily responsibilities
Reply #7 on:
December 13, 2012, 02:13:25 PM »
I am a full-time attorney, and between work and family demands there is little time left just for me. No longer do I have the luxury of roaming the city for hours with my camera as I did in my 30s when I was getting by on (at different times) part time jobs or a part time photo studio. So I have to look for interstitial time gaps. I almost always have my camera on the seat next to me in the car and am looking opportunities at each stop light (a technique that will teach you how to work really fast, I might add). After a court appearance downtown, I will take the time to walk around for an hour with the camera. It's enough to keep my creative juices flowing, though I would love to be retired and have an abundance of time for it.
Recent photographs:
Rob C
Sr. Member
Posts: 12312
Re: Art vs daily responsibilities
Reply #8 on:
December 13, 2012, 05:34:32 PM »
Been a while, but here's a sixpence:
Ah, time.
But the trouble is, it isnt really about time at all: its entirely about our own souls and money.
Money allows a certain freedom of operation, but it doesnt offer the incentive to do the Nike thing. In fact, if anything, I suspect that it does quite the opposite in that it removes any sense of urgency or of priorities determined. When you can do anything you like because you have both time and enough money, you might actually find yourself asking yourself what the hells really worth the doing. Thats why so many yachts never leave home waters: been there, done that, so why do it all again? Ive asked the question, been given that answer.
If anything, I discovered in my youth that not having a lot of money to spend made a positive difference in that it provided urgency and motivation to make-do in ways such as designing my own flash umbrella system, which consisted of a large gents umbrella painted many coats of white. To an accessory shoe screwed onto the shaft was connected a portable flash units head, and to another part of the shaft a bare, domestic 150w bulb modelling light. That little combo paved my way into fashion and onwards. When I could, I threw it away (the home-made brolly) and bought monoblocs. The rest, in my little world, is history. So, striving does help. And thats how it was for the rest of my career a constant process of finding work to satisfy the habit, the craving to make images of pretty girls. I lived in Glasgow; I could have made more money much more easily shooting whisky bottles every week, but that wasnt what photography was about, for me. It didnt seem worth the time, doing anything else.
Now, reluctantly retired, the urge is still strong but the support system for the craving has long departed. Companies have crashed; some have changed hands and along with that, top management; political correctness and the power of the Ugly Sisters has crushed the joy (or courage?) out of some companies and I look upon a world that has changed. Where there was glamour there is only porn; porn was ever with us, but now its the only game in town and I still dont want to play.
Landscape photography seems to be the burning quest of many (not surprisingly) on this forum, and folks obsess about what may be the right equipment to use, how to process and on and on. Why dont people into the genre grasp the fact that it doesnt much matter: if the joy is in creation, surely, then, that should come from simply being there and waiting and capturing what God offers the ready mind? Whether thats really creative or not is a mosquito bite that Ive scratched before, and its really up to the individual to decide for himself: what others think shouldnt matter a damn. In fact, if coming up with the best rendition of the scene is the objective, rather than simply being present as witness, Id suggest one go to large format transparency and stop right there. Scrap the bloody printers and computers and save all that precious time and energy spent fretting over it all. Instead, buy a great lightbox because nothing else will come close.
So maybe one has to decide: is it photography
per se
thats the buzz, or rather, playing with computers that brings the rush? I have an HP B9180 sitting behind me on the bench as I write; it is constantly plugged into the power system and occasionally makes its presence audibly known. It needs a new ink, a yellow, as it happens, and has been blinking its demand at me for weeks. I ignore it. I have come to the conclusion that printing pictures without a real, professionally driven market is a monumental waste of time, money and energy, frustration the only payback. For me, art or creativity is in the moment of the shutters click and all that one does leading up to it. After that, it hardly matters. Ask the spirit of Winogrand if you dont believe me. If the love is for the cameras, be like the Japanese collectors and keep em in their pretty, original box in a safe. You can bring them out now and again and have a thrill. The cameras, not the collectors.
Does that mean that I recommend travelling around without a camera and just making mental pictures? Not quite: theres something absolutely divine (for me) in the art of focussing (when I still can) and particularly with long lenses where the sense of depth in the change of planes is something magical, almost tangible. The camera is essential its the cool crystal glass cuddling your champagne.
