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This is a colour album of London Buses concentrating mainly on the 1970s which was the first decade since London Transport's inception in 1933 to feature a large number of buses on London streets which were not painted in the mainly all-red (or in a few c
Using photographs from Jim Blake's extensive archives, this book examines the turbulent period in the history of London's buses immediately after London Transport lost its Country Buses and Green Line Coaches to the recently-formed National Bus Company, under their new subsidiary company, London Country Bus Services Ltd.The new entity inherited a largely elderly fleet of buses from London Transport, notably almost 500 RT-class AEC Regent double-deckers, of which replacement was already under way in the shape of new AEC MB and SM class Swift single-deckers.London Transport itself was in the throes of replacing a much larger fleet of these. At the time of the split, it was already apparent that the 36ft-long MB class single-deckers were not suitable for London conditions, particularly in negotiating suburban streets cluttered with cars, and were also mechanically unreliable. The shorter SM class superseded them but they were equally unreliable. January 1971 saw the appearance of London Transport's first purpose-built one-man operated double-decker, the DMS class. All manner of problems plagued these, too.Both operators were also plagued with a shortage of spare parts for their vehicles, made worse by the three-day week imposed by the Heath regime in 1973-4. London Transport and London Country were still closely related, with the latter's buses continuing to be overhauled at LT's Aldenham Works. Such were the problems with the MB, SM, and DMS types that LT not only had to resurrect elderly RTs to keep services going, but even repurchased some from London Country! In turn, the latter operator hired a number of MB-types from LT, now abandoned as useless, from 1974 onwards in an effort to cover their own vehicle shortages. Things looked bleak for both operators in the mid-1970s.This book contains a variety of interesting and often unusual photographs illustrating all of this, most of which have never been published before.
A terrific range of previously unpublished images of East London buses, including Routemasters, during the 1970s-1980s.
The 1970s were among London Transports most troubled years. Prohibited from designing its own buses for the gruelling conditions of the capital, LT was compelled to embark upon mass orders for the broadly standard products of national manufacturers, which for one reason or another proved to be disastrous failures in the capital and were disposed of prematurely at a great loss. Despite a continuing spares shortage combined with industrial action, the old organisation kept going somehow, with the venerable RT and Routemaster families still at the forefront of operations.At the same time, the green buses of the Country Area were taken over by the National Bus Company as London Country Bus Services. Little by little, and not without problems of their own, the mostly elderly but standard inherited buses gave way to a variety of diverted orders, some successful others far from so, until by the end of the decade we could see a mostly NBC-standard fleet of one-man-operated buses in corporate leaf green.
An all-colour illustrated book that tells the story of the buses that served Britain between 1950 and 1986.
Bread and circuses-free food and mass entertainment-was the name contemporary social observers gave to the ancient Roman practice of keeping the common people happy and rebellion-free. Jonathan Glancey, in this personal and passionate essay about the city he loves, suggests that the same unformulated policy is the means by which modern London's citizens are kept as apolitical and passively pleasure-loving as possible. But shops, restaurants and a few gorgeous buildings are, he maintains, a poor substitute for a creaking infrastructure, and London's cachet as a boisterously creative but well-run city will plummet if private vice is allowed to triumph over public virtue.
With rare and previously unpublished images of the mainland national bus company fleets around Wessex.
Stephen Dowle offers up a terrific selection of previously unpublished photographs documenting the British bus and coach scene of the late 1970s.
The key aim of this volume is to demonstrate ways in which an understanding of history can be used to inform present-day transport and mobility policies. This is not to say that history repeats itself, or that every contemporary transport dilemma has an historical counterpart: rather, the contributors to this book argue that in many contexts of transport planning a better understanding of the context and consequences of past decisions and processes could lead to more effective policy decisions. Collectively the authors explore the ways in which the methods and approaches of historical research may be applied to contemporary transport and policy issues across a wide range of transport modes and contexts. By linking two bodies of academic research that for the most part remain separate this volume helps to inform current transport and mobility policies and to stimulate innovative new research that links studies of both past and present mobilities.
British films of the 1960s are undervalued. Their search for realism has often been dismissed as drabness and their more frivolous efforts can now appear just empty-headed. Robert Murphy's Sixties British Cinema is the first study to challenge this view. He shows that the realist tradition of the late 50s and early 60s was anything but dreary and depressing, and gave birth to a clutch of films remarkable for their confidence and vitality: Saturday Night and Sunday Morning, A Kind of Loving, and A Taste of Honey are only the better known titles. Sixties British Cinema revalues key genres of the period - horror, crime and comedy - and takes a fresh look at the 'swinging London' films, finding disturbing undertones that reflect the cultural changes of the decade. Now that our cinematic past is constantly recycled on television, Murphy's informative, engaging and perceptive review of these films and their cultural and industrial context offers an invaluable guide to this neglected era of British cinema.