Live for today? Not quite that, either. Do what you can that you want to do today, but certainly put off what you dont want to do and can avoid because, should your tomorrow not arrive, think of the pointless bother youve saved yourself.
Photography seems really to be quite sharply divided between the mindsets of amateur and pro. The am. appears to want to have all the fancy gear he can or cant afford, whereas the relatively few pros that Ive known would rather own the best but only as little as they actually need to buy. Equipment isnt the buzz. (But then its difficult to express a definitive view on this, because pros come in many colours: theres the guy who took up photography because he failed at everything else; theres the guy who thought it would be a great way to make pots of dough; the chap over there thought it would raise his sex life whilst that other guy in the corner just did it because his Dad had the studio before him and it seemed safely obvious to follow on shooting babies, pets, passports and brides... and he probably sucked at school. Then theres the other poor guy who just had no say: he couldnt change his mental spots and simply found that he had to live with photography or die.)
I find that I keep harking back to the old Terence Donovan quotation that, roughly, states that the greatest problem facing the amateur is finding a reason to make a photograph. Unspoken, of course, is that the pro never faces this because he always has a reason; he faces the flip side of the coin, the problem of finding the steady stream of customers. Unless he shoots stock right.
Digital prints can seem an odd end to the creative process if, indeed it is even a part of it. Like myself, you might choose to hang a few of your own on your walls, you might even get the odd request from someone else. But, unless people want to buy what you produce, why produce? At the end of the day, actually selling an art print, a fashion shoot or even a calendar is the only validation youre going to get: sweet words are cruelly inexpensive to offer and until somebody is willing to part with lots of their money in exchange for your product (which photography most certainly is) you have no external validation of what you are doing. Your own opinions pretty worthless on that score; you even change your mind about your own stuff over time. If
cant stay convinced
Reading about the lives of past greats seems to send mixed signals: on the one hand you find those who enjoyed the whole trip and, on the other, others who looked upon it as a sort of fiscal obligation, a kind of distraction from something else better, the photography but something from which they took nurture but didnt really value that much. As examples of the two types, Id quote Jean Loup Sieff as the former and HC-B might fit the shoes of the latter. I cant even remember HC-B ever calling his photography art, but then I dont think Sieff ever did either. Haskins
he was an artist; the very idea of not being able to continue took him out. They were all just very, very good at it. Where do we, the rest, fit?
But returning to the relativity of time, its true that a young person sees it as without limit whereas an older chap thinks of the accelerating speed with which it flees. In the case of youth theres the temptation to postpone; for the old, theres the temptation to say why bother when its all too late to matter a damn.
But isnt that the nature of the life of man: si jeunesse savait et vieillesse pouvait?
Rob C
Last Edit: December 13, 2012, 05:41:06 PM by Rob C
Tony Jay
Sr. Member
Posts: 2328
Re: Art vs daily responsibilities
Reply #9 on:
December 13, 2012, 07:23:43 PM »
Slightly off topic but welcome back Rob!
Tony Jay
Sr. Member
Posts: 392
Re: Art vs daily responsibilities
Reply #10 on:
December 13, 2012, 08:58:46 PM »
Quote from: Tony Jay on December 13, 2012, 07:23:43 PM
Slightly off topic but welcome back Rob!
Tony Jay
I agree, welcome back.
Eric Myrvaagnes
Sr. Member
Posts: 9378
Re: Art vs daily responsibilities
Reply #11 on:
December 14, 2012, 12:20:17 AM »
Indeed, welcome back, Rob. We've missed you.
-Eric Myrvaagnes
Visit my website. New images each season.
David Sutton
Sr. Member
Posts: 957
Re: Art vs daily responsibilities
Reply #12 on:
December 14, 2012, 01:50:50 AM »
Off topic be damned.
Nice to read your input again Rob.
David Sutton
Jr. Member
Posts: 87
1:1-8 / 19-84
Re: Art vs daily responsibilities
Reply #13 on:
December 14, 2012, 02:05:46 PM »
Rob, that was a really great reply to my thread...thanks.
If someone would ask me why I shoot, well I would say it's because I talk a lot. And I find it very interesting trying to come up with a photo or a movie that talks just as much as I do.
I'm often critical of my work, I despise it as soon as it gets uploaded online, but I do see progress in my work when I look back on my photos from 5 yrs ago.
Maybe the materialistic world around me puts pressure on me, maybe the fact that the camera I have and the car that I drive cost the same, but I need to stop thinking and start creating...
The things is, I'm aware that people who truly pursue their dreams get close to them. If you have a vision, no matter what that vision is, and you march towards it, eventually you'll get somewhere near. Some come closer than others, some need far less time than others, but that's just life. It would be pretty boring if we had it all too easy, right?
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Sr. Member
Posts: 4561
Re: Art vs daily responsibilities
Reply #14 on:
December 14, 2012, 02:29:59 PM »
Quote from: Eric Myrvaagnes on December 14, 2012, 12:20:17 AM
Indeed, welcome back, Rob. We've missed you.
Agreed. There was a lot of pent-up finger work waiting to be let out, I see.
Rob C
Sr. Member
Posts: 12312
Re: Art vs daily responsibilities
Reply #15 on:
December 14, 2012, 03:14:36 PM »
Hi Folks, and thanks for the kind welcome.
I was almost out of the loop again just now because the system refused to accept my password. However, it now has, and let's see how long I stay visible. Well, in a manner of speaking, that is.
Pent up finger-work, Jeremy? Yes, but not exactly in the manner you obviously meant: I took advantage of time out to reorganize a lot of my transparency files... scanning selected ones had muddled them up, somewhat, and then on attempting to put them back in their proper sheets, I realised that I'd created fresh ones when I was sending a selection off to a new stock agency years ago. As a result, I discovered I had several Sheet 1s, Sheet 2s etc.... which was bloody which, was the question. I still don't really know, but have given up the struggle.
Anyway, I felt this was a pretty important and relevant thread, the substance of which probably cuts across most of our photographic lives at some time and certainly has mine. So I posted. Guess I must learn to be economical with words. But old dogs have problems with new tricks.
Rob C
Eric Myrvaagnes
Sr. Member
Posts: 9378
Re: Art vs daily responsibilities
Reply #16 on:
December 14, 2012, 06:25:14 PM »
It sounds to me as if you've been using my own patented filing and organizational system, in which there must be multiple files with the same name (but with different content), and multiple files with distinct names (but identical content.)
It's a wonder I can ever find anything.
-Eric Myrvaagnes
Visit my website. New images each season.
Rob C
Sr. Member
Posts: 12312
Re: Art vs daily responsibilities
Reply #17 on:
December 15, 2012, 04:02:22 AM »
Quote from: Eric Myrvaagnes on December 14, 2012, 06:25:14 PM
It sounds to me as if you've been using my own patented filing and organizational system, in which there must be multiple files with the same name (but with different content), and multiple files with distinct names (but identical content.)
It's a wonder I can ever find anything.
How on Earth did you manage to know this?
Theres a large (for me) register in which I have a numerical list of all the professionally shot/retained pictures since mid- 81. That runs, logically (again for me), from number 1 onwards. Stuff from years 66 to early 81 lives in another old register which is now a worn old tombstone to all my lost, destroyed or sold-off-to-clients original negs and trannies.
Thats all fine and good, but the difficulty started when I tried to get the post 81 material sorted into some form of logically gathered sets; girls with girls, for example, and Mallorca with Mallorca. It seems so damned obvious. Difficulty started when it became a question of sorting girls in Mallorca from girls in the Bahamas, especially if the same girls. And that doesnt make it convenient when you are storing physical things. I often wondered how my old stock agency Tony Stone Worldwide managed to keep it all working so well - not only originals from 35mm upwards, but 4x5 dupes of selected ones too, all in their hundreds of thousands. And in different sub-offices/affiliates around the globe.
Thats one area where a large hard drive and computers facilitate life: you can put the same shot so easily into so many different boxes! Nothing really exists until you need it to so do!
But, that ignores the value and blinding speed of the busy mind: when I was busy, I always knew exactly where everything was and my wife refused even to take a duster into the studio; wisely so, because anything hidden under the wrong piece of paper would have been her fault.
I still have an aversion to dusters, as a surprise visit to my place would reveal. But this may be temporary: someone told me that after the third or fourth year of dusting-free living, people can no longer tell the difference because the entire property assumes the look of purpose design
Rob C
Last Edit: December 15, 2012, 04:08:26 AM by Rob C
seamus finn
Sr. Member
Posts: 1017
Re: Art vs daily responsibilities
Reply #18 on:
December 15, 2012, 06:38:57 AM »
Rob - you're BACK! Whew, what a relief.
Seamus Finn
Rob C
Sr. Member
Posts: 12312
Re: Art vs daily responsibilities
Reply #19 on:
December 15, 2012, 04:58:17 PM »
Quote from: seamus finn on December 15, 2012, 06:38:57 AM
Rob - you're BACK! Whew, what a relief.
Flattery gets you everywhere; but you knew that!
Rob C
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date city state venue 10/16/2011 San Francisco CA Treasure Island
date city state venue 1/12/2010 Los Angeles CA The Fonda Theatre 1/17/2010 New York NY United Palace Theatre 1/18/2010 New York NY Webster Hall 1/19/2010 New York NY Bowery Ballroom 3/14/2010 Edmonton AB Edmonton Event Centre 3/15/2010 Calgary AB MacEwan Hall 3/18/2010 Salt Lake City UT In The Venue 3/19/2010 Denver CO Ogden Theatre 3/22/2010 Minneapolis MN First Avenue 3/23/2010 Milwaukee WI Riverside Theatre 3/25/2010 Chicago IL Riviera Theatre 3/26/2010 Chicago IL Riviera Theatre 3/27/2010 Knoxville TN Tennessee Theatre 3/29/2010 Columbus OH Lifestyle Communities Pavilion 3/30/2010 Toronto ON Sound Academy 4/1/2010 Boston MA Orpheum Theatre 4/2/2010 Philadelphia PA Electric Factory 4/3/2010 Washington DC DAR Constitution Hall 4/5/2010 Nashville TN Ryman Auditorium 4/6/2010 Asheville NC The Orange Peel 4/8/2010 Atlanta GA The Tabernacle 4/9/2010 New Orleans LA House of Blues New Orleans 4/10/2010 Austin TX Stubbs BBQ 4/11/2010 Dallas TX House of Blues Dallas 4/13/2010 Tempe AZ Marquee Theatre 4/14/2010 Pomona CA Fox Theater Pomona 4/19/2010 Oakland CA Fox Theater 4/20/2010 Oakland CA Fox Theater 8/27/2010 Vancouver BC Malkin Bowl 8/28/2010 Vancouver BC Malkin Bowl 8/29/2010 Redmond WA Marymoor Park 8/31/2010 Troutdale OR McMenamins Historic Edgefield Manor 9/1/2010 Eugene OR McDonald Theatre 9/3/2010 Morrison CO Red Rocks Amphitheatre 9/5/2010 Chicago IL Aragon Ballroom 9/6/2010 Bloomington IN Indiana University Auditorium 9/7/2010 Toronto ON Molson Canadian Amphitheatre 9/8/2010 Montreal QC Metropolis 9/10/2010 Rochester NY Main Street Armory 9/11/2010 Columbia MD Merriweather Post Pavilion 9/12/2010 Boston MA Blue Hills Bank Pavilion 9/15/2010 New York NY Radio City Music Hall 9/16/2010 New York NY Radio City Music Hall 9/17/2010 New York NY Radio City Music Hall 9/17/2010 New York NY Radio City Music Hall 9/17/2010 New York NY Radio City Music Hall 9/25/2010 Berkeley CA Greek Theatre - Berkeley 9/26/2010 Los Angeles CA Hollywood Bowl 9/28/2010 San Diego CA Soma 9/29/2010 Las Vegas NV Pearl Concert Theater at Palms Casino Resort 10/3/2010 St. Louis MO Chaifetz Arena 10/4/2010 Tulsa OK Brady Theater 10/6/2010 Dallas TX South Side Ballroom 10/7/2010 Houston TX Revention Music Center 10/8/2010 Austin TX Zilker Park 10/9/2010 New Orleans LA Mahalia Jackson Theater for the Performing Arts 10/11/2010 Orlando FL Hard Rock Live 10/12/2010 Saint Petersburg FL Jannus Live 10/13/2010 Miami Beach FL The Fillmore Miami Beach 10/14/2010 Saint Augustine FL St. Augustine Amphitheatre 10/17/2010 Raleigh NC Red Hat Amphitheater


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I'm putting together a trailer for my buddies airboat, and I have a question or two about tandem axles.
I need to know how far apart to set the spring hangers. I've done a couple of single axels before, but the tandem has me stumped. Eye-to-eye on the springs is 25 3/16", and eye-to-eye on the tandem coupler is 5 3/4".
Also is it "better" to have the springs set over the axle, or under? I guess the better question would be what are pro's and con's of either?
Thanks in advance for any help on this one. I know there are a couple of trailer guys on here, and some of the previous posts have helped a ton already on this project.
Results 1 to 4 of 4
Thread: Building a trailer....
09-03-2008, 08:10 PM #1Junior Member
- Join Date
- Jul 2008
- Posts
- 26
Building a trailer....
The big difference of over or under slung is the trailer height. Over slung will be higher with a small fender and under slung will be lower with a tall fender. Just put the side shakles for the rocker about a 60 degree angle. I will find you a picture..Bob
Look here: http://www.abctrailerparts.comBob Wright, Grandson of Tee Nee Boat Trailer Founder
Metal Master Fab Salem, Oh 44460
Birthplace of the Silver & Deming Drill
1999 MM185 w/185 Spoolgun,1986 Thunderbolt AC/DC
Spool Gun conversion. How To Do It. Below.
You need to find the center point of where you will be placing the axle and mount your equalizer hanger there, then simply measure 30 1/2" forward for your front spring hanger and 30 1/2" rearward for the rear hanger.
Axle placement is generally suggested at the 60% rearward position for a 15% tongue weight, but the center of gravity will be different with the motor on an airboat hanging behind the axles, you may have to play around a bit to find your preferred location to ride correctly. If you have a problem getting the proper axle location let me know and I'll tell you how to do it with a bath scale.
As Bob has already stated the only real difference in the springs being over or under the axle is about 4 1/2" height difference. In your case I would think you would be better off with the axle above to keep the trailer lower for easier loading and unloading. DaveIf necessity is the Mother of Invention, I must be the Father of Desperation!
John Blewett III 10-22-73 to 8-16-07
Another racing great gone but not to be forgotten.http://video.google.com/videoplay?do...modified&hl=en
09-04-2008, 07:44 PM #4Junior Member
- Join Date
- Jul 2008
- Posts
- 26
Thanks guys!


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Saturday, July 26, 2003JOHNSON CITY, Tenn. (July 24, 2003) - East Tennessee State head baseball coach Tony Skole announced Thursday that outfielder Richie Billings (Leesburg, Fla.) has committed to play for the Bucs beginning in the 2004 season. "We are extremely excited that Richie has decided to come to ETSU," said Skole. "He will truly exemplify what it is to be a student/athlete at this level. It is simply hard to find young men of higher quality than Richie Billings." Billings, a left-handed hitter, has started every game over that last two seasons at Lake-Sumter Community College in Leesburg, Fla. He hit over .300 for his career with the Lakers while scoring 82 runs. "Richie comes to ETSU from one of the top, well-coached junior colleges in the state of Florida," commented Skole. "He is a hard-nosed competitor who will bring a wealth of experience to our ball club. We anticipate Richie making a contribution right away." Billings is the eighth commitment that the Buccaneers have received for next season's recruiting class. He joins first baseman Ryan Spriggs (Crossville, Tenn.), third baseman Greg Roberts (Douglas, Ga.), infielder Josiah Glafenhein (Corryton, Tenn.), right-handed pitcher/outfielder Caleb Glafenhein (Corryton, Tenn.), right-handed pitcher/outfielder Stephen Douglas (Kennesaw, Ga.), outfielder Matt Haynes and pitcher Brandon Summey (Kingsport, Tenn.).
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